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Los 530
Latour, Arsene Lacarriere, HISTORICAL MEMOIR OF THE WAR IN WEST FLORIDA AND LOUISIANA IN 1814-1815. WITH AN ATLAS, Philadelphia, John Conrad, 1816, portrait of General Jackson bound in, octavo, gilt spine, red leather label, antique calf and marbled boards, the ATLAS in original boards, with eight hand-colored maps, laid in a quarter-calf case matching binding of text volume
Los 585
Fritz Bultman (American/New Orleans, 1919-1985), "Horizon: Glutton of Autumn", 1957, oil on canvas, signed, titled, dated, "Martha Jackson Gallery, NYC", 2 "Gallerie Stadler, Paris", "Kölnischer Kunstverein, Cologne, Germany", "Stadtische Kunst Galerie, Bochum, Germany", 2 "Agence, Maritime Delamare & Cie with shipping from Stadler to Munich and Bochum" labels, handwritten German inscription and 2 custom-stamps en verso, 72 in. x 48 in., framed. Provenance: Acquired from the artist by Rodolphe Stadler, Paris; Jeanne Bultman, Provincetown; purchased at Vincent Smith-Durham, Embreeville, PA, 2011. Exh.: Fritz Bultman, Martha Jackson Gallery, New York, Jan. 27-Feb. 21, 1959; 20 Quadri, Galleria dell'Ariete, Milan, 1959 and illustrated in the accompanying catalogue, p. 19; Fritz Bultman, Galerie Stadler, Paris, 1960; Kölnischer Kunstverein, Cologne, Jan. 14 - Feb. 26, 1961; Profile I, Städische Kunstgalerie, Bochum, Jan. 13-Oct. 2, 1963; Fritz Bultman, Albert Merolo Gallery, Provincetown, 2003; Fritz Bultman: Irascible, II, Gallery Schlesinger, New York, 2004 and illustrated in the accompanying catalogue. Note: “The ‘subject’ of his paintings, of course, is not any particular place in New Orleans, but his own warm response to his experience, or memory, of this queen among southern cities.” -Dore Ashton (New York Times, Jan. 31. 1959) In 1950, Fritz Bultman, along with several other New York school painters including Robert Motherwell, Hans Hofmann, Ad Reinhardt, Jackson Pollock, Mark Rothko, and Willem de Kooning all signed and published the historic open letter to the Metropolitan Museum of Art criticizing the institution’s indifference towards Abstract Expressionism and other “advanced art.” The press in turn labeled the outspoken group “The Irascibles” and in 1951, Life magazine published the iconic photo of the group taken by Nina Leen. At the time, Bultman was studying sculpture in Italy, so he is notably missing from the group portrait - his standing amongst his contemporaries was quite solid however with Motherwell proclaiming in 1987 that Bultman is “one of the most splendid, radiant, and inspired paintings of my generation.” The highly important work offered here by Fritz Bultman comes from a key period within the artist's career, a time in which his abstract expressionist style reached full maturity and creative inspiration. The years from 1955 to 1962 marked the “best painting time of his life” for Bultman, according to his wife, Jeanne. The couple moved to a townhouse in New York which included a large top floor studio where Bultman was able to take full advantage of the expansive space to create his expressive and dynamic canvases in even larger dimensions. With several exciting sales and interest from renowned New York galleries such as the Stable Gallery, Martha Jackson Gallery, Gallery Mayer and Galerie Stadler in Paris, Bultman was arguably in the prime of his career. According to April Kingsley in the exhibition catalogue for New York – Paris 12 Paintings featuring works by Bultman, “one Paris dealer, Rodolphe Stadler, who was introduced to Fritz’s work by French critic Michel Tapies, bought many paintings outright and showed and sold them in galleries in Munich, Turin, and Rome as well as Paris.” He kept twelve canvases for his own collection and in turn sold them to Bultman’s wife when he retired and closed his gallery. “Horizon: Glutton of Autumn” is one of the afore-mentioned twelve canvases of the Stadler collection and features many exhibition, gallery and custom labels detailing its extensive showings in both New York and Europe. The works from this period often can be informed by their unique titles, endowing the seemingly abstract compositions with new and almost narrative meaning. With "Horizon: Glutton of Autumn," the addition of exaggerated black and white lines on the orange background energizes the canvas and hints at a fall landscape in abstraction. Ref.: Ashton, Dore. “Art: Respect for Subject; Fritz Bultman and Peter Lanyon, Both Abstract Expressionists, Have Shows.” New York Times Jan. 31, 1959.; Kingsley, April. Fritz Bultman: a Retrospective; New Orleans: New Orleans Museum of Art, 1993, p. 9.; Kingsley, April. Fritz Bultman: New York-Paris 12 Paintings. Provincetown: Torcello Publications, 2004.
