Riccardo Tommasi Ferroni (Italian, 1934-2000), "Studio per Un Gioco Tornatto", 1974, oil on canvas, signed and dated lower right, signed, dated and titled en verso, 27 1/2 in. x 39 1/2 in., framed. Note: Ferroni was a leading post-modern Italian figure painter throughout the latter part of the twentieth-century. Ferroni`s paintings combine classical themes and subjects from the Renaissance in surreal discontinuous spaces that stylistically resemble the works of DeChirico, Dali and DuChamp. In contrast to their works, Ferroni`s paintings are politically charged. Ferroni`s surreal compositions were pivotal to the resurgence of figurative painting in the early 1980s. Abstract existential art, void of figural or classical narratives, dominated the Italian art scene following World War II. Ferroni`s works were inspirational to the following generation of artists looking to reintegrate the past within a modern dialogue. Ferroni`s paintings have been exhibited and collected throughout museums and institutions in Europe and in the U.S. cities New York, Newport and Los Angeles. He was elected a member of the prestigious Accademia Romana di San Luca in 1982, and is recognized in prominent art history textbooks on Italian art such as Antonio Del Guercio`s Storia dell`Arte Presente (1998). References: Angelo Calabrese, "Riccardo Tommasi Ferroni: Una Costante Altezza di Tono L`Arte Come Circuito Aperto", Arte & Arte Online, 24 February 2006, Web. 27 March 2014; R.T. Ferroni, Le Regine di Riccardo Tommasi Ferroni (Parma: Galleria Borgobello, 1982).
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![[Artist Illustrated Books], a group of 5 books including: Alexander Calder and Richard Wilbur, A Bestiary, 1955, Pantheon Boo](http://lot-images.atgmedia.com/SR/1979/2904392/280-20144111156_468x382.jpg)
[Artist Illustrated Books], a group of 5 books including: Alexander Calder and Richard Wilbur, A Bestiary, 1955, Pantheon Books, NY, signed by Calder and Wilbur on the colophon page, with slipcase; Edgar Degas, Album de Dessins, 1949, Quatre Chemins-Editart, Paris, with slipcase; Bernard Dorival, Paul Gauguin, Carnet de Tahiti, 1954, Quatre Chemins-Editart, Paris, with slipcase; René Huyghe, Le Carnet de Paul Gauguin, 1952, Quatre Chemins-Editart, Paris, with slipcase; and Guillaume Apollinaire, Le Bestiaire ou Cortège d`Orphée, illustrated by Raoul Dufy, 1977, Metropolitan Museum of Art, NY, with slipcase.
Norman Rockwell (American, 1894-1978), "`At the Vets` (Study for the March 29, 1952 Cover of The Saturday Evening Post)", charcoal on paper laid on card, monogrammed lower right, inscribed "Best wishes to my friend / Dr. Henry Cooper, cordially Norman Rockwell" lower margin and initialed and inscribed "Sketch for / figure on Post Cover / NR" en verso, 18 1/2 in. x 8 3/8 in., framed. Provenance: Estate of James Fenimore Cooper IV. Through his illustrations, Norman Rockwell (American, 1894-1978) became as familiar to the American public as the iconic images that he created. Perhaps Rockwell`s most celebrated works were covers produced for The Saturday Evening Post. In his covers, Rockwell captured a wide range of topics relating to the social and cultural changes of the time. During the course of his tenure at the Post, Rockwell created over 300 covers, including "At the Vets", the cover illustration for the March 29, 1952 edition, for which the present work is a study. This poignant image of a young boy sitting patiently as he waits to bring his injured dog to visit the veterinarian is signed and dedicated by the artist "to my friend Dr. Henry Cooper." Dr. Henry Sage Fenimore Cooper (b. 1895 Albany, NY- d.1984 Cooperstown, NY) was a noted surgeon in New York City. Dr. Cooper graduated from Yale University; following his service in World War I, he attended Harvard Medical School. During his career, Dr. Cooper served as an associate attending surgeon at Presbyterian Hospital and an associate clinical professor at the College of Physicians and Surgeons of Columbia University, where he was known for his emphasis on humanism in training of physicians. In 1925, Dr. Cooper along with the support of Stephen C. Clark, Sr., the philanthropist and art collector, reopened the Basset Hospital in Cooperstown, NY, a community founded by his ancestors. The Basset Hospital became one of the country`s leading rural research and teaching hospitals. Upon his death, Dr. Cooper was trustee emeritus of the Hospital and had been its president for 50 years. References: Norman Rockwell: My Adventures as an Illustrator, New York, 1994. ; Ennis, Thomas W. (1984, Sept. 12) Henry S.F. Cooper, Surgeon and Ex-Columbia Professor. The New York Times.
