Louis Comfort Tiffany art, Chinese rarities and Maïk originals triumphed at Ahlers and Ogletree

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ATLANTA — Louis Comfort Tiffany (1848-1933) is best known for his work as a glassmaker and jeweler catering to the Gilded Age elite. However, he was also a formally trained artist of some merit. His oils and watercolors are of particular interest for their choice of subject matter. In addition to typical Hudson River School-style landscapes of upstate New York, Tiffany applied the lessons of French realism to paint scenes of industry along the Hudson River and the slums of New York City. His apparently tranquil scenes of Seabright, New Jersey also depict its mixed-race fishing community and the economic strife faced by African Americans who moved north after the Civil War.

It was one of these Seabright scenes that topped Ahlers & Ogletree’s two-day Fine Estates & Collections auction held at the auction house’s new gallery location on Atlanta’s Upper West Side August 25-26 (Day 1, Day 2).

Carrying the Boat at Sea Bright, N.J depicts four men (probably African Americans) carrying a boat on the sand with buildings in the background. Measuring 3ft by 2ft, it is signed and dated 1888 and has labels on the verso for the Chicago Interstate Industrial Exposition of that year and the Ohio Society of New York. It had much in common with the better-known painting Pushing Off the Boat at Sea Bright, which he painted while staying in New Jersey in 1887.

The painting beat its estimate of $50,000-$75,000 to bring $90,000 ($108,900 with buyer’s premium).

The surprise performers among the 484 lots were Chinese works of art. These included an imperial-style sword or jian with finely tooled pierced gilt bronze mounts decorated with writhing dragons and tendrils and a coral bead to the pommel.

It had some condition issues — it was missing the shagreen hilt, and the scabbard with chilong mount had a split and some losses — but this is a well-known model used by the elite of the Qing court during the reign of the Qianlong emperor (1736-1796). Cataloged as 19th century, but possibly earlier, it was estimated at $400-$900 but changed hands for $55,000 ($66,550 with buyer’s premium).

Sold at $42,500 ($51,425 with buyer’s premium), this time against an estimate of only $1,000-$2,000, was a 16in bronze and parcel gilt wine vessel cast as a mythical bird on spoked wheels supporting a gu-form vase on its back. The so-called “phoenix bearing zun” is a form that dates back to the Han period, although this was probably from the late Qing period, when many honorific copies were made.

Five paintings by the French naïve artist Henri Hecht Maïk (1922-1993) were offered. All came with labels from the Wally Findlay Galleries, which hosted the first US exhibition of Maïk’s paintings in New York in 1964 and continued to hold many successful shows in New York, Chicago, Palm Beach, Beverly Hills, and Paris. A large format oil on canvas measuring 4ft 3in by 3ft 2in led the offering at $17,000 ($20,570 with buyer’s premium). A Yellow Lion, depicting a lion and a cub in a technicolor jungle landscape, was boldly signed and dated [19]72 and titled in French on the verso.

The smaller 9 by 13in oil on a similar theme, Tiger in the Grass, dating to 1980, brought $8,000 ($10,000 with buyer’s premium).
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Louis Comfort Tiffany, ‘Carrying the Boat at Sea Bright, N.J.,’ which sold for $90,000 ($108,900 with buyer’s premium) at Ahlers & Ogletree Auction Gallery.
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19th-century Chinese double-edged sword, which sold for $55,000 ($66,550 with buyer’s premium) at Ahlers & Ogletree Auction Gallery.
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Chinese 18th-century-style bronze and parcel gilt ceremonial Phoenix Bearing Zun wine vessel on wheels, which sold for $42,500 ($51,425 with buyer’s premium) at Ahlers & Ogletree Auction Gallery.
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Henri Hecht Maik, ‘A Yellow Lion,’ which sold for $17,000 ($20,570 with buyer’s premium) at Ahlers & Ogletree Auction Gallery.
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Henri Hecht Maik, ‘Tiger in the Grass,’ which sold for $8,000 ($10,000 with buyer’s premium) at Ahlers & Ogletree Auction Gallery.
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Unique photo of the first soldier to die in the Civil War offered at Swann, Sept. 28

Unique ambrotype of Luther C. Ladd, a Union soldier from Lowell, Mass. who became the first fatality of the Civil War, estimated at $8,000-$12,000 at Swann Auction Galleries.

