2009 November Signature European & American Art

JAN JACOB SPOHLER (Dutch, 1811-1866)
Winter Landscape with Windmills and Skaters
Oil on panel
23 x 33 inches (58.4 x 83.8 cm)
Signed lower right: Spohler

PROVENANCE:
Private collection, Fort Worth.

Heritage is pleased to offer in this auction paintings by three relatives in the Dutch Spohler family. Associated with Holland's 19th-century Romantic Movement, Jan Jacob Spohler (1811-66) was born in Nederhorst de Berg and trained at the Amsterdam Academy, where he exhibited often and acquired membership in 1845. His early travels to Haarlem, The Hague, Leiden, and Rotterdam sparked his interest in the bustling activity of villages and the surrounding countryside. Winter Landscape with Windmills and Skaters is a masterful example of his panoramic townscape, where a dramatic cloud-swept sky offsets a tableau of iconic Dutch architecture and workers and recreationalists on an icy thoroughfare.

Both of Spohler's sons followed in his footsteps, mastering the art of the Dutch provincial landscape. Jacob Jan Coenraad Spohler (1837-1923) most emulated his father's style, specializing in broad vistas with waterways, windmills, and bordering trees. In Townscape with Windmill (Lot ), he demonstrates his facility with the smaller-scale sketch, employing gestural brushwork to capture the human interactions at the foot of the town windmill. Johannes Franciscus Spohler (1853-1894) preferred urban over rural subjects, and his paintings of Amsterdam, such as this lustrous Canal Scene with Skaters (Lot ), highlight the city's people-filled marketplaces, bridges, and canals.

JOHANNES FRANCISCUS SPOHLER (Dutch, 1853-1894)
Canal Scene with Skaters
Oil on canvas
13 x 17-3/4 inches (33.0 x 45.1 cm)
Signed lower right: J.F. Spohler

PROVENANCE:
Private collection.

EXHIBITED:
Stedelijk Museum de Lakenhal, Leiden (label verso).

JACOB JAN COENRAAD SPOHLER (Dutch, 1837-1923)
Townscape with Windmill, 1911
Oil on canvas
16 x 12 inches (40.6 x 30.5 cm)
Signed and dated lower left: J.J.C. Spohler 11

PROVENANCE:
Private collection.

ADRIANUS EVERSEN (Dutch, 1818-1897)
Winter in the Village
Oil on panel
14-1/2 x 11-1/4 inches (36.8 x 28.6 cm)
Signed lower right: A. Eversen

JAN ASSELIJN (Dutch, c. 1610-1652)
Battle Scene, 1635
Oil on canvas
26 x 35 inches (66.0 x 88.9 cm)
Signed and dated lower left: Jan Aslein 1635

PROVENANCE:
The Estate of Dr. George Nettles, Harrison, Arkansas.

Although best known for his light-suffused, Arcadian landscapes in the manner of Claude Lorraine, Jan Asselijn, a premiere second-generation "Dutch Italianate," began and ended his career in his native Holland. He was born in Dieppe around 1610 and at an early age studied battle painting in Amsterdam with Jan Martszen the Younger. A move to Rome in 1635 introduced Asselijn to a new pastoral vocabulary: classical ruins, shepherds and animals, and harbors and rolling countryside. During his seven years here, he maintained his Dutch heritage through his nickname, "Krabbetje" ("little crab," after his deformed right hand) and through his affiliation with a circle of Northern European artists, the Bentvueghels. Asselijn then lived in Lyons and Paris for two years before returning to Amsterdam around 1647, where he began coupling Dutch subjects with Italianate light. Rembrandt van Rijn considered Asselijn a friend and colleague and etched his portrait in 1648.

Battle Scene from 1635 exemplifies Asselijn's oeuvre pre-Italy, when, under the tutelage of Jan Martszen the Younger, he was experimenting with figures and animals in motion and panoramic landscapes. 1635 marked the final stages of the Eighty Years War (1568-1648), Holland's successful rupture from Spanish control, resulting in the establishment of an independent republic. As in his other paintings of this war, Asselijn here utilizes a lone tree as a repoussoir device, focusing attention on a foreground tangle of soldiers in various physical and emotional states - whether brandishing weapons, falling from horses, or languishing on the ground. A backdrop of turbulent clouds underscores the human drama with which Asselijn was so clearly fascinated.

