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Information below is the lot/description information from our Louisiana Purchase Auction, November 17, 18 & 19, 2017. Descriptions listed below are NOT guaranteed accurate. Call 1-800-467-5329 for general information on Neal Auction Company. Follow the catalogue link to order our beautifully illustrated catalogue.

You are at > Lots 501-600

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501. William IV Sterling Silver Soup Ladle, William Eaton, London, 1835, mark reg. 1828, downturned fiddle typt handle, l. 13 3/4 in., wt. 7.55 troy ozs. $150/250
Provenance: The Sturm Collection.

502. George III Sterling Silver Soup Ladle, Thomas Wallis (II) and Jonathan Hayne, London, 1818, downturned fiddle typt handle, l. 13 3/8 in., wt. 7.55 troy ozs. $150/250
Provenance: The Sturm Collection.

503. George III Sterling Silver Soup Ladle, London, 1795, maker WS untraced, "Old English" pattern with engraved crest, l. 13 3/8 in., wt. 5.20 troy ozs. $150/250
Provenance: The Sturm Collection.

504. Pair of Old Sheffield Plate Bottle Coasters, 19th c., each with gadroon and shell borders, turned wood bottom with inset silver button marked "RG", h. 2 1/2 in., dia. 6 3/8 in. $300/500



505. Good English Fused Plate Salver, 19th c., possibly Matthew Boulton & Co., shell and scroll piecrust border, flat chased well centering engraved crest on inset silver shield, shell and scroll feet, dia. 22 1/4 in. $300/500



506. English Inlaid Mahogany Presentation Bracket Clock, late 19th c., dial within silverplate Neoclassical surround, banner engraved "W.B.C./ Vice President's Prize, 1886/ Won by John Higgs", h. 21 in., w. 13 1/2 in., d. 8 1/2 in. $1000/1500



507. Johan Hendrik Kaemmerer (Dutch, 1894‑1979), "Village along the River", oil on canvas, signed lower right, "Richard Tobey Fine Arts, Los Angeles" stamp en verso, 16 in. x 24 in., framed. $1500/2500

508. Volkstedt Porcelain Figural Group of Bacchic Cherubs and a Goat, blue crown mark, oval base, h. 9 in., w. 12 3/4 in., d. 6 3/4 in. $400/600

509. Pair of Paris Porcelain Gilt and Polychrome Vases, mid‑19th c., puce ground, reserves depicting scenes from fables, tall plinth base, scroll feet, h. 17 in., w. 9 in., d. 7 1/2 in. $700/1000

510. French Art Glass Cameo Vase, signed "Galle", decorated with dragonflies and irises, h. 14 1/4 in., dia. 5 1/4 in. $400/600

511. English Brass Mounted Carved Oak Dressing Box, late 19th c., domed cover with loop handle, elaborate escutcheon, stepped base, bracket scroll feet, h. (to handle) 8 1/4 in., w. 12 in., d. 9 in. $200/300

512. Victorian Brass, Walnut and Parcel Ebonized Book Slide, late 19th c., adjustable slides mounted with porcelain plaques, h. 7 in., l. 14 3/4 in., d. 6 in. $125/200

513. Boston Coin Silver Repousse Sugar and Creamer, N. Harding & Co., act. 1851‑1862, pyriform bodies with floral and scroll decoration and foliate handles, cartouches with 1860 presentation, sugar h. 8 in., total wt. 27.15 troy ozs. (2 pcs.) $500/750

514. American Classical Coin Silver Teapot, early 19th c., unmarked, probably Philadelphia or New York, squat squared form, eagle head spout, ebonized acanthus‑carved scroll handle with mask terminals, banded decoration, ball and claw feet, h. 7 in., wt. 34.55 troy ozs. $800/1200

515. Fine American Classical Coin Silver Coffee Pot, Thomas Fletcher (1787‑1866), Philadelphia, c. 1827‑1842, marked "T.FLETCHER" and "PHILAD." in raised oval, domed cover with pod finial and acanthus, urn‑shaped body with stiff leaf banding, foliate scroll handle, acanthus scroll handle, h. 10 3/4 in., wt. 43.20 troy ozs. $1000/1500
Ref.: Hollan, Catherine B., Philadelphia Silversmiths, p. 73.



516. Fine New Orleans Coin Silver Pitcher, Adolphe Himmel for Hyde & Goodrich, c. 1853‑1861, marked "HYDE & GOODRICH" in arc, above "MANUFACTURERS" above "H", above "NEW ORLEANS" in complementary arc, pear shaped body, repousse and chased floral decoration, strapwork cartouche with Gothic monogram, foliate scroll handle, pedestal foot with molded foot rim, h. 10 1/2 in., wt. 26.05 troy ozs. $2000/3000
Provenance: Estate of Stephen G. Henry, Baton Rouge, LA.
Ref.: Crescent City Silver, pp. 41‑55, mark illustrated p. 126.

