160 Circle of John Smibert (Scottish/American, 1688-1751), "Half-Length Portrait of a Woman in Pale Blue Within a Painted Oval", oil on canvas, 30" x 25". Framed. Provenance: Personal collection of D. Didier.
Estimate: 2500 - 4000
181 Percival De Luce (American, 1847-1914), "The King's Health", oil on canvas, signed lower left, verso with artist label, 30" x 46". Framed.
Estimate: 2000 - 4000
288 Walter Blackman (American, 1847-1928), "Courtyard, Venice", oil on canvas, signed lower right, 40-1/2" x 20". Framed.
Estimate: 2000 - 4000
365 Percival De Luce (American, 1847-1914), "Out for a Walk", oil on canvas, signed lower right, 22" x 16". Presented in a handsome, period giltwood and gesso frame.
Estimate: 2000 - 4000
467 John Shelton Eland (American, 1872-1933), "The Lorelei", pastel on paper, signed lower left "J. S. Eland", sight 16-1/2" x 25-1/2". Glazed and presented in an antique giltwood frame.
Estimate: 1200 - 1800
484 After Thomas Sully (American, 1783-1872), "Blanche Sully", oil on canvas, unsigned, 24" x 20". Presented in a giltwood frame with artist plaque.
Estimate: 1000 - 1500
601 Edmund William Greacen (American, 1876-1949), "Point Pleasant", oil on canvas, unsigned, verso with a "Meredith Long Gallery, Houston, TX" label, 16" x 20". Framed. Provenance: Estate of Louis Tenenbaum, Houston, Texas.
Estimate: 4000 - 7000
603 Brian Blood (American/California, b. 1962), "Afternoon Classes", 2006, oil on panel, monogrammed lower left, signed, titled and dated en verso, 10-3/4" x 13-3/4". Framed. Provenance: Estate of Louis Tenenbaum, Houston, Texas.
Estimate: 500 - 800
607 George Benjamin Luks (American/New York, 1867-1933), "Female Nudes", a pair of watercolors on paper, both signed, each sheet size 10-1/2" x 7". Both glazed, float mounted and handsomely framed. Provenance: Estate of Louis Tenenbaum, Houston, Texas.
Estimate: 2000 - 4000
608 Bertha Boynton Lum (American, 1869-1954), "Fox Women - Kitsuna", 1908, color woodblock on paper, 9-1/2" x 6-1/2". Framed. Lum studied stained glass with Ann Weston and illustration with Frank Holme at the Art Institute of Chicago before traveling to Japan for the first time in 1903. While there she studied and excelled in the block print medium under the tutelage of such important figures as Iagmi Bonkotsu. Lum's woodcuts, most of which were later destroyed in the 1923 Tokyo earthquake, were the only works by a foreign artist included in the 1912 Tenth Annual Art Exhibition in Tokyo.
Estimate: 600 - 900
609 Reynolds Beal (American, 1866-1951), "Cole Bros. Circus", 1934, watercolor and colored pencil on paper, signed and titled lower right, sight 14-1/2" x 18-1/2". Matted, glazed and framed.
Estimate: 1400 - 1800
612 Hilde B. Kayn (American/Ohio, 1903-1950), "Resting", oil on canvas, signed lower right, verso with a "Carnegie Institute, Pittsburgh" exhibition label, 30" x 42". Framed.
Estimate: 1200 - 1800
613 Louis Fabian (American, 20th Century), "Cafe Garden at Night", 1975, oil on canvas, signed and dated lower left, 46" x 32". Presented in an exhibition frame.
Estimate: 1000 - 1500
720 Attributed to Joseph Floch (American/Austrian, 1895-1977), "Provencal Landscape" oil on canvas, inscribed en verso stretcher "Floch '26", 23-5/8" x 27-5/8". Framed.
Estimate: 1000 - 1500
721 Ivan Anderson (American, 20th/21st Century), "Ballerina", 1971, oil on canvas, signed, titled and dated en verso canvas, signed lower right "Ivan", 24" x 20". Attractively framed. Provenance: Estate of Louis Tenenbaum, Houston, Texas.
Estimate: 500 - 800
726 Brian Blood (American/California, b. 1962), "Parisian Rooftops in Winter", oil on board, monogrammed lower right, 39-1/2" x 29-1/2". Framed. Provenance: Estate of Louis Tenenbaum, Houston, Texas.