PROPERTY OF A PROMINENT ST. LOUIS FAMILY

Studio of JAN (I) VAN KESSEL (Flemish, 1626-1679)
Kitchen Scene with Fish, Vegetables, Fruit, and Animals, circa 1660s-70s
Oil on copper with plywood panel backing
6-1/2 x 8-1/2 inches (16.5 x 21.6 cm)

PROVENANCE:
(?) Joseph Philipson (Posen, Poland 1773-1844 St. Louis), St. Louis, Missouri, by 1844;
Charles Samuel Rannells, Esq., (1813-1877) and Mary Warder Rannells (d. 1896) of St. Louis, Missouri, possibly acquired from the above in 1844-1848;
Thence by descent to their son and daughter-in-law, Maplewood, Missouri, 1896 to 1939;
Thence by descent to their son and daughter-in-law, Webster Grove, Missouri, and subsequently Dexter, Missouri, 1939 to 1972;
Thence by descent to their daughter, Stillwater, Oklahoma, and subsequently Dallas, Texas, 1972 to the present.

Jan (I) van Kessel was a member of a prolific artistic family from Antwerp. His father was the portrait painter Hieronymous van Kessel, who probably trained him. His uncle was Jan (II) Brueghel, a still-life painter who, in his turn, had worked with his father--a pioneer in the genre of Netherlandish flower paintings and a frequent collaborator of Peter Paul Rubens. After spending several years in Italy, Jan (II) Brueghel returned to Antwerp to assist in his father's large workshop which he ran after his father's death. Jan (I) van Kessel very likely worked with his uncle in the Brueghel family workshop during the middle 1640s, when demand for still lifes, particularly flower painting, was high and production brisk.

Around 1650, Jan (I) van Kessel branched out into a wider variety of still-life subjects. He exploited the entire gamut of subject matter he would have learned to paint in the Brueghel workshop, notably landscapes composed in series such as the seasons or the elements, usually with a conspicuous inclusion of animals. During the 1650s, he also began producing little cabinet pieces, often on copper, featuring arrangements of insects against plain backgrounds, which have the feeling of natural history studies, live animals organized somewhat encyclopedically in landscapes, and also fish or kitchen still lifes resembling the present work. In his fish paintings, which tend to date to the later part of his life, Jan (I) van Kessel adopted a more painterly approach, which characterizes the handling of this charming work by an artist from his workshop.

After ANGELICA KAUFFMANN (Swiss, 1741-1807)
Electra and Chrysothemis
Watercolor and graphite on paper
12 x 12 inches (30.5 x 30.5 cm)
Titled and inscribed label verso: Electra and Chrysothemis/ "Instant, my sister, thy devoted hair/ With these dishevell'd locks, and this my Lone,/ Plain as it is and unadorn'd shalt thou/ Bear to our father; wretched off'rings these/ But O! 'tis all Electra now can give./ Vid: Franklin's Sophocles' Electra/ From an original picture in the Collection of Sir Edward Vernon (?)/ Angelica Kauffmann 1740-1807/ Original drawing for print by Kauffmann

After ANGELICA KAUFFMANN (Swiss, 1741-1807)
Peleus and Thetis, circa 1786
Watercolor and graphite on paper
12 x 12 inches (30.5 x 30.5 cm)
Titled and inscribed label verso: Peleus and Th___/ From an original picture in the Collection of ____/ this plate is most humbly dedicated by his _____/ London Pub. June 20, 1786/ Angelica Kauffmann 1740-1807/ Original drawing for print by A__

EUGÈNE DESHAYES (French, 1828-1890)
Pair of Romantic Landscapes with Fountain and Windmill (oval formal), 1873
Oil on canvas
48 x 32-1/2 inches (121.9 x 82.6 cm)
Both signed along lower edge, and one bears date of '73: Eug. Deshayes

PROVENANCE:
Baroness Windisch-Graetz collection;
Private collection.

Attributed to ARY SCHEFFER (Dutch, 1795-1858)
Portrait of a Lady with Pearls, circa 1830-1840
Oil on canvas
50 x 40 inches (127 x 101.6 cm)

FRENCH SCHOOL (18th Century)
The Four Seasons: A Set of Four Paintings
Oil on canvas
13-3/4 x 11 inches (34.9 x 27.9 cm) each
Indistinctly inscribed verso: Provenant de la vente et collection de Mme. de Récote (?) 1736...