517. Rare Mississippi Coin Silver Repousse Pitcher, John & Julius Klein, Vicksburg, c. 1854, marked "KLEIN & BRO." and "COIN" incuse, and with pseudo hallmarks, inverted pear form with floral repousse and strapwork chasing, scroll cartouche with period script monogram "EBC", foliate scroll handle, molded stepped base, some dents, h. 11 7/8 in., wt. 21.10 troy ozs. $1000/2000
Note: John and Julius Klein began their careers as silversmiths in Leesburg, VA. In 1836 John moved to Vicksburg, MS, and by 1841 he and S.H. Wilson had formed the partnership, Wilson & Klein, which operated in Vicksburg and Yazoo City, MS for a decade. Julius joined his brother in Vicksburg in the early 1850s and they formed the firm Klein & Brother. In the 1850s Klein & Brother advertised as manufacturers of silver.
John Klein's handsome c. 1840 Greek Revival home overlooking the Mississippi River, Cedar Grove, is on the National Register of Historic Places.
Ref.: Hollan, Catherine B. Virginia Silversmiths, Their Lives and Marks. pp. 438-440. Mississippi Museum of Art. "Mississippi Silver", exhibition catalogue, 1979.

518. New Orleans Coin Silver Cup, Adolphe Himmel for Hyde & Goodrich, c. 1853‑1861, marked "HYDE & GOODRICH" in arc over "H", over "NEW ORLEANS" in complementary arc, molded lip with beading, repousse and chased village scene, applied flared molded foot with stiff leaf decoration, scroll handle, script monogram, h. 4 1/8 in., wt. 5.80 troy ozs. $1000/1500
Provenance: Estate of Stephen G. Henry, Baton Rouge, LA.
Ref.: Crescent City Silver, pp. 41‑55, mark illustrated p. 126.



519. New Orleans Coin Silver Cup, Adolphe Himmel for Hyde & Goodrich, c. 1853‑1861, marked "HYDE & GOODRICH" in arc, over "H", over "NEW ORLEANS" in complementary arc, molded lip with beading, octagonal paneled body, chased decoration, scroll handle, applied molded foot rim, h. 4 in., wt. 3.90 troy ozs. $500/1000
Provenance: Estate of Stephen G. Henry, Baton Rouge, LA.
Ref.: Crescent City Silver, pp. 41‑55; mark illustrated p. 126.



520. New Orleans Coin Silver Fiddlethread Soup Ladle, Adolphe Himmel (1825/6‑1877), act. New Orleans 1852‑1877, marked "A.H" and "NEW ORLEANS", engraved script monogram on reverse, l. 12 1/4 in., wt. 7.15 troy ozs. $500/700



521. Annie L. Colladay Braidwood (American/Pennsylvania, mid‑19th c.), "Portrait of Andrew Jackson", 1866, oil on canvas, signed, inscribed "From a Portrait from life / by E.D Marchant at New Orleans / in 1839", dated and "L. Hausz, Philadelphia" stencil en verso, 24 1/4 in. x 20 in., framed with plaque. $8000/12000
Provenance: Private Collection, Arkansas; Hammer Galleries, New York; Collection of Sam Wyly, Dallas, TX, Private Collection, New Orleans.
Note: As noted en verso of the canvas, this portrait of Andrew Jackson was based on a well-known portrait drawn from life of the illustrious Jackson by Edward Dalton Marchant, a former student of Gilbert Stuart. The famous portrait was completed by Marchant in early 1840, upon the occasion of New Orleans hosting a Silver Jubilee for Jackson celebrating his 1815 victory over the British in the Battle of New Orleans. The Marchant portrait was re-discovered in the mid-1990s at the Union League of Philadelphia, after decades spent misattributed to other artists or listed as artist unknown.
The artist of the work offered here, Annie Colladay Braidwood graduated from the School of Design for Women in Philadelphia (now Moore College of Art) and studied at the Pennsylvania Academy of Fine Arts. In 1865, she married the principal of the School of Design for Women, Thomas W. Braidwood. One year later, she painted this portrait of Jackson, seventh president of the United States, after the well-known image by Marchant. She perhaps may have seen the original portrait on display in Philadelphia or utilized one of the many miniatures and engravings already completed by other artists after the famous likeness as her inspiration. Braidwood's skill as a copyist is evident, although her depiction of Jackson softens the features and presents a more approachable, animated visage. As part of a donation on behalf of the School of Design for Women in 1867 to a State Gallery of Art, this painting was placed in the new library room of the Pennsylvania House of Representatives.
Ref.: Barber, James G. “Who's Who?" American Heritage Magazine. July/Aug. 1995, Volume 46, Issue 4. www.americanheritage.com. Accessed Oct. 22, 2016.

522. Rare Quarter Plate Daguerreotype of Louisiana Governor Andre Bienvenu Roman (1795‑1866), by Jeremiah Gurney (American/New York, 1812‑1895), brass mat stamped "Gurney, 349 Broadway" lower right, gilt‑tooled and embossed leather case. $1000/1500

523. Civil War Sixth Plate Ambrotype of Confederate Soldier in Uniform, descended in the Roman family of Louisiana, watercolor enhanced, leather embossed case. $400/600

524. Half Plate Ambrotype of a Gentleman, by William L. Troxel (American/Kentucky, act. 1850s‑1860s), descended in the Roman family of Louisiana, watercolor enhanced, brass mat stamped "Troxel's Patent Ambrotypes ‑ Louisville, KY" lower right and left corners, gilt‑tooled and embossed case. $300/500

525. Antique Tôle Peinte Louisiana Centennial Shield, c. 1889, obverse depicting a pelican in her piety, reverse with stenciled description "This shield was used in the decoration of the Sub‑Treasury Building, Wall Street, New York at the Washington Centennial Literary Exercises, April 30, 1889, Presented by Duncan & Johnston, The Decorators", 27 in. x 25 1/2 in., framed. $2000/3000

