Neal Auction Important Estates September 2015

62 364. Wayman Adams (American/New Orleans, 1883‑1959) , “Portrait of a Negro Woman”, oil on canvas, unsigned, “Hoosier Artists: Family and Friends...” exhibition label en verso, 27 in. x 19 in., framed with artist and title plaque; accompanied by copy of certificate of authenticity from Austin National Bank, February 14, 1979. $3000/5000 Exh.: Hoosier Artists: Family and Friends ‑ Selected from Private Collection of Mr. and Mrs. Richard Wise , Union City, IN, 1980. Provenance: Estate of the Artist. 365. Will Henry Stevens (American, 1881‑1949) , “Abstract Landscape in Blue”, 1945, oil on canvas, signed and dated lower right, sight 15 1/2 in. x 13 1/2 in., framed. $15000/25000 Provenance: Estate of the artist; Blue Spiral 1 Gallery, Asheville, NC. Note: The 1945 canvas offered here is a masterful example of the fully developed abstract style that made Will Henry Stevens a pioneer of Modernism in the South. Ref.: An Exhibition of Late Works by Will Henry Stevens . Greenville County Museum of Art, 1967; Pennington, Estill Curtis. Will Henry Stevens: An eye transformed, a hand transforming. . Augusta, GA, Morris Museum of Art, 1993; York, Richard T. Will Henry Stevens: A Modernist’s Response to Nature . New York: Richard York Gallery, 1987. 366. Alberta Kinsey (American/New Orleans, 1875‑1952) , “New Orleans Street Scene”, oil on canvas, signed lower right, 26 in. x 22 in., framed. $5000/7000 367. Walter Inglis Anderson (American/Mississippi, 1903‑1965) , “Horn Island Landscape”, watercolor and pencil on paper, unsigned, estate stamp lower right, 8 1/2 in. x 11 in., framed. $4000/6000 \Provenance: Acquired Shearwater Pottery, Ocean Springs, MS, c. 1970. \Note: In the 1950s and 1960s, Walter Anderson would spend a great amount of time on Horn Island painting the flora and fauna. The composition here depicts a stand of golden rod with a tree trunk in the left background. The work shows how Anderson developed his paintings; first by sketching in pencil, then by creating an outline with watercolor. In this painting, Anderson utilizes the negative space to create the picture, filling in more color in certain small areas, a technique often found in this series of work.