BELGIAN SCHOOL (19th Century)
The Temptation of St. Anthony, circa 1860s
Oil on canvas
25-3/4 x 21-1/2 inches (65.4 x 54.6 cm)
Stencilled verso: Hardy Alan #1 Rue Childebert Paris

PROVENANCE:
Private collection, Austin.

This exquisitely painted Temptation of St. Anthony derives from the mid 19th-century Belgian School: the landscape, with its commanding grotto and finely delineated foliage, recalls the work of Pierre François Charles Le Roy (Belgian, 1803-33), while the subject, the figures and their dispositions ultimately point to David Teniers II (Flemish, 1610-90). Like the Baroque master Teniers, who featured hybrid creatures in his paintings of alchemists in their labs, this later Belgian artist delighted in rendering the details of St. Anthony's fantastical tempters: in the center of the composition, a statuesque violinist, wearing no more than a diaphanous skirt and Grecian sandals, lures the saint with her body and music, and three other enchantresses -- bejeweled, wreathed , and elfin-eared -- offer him the pleasures of wine; a flying dragon looms overhead, while types of lizards and satyrs - notably, on the right, a corpulent general decorated with tattoos, medals, plumed hat, and sword - emerge from the recesses of the grotto. Surrounding objects, such as an hourglass, music book, mallet, and glass jug, further invite contemplation of this remarkable work.

JACOB SIMON HENDRIK KEVER (Dutch, 1854-1922)
Woman and Child
Oil on canvas
22 x 18 inches (55.9 x 45.7 cm)
Signed lower right: Kever

PROVENANCE:
The Duffy and Tina Oyster Foundation, Dallas, Texas.

BERNARDUS JOHANNES BLOMMERS (Dutch, 1845-1914)
The Little Helper
Watercolor on paper
10-1/8 x 12-5/8 inches (25.8 x 32.0 cm)
Signed lower right: Blommers

PROVENANCE:
Private collection, Rockwall, Texas.

Attributed to ALBERT ANKER (Swiss, 1831-1910)
Bauernmädchen (Farm Girl), 1886
Oil on canvas
15-1/2 x 11-3/8 inches (39.4 x 29.0 cm)
Signed and dated middle left: Anker 1886

PROVENANCE:
Private Florida family collection, circa 1960-2008;
Private collection.

It has been suggested that this portrait is the work of an Austrian or German artist in the orbit of Franz von Defregger.

ROSA BONHEUR (French, 1822-1899)
Shepherdess and Two Cows in a Meadow, circa 1842-45
Oil on canvas
13 x 18 inches (33.0 x 45.7 cm)
Signed lower right: Rosa Bonheur

PROVENANCE:
Private collection, New York.

This lot comes with a letter written by Professor Annie-Paule Quinsac confirming this painting as an early painting by the artist.

FRANZ VAN SEVERDONCK (Belgian, 1809-1889)
Landscape with Sheep, 1882
Oil on canvas
20-1/4 x 26-1/4 inches (51.4 x 66.7 cm)
Signed and dated lower center: François Van Severdonck/ 1882
Inscribed verso: Je sousigne déclarer que ce tableau ci-contre répresentant moutons ____ est peint pour moi/ François Van Severdonck

PROVENANCE:
Mrs. Beatrice Dunn, Bismarck, Arkansas;
Private collection, Hot Springs, Arkansas (by descent).

LÉON VICTOR DUPRÉ (French, 1816-1879)
Cattle Watering, circa 1874
Oil on panel
17-3/4 x 24 inches (45.1 x 61.0 cm)

GEORGES JEANNIN (French, 1841-1925)
Bouquet of Flowers in Basket
Oil on canvas
21-5/8 x 25-5/8 inches (55 x 65 cm)
Signed lower left: G. Jeannin

LASLETT JOHN POTT (British, 1837-1898)
Spinning the Wool, 1878
Oil on canvas
32-1/4 x 24 inches (81.9 x 61.0 cm)
Signed and dated lower right: Laslette J. Pott 1878

HENRY GEORGE TODD (British, 1847-1898)
In the Orchard, Écouen, France
Oil on board
18-1/4 x 13 inches (46.4 x 33.0 cm)
Signed lower left: G. Todd

PROVENANCE:
Thurber Fine Art, Chicago (label verso);
Mrs. Beatrice Dunn, Bismarck, Arkansas;
Private collection, Hot Springs, Arkansas (by descent).