526. Antique Stumpwork Embroidery of the Louisiana State Seal, 19th c., metallic threads and sequins, depicting the pelican in her piety, sight dia. 12 3/4 in., antique gilt frame. $500/700

527. Federal Brass and Wirework Firescreen, c. 1800, h. 10 1/4 in., w. 44 1/2 in., d. 15 in. $300/500

528. Pair of American Classical Andirons, c. 1830, mushroom top, faceted standard, h. 18 1/2 in., w. 9 in., d. 27 in. $800/1200

529. Barbe‑Marbois, Marquis Francois de, Histoire de la Louisiane et la Cession de Cette Colonie par la France aux Etats‑Unis de l'Amerique Septentrionale..., Paris, Firmin Didot, 1829, octavo, first edition, modern quarter calf, with scarce hand‑colored map of the Louisiana Purchase. $600/900
Note: Barbe‑Marbois, "The man who sold Louisiana " became Napoleon's Secretary of the Treasury in 1801. In 1803 he was appointed to sell Louisiana to the United States for 50 million francs, but negotiated a higher price of 80 million, for which he was liberally rewarded by Napoleon.



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. $1800/2500



531. Stoddard, Amos, Major, SKETCHES, HISTORICAL AND DESCRIPTIVE, OF LOUISIANA, Philadelphia, published by Mathew Carey, 1812, octavo, contemporary calf, spine gilt, leather label. $500/700
Note: Perhaps the most intriguing subject Stoddard considered is found in the seventeenth and final chapter, titled A WELSH NATION IN AMERICA. The theory of a Welsh migration to North America more than three hundred years before Columbus' voyage is discussed in detail here, naming the original sources on, and later historical references to, the three legendary voyages of Madoc.

532. American School, 1881, "Still Life of Peaches", oil on canvas, monogrammed and dated lower left, inscribed "painted by / Sam[uel] H. West / 1881" en verso, 8 1/4 in. x 10 in., framed. $1000/1500



533. Alexander John Drysdale (American/New Orleans, 1870‑1934), "A Golden Sunset on the Edge of a Cypress Swamp", 1931, oil on canvas, signed and dated lower left, signed, titled, dated and "Williams Frame Shop, Bourbon St., NOLA" label en verso, 15 in. x 20 in., period frame. $3000/5000

534. Schenk, Pieter, "Tabula Mexicae et Floridae, Terrarum Anglicarum, et anteriorum Americae Insularum; item cursuum et circuituum fluminis Mississipi dicti ", Amsterdam, 1722, with later hand‑color, a derivative of Guillaume De L'Isle's 1703 landmark map, 19 1/4 in. x 24 in. $1000/1500

535. Sartine, Antoine, "Carte D'Une Partie des Cotes de la Floride et de la Louisiane...", Paris, 1778, Revolutionary War era map of the North Gulf Coast area from the confluence of the Red River with the Mississippi River to the Apalachicolas River in Florida, the map was intended for use by the French Navy during the Revolutionary War, 16 in. x 23 in. $700/1000

536. Tirion, Isaac, "Nieuwe Kaart van de Grootbrittanische Volkplantingen in Noord America", Amsterdam, c. 1755, hand‑colored, 15 in. x 18 in. $500/700

537. Bellin, Jacques Nicolas, "Cours du Fleuve Saint Louis depuis ses Embouchures jusqu'a la Riviere d'Iberville et Costes Voisines", Paris, 1764, 8 5/8 in. x 14 in. $400/600

538. Homann Heirs / D'Anville, Jean Baptiste Bourguignon, "Mappa Geographica Complectens Indiae Occidentalis Carte des Isles de L'Amerique et de Plusiers Pays de Terre Ferme", Nuremberg, c. 1740, hand‑colored, with inset maps of the Isthmus of Panama, St. Augustine, Florida, Vera Cruz, Mexico; Santo Domingo, Dominican Republic, and a view of Mexico City, 22 7/8 in. x 19 1/4 in. $400/600

539. [French Caribbean Sea Chart] "Carte Reduite des Debouquements de St. Domingue...", Paris, 1787, from the atlas Le Pilote de l'Isle de Saint‑Domingue..., by Puysegur, with rhumb‑lines, showing the Turks and Caicos, lower Bahamas, Cuba, Jamaica. $400/600, Puerto Rico and the coast of St. Domingue, 22 3/4 in. x 36 1/4 in., framed

540. [French Map of the Gulf of Mexico], "Carte du Golfe du Mexique dresse par Mr. Keller", Paris, Depot General de la Marine, 1843, hand‑colored copper‑engraved chart, 23 1/2 in. x 35 in., framed. $400/600

541. Jefferys, Thomas, "The Coast of West Florida and Louisiana", London, Sayer and Bennett, 1775, hand‑colored, published a year before the American Revolution, decorated with compass rose and fleets of ships, 19 in. x 25 in. $400/600



542. William S. Robinson (American/Mississippi, 1861‑1945), "Biloxi ‑ Mississippi", 1937, oil on board, signed lower right, signed, monogrammed, titled, dated "February‑14‑1937", printed artist biography and inscribed en verso, 10 in. x 12 in., framed. $1500/2500

543. Walter Inglis Anderson (American/Mississippi, 1903‑1965), "Turtle", watercolor and graphite on paper, unsigned, estate stamp lower right, titled en verso, 11 in. x 8 1/2 in., framed. $3000/5000

