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Lot 91C
Charles Collard (1874-1969), Still life basket of Flowers, watercolour, signed, 4in x 5in (10cm x 12.5cm), and two other small watercolours signed C. Collard; still life of flowers and a ploughing scene, together with a small pen and watercolour sketch of three children, signed with initials "F.L.C" and dated 1892, 2½in x 2½in (6.25cm x 6.25cm), all framed (4)
Lot 288
Margaret Firth (British 1898-1991): 'Pale Still Life 1977', oil on board signed 54cm x 64cmProvenance: exh. Bradford Art Galleries and Museums - Cartwright Hall 1988 Margaret Firth Retrospective No.29DDS - Artist's resale rights may apply to this lot Condition Report Click here for further images, condition, auction times & delivery costs
Lot 521
Marie Rosalba Faure (American/Louisiana, 1865-1927), "Still Life of Pink Roses in a Pitcher", 1908, oil on canvas, signed and dated "Fev. 1908" lower right, "Jean Bragg Gallery, Magazine St., New Orleans, LA" label en verso, 20 in. x 26 in., period gilt frame. Provenance: Jean Bragg Gallery, New Orleans, LA. Note: A lifelong resident of New Orleans, Marie Rosalba Faure was active in the vibrant New Orleans art community from 1897 to 1927. Faure served as a teacher at the Guillot Institute, McDonogh High School 2 and Sophie B. Wright Girl's High School. She was a member of the Artists' Association of New Orleans and took classes at Newcomb Art School in the summer of 1908. Faure's rare surviving works attest to her skill with traditional still life, as seen in the sensitive work offered here, and scenes of the Louisiana bayou.
Lot 424
Achille Peretti (Italian/New Orleans, 1857-1923), "Interior at St. John the Baptist Catholic Church", 1899, oil on canvas, signed and dated lower right, "Artists' Association of New Orleans" exhibition label with artist and title en verso, 38 in. x 28 1/2 in., period frame. Note: St. John the Baptist Church’s golden steeple has long been an architectural landmark in New Orleans. Built in the late 1860s and early 1870s, the church’s formal dedication was January 7, 1872. The original structure still stands today. Although the floor plan has not been altered, the interior has undergone several campaigns of restorations. The current lot provides a fascinating view into the original design of the interior. The renowned stained glass, which is now featured in the side windows of the church, had not yet been installed in every window. The stained glass was donated over a course of almost a century – the first donation occurring in 1874 and the last in 1962. In 1963, the church underwent a more extensive renovation and restoration. Unfortunately, the ornate altar featured in this painting was damaged beyond repair by termites and was replaced. In 2002, a renovation took place that saw to the repainting of the interior and the gilding of the column capitals and other details throughout the church.The figures portrayed in the church give the viewer a sense of the Catholic community in the late 19th century. The women depicted are, based on their clothing, fashionable ladies of means, adhering to the latest styles of dresses or blouses and skirts with high necks and long gigot sleeves. Hats with flowers, ribbons, or other decorations were extremely popular during this time period; ladies’ heads would have remained covered in a church during the late 1800s. The inclusion of an African-American woman in the painting indicates that St. John the Baptist Church had an interracial congregation in the 1890s, a circumstance that was more common during the antebellum period than in the later part of the century. Many slaves were baptized and attended the same churches as their owners. After the Civil War, African-American Catholics began forming their own communities. Orders such as the Sisters of the Holy Family, which had been founded in 1842 by Mother Henriette Delille, evangelized and converted both slaves and free persons of color before the war and expanded into full congregations after the war. St. Augustine Church was another community where interracial worship was common. Free black and white people rented approximately the same number of pews, raised funds, and sang in the choir together. Post-Civil War, as more black Catholic communities were formed and money from religious leaders such as Sister Katharine Drexel was donated to those communities, interracial Catholic congregations became less common.Although depictions of exteriors of the beautiful churches of New Orleans are quite common, views of the interior of a house of worship are relatively rare. Peretti, from the time he arrived in New Orleans in 1885 from his native Italy, had an interest in religious art. In addition to painting a number of varied subjects, he also worked decorating churches in Bay St. Louis, Mississippi at Our Lady of the Gulf and in New Orleans at numerous churches, including St. John the Baptist, St. Stephen’s, and St. Patrick’s. Through this fascinating look at a slice of life in the New Orleans Catholic community in the late 1800s, Peretti is able to provide some introspection into both the racial and religious history of the city. Ref.: Nolan, Bruce and Pastor Lori Renee. “Black Catholicism: Religion and Slavery in Antebellum Louisiana.” M.A. Thesis. Dallas: University of Dallas, 2003; Dobie, Ann B. “Achille Peretti.” KnowLA: Encyclopedia of Louisiana. Sept. 12, 2012. www.knowla.org/entry/1328. Accessed Oct. 21, 2016; “History of the Church.” St. John the Baptist Catholic Church. www.goldensteeple.com. Accessed Oct. 21, 2016.
Lot 504
William Woodward (American/New Orleans, 1859-1939), "On Chartres Street (Rue de Chartres) - Horse and Wagon Days - In 1905", 1905, Raffaelli oil crayon on board, signed, dated and inscribed "Rue Chartres, N.O." lower right, sight 21 1/4 in. x 27 in., framed. Provenance: By descent in the family of the artist. Ill.: Woodward, William. French Quarter Etchings of Old New Orleans. New Orleans: Franklin Printing Company, 1938, pl. 3. Note: Through his paintings of New Orleans, William Woodward was intent on capturing the French Quarter in the late 19th and early 20th centuries. He depicted street scenes of iconic structures that still exist today, such as the St. Louis Cathedral, the French Market, and the Arsenal, as well as private homes and commercial structures, some of which were later lost. Woodward’s intent – to preserve a moment in time of a city that constantly changed and morphed – yielded important and revered works of art such as the one offered here. The current lot depicts 522 and 524 Chartres Street in 1905, the location of the Ibos Brothers Tinsmith and Plumbing Company and a residence.Based on city directory records, Bertrand Firmin Ibos and Joseph Baptiste Ibos owned and operated the Ibos Brothers company on Chartres Street until 1923. In the scene, one can see a horse-drawn cart traveling down Chartres with an “Ibos Bros. – Tin Smiths – 524 Chartres Street” sign on the side while two children stand in the archway of the building. The attention to detail and sensitive use of color attest to Woodward’s skill as an artist and his goal of architectural preservation through his paintings. Later in Woodward’s life, he began a group of etchings based on his sketches and paintings; fifty-four of them form a book printed in 1938, French Quarter Etchings of Old New Orleans. While working on that group of etchings, Woodward meticulously noted the state of the buildings depicted, many of which had changed greatly in the 40 years since he painted them. Of the Ibos Brothers building, he wrote, “This shop and residence at 524 Chartres Street no longer exists. It was probably built in the late 1790s as its site was directly in the path of the great fires of 1788 and 1794 which deprived New Orleans of 1068 houses of the older type of Creole construction.” These two small buildings, sadly now the site of a parking lot, are forever commemorated due to Woodward’s superb efforts.Ref.: Woodward, William. French Quarter Etchings of Old New Orleans. New Orleans: Franklin Printing Company, 1938, pl. 3; Hinckley, Robert, ed. William Woodward: American Impressionist. New Orleans: MPress, 2009.
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