The Mary Lawrence Carved and Painted Oak "Hadley" Chest, c. 1708, Hatfield, Hampshire County, Massachusetts, façade with tulip flower and leaf design, central panel with the initials "ML" under a heart, later hinged lid inscribed "AOS 1844", pine secondary wood, height 34 in., width 47 3/4 in., depth 20 3/4 in.; accompanied by a copy of The Hadley Chest by Clair Franklin Luther, 1935, Copy no.459. Provenance: Probably made for the 1708 marriage of Mary Lawrence (1688-1713) and John Allis Jr. (1682-1773). Acquired by James Fenimore Cooper (1858-1938) before 1929; thence by descent within the Cooper family, to James Fenimore Cooper IV. Published: Luther, Clair Franklin, The Hadley Chest (Hartford: 1935), p.138, no.47; Kane, Patricia E., "The Seventeenth-Century Furniture of the Connecticut Valley: The Hadley Chest Reappraised," in Ian M. G. Quimby, ed. Arts of the Anglo-American Community in the Seventeenth Century (The Henry Francis DuPont Winterthur Museum: 1975), pg. 119, no.126. Note: In 1883, pioneer collector Henry Wood Erving purchased an early American joined and carved chest out of a house in Hadley, Massachusetts, and ever since, this group of related chests has been referred to as Hadley chests. To date, there are over 250 pieces of related joined furniture that survive from this area of Western Massachusetts-stretching from Enfield to Northfield-along the Connecticut River. i In 1935, the present chest was recorded in the first comprehensive study of the form by Reverend Clair Franklin Luther, who used genealogical records in an attempt to match the initials carved into the fronts of the chests to contemporary local women`s birth and marriage records. Dr. Luther identified Mary Lawrence (1682-1713), who married John Allis Jr. (1682-1773) in 1708, as the original owner of this chest. This early provenance is strengthened by the survival of an almost identical chest, carved with the initials "RA," that descended in the family of Rebecca Allis (Ichabod and John Jr.`s sister) and her husband Nathaniel Graves (fig 1). That chest was given to the Memorial Hall Museum in Deerfield, Massachusetts in 1887 by Chester Graves Crafts, Rebecca and Nathaniel`s great-grandson.ii Both chests feature identical overall design of flat tulip flowers with leaves and scrolls, what Patricia Kane termed "the Hadley Motif,"iii repeated five to a row on the drawer front and medial rail and four at the top of the chest, leaving the area surrounding the lock uncarved. The same pattern templates were used on both chests, which is most evident in the carving surrounding the central incised tulip motif on the drawer front and medial rails. Additionally, the bottom rail of both chests is narrower than on other Hadley chests and unusually carved with a pattern of reverse C-scrolls separated by gouge marks. There are subtle differences in the incised scrolling and the placement and number of gouge marks throughout both chests, particularly around the flat tulip heads. The ML chest does not have gouge marks decorating the tulip heads as the RA chest does. In 1975, Patricia Kane categorized the known 126 Hadley chests into six distinct groups by related style and carving. She assigned the RA chest to subcategory C, "Crescent-shaped gouge carvings on both tulips and leaves," of minor group 5, called the Scribed Line Type, which included a total of six related chests. The ML chest, which had previously been in group 8, "Unidentified Hadley Chests," should be moved to group 5 subcategory B "Crescent-shaped gouge carving on the leaves".iv Both chests have flat leaf and tulip carved decoration that was laid out with templates and the designs on each rail confined within incised borders, an unusual feature on Hadley chests that these two related chests share with another Hadley chest with the initials HA, possibly for Hannah Allis, Rebecca`s sister, who married John Broughton Jr. in 1691.v Though free-hand carving is liberally sprinkled throughout the panels, there is no free-hand carving across the joints on any of the three chests as there is on other Hadley-type chests. The rails and panels were designed, carved, and painted before the chest was assembled and the stippling in the carved areas unified the design as well as hid the tool marks.vi The ML chest has the typical construction that is found in most Hadley chests. The four stiles