544. Walter Inglis Anderson (American/Mississippi, 1903‑1965), "Morning Glories", watercolor and graphite on paper, unsigned, estate stamp lower right, 11 in. x 8 1/2 in., framed. $3000/5000



545. Alberta Kinsey (American/New Orleans, 1875‑1952), "French Quarter Courtyard", oil on board, signed lower right, 10 in. x 8 in., framed. $500/800

546. Emil Eugen Holzauer (German/Florida, 1887‑1986), "Laundry Day", pastel on paper, signed lower right, "Greenville County Museum of Art, South Carolina" and "The Charleston Renaissance Gallery" labels with artist and title en verso, 17 in. x 24 in., framed. $800/1200

547. Newcomb College Art Pottery Vase, 1926, decorated by Sadie Irvine with spiderwort modeled in low relief, matte glaze with blue, green and yellow underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, shape no. 121, and reg. no. PL85, h. 5 in., dia. 6 in. Note: Restorations to rim. $1000/1500



548. Rare Newcomb College Pottery High Glaze Inkstand, 1907, decorated by Marie De Hoa LeBlanc, inkwell flanked by parrots, their tail feathers joined in front centered by bird's head ornament, blue and green underglaze, original inkwell, base marked with Newcomb cipher, decorator's mark, reg. no. BY24 and retains original paper label, h. 2 3/4 in., w. 9 1/4 in., d. 7 in. $2500/3500
Provenance: Neal Alford Company, Feb. 23, 1991, lot 329.



549. Monumental Newcomb College Art Pottery Vase, 1916, decorated by Anna Frances Simpson with tall pine tree grove design, satin matte glaze with blue and green underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. HU78, h. 11 3/4 in., dia. 5 1/4 in. $12000/18000



550. Newcomb College Art Pottery Vase, 1913, decorated by Sadie Irvine with a landscape design of moss‑laden live oaks, matte glaze with blue and green underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. GI37, shape no. 49 and B for buff clay body, h. 6 in., d. 8 in. $3000/5000

551. Newcomb College Art Pottery High Glaze Footed Bowl, 1902, decorated by Mary Williams Butler with applied and incised stylized blossom and stem motif, blue and green underglaze, base marked with Newcomb cipher, decorator's mark and signature, Joseph Meyer's potter's mark, reg. no. H4, "U" for white clay body and "X" indicating piece not for sale, reserved for decorator or college, h. 4 3/4 in., dia. 8 1/2 in. $3000/5000

552. Shearwater Art Pottery Beanpot, c. 1945‑1955, decorated by Walter Anderson with multi‑color applied slip with ducks and waves design, illegible marks, h. 5 in., w. 10 in. (incl. handle), dia. 7 1/4 in. (without handle). $3000/5000



553. George Ohr Art Pottery Vase, late 19th/early 20th c., squat baluster form, matte brown speckled glaze, handwritten "Biloxi" on base, h. 3 5/8 in., dia. 3 1/4 in. $1200/1800



554. George Ohr Art Pottery Pitcher, late 19th c., squat body with pinched rim, indigo and gunmetal glaze, cut‑out handle, base impressed "G.E. OHR/Biloxi, Miss.", h. 3 in., w. 5 1/8 in. $1200/1800

555. Newcomb College Art Pottery Vase, 1918, decorated by Sadie Irvine with Louisiana irises in low relief, matte glaze with blue, green, pink and yellow underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, and reg. no. JT21, h. 10 1/8 in. $2000/3000



556. Newcomb College Art Pottery Vase, 1929, decorated by Anna Frances Simpson in the Moon and Moss pattern, semi‑matte glaze with blue and green underglaze, base marked with Newcomb cipher, decorator's mark, Jonathan Hunt's potter's mark, reg. no. RY27 and shape no. 161, h. 8 1/2 in. $5000/7000

557. Newcomb College Art Pottery Candlestick, 1910, decorated by Sadie Irvine with black‑eyed Susans, semi‑matte glaze with blue, green and white underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. DP92, and "B" for buff clay body, h. 9 1/4 in., dia. 5 1/2 in. Note: Restorations to candlecup. $1200/1800



558. Newcomb College Art Pottery Vase, 1926, decorated by Sadie Irvine with a relief‑carved blossom and foliage motif, matte glaze with blue, green and white underglaze, base marked with Newcomb cipher, decorator's mark, Joseph Meyer's potter's mark, reg. no. PW81 and shape no. "[illegible]00", h. 6 1/2 in. $1200/1800

559. Rare Shearwater Pottery Wall Votive, c. 1960s, with the Madonna and Child flanked by the three Wise Men and three shepherds, alkaline blue glaze, h. 12 in., w. 14 in., d. 3 1/4 in. Note: Hairline crack. $2500/3500
Provenance: Acquired at Shearwater Pottery in the 1960s.