Los 591
Helen Maria Turner (American/New Orleans, 1858-1958), "Coquette", oil on canvas, signed lower left, handwritten inscription with artist, title and remnant of exhibition label en verso, "E.C. Slater" embossed en verso of frame, 22 in. x 18 in., period frame. Note: In the 1880s, the art world opened significantly for women in America, and Helen Maria Turner benefited greatly from the art clubs and associations in both New Orleans and New York, where she studied under artists such as Andres Molinary, Bror Anders Wikstrom, William Merritt Chase, and Joseph De Camp. Maia Jalenak writes, “In this regard, Turner was among a generation of women breaking new ground. Her combination of talent and determination enabled her to move to professional status, support herself, and achieve a distinguished reputation.” Although many artists of this time period were interested in studying painting abroad, exposing themselves to the French Impressionist paintings, Turner preferred to work with American painters. William Merritt Chase was particularly influential on her style, and her sensitive depictions of her models directly reflect her training with him. By 1900, Turner was teaching both privately and at institutions, as her work became more popular and she gained national acclaim. In "Coquette," Turner's studies with Chase are apparent in the light, airy palette using mostly pastel colors, as well as the loose brushstrokes that form the hair, dress, and fan that the model holds. Turner often used the same models for multiple canvases; the girl in this portrait is most likely Julia Polk Hunsicker, who also posed for the seminal "Lilies, Lanterns, and Sunshine" in the collection of the Chrysler Museum of Art. By 1914, the Corcoran Gallery had exhibited and purchased one of her paintings, Girl with Lantern, and The Flower Girl of 1920 won the Second Altman Prize; Turner was the first woman to receive any of the Altman prizes. This award led to her being elected to the National Academy of Design in 1921. In 1917, Turner’s works were included in the exhibition Six American Women, which was comprised of works by the most prestigious female painters in America, including Mary Cassatt and Alice Schille. While women who painted in the late nineteenth and early twentieth centuries had many more opportunities than their predecessors, there still existed a pervasive notion that women were less qualified to become artists and created “weaker” works. This idea that a woman artist has an inherently female quality that is translated to her work was a popular theory in the early 20th century known as “essentialism.” Because of this concept, art critics would sometimes refer to Turner’s work – with a negative connotation – as having a “feminine quality” to it. Time has been on Turner’s side as the idea of “essentialism” in her work has been rejected over the years as the strength of her painting technique and talent has been increasingly acknowledged and celebrated. Turner’s presence on a national level speaks to the fact that her works have a universal appeal, and her success then helped to set the stage for future female artists from the region. Not only did she defy the odds by supporting herself as a working artist, but her accomplishments are inspiring. Her solo exhibition at the age of 90 at the New Orleans Museum of Art (then the Delgado Museum of Art) in 1949 likely inspired the next generations of artists such as Ida Kohlmeyer to reach similar heights in their own careers. Ref.: Bonner, Judith. “Women Artists in Louisiana, 1825-1965: A Place of Their Own.” Arts Quarterly. Volume XXXI, Issue 2. New Orleans, New Orleans Museum of Art, 2009; Faquin, Jane Ward. Helen M. Turner: The Woman’s Point of View. Memphis: Dixon Gallery and Gardens, 2010. Jalenak, Maia. Helen M. Turner: American Impressionist. Louisiana State University Master of Arts Thesis, 2003.