have five sides and the framing members are all chamfered. The upper back board is framed into place, and a lower backboard, typically covering the drawer cavity, is missing here, perhaps removed when the drawer was repaired. The bottom of the chest compartment is comprised of three pine boards, with grain running from front-to-back, while the drawer bottom is constructed with two boards joined by a lap joint with the grain running from side-to-side. The drawers are side-hung, with a single large dovetail joining the drawer sides to the drawer façade. The groove in the drawer sides and its relationship to the single large dovetail varies from chest to chest; in this particular example, the dovetail is just above the groove. The "ML" chest was most likely made as a engagement or wedding present for Mary Lawrence and might have carried her dowry to her new life, just as chests have done throughout ages and cultures. The heart and tulip motif are both symbols of love, and the tree of life motif carved and incised into each inset panel is symbolic of fertility and longevity. The strong provenance of the RA chest, together with the shared templates and free-hand decoration on the two chests suggest that they were made by the same hand. John Jr., his brother Ichabod and his father, John Sr., have long been known as joiners who made these types of chests and it is tempting to speculate that either Ichabod, John Jr., or both, were the craftsmen who made these chests. At the time of Dr. Luther`s study, the ML chest was owned by James Fenimore Cooper (1858-1938), grandson of the author and great-grandson of the founder of Cooperstown, NY, where this chest was purportedly found in an old farm house. The top, a later addition, is painted with the initials AOS and the date 1844. Neal Auction Company would like to thank Seth A. Thayer Jr. for his invaluable assistance with this catalogue entry. References: i. Safford, Frances G. American Furniture in the Metropolitan Museum of Art: 1. Early Colonial Period: The Seventeenth Century and William and Mary Styles (Metropolitan Museum of Art, New York: 2007) p. 227. ii. Zea, Phillip and Suzanne Flynt, Hadley Chests (Pucumtuck Valley Memorial Association, Deerfield, MA: 1992), p. 10, cover and title page. iii. Kane, Patricia E., "The Seventeenth-Century Furniture of the Connecticut Valley: The Hadley Chest Reappraised," in Ian M. G. Quimby, ed. Arts of the Anglo-American Community in the Seventeenth Century (The Henry Francis DuPont Winterthur Museum: 1975), p.85. iv. Ibid, pp. 116-119 v. The HA chest is in the Wadsworth Atheneum Collection. Though the free-hand carving appears to be by another hand, the same templates may have been used to carve this chest as well. Patricia Kane assigned this chest to Group 5, subcategory C. Correspondence with Alyce Englund, the Richard Koopman Associate Curator of American Decorative Arts, Wadsworth Atheneum Museum of Art, March 18, 2014. vi. Zea, p.13.
A Group of Seven Grolier Club Books, including: The History of Helyas, Knight of the Swan, 1901, with elaborate pigskin binding and slipcase; Arthur Warren, The Charles Whittinghams Printers, 1896, in three-quarter leather; Charles Dexter Allen, A Classified List of Early American Bookplates..., 1894, paper wraps (2 copies); Catalogue of an Exhibition Illustrative of a Centenary of Artistic Lithography, 1796-1896; 1896, paper wraps; Catalogue of the Engraved Work of Asher B. Durand, 1895, paper wraps (2 copies); Theo. DeVenne, Historic Printing Types, 1886, hard cover in three-quarter linen; and Robert Hoe, A Lecture on Bookbinding as a Fine Art, 1886, hard cover in three-quarter linen, with 63 illustrations. Note: Named after the famed 16th century French bibliophile, Jean Grolier de Servières, the Grolier Club of New York is a fellowship of men and women devoted to books and the graphic arts. The Club, which is located in a neo-Georgian townhouse on E. 60th St. in Manhattan, holds a 100,000 volume library. In addition, the Club publishes books and offers exhibitions and lectures throughout the year to enhance the study and scholarship of the book arts. Membership to this exclusive organization is reserved for collectors, antiquarian book dealers, rare book librarians, and those involved in bibliophile pursuits. Reference: A Brief History of the Grolier Club, The Grolier Club of New York, 2014.
