Neal Auction Sept 11-12
Lot 934 Sylvester Handy Bassist |
Lot #934 "Sylvester Handy, bassist"
oil on canvas, signed and dated "Mar. 10, '64" upper right, 58 in. x 34 1/8 in., framed
Estimate: $4000/6000
Facts: Born into a family of musicians from rural Mississippi, Sylvester Handy followed his brother
"Captain" John Handy to New Orleans to pursue his career in jazz. Playing string bass, Sylvester joined his brother's group
"Captain John Handy's New Orleans All-Star Band", a group that included famed trumpet player
Punch Miller.
This handsome formal portrait of "Sylvester Handy" is part of Noel Rockmore's critically acclaimed "Preservation Hall Portraits." In 1962, Larry Borenstein commissioned Rockmore to create a series of paintings of the musicians who played nightly at the newly opened Preservation Hall on St. Peter Street in the French Quarter. According to Borenstein, who was delighted with Rockmore's perspective, "He seemed to plumb the very depths of the souls of the musicians - the pathos, the despair, the heroism, the irony." Reference: Borenstein, Larry, and Bill Russell, Preservation Hall Portraits, Louisiana State University Press, Baton Rouge, 1968934.
Thoughts: This is
the big one of the weekend. It is magnificent and as fine as any Preservation Hall Portrait. Even in these economic times, it will probably make the all time
Top 20 Rockmore's sold at auction.
Lot 935 Dolly Adams Pianist |
Lot #935 "Dolly Adams, pianist
(Marie Douroux b. Jan. 11, 1904 New Orleans)", acrylic on masonite, signed upper right, titled en verso, 12 in. x 19 in., framed.
Estimate $300/500
Facts: The
condition report says surface dirt under the glass. It might be old and dirty or perhaps a Katrina victim. Quite hard to tell from the picture. The Fact is that
Dolly Adams is a well recognized pianist from the Preservation Hall series.
Thoughts:This could be quite a prize at this low estimate even with restoration if needed.
Lot 938 Ernie Cagnallotti & John Handy |
Lot #938 "Ernest 'Ernie' Joseph Cagnolatti, Trumpet Player (1911-1983) & John 'Captain John' Handy, Alto Saxophonist, (1900-1971)",
oil on masonite, signed and dated "'63" upper left, inscribed "Two Heads" en verso, 16 1/4 in. x 20 1/8 in., framed.
Estimate $2000/4000Provenance: New York City estate.
Facts: This one appears to be in excellent condition from the picture and the colors are as vibrant as they get in this type of oil on masonite jazz works. Of course they are both in the Preservation Hall Portraits book as well.
Thoughts: The estimate seems accurate even for this type of piece (as opposed to the oil on canvas) because of the quality and detail. The market might bear it especially in lieu of Rockmore's pending discovery.
Lot 947 Johnny White's Melvin |
Lot#947 "Johnny White's Melvin", pastel on paper, signed, dated "77", and inscribed "N.O." upper right, titled lower right, with a "Casell Gallery, New Orleans" label en verso, 19 3/4 in. x 16 in., framed.
Estimate $800/1200Provenance: Estate of Jake Ciaccio, New Orleans.
Facts: Melvin was the porter at Johnny White's for a long time until he died. He was certainly a French Quarter character and loved by the patrons, employers and Rockmore. He is depicted in the
Johnny White Portrait as well as in
The Homage to Johnny White's. Rockmore always drew him with a hat but that does not mean he always wore one.
Thoughts: Rockmore's pastels of his friends from this 1977 time period are some of his brightest, most cheerful and finest portrait pastels. His mother wrote the book on Pastel Painting. When the story is all said and told, many of these characters from The French Quarter will be studied and their portraits will be observed and commented on. Alpine John below went for $717 last auction, Melvin should command at least that.
Lot 958 Midday McGlades Saloon |
Lot# 958-"Midday, McGlades Saloon, NYC", acrylic on board, signed, dated "'70", and inscribed "McGlades" lower right, titled, dated "Feb 1970" en verso, 12 in. x 24 in.
Estimate $700-900
Facts: Located on the corner of 68th and Columbus Streets in New York City, Paddy McGlades Saloon was a favorite neighborhood bar for over a hundred years. Hanging from the ceiling was a round clock with the numbers printed backwards allowing the patrons to read the time in a mirror without turning around. Images of horseracing, a favorite pastime of the bartender Al "The Bishop," were displayed above the register. Rockmore depicts the seedy bar at midday, with bright light streaming in through the doorway and windows. Reference: "What Makes a Great Bar?", Theme Magazine, United Kingdom, February, 2002,
Thoughts: Fair estimate but this just might be a work that would do better in NYC after Rockmore is rediscovered. There is no doubt that McGlades Bar(NYC), Café des Artiste(NYC), Johnny Whites(NOLA) and The Alpine(NOLA) will become part of the famous Rockmore hangouts legend. McGlades is now a Starbucks in NYC.
New Orleans Auction Gallery Sept. 11-12
Lot 717 Mardi Gras Street Scene |
Lot #717 "Mardi Gras Street Scene, New Orleans" 1980, oil on canvas, dated, inscribed and signed lower right "Rockmore '80, New Orleans", 24" x 48". Unframed. Provenance: Purchased by the consignor from Bryant Galleries, New Orleans, Louisiana.
Estimate = $6000-$9000
Facts: This early 1980 work was the cover of Rockmore's brochure for his first show with the Sandra Zahn Oreck Gallery in 1981. It was also made into a poster with 500 signed and 500 unsigned 18x24 copies. It contains many of Rockmore's favorite elements including the Nun, the dogs, the kids running, flags, the French Quarter and strange exotic entertainers.
Thoughts: The reduced estimate is fair and was included in the New Orleans Auction preliminary mailing the first time it came up. The work has an impressive history and no objectionable material for hanging in a home or place of business. I spoke with Sandra Zahn Oreck today who of course remembered the piece. In 1980, Rockmore knew his last big chance to make it in New York was with this well respected transplant from the New York Art World. Rockmore gave Sandra carte blanche to make all marketing decisions which was new for him. He was happy with the choice of this work for the cover which was reproduced in color. Rockmore had often fought color reproductions of his work due to quality degradation.