560. Pair Shearwater Pottery Pelican Bookends, 20th c., white enamel glaze, h. 10 1/2 in., w. 4 1/4 in., d. 5 1/4 in. (2 pcs.) $600/900

561. Weller Art Pottery "Woodcraft" Vase, early 20th c., incised block mark, modeled as a tree trunk with an owl and a squirrel, h. 17 3/4 in., dia. 7 1/4 in. $600/900

562. Shearwater Pottery "Cubist Cat" (Reclining), 20th c., impressed mark, designed by Walter Anderson, antique green glaze, h. 8 1/2 in., w. 6 in., d. 12 3/4 in. $700/1000



563. Pair of Shearwater Pottery "Cubist Cats" (Standing), 20th c., impressed mark, designed by Walter Anderson, antique green glaze, h. 11 3/4 in., w. 5 in., d. 7 1/4 in. (2 pcs.) $1000/1500



564. George Ohr Art Pottery Vase, late 19th c., footed baluster form, spinach green mottled glaze, base impressed "G.E. OHR/BILOXI" twice, h. 3 1/4 in., dia. 2 1/4 in. $700/1000

565. George Ohr Art Pottery Vase, late 19th c., footed corseted form, olive green mottled glaze, base impressed "G.E. OHR/Biloxi, Miss.", h. 3 3/8 in., dia. 2 1/2 in. $700/1000

566. George Ohr Art Pottery Vase, late 19th c., flared rim, tall corseted form, matte gun metal glaze, base impressed "G.E. OHR/Biloxi, Miss." twice, h. 6 in., dia. 3 1/4 in. $1200/1800

567. George Ohr Art Pottery Pitcher, late 19th/early 20th c., crimped rim and spout with cut out handle, brown, green and gun metal glaze, partially illegible hand‑signed "G E Ohr" on base, h. 3 1/2 in. $700/1000

568. George Ohr Art Pottery Bisque Vase, late 19th/early 20th c., ruffled rim, dimpled body with pie‑crust and zigzag design, hand‑signed "G E Ohr" on base, h. 6 3/4 in., dia. 5 in. $1000/1500



569. George Ohr Art Pottery Bisque Vase, 1905, squat bulbous form with in‑body twist, base hand‑signed "[illegible] from / N.O. Street / G E Ohr / 1905", h. 2 1/2 in., dia. 4 in. $600/900



570. Will Henry Stevens (American/New Orleans, 1881‑1949), "The Golden Shore", oil on board, signed lower left, titled en verso, 29 1/2 in. x 21 3/4 in., framed. $8000/12000
Note: Will Henry Stevens once said: “Rivers have meant very much to me. Inland rivers. I remember being charmed by Huckleberry Finn. If only one could get that spirit into painting." He grew up on the Ohio River in Vevay, Indiana and later moved to the Gulf Coast and then New Orleans to teach, where he spent much time on the Mississippi River. Stevens would spend his summers in the mountains of western North Carolina and eastern Tennessee near lakes and rivers where this scene was likely painted. An artist who was profoundly inspired by nature, Stevens greatly enjoyed being outdoors. The work offered here, titled "The Golden Shore", depicts a sun-dappled lake with trees and low mountains set aglow by the setting sun - providing a sense of what Stevens meant regarding getting “that spirit into painting."



571. John McCrady (American/New Orleans, 1911‑1968), "Mother Earth", multi‑stage on canvas, signed lower right, signed and inscribed "Arts & Crafts Club, New Orleans Art School, 520 Royal St., Charles Bein, Director" en verso, 38 1/2 in. x 27 in., framed. $20000/30000
Note: After completing two years at the University of Mississippi, John McCrady decided to enroll in the New Orleans Art School, which was run by the Arts and Crafts Club, in 1932. The club and school were located in the middle of the French Quarter at 520 Royal Street, home to the famous Brulatour Courtyard. Although he only spent one year at the school, McCrady maintained close ties with the Arts and Crafts Club throughout his career.
According to the inscription en verso, “Mother Earth" was painted during McCrady's year at the New Orleans Art School. In this painting, the stylized Art Deco figure of Mother Earth is placed within the rolling hills and lush vegetation of McCrady's beloved rural Mississippi countryside. Her hair mimics her skirt and the fields as she appears to be pouring herself into the landscape.
Based on his talent and the quality of paintings he produced at the school, McCrady was selected as one of America's first ten young artists to receive a one-year scholarship to the Art Students League in New York. In 1947, the Arts and Crafts Club organized a retrospective exhibition of McCrady's paintings, a fitting tribute to their former student who was now a nationally recognized artist.
Ref.: Marshall, Keith. John McCrady: 1911-1968. New Orleans: New Orleans Museum of Art, 1975.



572. Conrad Albrizio (American/Louisiana, 1894‑1973), "Devil and Angel with a Rabbit and Snake", oil on canvas, signed lower right, "Gilley's Gallery, Baton Rouge, LA" label en verso, 30 in. x 26 in., framed. $1500/2500

573. Ellsworth Woodward (American/New Orleans, 1861‑1939), "Seated Nude", watercolor and graphite on board, initialed "E.W." lower left, "Taylor Clark, Fine Prints, Paintings and Framing, Baton Rouge" label en verso, 20 in. x 15 in., framed. $2500/3500

574. Walter Inglis Anderson (American/Mississippi, 1903‑1965), "Wild Azaleas", watercolor on paper, unsigned, "The 927 Gallery, Royal St., NOLA" label and typewritten label with artist, title and date "ca. 1955" en verso, 11 in. x 8 1/2 in., framed. $10000/15000



575. Walter Inglis Anderson (American/Mississippi, 1903‑1965), "Three Ducks Flying", watercolor and pencil on paper, estate stamp lower right, "The 927 Gallery, Royal St., NOLA" label and typewritten label with artist, title and date "ca. 1955‑1965" en verso, 8 1/2 in. x 11 in., framed. $6000/8000

576. Will Henry Stevens (American/New Orleans, 1881‑1949), "Mountainous Landscape", 1943, pastel on paper, signed and dated lower right, 18 in. x 16 in., framed. $7000/9000
Provenance: Blue Spiral 1 Gallery, Asheville, NC.
Note: Will Henry Stevens was one of the pioneers of Modernism in the South. Like his peers, he embraced abstraction and experimentation, yet he was different in that he never stopped being inspired by nature and working in the outdoors. The work offered here is a fine example of his mature, modernist style. During the summer of 1943, Stevens taught art classes in Lebanon, Virginia where this painting was likely executed.