Charles A. Lindbergh Signed Book, The Spirit of St. Louis, New York, Charles Scribner`s Sons, 1953, silver-stamped blue cloth, original dust jacket, prepublication copy, inscribed by Lindbergh "To Dr and Mrs. H.S.F Cooper / With Best Wishes, Charles A. Lindbergh / Sept., 1953 / Publication date is Sept., 14th", accompanied by a gilt bronze commemorative medallion, 1931, by Frederick MacMonnies, published by The Society of Medallists, Fourth Issue, cast by Medallic Art Co., NY, diameter 2 3/4 in. Provenance: Estate of James Fenimore Cooper IV.
A Rare Art Copy of a Vapheio Cup, late 19th/early 20th c., Emile Gilliéron (Swiss, 1850/1-1924) and his son, Emile (1885-1939), marked, depicting the capture of wild bulls peacefully following their captor, height 3 in., width 5 1/2 in., depth 4 1/4 in. Note: Heinrich Schliemann`s discoveries at Mycenae in 1876 and Sir Arthur Evan`s excavations of the ancient Minoan civilization at Knossos (1900-1930) were instrumental to the works of Émile Gilliéron and his son. The Gilliérons spent more than thirty years working at Knossos, establishing a thriving business in the reproduction of these rare antiquities. Examples of their work can be found in collections around the world. Recent accolades include an exhibition of their work at the Metropolitan Museum of Art, Historic Images of the Greek Bronze Age: The Reproduction of É. Gilliéron & Son, May 2011- December 2012. The Metropolitan houses pieces by the Gilliérons, including two Vapheio cups (06.202 and 06.203) similar to the ones offered here. Examples of Vapheio, Nestor and Mycenaean cups (that resemble this lot and the following) are also found in the Harvard Art Museum/Arthur M. Sackler Museum (1901.3, 1901.4, 1910.13 and 1910.15).
A Fine American Neo-Grec Gilt Bronze-Mounted, Ebonized, Gilt Decorated and Inlaid Rosewood Parlor Cabinet, c. 1870, Pottier & Stymus, New York, bronze mounts marked and numbered "4738", reverse of cabinet numbered "4738", stepped shaped top, conforming case fitted with two paneled doors centering bronze plaques, birdseye maple shelf interior, fluted and blocked uprights, plinth base, height 51 in., width 55 1/2 in., depth 22 3/4 in. Note: The sophisticated design of this cabinet incorporates a theme of marital fidelity and domestic harmony. The two large plaques on the doors depict Penelope attending her weaving while awaiting the return of her husband and Ulysses seated with his devoted hound. The bronze plaques are likely from Pierre E. Guerin (1843-1911), who established his New York foundry in 1864 providing mounts for renowned cabinet makers such as Leon Marcotte and Pottier & Stymus. A cabinet with "Penelope" plaques marked "Gúerin" related to those here was offered by Neal Auction Company as lot 81, September 10, 2011. An important rosewood parlor cabinet with collared stiles and bust mounts marked "P&S" very similar to those placed on this cabinet was sold by Neal Auction Company as lot 742, May 1993. The use of a four and five-digit numbering system by Pottier & Stymus before 1888 is well-known and documented in Kristin Herrons` article on Glenmont, the Thomas Edison Residence in West Orange, New Jersey. The digits on a Pottier & Stymus example could be impressed, stenciled, or inscribed in ink, as seen here. Herron notes that the numbers were probably assigned chronologically, low digits, an "3924" on an Egyptian Revival chair at the Metropolitan Museum of Art dates from 1870, an1882 wardrobe at Glenmont is marked with a higher number "66595". The inked number on this cabinet, "4736," indicates manufacture in the early 1870s. An 1888 fire in the manufactory destroyed the firms` records, and probably terminated use of the numbers in subsequent work from Pottier & Stymus. Reference: Laux, Barbara. "The Furniture Mounts of P.E. Gúerin," Magazine Antiques (May 2002) p. 140-149 and Herron, Kristin. "The Modern Gothic Furniture of Pottier and Stymus." Magazine Antiques. (May 1999) p. 765, 768, pl. XIII-XIV, note 15, and p. 769, note 17.
