Featuring a bird’s-eye view that differs from other colonial maps in its detailed interpretation of the American wilderness that surrounds the settlement of Eighteenth Century Savannah, Ga., Peter Gordon’s Map of Savannah, 1734, rose to $80,000. This rare map represents the first known printed view of Savannah and illustrates Georgia colony founder General James E. Oglethorpe’s original plan of the city. Only 12 such maps are known to exist in public museums, with a few others in private hands.
Review by W.A. Demers; Photos Courtesy Everard Auctions
SAVANNAH, GA. — Everard’s October 17-18 auction was led by a Peter Gordon (1697-1740) Map of Savannah, 1734, which rose to $80,000. This rare map represents the first known printed view of Savannah, Ga., and illustrates Georgia colony founder General James E. Oglethorpe’s original plan of the city. Only 12 such maps are known to exist in public museums, with a few others in private hands. Titled “A View of Savanah as it Stood the 29th of March, 1734,” the engraving on double-page laid paper with watermark was marked “P. Gordon Inv.” and “P. Fourdrinier Sculp.” Depicted are the original squares with river and Hutchinson Island in the foreground. The 21½-by-28¼-inch map’s bird’s-eye view differs from other colonial maps in its detailed interpretation of the American wilderness that surrounds the settlement.
The two-day sale, which grossed $857,127, featured an array of fine and decorative art from Southeastern estates and collections. The selection included French and American Impressionist paintings, Southern art and maps, sterling silver, a collection of modern ceramics, Asian art, jewelry, antiquities and monumental porcelain, cloisonne and jade from a Hilton Head Island, S.C., estate.
Savannah was further celebrated in a rare, richly colored 1855 lithograph after a drawing by John William Hill by Charles Parsons (1821-1910) and printed by Endicott & Co, N.Y. Depicted was Robert Launitz’s Pulaski monument in Monterey Square and the surrounding area. An inscription at bottom of frame read “To the Citizens of Savannah This Picture is Most Respectfully Dedicated by the Publisher.” Property from the estate of Elizabeth Oxnard, the 26-5/8-by-38½-inch litho realized $35,840.
French artist Edouard Leon Cortes, known for his atmospheric Parisian cityscapes, was represented by “Porte St Denis Snow.” Bidding took the 21-3/8-by-26½-inch painting housed in a giltwood frame to $27,500.
Known for his atmospheric oil streetscape paintings, Edouard Leon Cortes (French, 1882-1969) was represented by “Porte St Denis Snow,” which had been authenticated and will be included in Nicole Verdier’s upcoming supplement to the Edouard Cortes catalogue raisonné, Part III. Bidding took the 21-3/8-by-26½-inch painting housed in a giltwood frame to $27,500. Painting was in Cortes’ blood. His father, Antonio Cortes, was a painter for the Spanish Royal Court. Cortes studied at Ecole des Beaux-Arts and later became well-known for his paintings of Parisian cityscapes. His work can be found in many public and private collections, both in Europe and the United States.
Fetching $26,880 was a pencil-on-paper drawing after Michelangelo, probably Eighteenth Century. Skillfully rendered from the Italian master’s “Il Sogno,” “The Dream” drawing on laid paper, came from a private Savannah collection and was matted and framed, 20½ by 15¾ inches.
An oil on canvas by Edward Dufner (1872-1957), “A Morning in June,” was estimated at $10/15,000 and came in at the high estimate at $15,000. The artist’s impressionistic style stemmed from his studies in Paris. In 1903, he returned to the United States and taught at the Art Students League, both in Buffalo and New York City. In 1910, he conducted special classes in Caldwell, N.J., and spent most of his summers painting there. He exhibited extensively throughout the United States and was a National Academician and Member of the American Watercolor Society and several other esteemed organizations. His work is held in many private and institutional collections, including the National Gallery of Art in Washington DC, the Brooklyn (N.Y.) Museum and Manhattan’s Albright-Knox Art Gallery.
The dog had his day with an Edmund Osthaus (1858-1928) oil on canvas titled “English Setter,” which commanded $22,500.
The dog had his day with an Edmund Osthaus (1858-1928) oil on canvas titled “English Setter,” which commanded $22,500. Osthaus trained at the Royal Academy of Fine Arts in Dusseldorf, Germany, before emigrating to the United States. He settled in Ohio where he became chief instructor, and later director, at the Toledo Academy of Fine Arts. His work is collected by hunters, sportsmen and dog fanciers around the world.
MCM furniture collectors chased a pair of circa 1965 Philip & Kelvin LaVerne Chan occasional tables to $23,040 above their $12,000 high estimate. The father-son team of Philip (1907-1987) and son Kelvin (b 1936) started making their eponymous sculptural pieces in the mid-1950s. Kelvin continued their business under both names after his father Philip passed away.
Among three bronze sculptures by Richard MacDonald (American, b 1946) that were entered in the sale, top honors went to the “The Flair,” a bronze portraying a lithe gymnast, which left the gallery at $12,800.
Prices given include the buyer’s premium as stated by the auction house. For information 912-231-1376 or www.everard.com.