577. William Woodward (American/New Orleans, 1859‑1939), "Still Life with Pineapple", 1900, oil on canvas, monogrammed and dated lower right, 10 in. x 14 in., original frame. $5000/7000
Provenance: Descended in a New Orleans family; Neal Auction Company, Feb. 4, 2012, lot 364.



578. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912‑1997), "Circus Series 83‑1", 1983, oil and mixed media on canvas, signed and dated lower right, artist label with title en verso, 42 1/2 in. x 50 in., period frame. $25000/35000
Provenance: Arthur Roger Gallery, New Orleans, 1983; Koch Collection, Metairie, LA.



579. Ida Rittenberg Kohlmeyer (American/New Orleans, 1912‑1997), "Crux Series", oil on canvas, signed lower center, 32 1/4 in. x 47 1/2 in., period frame. $5000/7000
Note: From 1967 to 1969, Ida Kohlmeyer created several new series including “Crux," “Rondo," and “Chrysalis," all of which focused on combining organic forms, geometric shapes, and concentric circles. Her works from this time period have often been compared to those of Georgia O'Keeffe, particularly O'Keeffe's magnified views of the reproductive organs of flowers. While Kohlmeyer's paintings are more stylized and abstract than those of O'Keeffe, there is a distinct correlation between the manner in which the two artists connect the idea of female sexuality with forms on the canvas that begin in the center and expand toward the edges. The “Crux" series, however, inserts an additional cruciform element to the combination. Distinct similarities exist between the current lot and “Crux #11," illustrated in Ida Kohlmeyer: Thirty Years. Both paintings have vertical-format, diamond and cross-form compositions with concentric circle centers, which combine to perfectly illustrate the artist's experimentation with geometric abstraction.
Ref.: Mint Museum Department of Art. Ida Kohlmeyer: Thirty Years. Charlotte, NC: Mint Museum, 1983; Plante, Michael. Ida Kohlmeyer. New Orleans: Newcomb Art Gallery, 2004.

580. Hunt Slonem (American/Louisiana, b. 1951), "Toco", 2000, resin and acrylic on wood, h. 56 in., w. 54 in., d. 12 in. $7000/10000
Ill.: Kuspit, Donald. Hunt Slonem. New York: Harry N. Abrams, 2000, p. 152.
Note: Hunt Slonem's rare resin and wood sculptures, such as “Toco" offered here, serve as an extension of his pictorial plane into a new spatial dimension. A frequent subject of Slonem's bird paintings, the patterned display of toucans are a tangle of color and form that are remarkably organic in texture. The sculpture is an unflinching confrontation between the viewer and Slonem's classic jungle tableau.
Ref.: Kuspit, Donald B. Hunt Slonem - An Art Rich and Strange. New York: Harry N. Abrams, 2002.

581. Hunt Slonem (American/Louisiana, b. 1951), "4‑Play", 2015, oil on wood panel, signed, titled and dated en verso, 8 in. x 28 in., antique frame. $4000/6000



582. Henry Casselli (American/New Orleans, b. 1946), "Groomer", watercolor on paper, signed upper right, signed and titled en verso of backing paper, sight 8 3/4 in. x 6 1/4 in., framed. $1000/1500

583. Morris Henry Hobbs (American/New Orleans, 1892‑1967), "Patio at 740 Royal Street", 1938, oil on canvas board, signed lower left, 16 in. x 12 in., original frame. $2500/3500
Ill.: Isbell, Reed. Morris Henry Hobbs ‑ A Catalogue Raisonne of Etchings, Engravings & Lithograph. McLean, VA: Coffee Street Publishing, 2017, p. ix.
Note: Morris Henry Hobbs arrived in New Orleans from Chicago on January 20, 1938, a visit that would prove a turning point in his career and give new life to his work. In the painting offered here, Hobbs depicts the patio of his lodgings at 740 Royal Street, where he had established his first studio in the city. In October of 1938, Arts & Antiques magazine published an article by Hobbs in which he wrote of the location: "One of the nicest things about my studio is the lovely old courtyard through which I must pass to enter or leave the building. Once painted a bright pink, it has faded and the rain has washed away more of the color, until it is the most beautiful soft shade of pink I have ever seen. The building is three stories high, and the courtyard … is rather small with a thriving banana tree and a few other tropical plants growing in two narrow brick-edged plots. The stone pavement seems always damp and mossy looking …. I never come home, or leave, without a quiet moment … contemplating this peaceful and inviting spot; the cool, moist greens of the plants glowing against the faded pink of the walls. I must paint it, but I will not even try until I have lived here long enough to absorb more of the full, sweet beauty of it. There is sadness in it, too, and the ghosts of the past flit through the shadowed arches."
Ref.: Isbell, Reed. Morris Henry Hobbs - A Catalogue Raisonne of Etchings, Engravings, & Lithographs. McLean, VA: Coffee Street Publishing, 2017; Hobbs, Morris Henry. “An Artist in New Orleans." Arts and Antiques. October, 1938.