Ida Rittenberg Kohlmeyer (American/New Orleans, 1912-1997), "Striae no.2", 1972, oil on canvas, signed lower middle and en verso, titled and dated on "The Mint Museum of Art" exhibition label en verso, 59 in. x 47 in., period frame. Provenance: Private Collection, Birmingham, AL; acquired from the artist. Exhibited: "Ida Kohlmeyer: Thirty Years", Cheekwood Botanical Gardens and Fine Arts Center, Nashville, TN, January 7-March 18 1984; Oklahoma Art Center, Oklahoma City, OK, June 2-July 15, 1984; Montgomery Museum of Fine Arts, Montgomery, AL, August 11-September 30, 1984; Fort Wayne Museum of Art, Fort Wayne, IN, November 9, 1984-January 6 1985; New Orleans Museum of Art, New Orleans, LA, March 1-April 28, 1985; McAllen International Museum, McAllen, TX, May 28-July 28, 1985; Mint Museum of Art, Charlotte, NC, September 15-December 1, 1985. Literature: Illustrated Ida Kohlmeyer: Thirty Years, Charlotte: Mint Museum of Art, 1983, p. 73. Note: The celebrated New Orleans modernist Ida Kohlmeyer explored a variety of compositional themes in her work. Some formulations, such as the iconic grid paintings, were created for many years. The painting offered here, Striae no.2, is from a short lived period in her work. This vibrant canvas is composed of registers and layers of color presented in three separate totems. Striae no.2 is an important work in Kohlmeyer`s oeuvre representing the transition from an abstract expressionist style to her more colorful neo-expressionist grid compositions.
Dawson Dawson-Watson (British/Texas, 1864-1939), "Western Landscape with Flowering Cacti", 1938, oil on canvas, signed and dated lower right, 21 1/8 in. x 16 1/4 in., framed. Note: Dawson Dawson-Watson (1864–1939) was a British born Impressionist painter who trained in Paris with Carolus Duran (1837-1917) among others. He was one of the first members of the famous Impressionist colony in Giverny, France and was a prominent teacher in Hartford, CT, St. Louis, MO, and San Antonio, TX. Dawson-Watson began spending time in San Antonio while he was still living in St. Louis. From 1914 to 1926 he spent part of each year in San Antonio. It is generally believed that it was the Edgar B. Davis Wildflower Competition that drew him to San Antonio permanently. In 1926, oilman Edgar B. Davis founded an art competition to draw attention to the beauty of the Texas Hill Country. A jury selected the paintings, dividing them into two categories: artists who were residents of Texas and those who came from outside of the state. The formal name of the contest, organized by the San Antonio Art League, was the Texas Wildflower Competitive Exhibition. In 1927, Dawson-Watson won the prize for artists who came from outside Texas and was awarded the $5,000 first prize for Glory of the Morning, at the time the largest cash prize in an American art competition. He went on to win first and fifth prizes in the 1929 competition. These awards not only gave Dawson-Watson great prestige in San Antonio, but national recognition and financial awards that made him financially comfortable for the first time in his life. In San Antonio, he became famous for his paintings of the many variety of cacti that grow in the Texas Hill Country. The work offered here is a lovely example of his impressionist views of flowering cacti. Painted in the year prior to his death, the canvas is a fine example of his fully developed mature style.
Hunt Slonem (American, b. 1951), "Golden Pheasant", 1989, oil on canvas, signed, titled, and dated en verso, and "Allene Lapides Gallery, Santa Fe, NM" label en verso, 48 in. x 48 in., unframed. Note: Hunt Slonem (b. 1951) is an American painter, sculptor, and printmaker best known for his Neo-Expressionist paintings of tropical birds. Since 1973, Slonem has lived and worked in New York City in his legendary loft with his pet birds. His personal aviary has between 30 to over 100 live birds of various species at any one time. His fascination with exotica was imprinted during his childhood in Hawaii and experience as a foreign exchange student in Managua, Nicaragua. Born in Maine, Slonem received his Bachelor of Arts degree from Tulane University in New Orleans and studied painting at the renowned Skowhegan School of Painting and Sculpture in Maine. Slonem`s works are included in many important museum collections such as The Metropolitan Museum of Art in New York, the New Orleans Museum of Art, and the Ogden Museum of Southern in Art in New Orleans, among others. Since 1977, Slonem has had over one hundred-fifty solo exhibitions at prestigious galleries. He regularly exhibits at both public and private venues and has received numerous honors and awards. The vibrant canvas presented here is a colorful study of a pheasant, which utilizes Slonem`s characteristic hatch marks, adding texture and dimension to the composition. A large composition created by energetic blocks of various colors, the hatch marks give the sense of a cage before the bird. For Slonem, cross-hatching has "a feeling of a tapestry, it`s like weaving. I`m making colors bleed into each other, I`m revealing the under-painting." Reference: Andersen, Kurt, "Hunt Slonem`s Artist Aviary", February 24, 2012, Studio360.org.