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NEW YORK – In any war, there is always someone who becomes the first to die. In the case of the Civil War, we know who that person was: Luther C. Ladd, a 17-year-old Union soldier from Lowell, Massachusetts, a member of Company D in the 6th Massachusetts Volunteers.

But he didn’t perish on a grassy field in the rural South. Ladd and four others lost their lives on April 19, 1861 in Baltimore, when a mob attacked them as they were traversing the 10 blocks between the train station where they had disembarked to the train station where they would continue their journey south. The incident, known variously as the Baltimore Riot of 1861, the Pratt Street Riots, and the Pratt Street Massacre, occurred one week after the Civil War started.

The date was inadvertently charged with meaning, as it was the 86th anniversary of the battles in Lexington and Concord, Massachusetts that started the American Revolutionary War. And the hometown of Ladd and Addison Whitney, who died alongside him, carried extra significance in the context of the Civil War. Lowell was America’s first industrial city, full of textile mills. After the cotton was grown in the south and harvested by enslaved people, it went to Lowell, where young, unmarried women known as mill girls transformed it into cloth.

Weeks or perhaps days before he died, Ladd donned his uniform and sat for an ambrotype photograph. The only known example of its kind, it will appear in the Printed & Manuscript Americana sale taking place at Swann Auction Galleries on Thursday, September 28, with an estimate of $8,000-$12,000.

A second lot in the sale, estimated at $800-$1,200, relates to the aftermath of the Baltimore riot. Lot 111 features a funeral program for the May 6, 1861 services for Ladd and Whitney, held at Lowell’s Huntington Hall, the very building from which their company departed. Also included are two cartes-de-visite of the obelisk-topped memorial under which the soldiers’ remains were reburied in 1865. Known as the Ladd and Whitney monument, it still stands on a triangular strip of land mere feet from Lowell City Hall and Lowell High School, looking exactly as it does in the period photos in the Swann sale.

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Unique ambrotype of Luther C. Ladd, a Union soldier from Lowell, Mass. who became the first fatality of the Civil War, estimated at $8,000-$12,000 at Swann Auction Galleries.
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Funeral program for the services held in May 1861 in Lowell, Mass. for Union soldiers Luther C. Ladd and Addison Whitney, along with cartes-de-visite of the 1865 monument dedicated in their honor, estimated at $800-$1,200 at Swann Auction Galleries.
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October 7, 1789 issue of the Gazette of the United States containing the first national Thanksgiving proclamation, issued by President George Washington, estimated at $15,000-$25,000 at Swann Auction Galleries.
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Photograph from a trove of archival material relating to Robert E. Peary, American explorer of the Arctic, estimated at $50,000-$75,000 at Swann Auction Galleries.
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Handbill and photograph from a collection of archival material relating to Ford’s Theatre, the site of Lincoln’s assassination, and the Ford family, estimated at $50,000-$75,000 at Swann Auction Galleries.
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Bid Smart: Alice Baber, once overshadowed, now seen in full color

Alice Baber’s ‘Axe in the Grove,’ a 1966 oil on canvas, achieved $275,000 plus the buyer’s premium in February 2023. Image courtesy of John Moran Auctioneers, Inc. and LiveAuctioneers.

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Alice Baber’s ‘Axe in the Grove,’ a 1966 oil on canvas, achieved $275,000 plus the buyer’s premium in February 2023. Image courtesy of John Moran Auctioneers, Inc. and LiveAuctioneers.
Alice Baber’s ‘Axe in the Grove,’ a 1966 oil on canvas, achieved $275,000 plus the buyer’s premium in February 2023. Image courtesy of John Moran Auctioneers, Inc. and LiveAuctioneers.

NEW YORK — Alice Baber (1928-1982) is said to have had a hunger for color. She was one of the most important woman Abstract Expressionist artists working at a time when the field was dominated by men such as Rothko, de Kooning and Pollock. Her biomorphic color-stained canvases, featuring hazy spheres of pure hues, are renowned for their lyrical qualities.

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