584. Arnold E. Turtle (British/New Orleans, 1892‑1954), "Boats on the Bayou", oil on canvas, signed lower left, 24 in. x 30 in., framed. $800/1200
Provenance: Descended in the family of the artist.



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. $40000/60000
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.



586. Fritz Bultman (American/New Orleans, 1919‑1985), "The Wave", painted cast aluminum, unsigned, h. 25 1/2 in., w. 37 in., d. 13 in., wood pedestal, overall h. 55 in. $4000/6000
Provenance: Commissioned by Reynolds Metals Company, Richmond, VA; Private Collection.
Note: A native of New Orleans, Fritz Bultman lived a bohemian childhood with his extended family, which owned the House of Bultman funeral home on St. Charles Avenue. Exposed to writers, painters, antique collectors, and musicians throughout his formative years, Bultman formed a particular friendship with the artist Morris Graves and eventually moved to New York to start his career.
During the 1960s, and continuing throughout his career, Bultman introduced the color blue and the “wave" form into his paintings, drawings, collages, and sculptures. Bultman also changed his method of creating art, switching from working in one medium at a time to slowly and methodically producing art in various media with overlapping colors and themes. The wave motif, the infinity symbol, and the idea of yin and yang were all significant subjects to which Bultman was greatly attracted.
Bultman wrote in his journal, “The vase [or vessel] quality of the female body was the first that forced itself into my conscious mind, then the wave meander, then the [twined] ropeness of the twisted torso and arms in space." Taking this description into account, the viewer could easily imagine the current lot as a stylized representation of the spine, hips, and legs of a model, reimagined as a sinuous form one would find in the breaking surfs of the ocean. This essential theme, which reappeared time and time again throughout Bultman's oeuvre, was critical to expanding his artistic concepts from the 1960s to the 1980s.
Ref.: Kingsley, April. Fritz Bultman: A Retrospective. New Orleans: New Orleans Museum of Art, 1993.



587. Enrique Alferez (American/New Orleans, 1901‑1999), "Woman in a Huipil", 1987, bronze, signature, date and "N.O." inscribed on self‑base, h. 16 in., w. 7 in., d. 5 1/2 in., wood base, overall h. 17 in. $10000/15000
Note: Noted New Orleans sculptor Enrique Alferez repeatedly revisited the theme of "Woman in a Huipil" throughout his career. He executed various models of this bronze in different sizes and finishes for several decades beginning in the 1960s. Often the pose will differ slightly, by a turn of the head, or an adjustment in the triangulation of the arm. The woman is always depicted with her hair in a neat bun, her eyes tightly closed, in a state of serene calm and elegance. The work offered is a fine example of a sculpture from this series.

588. Enrique Alferez (Mexican/New Orleans, 1901‑1999), "Knight", charcoal and pencil on paper, signed lower left, 30 1/2 in. x 20 in., framed. $1000/1500

589. Enrique Alferez (American/Mexican, 1901‑1999), "Standing Female Nude", pen and ink on paper, signed and flower monogram lower right, 12 3/4 in. x 9 1/2 in., unframed. $800/1200
Provenance: Collection of Gretchen and Alonzo Lansford, New Orleans.



590. Clarence Millet (American/Louisiana, 1897‑1959), "St. Louis Cathedral", oil on canvas, signed lower right, 19 in. x 16 in., original frame. $6000/8000



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. $30000/50000
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.



592. George Overbury "Pop" Hart (American, 1868‑1933), "A Cold Morning, Bayou St. John, New Orleans", 1918, watercolor and graphite on paper, signed, dated and inscribed lower right, titled lower left, 13 1/2 in. x 21 3/4 in., framed. $800/1200
Note: Pop Hart traveled throughout his life; he enjoyed painting representations of the various cities and countries he visited, including New Orleans in the winter of 1917-18. The scene depicted here shows the boats on Bayou St. John, where goods brought down the bayou from the lake were unloaded and taken to the markets on the Mississippi River. The muted color palette captures the feeling of a south Louisiana winter day, with figures warming themselves by a small fire under an overcast sky.



593. Shirley Rabe Masinter (American/New Orleans, b. 1932), "The Little Bogue Falaya, Early Spring", 1990, oil on canvas, signed lower left, 40 in. x 46 in., framed. $3000/5000
Provenance: Corporate Collection, Dallas, TX.



594. John McCrady (American/New Orleans, 1911‑1968), "Family Group with Model (recto)" and "Dilemma (verso)", 1946, double‑sided pencil, charcoal and pastel drawing on brown paper, unsigned, 30 in. x 38 in., unframed. $5000/8000
Provenance: Descended in the family of the artist.
Note: The paintings "Family Group with Model" and "Dilemma" are illustrated in the exhibition catalogue for John McCrady, 1911‑1968, at the New Orleans Museum of Art, 1975, no. 3 and 4, pp. 37‑38.



595. John McCrady (American/New Orleans, 1911‑1968), "Private Property ‑ Keep Out", carbon acrylic on board, signed lower right, titled lower left, artist label with title en verso, 16 in. x 22 in., artist embellished frame. $15000/25000
Note: After decades of applying a multi-stage process of layering oil or acrylic paint over tempera, McCrady began to experiment in 1963 with a new form of painting. Over the next five years until his death, McCrady created many carbon acrylic paintings where he first sketched in carbon and then applied layers of acrylic in an effort to manipulate light and produce a more luminous effect. The effects of this technique can be observed in the white of the clouds and the lustrous grass in “Private Property - Keep Out" offered here.
A work quite similar in feeling to “The Divining Rod" of 1968, where McCrady painted his wife searching for underground water, the current lot displays McCrady's love of the Mississippi landscape surrounding Oxford. The rolling hills and wide-open skies create a calm, peaceful feeling - quite opposite the ominous warning of the keep out sign and padlocked fence.
Ref.: Marshall, Keith. John McCrady: 1911-1968. New Orleans: New Orleans Museum of Art, 1975.