A Newcomb College Art Pottery Vase, 1911, decorated by Anna Frances Simpson with freesia modeled in relief, semi-matte glaze with blue, green, white and yellow underglaze, base marked with Newcomb cipher, decorator`s mark, Joseph Meyer`s potter`s mark, reg. no. EW65, and "B" for buff clay body, height 10 3/8 in.
A Newcomb College Art Pottery Vase, 1909, decorated by Marie de Hoa LeBlanc with narcissus modeled in low relief, high glaze with blue, green and white underglaze, base marked with Newcomb cipher, decorator`s mark, Joseph Meyer`s potter`s mark, reg. no. CY-18, and "W" for white clay body, height 12 1/4 in.
A Newcomb College Art Pottery Vase, 1930, decorated by Anna Frances Simpson with a landscape of moss-laden live oaks modeled in relief, matte glaze with blue and green underglaze, base marked with Newcomb cipher, decorator`s mark, Jonathan Hunt`s potter`s mark, reg. no. SB62, and shape no. 500, height 6 1/8 in., diameter 6 in.
A Newcomb College Art Pottery Tankard, 1906, decorated by Maude Robinson in relief with trumpet flowers and the verse "Frame Your Mind To Mirth and Merriment", high glaze with blue-green and blue underglaze, base marked with Newcomb cipher, decorator`s mark, Joseph Meyer`s potter`s mark, reg. no. BI62 and "Q" for buff clay body, height 5 3/4 in.
Albert E. Backus (American/Florida, 1906-1991), "Florida Estate", oil on canvas, signed lower right, 25 in. x 30 in., framed. Note: Considered the Dean of Florida painters, Albert E. "Beanie" Backus depicted various locales and vistas of the Florida landscape as well as still lifes of the indigenous fauna. A native of Fort Pierce, Backus was largely a self-taught artist, who studied briefly at the Parsons School of Design in New York. Backus had his first exhibition in 1931 and achieved national recognition in 1939 when his work was included as Florida`s entry in "Art Across the Nation," a show sponsored by IBM and the Golden Gate Exposition committee. Maintaining a studio in Fort Pierce, Backus exhibited his work in Miami beginning in 1949, which greatly increased his reputation in the state. Backus painted the wide ranging Florida landscape from tropical views of the Everglades to the piney woods of the northern part of the state. The work offered here is a large composition that seemingly depicts an area in central Florida. A rutted road of red clay earth leads to a simple house shaded by a stand of trees. Backus was fascinated by sky and cloud formations, as shown in this painting with its vivid cerulean blue sky and light-filled clouds. Characterized by a sense of serenity, this work is an important example of one of Backus` mature landscapes of the Florida backcountry.
A Newcomb College Art Pottery Vase, 1930, decorated by Anna Frances Simpson with lilies-of-the-valley modeled in low relief, matte glaze with green, blue and white underglaze, base marked with Newcomb cipher, decorator`s mark, Jonathan Hunt`s potter`s mark, reg. no. SK48 and shape no. 300, height 5 7/8 in.
Enrique Alferez (Mexican/New Orleans, 1901-1999), "Female Figure", bronze, medium brown and verdigris patina, on original mahogany base, height 11 in., overall height 16 in. Provenance: By descent in a New Orleans family and displayed in a Prytania Street residence for many years, acquired from the artist. Note: A native of Mexico, Enrique Alferez`s life spanned almost the entire 20th century, much of it creating art. A prolific sculptor, Alferez came to New Orleans in 1929 and was so taken with the thriving artistic community in the French Quarter that he stayed. Alferez received a number of commissions, taught at the Arts & Crafts Club and directed the sculpture program for artists employed by the WPA. The latter was certainly Alferez`s most significant contribution to the city of New Orleans. He created statues, fountains and friezes which are located in parks, gardens, airports, public buildings and street scapes all over the city. Alferez`s work is characterized by a gracefulness, especially in his depictions of women for which he is best known. The work offered here is a c. 1950s bronze of a partial nude figure. The face is easily recognizable as the visage Alferez portrays in many of his female sculptures, with her delicate nose and slightly pursed lips. The texture of the sculpture reflects the modeling of clay and differs from the smooth surface that he uses in much of his work. A true afficianado in his renditions of the female form, this a lovely example of his work.