Estimate: 700 - 1000
932 Margaret Evangeline (American/Louisiana, b. 1943), "Note in a Bottle", oil on canvas, signed and titled en verso, 36" x 48". Unframed. To be sold for the benefit of WLAE. Multi-disciplinary artist Margaret Evangeline utilizes unconventional materials in her artwork, adulterating tight geographical compositions with gritty organic materials. Her careful choice of color, scale, and medium shape the process in which she develops her luminous paintings.
Estimate: 2000 - 4000
995 American School (First Quarter 19th Century), "The Parable of the Workers in the Vineyard" (Matthew 20:1-16), oil on canvas, 38" x 46". Presented in a period giltwood frame. Provenance: Didier, Inc., New Orleans, Louisiana, to current owner. This early 19th-century rendering of a parable from Matthew 20:1-16, staged in the courtyard of a classical mansion--with cornfields, instead of customary vineyards in the background--possibly depicts the famed Van Rensselaer family, dispensing coins to the field laborers. There is a naive quality to the painting, with the distorted proportions of the manor house, cluttered composition and the various styles of clothing; while the landowners are in recognizable American 19th-century garb, the workers are in anachronistic dress, alluding to the paintings of the Northern Renaissance. The Van Rensselaer family was the feudal landholders of the entire Rensselaer County in upstate New York. In 1631, one of the principal investors in the West India Company, a Dutch diamond merchant Killiaen van Rensselaer, bought a large stretch of land around Fort Orange on the shores of the North River from the Native American tribe Mahicans, and proceeded to establish a "patroonship", or private farming community, which he named Rensselaerswijck. The Van Rensselaer patroonship was the only one that lasted into the nineteenth century. Stephen Van Rensselaer III (1764-1839), whose family may be depicted here, inherited a vast landed estate in Rensselaer and Albany counties at age 5. A graduate of Harvard, he spent time in state government and as a member of the U.S. Congress (1822-29). His chief services to the state, however, were economic and educational. Van Rensselaer was a member of the Erie Canal commission and president of the state's board of agriculture. He was a lenient landlord for 3,000 tenants. When at age 21, he took possession of the family's prestigious and vast estate, he wished to profit from the land, but was reluctant to sell. Instead, he granted tenants perpetual leases at moderate rates, which allowed the would-be landholders financial opportunity to invest more in their operations; this inevitably led to increased productivity in the area. Van Rensselaer was the founder and supporter of a wide variety of social, educational, business, and government institutions, most notably and lasting, The Rensselaer Polytechnic Institute which became a well-respected private research university. Perhaps the scene depicting a fair, socially conscious landlord who dispenses equal wages for a day's work was chosen purposefully by this family whose income and wealth stemmed from land ownership.
Estimate: 6000 - 9000
1017 American School (First Quarter 19th Century), "Portrait of a Young Boy", oil on canvas, unsigned, an old New York framing label en verso, 24" x 20". In an antique carved and gessoed wood frame.
Estimate: 800 - 1200
1035 American School (First Quarter 19th Century), "Portrait of a Distinguished Gentleman", oil on canvas, 30-1/2" x 25". Presented in a handsome 19th-century giltwood and gesso frame. Provenance: Personal collection of D. Didier, New Orleans, Louisiana.
Estimate: 3000 - 5000
1050 Clark Hulings (American, 1922-2011), "Pierre Part", 1969, oil on canvas, signed and dated lower center, 21" x 34". Framed. Literature: Hulings, A Gallery of Paintings by Clark Hulings, White Burro Publishing, 1986, plate 138. One of the leading American realist painters, Clark Hulings was born in Florida, raised in New Jersey and over the long course of his career, resided in New York, Louisiana and various European cities before settling in Santa Fe, New Mexico. His paintings of people, streets and landscapes of places he visited, often impoverished corners of the world, all teem with a sense of vibrancy and reveal his belief in the innate beauty of the human spirit. Huling's father, recognizing his son's talent, arranged for the then 12-year-old to take art lessons with Sigismund Ivanowsky, a famed landscape and portrait painter who had served as a Court Painter to Tsar Nicholas II. Hulings also studied drawing with George Bridgman and continued at The Art Students League, New York with Frank Reilly. His career as a portraitist began in Louisiana, and it is there, while working on the Afton Villa portraits above St. Francisville, that he started sketching landscapes. His paintings of rural Louisiana, which were completed in the 1960's, were exhibited in 1969 at The Lafayette Gallery in Baton Rouge. "Pierre Part" was one of the paintings included in that exhibit. In "Hulings, A Gallery of Paintings by Clark Hulings", published in 1986, the artist's comments on "Pierre Part" reflect his awareness of the vanishing nature of rural Louisiana and the resilience of the human spirit in the face of great social and environmental change. He writes: "Gone are the little cabins built on stilts in the swamps of Louisiana. They were all swept away by Hurricane Audrey in 1957, and have been replaced by houseboats which can rise and fall with a tidal wave. Gone too are the pirogue dugout canoes propelled like gondolas - now there are motor boats."