Los 977
Andres Molinary (Gibraltarian/New Orleans, 1847-1915), "Portrait of Martin Behrman (1864-1926), Mayor of New Orleans", oil on canvas, signed upper right, "From W.E. Seebold, Stationer, Engraver & Fine Art Dealer, New Orleans, LA" label en verso, 30 in. x 25 in., period frame. Provenance: Descended in the family of the artist, New Orleans. Note: Working with both landscapes and portraits, Andres Molinary often recorded on canvas both the local scenery and prominent citizens of Louisiana, including General Pierre Gustave Toutant Beauregard and Senator John Slidell. Therefore, it is not surprising that he would have been called upon to paint this distinguished portrait of Martin Behrman, who served as Mayor of New Orleans for almost seventeen years until his death in 1926. Behrman, the longest-serving mayor in New Orleans history, was born in New York, but grew up on the west bank in Algiers. Losing both of his parents by the age of twelve, Behrman began supporting himself by working at a local grocery store. Due to his talents and ambition, he rose to the positions of a clerk of the City Council, a delegate to the state Constitutional Convention, and a state auditor before being elected mayor for the first time in 1904. Ref.: Widmer, Mary Lou. New Orleans: 1900 to 1920. Gretna: Pelican Publishing Company, 2007.
Los 994
Southern School, early 19th c., probably Peticolas Family, "Portrait of a Southern Lady", oil on canvas, unsigned, handwritten modern label identifying artist as "Philippe Abraham Peticolas, Richmond, VA" en verso, 20 3/4 in. x 16 in., period frame. Provenance: Didier, Inc., New Orleans, LA. Note: Philippe Peticolas (1760-1841) and his four sons lived in Richmond, VA in the early 19th century. Artistically gifted in both the visual arts and music, the five men taught, performed, and took commissions for portraits in the area throughout the first half of the 19th century. Edward Peticolas (1793-1853), Philippe’s second son, painted in a style particularly similar to his father.
Los 816
BORDER FINE ARTS FIGURE OF A 'JERSEY COW'by Ray Ayres circa 1991, L 110, number 241 of a limited edition of 1250, raised on a wooden plinth, signed and numbered, 17cm high, in original box with certificate; along with four Border Fine Arts figure groups comprising 'A Long Day Ahead' B 0037, 'Families Welcome' B0037, 'Family Portrait' B 0038, 'Temporary Home' JH 97 (5)
Los 369
'Detail from Manet's portrait: Berthe Morisot with a bunch of violets 1872. 53 x 38 cms private collection' medium: OilsPLEASE NOTE THAT FINAL INVOICES WILL INCLUDE BUYERS PREMIUM AT 27% (INCLUSIVE OF VAT) ADDED TO THE HAMMER PRICE, EWBANK'S ARE WAIVING ALL VENDOR COMMISSION FOR THE CHARITY.
Los 370
'Detail from Ingres' portrait: Madame Paul Sigisbert Moitessier 1851. 57 3/4 x 39 1/2. National Gallery of Art Washington D.C.' medium: Oils PLEASE NOTE THAT FINAL INVOICES WILL INCLUDE BUYERS PREMIUM AT 27% (INCLUSIVE OF VAT) ADDED TO THE HAMMER PRICE, EWBANK'S ARE WAIVING ALL VENDOR COMMISSION FOR THE CHARITY.