596. George Rodrigue (American/Louisiana, 1944‑2013), "Waiting for Mr. Boudreaux", 1981, oil on canvas, signed lower left and en verso, 16 in. x 20 in., framed; accompanied by a copy of 1997 letter from Bertha Bernard, assistant to George Rodrigue, discussing the painting. $15000/25000
Note: According to a 1997 letter discussing “Waiting for Mr. Boudreaux" offered here, George Rodrigue provided the title and date for the painting. With his characteristic artistic license, he also ascribed to the romantic title a story inspired by his aunt, Teen [sic] Boutte, who sat on her trunk waiting in vain for her only true love, Mr. Boudreaux, to carry her away. The true story differed slightly from the more tragic version however. Rodrigue did indeed have an aunt on his mother's side of the family named Leontine Courrege Boutte, who was called “Aunt Tine" (misspelled in the letter) by the family and lived in Rodrigue's hometown of New Iberia. Most likely Rodrigue did utilize a family photograph from the 1920-1930s for inspiration, a practice quite common in his work from the period.
The rest of the story harkens to a legend along the lines of Evangeline waiting for her Gabriel, combined with the lead figure of most Cajun tales and a favorite of the artist, the legendary Boudreaux. Rodrigue's interpretation of a fading era in Cajun culture combined with his modernist aesthetic in this canvas produces a timeless scene reminiscent of American master James Whistler. Completed in Rodrigue's classic early style, the figure glows against the dark oak, clad in white from head to toe. One can only imagine that Aunt Tine, who happily married and raised a family, would have been delighted by the canvas and story she inspired.
Ref.: Rodrigue, Wendy. “Boudreaux in a Barrel. Musings of an Artist's Wife. July 20, 2010. www.wendyrodrigue.com. Accessed Oct. 16, 2017.



597. George Rodrigue (American/Louisiana, 1944‑2013), "The Petro Brothers", 1985, oil on canvas, signed lower left, signed, titled and dated en verso, 24 in. x 36 in., framed. $30000/50000
Note: Bud Petro (1909-1985) and Norman Petro (1917-2011) owned and operated the Esso gas station and convenience store in Lafayette, sharing a busy corner with Borden's Ice Cream shop and Rodrigue's Jefferson Street home and gallery. Both brothers were good friends of the artist, and Bud was a traveling companion to Rodrigue for many years, driving across Texas and the southeast to deliver paintings to clients. Rodrigue often took photographs of his friends and family to use as inspiration for his Cajun paintings, and the Petro brothers were favorite models. Frequently posed with the artist's sons, the Petro brothers also modeled once under a live oak among blooming azaleas with Diane Bernard Keogh, a favorite Rodrigue stand-in for Evangeline. The subsequent photos eventually were used as the inspiration for a series of paintings, including the charming work offered here. The contrast between the young and beautiful Evangeline with the older, out of place brothers appealed to the artist, and the combination creates an intriguing and timeless scene of Cajun life within a classic Rodrigue landscape.
Ref.: Rodrigue, Wendy. “The Petro Brothers." Musings of an Artist's Wife. Apr. 1, 2015. www.wendyrodrigue.com. Accessed Oct. 12, 2017.

598. John McCrady (American/New Orleans, 1911‑1968), "Peek Hole of Furnace", watercolor on paper, signed lower center, "Downtown Gallery, Julia St., New Orleans" label with artist and title on backing board, 12 1/4 in. x 8 1/2 in., framed. $5000/8000
Provenance: Downtown Gallery, New Orleans, LA.

599. Jose‑Maria Cundin (Spanish/New Orleans, b. 1938), "El Escibalo", 1970, oil on canvas board, signed, dated and inscribed upper left, 9 1/2 in. x 8 in., framed. $3000/5000

600. Hunt Slonem (American/Louisiana, b. 1951), "Point of No Return", 1995, oil on canvas, signed, titled and dated en verso, 72 in. x 84 in., framed. $10000/15000
Note: As evident in the work offered here, Hunt Slonem exists in a decorative and colorful environment of birds and art. He not only has cared for dozens of birds throughout his life, but he intensely identifies with them, as his repetitive use of the theme in his paintings would imply. A symbol of freedom, the bird represents the spiritual wish to be something more. In the language of Slonem mysticism, they are unusual beings able to fly beyond the ordinary world into a higher, purer and more mysterious one. The artist has said, “My birds are not only birds…They also represent souls, though I wouldn't go so far as to say whose." The luminous and often chaotic atmosphere surrounding the birds suggests that he envisions them within a self-contained paradise of sorts, both highlighted and obscured by the overlapping grid of cross-hatching for which the artist is known. As explained by Donald Kuspit, “Slonem's birds are transformational objects facilitating his creative growth, indeed, the symbol as well as major subject of his astonishing creativity."
Ref.: Kuspit, Donald B. Hunt Slonem - An Art Rich and Strange. New York: Harry N. Abrams, 2002. Nahas, Dominique. The Worlds of Hunt Slonem. New York: The Vendome Press, 2011.

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