Estimate: 40000 - 70000
1083 Harry Herman Roseland (American, 1866/68-1950), "Contemplating Lincoln", oil on canvas, partial signature mid right, 36" x 23". Framed.
Estimate: 20000 - 40000
1084 Joshua Biehn (Canadian, Active 1891-1899), "Portrait of Alfred Butler, Toronto News Vendor", 1899, oil on canvas laid down on board, signed and dated upper right, old newspaper article detailing life of sitter en verso board, 4-1/2" x 4-1/2". Presented in a period giltwood frame. Provenance: Didier, Inc., New Orleans, Louisiana.
Estimate: 1500 - 2500
1085 Rufus Way Smith (American, 1840-1900), "Treme Market, New Orleans", oil on canvas, signed and dated "1890" lower left, verso with a "Robert M. Hicklin, Jr., Spartanburg, SC" label, 16" x 12". Framed. Provenance: Didier, Inc., New Orleans, Louisiana. Literature: Antiquarian Pursuits: Southern Art from the Holdings of Robert M. Hicklin, Jr., Inc. in Celebration of the Gallery's Twentieth Anniversary, Estill Curtis Pennington, 1992.
Estimate: 4000 - 7000
1086 Roscoe Misselhorn (American/Illinois, 1902-1997), "Sternwheeler at Owensboro, Kentucky", watercolor and gouache on paper, signed lower right, sight 12" x 18". Attractively matted, glazed and framed. Illustrated p. 45 of Ford Times, February 1956, publication of the Ford Motor Company, Dearborn, Michigan. A copy of this publication is included in this lot.
Estimate: 500 - 800
1089 Thomas Moran (American, 1837-1926), "Sunset on the Lake", watercolor on paper, signed and dated "1882" lower right, sight 9" x 18-1/2". Glazed, matted and presented in a giltwood frame affixed with an artist plaque. Provenance: Sotheby Parke-Bernet, New York, 1975, lot 20.
Estimate: 20000 - 40000
1095 Howard Chandler Christy (American, 1872-1952), "Meeting Before the Hunt", 1902, pastel and gouache on paper, signed and dated lower right, sheet 11-1/2" x 15-3/4". Unframed.
Estimate: 1500 - 2500
1112 T. C. Cannon (Native American, 1946-1978), "Tosca, A Remembered Muse", color woodblock print, edition of "21/200", signed lower right, numbered lower left, verso with "Zaplin/Lambert Gallery, Santa Fe, NM" label, sight 19" x 15". Glazed, matted and framed.
Estimate: 2000 - 4000
1113 Maynard Dixon (American, 1875-1946), "Golden State Park", ink on paper, signed and titled lower margins, sight 6-3/8" x 5-3/4". Glazed, matted and framed.
Estimate: 4000 - 7000
1114 Ned Jacob (American/Colorado, b. 1938), "Peyote Man", charcoal on paper, signed upper right, verso stamped with title, artist name and measurements, sight 22-1/2" x 14-1/2". Glazed, matted and framed.
Estimate: 1000 - 1500
1115 Ned Jacob (American/Colorado, b. 1938), "Native American on Horseback", sepia crayon on paper, signed lower right, sight 17-1/2" x 13-3/4". Glazed, matted and framed.
Estimate: 800 - 1200
1116 Ned Jacob (American/Colorado, b. 1938), "Shoshane", charcoal on paper, signed and titled lower left, sight 26-1/4" x 13-1/2". Glazed, matted and framed.