Alfred Heber Hutty (American/South Carolina, 1877-1954), "Corner of the Huguenot Church, Charleston, South Carolina", 1925, etching on paper laid down on board, pencil-signed and snail monogram lower right, edition of 75, plate 5 1/2 in., x 6 1/4 in., framed. Illustrated: Alfred Hutty, American Etchers Series, vol. 2, introduction by Duncan Philips, New York: Crafton Collection, 1929; Saunders, Boyd and Ann McAden, Alfred Hutty and the Charleston Renaissance, Orangeburg: Sandlapper Publishing Company, 1990, p. 78; and Arnold, Sara C. and Stephen G. Hoffius, eds., The Life and Art of Alfred Hutty: Woodstock to Charleston, Columbia: The University of South Carolina Press, 2012, p. 131
William Aiken Walker (American/South Carolina, 1838-1921), "Cabin Scene, Wash Day", oil on academy board, signed lower left, partial "Devoe & Co." label, titled and inscribed "Cabin" en verso, 9 1/4 in. x 12 1/8 in., framed. Provenance: Acquired by the current owner from the George F. McMurray Collection, Hartford, CT, c. 1979. Note: To be included in John Fowler`s forthcoming catalogue raisonne on William Aiken Walker. This exceptional cabin scene depicts a "wash day," a favored trope among Walker`s domestic scenes. Depicted here is a complex composition with a plethora of finely rendered naturalistic details, including a cat napping at the cabin door, garments and a stretched hide hanging on the cabin exterior, a featherbed airing on a chicken coop in the foreground, a view of a neighboring cabin in the background, an outbuilding with a martin house in the right foreground, a sow and rain barrel center right, four moss laden trees with a palmetto, and three children in the left foreground including a toddler in a wagon. Reference: Trovaioli, August and Roulhac Toledano. William Aiken Walker, Southern Genre Painter. Gretna, LA: Pelican Publishing, 2008, pp. 174-177; Seibels, Cynthia. The Sunny South, The Life and Art of William Aiken Walker. Spartanburg, SC: Saraland Press, 1995, p. 136, fig. 65.
An American Classical Carved and Parcel-Gilt Mahogany Armoire, 1829-35, attributed to Joseph Meeks & Sons, New York, arched frieze over doors with Gothic panels flanked by columns with gilt capitals and bases, interior with shelves and belt of drawers, side compartments, plinth base, eagle and lion`s paw feet, height 93 1/2 in., width 70 1/2 in., depth 31 1/2 in. Note: The gothic door panels, arched frieze, and case form for this armoire are very similar to those illustrated as number 28 on the noted Meeks "broadside" of 1833. The finely carved capitals on this lot are nearly identical to those on a secretary bookcase attributed to Meeks conserved at the Metropolitan Museum of Art (acc. 60.29.1). The distinctive eagle carved feet and shallow side cabinets featured here reflect the firm`s highest quality examples. Reference: Davidson, Marshall. The American Wing: The Metropolitan Museum of Art. New York: Harrison House, 1987. pp. 164, fig. 254 and 161, fig. 249.
An American Aesthetic Brass and Mixed Metals Side Table, c. 1885, attributed to Charles Parker Company, Meriden, CT, rectangular top with pierced gallery, trestle base with floral brackets, stretcher centering hammered panel, arched legs, ball feet, height 30 in., width 19 1/4 in., depth 13 1/4 in. Note: An almost identical table by the Charles Parker Co. is in the collection of the Munson-Williams-Proctor Arts Institute (no. 2003.21). The Charles Parker Co. was one of the leading American manufacturers in the late nineteenth century of artistic brass household furnishings in the Aesthetic Movement style. Founded in Meriden, Connecticut in 1832, the company initially produced coffee mills and waffle irons. Production expanded to include plated flatware and hollowware in the mid-19th century. By the 1880s, the firm was producing luxury "art brass" wares in addition to utilitarian goods. Reference: D`Ambrosio, Anna Tobin, A Brass Menagerie Metalwork of the Aesthetic Movement, 2005, p. 42-8. pl. 14.