Los 152
Miniature oval oil on white metal panel - Portrait of a young boy wearing a ruff collar, the back panel with label inscribed 'Prince of Orange by Samuel Cooper (Painted on Silver)', 8.25cm x 6cm Condition: Surface is a little scratched as can clearly be seen in our image - **General condition consistent with age
Los 158
19th Century Coalport Tea For Two, each piece decorated with classical portrait medallions on a heavily gilded deep pink ground and comprising circular two handled tray, teapot, two handled lidded sucriere, cream jug, two cups and two saucers, each piece with gilt painted ampersand mark, width of tray inclusive of handles, 48cm, height of teapot 12.75cm Condition: Teapot lid has a flake on the underside edge where it sits on the teapot body measuring approximately 4mm x 5mm and not visible when the lid is seated, very minimal rubbing to the gilding and some very fine light scratching to the pink - **General condition consistent with age
Los 384
Edward VII embossed oval silver box, Birmingham 1903, 5cm wide, a similarly decorated box, Birmingham 1891, 4.25cm wide, an early 20th Century French silver hexagonal box with embossed foliate decoration, 7.5cm wide, a similar rectangular German box, 5.25cm wide, a Dutch oval silver box with portrait decoration, 3.25cm wide and a heart shaped box with embossed cherub decoration, 4.75cm wide, combined weight 5.5oz approx Condition: The scallop shaped box has several pin prick holes to the cover, the heart shaped box is a little worn to the embossed decoration - **General condition consistent with age
Los 15
THREE CAMEO BROOCHES, comprising an oval shell cameo brooch, carved to depict Medusa in profile, to a ropetwist decorated mount stamped '9ct', a further shell cameo brooch, carved to depict a female portrait profile, 9ct gold mounted, and an oval hardstone cameo brooch, carved to depict a classical female figure carrying a censer, also 9ct gold mounted, first brooch length 3.9cm (3)
Los 15
A 19th Century Copper Relief Portrait Plaque:Depicting Francis Libermann (1802-1852), the profile head & shoulders protrait in high relief surrounded by the words 'Venerable Libermann' & the sitter's dates, H 34 x W 39 cm. Note: Francis Mary Paul Libermann was a 19th-century French Jewish convert to Catholicism who was a member of the Spiritan order. He is best known for founding the Congregation of the Immaculate Heart of Mary which later merged with the Congregation of the Holy Ghost. He is often referred to as "The Second Founder of the Holy Ghost Fathers". He was declared venerable in the Roman Catholic Church on 1 June 1876, by Pope Pius IX.
Los 195
English School (early 19th century):Portrait of a bearded gentlemen in profile, believed to be King George III in madness & old age, painted from life by one of the captains in his guards, pencil & watercolour, inscribed by the artist 'The Portrait of Our Venerable and Beloved Sovereign - 1819...Captain...', further inscription verso by another hand, H 12 x W 9.5 cm
Los 263
After Marc Chagall (Russian/French, 1887-1985): 'Acrobats at Play', colour lithograph, 1963, printed by Mourlot, Paris, sheet size H 37 x W 54 cm; together with an original lithographic exhibition poster for the Musee Jacquemart-Andre, Paris, 1979, printed by Mourlot, the image after Chagall made by Sorlier, H 73 x W 53 cm; & a further colour print after Chagall's 1965 self-portrait, printed by ADAGP, Paris, 1992 (3)
Los 275
Christopher Richard Wynne Nevinson, A.R.A. (1889-1946):Theatre study, coloured chalks, signed with monogram lower right, H 38 x W 24 cm. Provenance: Given personally by the artist to the vendor's grandmother, Majorie Puttick, thence by descent. Note: The vendor's grandmother Marjorie Puttick became friends with C.R.W.Nevinson when they studied together at the St John's Wood Art School between 1907 & 1908, & attended a weekly sketch club under Charles M.Q.Orchardson with fellow students Archibald Barnes & Longstaff. A portrait of Miss Puttick by Orchardson was exhibited at The Royal Academy’s Summer Exhibition in 1910. In his autobiography Paint & Prejudice, Nevinson said of these days: "From Uppingham I went straight to heaven: to St. John's Wood School of Art, where I was to train for the Royal Academy Schools … There were wild dances, student rags as they were called; strange trips with Johnson, an immensely fat man, to the opera... and various excursions with exquisite students, young girls and earnest boys; shouting too much, laughing too often.” During his time at St John’s, Nevinson came across the work of Augustus John & subsequently dropped his objective of going to the Royal Academy which he now viewed as a bulwark of tradition and conventionality, in favour of attending The Slade School of Art where John had been a student.
Los 282
Fred Yates (1922-2008):Self portrait, oil on board, signed lower left & centre right, H 26.5 x W 30 cm. Provenance: The artist's studio sale, Artcurial, Paris, 2013, with Artcurial's 'Atelier Fred Yates' stamp verso. Note: It is likely the present portrait dates to the late 1970s/early 80s. Please note that Artist's Resale Rights may apply to this lot.
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283284 Los(e)/Seite