Estimate: 1000 - 1500
1118 Ned Jacob (American/Colorado, b. 1938), "Female Nude", charcoal on paper, monogrammed lower right, sight 33-3/8" x 18-1/2". Glazed, matted and framed.
Estimate: 800 - 1200
1123 Noel Douglas Sickles (American/New York, 1910-1982), "Illustration from the French and Indian War", mixed media on paper, signed lower right, sight 10-1/4" x 14". Glazed, matted and framed.
Estimate: 500 - 800
1124 Robert Daughters (American/New Mexico, 1929-2013), "Adobe House, New Mexico", oil on canvas, signed lower right, 16" x 20". Framed. Robert A. Daughters is best known for his vibrant depictions of Native Americans and Southwestern landscapes, executed in bold expressionistic brush strokes reminiscent of Vincent Van Gogh, an artist Daughters greatly admired. Above all, though, Daughters was concerned with composition, and his carefully designed canvasses with alternating light and dark colors are suggestive of the ancient enamel technique cloisonne. As many great American artists before him, Daughters was drawn to the serene beauty of the color and light of the American Southwest, specifically Taos, New Mexico. Before settling here, Robert Daughters worked as a curator of the St. Joseph Museum of Natural History, while attending the Kansas City Art Institute. He later became a partner in an advertising art studio, and won over 250 awards over the course of twenty years. In 1995, he was chosen as one of the artists to be featured in "Covering the West - The Best of Southwest Art", a show which featured 60 of the Southwest Art's 300 cover artists. He is represented in many foundations, museum, corporate and private collections.
Estimate: 2000 - 4000
1125 Tom Milton Wilder (American, 1876-1956), "Hillside Orchard", oil on canvas, signed lower right, verso with "K. Nathan Gallery, La Jolla, CA" label, 10-1/4" x 8-1/4". Framed. Provenance: Estate of Louis Tenenbaum, Houston, Texas.
Estimate: 500 - 800
1127 Brian Blood (American/California, b. 1962), "Spring Iceplants", 2000, oil on canvas, monogrammed lower left, titled and dated verso stretcher, 16" x 20". Framed. Provenance: Estate of Louis Tenenbaum, Houston, Texas. For Brian Blood, the ocean has been the inspiration and muse throughout his career, beginning with his childhood in the idyllic seaside town of Weymouth, Maine, continuing through painting treks up and down the Maine and Massachusetts coastlines early in his career, to his current home on the west coast. Blood received a degree in commercial art from Vesper George School of Art in Boston and attended the Museum School of Boston, taking numerous workshops, one of which was held at the Art Institute of Boston. After spending several months of unfulfilling work at a California publishing company, he enrolled at San Francisco's Academy of Art College, eventually obtaining both a bachelor's and a master's degree in fine arts from that esteemed institution. A self-pronounced "California Impressionist", Blood's plein-air evocations of unspoiled California coastline vistas and landscapes has earned him many accolades. The love he has for Monterey, where he shares a home with his artist wife, inspires the vibrant canvases which are rendered with bold brush strokes and in vivid color schemes. His emotional approach to creating a painting is best described by the artist himself, as quoted in the 2005 "Southwest Art" publication: "When I'm painting and it's going well, it's a very calm, peaceful, and satisfying kind of excitement I feel. Everything seems fluid and natural, like a Zen nothing-can-go-wrong-in-my-world kind of feeling. The decision process is precise and confident, almost like a chess game, with things falling into place."
Estimate: 600 - 900
1128 Jeff Sojka (American, 20th Century), "Graduation Time", oil on canvas, signed lower left, signed and titled en verso, 18" x 14". Framed. Provenance: Estate of Louis Tenenbaum, Houston, Texas.
Estimate: 500 - 800
1129 Brian Blood (American/California, b. 1962), a pair of oils on wood panel, including "Autumn Light", 2005, monogrammed lower left, titled, signed and dated en verso, 9" x 12", and "Eucalyptus Nocturne", 2005, monogrammed lower left, titled, signed and dated lower left, 14-1/4" x 10-3/4". Both framed Provenance: Estate of Louis Tenenbaum, Houston, Texas.