American School, mid-19th c., "Still Life with Fruits, Melon, Wine Glass and a Bird Nest", c. 1845, oil on canvas, signed "Conaughty" with grape-tendril at lower right, "Morris Museum of Art" label en verso, 27 1/4 in. x 37 in., framed. Note: Sold to benefit the Acquisition Fund of the Morris Museum of Art, Augusta, GA.
An American Art Moderne Sterling Silver Covered Box, Kurt J. Matzdorf (1922-2008), act. from c. 1950, New Paltz, New York; marked "HANDWROUGHT", "351", "STERLING" and with Matzdorf`s maker`s mark; finial set with black onyx in brass bezel, textured finial, cover and foot rim, height 4 1/8 in., width 4 7/8 in., depth 4 3/8 in., weight 18.35 troy ozs.
An American Classical Carved Mahogany Wardrobe, early 19th c., Baltimore, molded cornice, paneled doors flanked by reeded pilasters with foliate capitals, divided interior with drawers and hanging compartment, plinth base, turned feet, poplar and cedar secondary woods, height 86 1/4 in., width 65 1/4 in., depth 28 1/4 in. Note: A number of design details on this armoire relate to well known Baltimore examples. The canted cornice, pilaster stiles, and vertically proportioned doors are similar to those on a maple armoire labeled by John Needles at the Baltimore Museum of Art (acc. 1961.45) and two mahogany armoires sold in these rooms as lot 403, June 3, 1997 and lot 123 July 17, 2010. Reference: Weidman, Gregory. Classical Maryland 1815-1845, Baltimore, The Maryland Historical Society, 1993, p. 123, fig. 148.
An American Classical Carved Mahogany Center Table, c. 1825, attributed to Isaac Vose and Son, Boston, circular banded tilt top, chamfered triangular support, incurvate triangular plinth, scroll feet, casters, height 29 in., diameter 39 in. Note: The paneled standard, shaped plinth and distinctive scroll feet on this table are very similar to those on a noted games table bearing the stencil of Isaac Vose and Son conserved at the St. Louis Museum of Art (acc. 127:1965). Reference: Cooper. Wendy. Classical Taste in America, 1800-1840. p. 134, fig 94; @ slam.org St Louis Museum of Art. web. March 1, 2014.
Attributed to Cuzco School, 19th c., "The Entombment of Christ (El Santo Sepulcro)", surrounded by the figures of St. Joseph of Arimathea, St. Nicodemus, the Virgin, Mary Magdalene and St. John the Evangelist, oil on canvas, 23 3/4 in. x 32 1/8 in., framed. Provenance: New Orleans Museum of Art, deaccessioned.
An American Aesthetic Carved, Ebonized and Inlaid Cherrywood, Rosewood, Birdseye Maple and Maple Étagère/Desk, late 19th c., attributed to Herter Brothers, New York, stepped pediment, central fall front opening to fitted interior of drawers and compartments, flanking pedestals each with upper drawer, columnar uprights, mirrored back, the whole with medial drawers, pedestal base with bossed brackets, low shelf with gallery, shaped feet, reverse left branded "JNF(?)", height 67 in., width 41 1/4 in., depth 14 3/4 in. Provenance: Acquired from a California Estate, c. 1980. Note: An identical Herter étagère/desk of walnut and maple is in the collection of Michael and Margie Loeb, New York, and illustrated in Old House Interiors. Herter is known for juxtaposing finishes and colors on identical forms to continually create "one-of-a-kind originals". This is seen in side chairs made for the drawing room of the Vanderbilt residence, New York and for the Hopkins residence, San Francisco, as well as cabinets in the High Museum of Art, Atlanta, Georgia (acc. 1981-1000.51) and also Sagamore Hill National Historic Site, Oyster Bay, New York (acc. SAHI.1.1384). Reference: Coleman, Brian, "Manhattan Aesthetic", Old House Interiors, October/November 2002, Vol. VIII, No. 6, pp.61-67; Howe, Katherine S., Alice Cooney Frelinghuysen et al. Herter Brothers: Furniture and Interiors for a Gilded Age, 1994, pp. 177-179, fig. 25, 26.
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