Estimate: 1000 - 1500
1130 Jeff Sojka (American, Contemporary), "Muse of the Masters", 2008, signed lower right, signed, dated and titled verso canvas, 48" x 66". Framed. Provenance: Estate of Louis Tenenbaum, Houston, Texas.
Estimate: 800 - 1200
1165 Noel Rockmore (American/New Orleans, 1928-1995), "New York City Stoop", pastel on paper, signed upper right, sight 19" x 25-1/4". Matted, glazed and framed.
Estimate: 700 - 1000
1206 American Patinated Bronze of a Gorilla and Butterfly, first or second quarter 20th century, inscribed "Roman Bronze Works, NYC" and numbered "14" along back edge, h. 9-1/2", w. 9-1/4", d. 7-1/2". Provenance: Estate of Louis Tenenbaum, Houston, Texas; ex coll. John Mecom, Jr., Houston, Texas.
Estimate: 600 - 900
1210 Donald Sultan (American, b. 1951), "Blue Flowers, February 4, 1999", conte crayon on paper, signed and titled along left edge, verso with "Meredith Long & Company Gallery, Houston, TX" label, 22" x 30". Glazed, float mounted and framed. Provenance: Estate of Louis Tenenbaum, Houston, Texas; Meredith Long & Company, Houston, Texas. Donald Sultan is a printer, printmaker and sculptor best known for his bold, large-scale still life images, distilled into organic shapes, utilizing industrial materials such as tar, spackle and enamel, blurring the lines between realism and abstraction. Born to artistic Asheville, North Carolina parents, Donald Sultan was encouraged to pursue art professionally. He earned a BFA degree from the University of North Carolina at Chapel Hill and an MFA from the Art Institute of Chicago. While at school he rebelled against traditional painting techniques, which led to his experimentation with non-traditional tools and materials. Donald Sultan thrived in the "New Image" movement of the late 1970's New York and his first solo exhibition was mounted in 1977 at Artists Space, followed by group shows at Mary Boone Gallery in 1978 and Whitney Biennial at the Whitney Museum of Art in 1979. Very soon, Sultan's work started to receive critical acclaim and the attention of major national and international museums, resulting in impressive solo exhibitions at the Museum of Contemporary Art, the Modern Museum of Art of Fort Worth, the Brooklyn Museum, amongst others. Sultan is a recipient of numerous awards, including a Lifetime Achievement Award, Houston Fine Art Fair, Houston, Texas (2011) and is in many public and private collections. In 1998, Sultan accepted a commission for an Absolut Vodka iconic art campaign.
Estimate: 4000 - 7000
1211 Larry Rivers (American/New York, 1923-2002), "Dutch Masters Cigar Box", 1970, mixed media sculpture, pencil-signed lower right, marked "AP" and numbered "5/5" lower left, stamped by publisher "Edition Schellmann Munchen/Barer Strasse 34" at bottom, from an edition of 35 with five artist's proofs, h. 9-3/4", w. 16", d. 13.
Estimate: 2000 - 4000
1212 Joseph Glasco (American, 1925-1996), "Untitled", 1984, oil and collage on canvas, signed and dated en verso, verso with a "Moody Gallery, Houston, TX" label, 74" x 70". Framed.
Estimate: 3000 - 5000
1214 Lowell Blair Nesbitt (American, 1933-1993), "Calla Lily II", 1981, oil on canvas, signed, titled and dated en verso, "Andrew Crispo Gallery, New York, NY", label en verso, 30" x 26". Framed. Provenance: Estate of Louis Tenenbaum, Houston, Texas.
Estimate: 1200 - 1800
1215 Jon Zahourek (American, Contemporary), "Tuesday Morning, Scottsdale", 1990, signed lower left, titled and dated en verso, 6" x 9". Framed with a wide linen mat.
Estimate: 500 - 800
1216 Brian Blood (American/California, b. 1962), "Hotel de Mille, Provence", 2002, oil on wood panel, monogrammed lower right, titled, dated and signed verso, 14" x 11". Framed. Provenance: The Estate of Louis Tenenbaum, Houston, Texas.
Estimate: 500 - 800
1217 American School (20th Century), "Vibrant Still Life", oil on canvas, illegibly signed lower right, 18" x 22-1/2". Framed. Provenance: Estate of Louis Tenenbaum, Houston, Texas.
Estimate: 500 - 800