WILLIAM HOLYOAKE (British, 1834-1894)
Gathering Wildflowers
Oil on canvas
24 x 20 inches (61.0 x 50.8 cm)
Signed lower left: W. Holyoake

WILLIAM OLIVER (British, 1823-1901)
Emma Eburne Knitting a Sweater
Oil on canvas
24 x 20 inches (61.0 x 50.8 cm)

BYAM SHAW (British, 1872-1919)
Man on Stairway, 1901
Oil on panel
14-1/2 x 10 inches (36.8 x 25.4 cm)
Signed and dated lower right: Byam Shaw / 1901

PROVENANCE:
DuMouchelles Auction House, Detroit, April Auction, April 13, 2007, lot 2002.

CHARLES JAMES LEWIS (British, 1830-1892)
Village Scene, 1889
Oil on board
10-1/2 x 15-1/2 inches (26.7 x 39.4 cm)
Titled, dated, and signed lower left: Spring - 89 - C.J. Lewis, R.I.
Inscribed label verso: C.J. Lewis, R.I.

ENGLISH SCHOOL (19th Century)
Pastoral Scene
Oil on canvas
24 x 36 inches (61.0 x 91.4 cm)

PROVENANCE:
Thompson & Knight LLP, Dallas.

JOHN GLOVER (British/Australian, 1767-1849)
Extensive Landscape with Distant Mountains, c. 1810-20s
Watercolor on paper laid on second sheet of paper
11-1/2 x 15-1/4 inches (29.2 x 38.7 cm)

PROVENANCE:
Private collection.

JAMES ARTHUR O'CONNOR (Irish, 1792-1841)
Landscape, 1836
Oil on board
7-1/2 x 8-1/4 inches (19.1 x 21.0 cm)
Signed and dated lower right: J.A.O'C. 1836

EXHIBITED:
"Irish Exhibition in London," England, 1888 (label verso);

JAMES ARTHUR O'CONNOR (Irish, 1792-1841)
Landscape, 1836
Oil on board
7-1/2 x 8-1/2 inches (19.1 x 21.6 cm)
Signed and dated lower left: J.A.O'C. 1836

EXHIBITED:
"Irish Exhibition in London," England, 1888 (label verso).

ALFRED DE BREANSKI (British, 1852-1928)
Ben Lomond
Oil on canvas
20-1/4 x 30-1/4 inches (51.4 x 76.8 cm)
Signed lower right: Alfred de Breanski

PROVENANCE:
Private collection, Hideaway, Texas.

JAMES HARDY THE YOUNGER (British, 1832-1889)
Hunting Dogs
Oil on canvas
36-1/4 x 28-1/2 inches (92.1 x 72.4 cm)
Signed lower center: James Hardy

PROVENANCE:
S. Finfelstein, London (label verso);
By descent to private collection, Mounds, Oklahoma.

JAMES HARDY THE YOUNGER (British, 1832-1889)
Hunting Dogs
Oil on canvas
36-1/2 x 28-1/4 inches (92.7 x 71.8 cm)
Signed lower left: James Hardy Jun.

PROVENANCE:
By descent to private collection, Mounds, Oklahoma.

JOHN ALFRED ARNESBY BROWN (British, 1866-1955)
Cows at Pasture
Oil on canvas
14 x 20 inches (35.6 x 50.8 cm)
Signed lower left: J. Arnesby-Brown

BENJAMIN WILLIAMS LEADER (British, 1831-1923)
Evening After the Rain, 1897
Oil on canvas
32 x 52-1/8 inches (81.3 x 132.4 cm)
Signed and dated lower left: B. W. Leader 1897

JAMES WEBB (British, 1815-1895)
Untitled (Anchored Boat), 1866
Oil on canvas
24 x 36 inches (61.0 x 91.4 cm)
Signed and dated lower left: J. Webb / 66

PETER DE WINT (British, 1784-1849)
Cattle at Water
Watercolor on paper
10 x 15-1/2 inches (25.4 x 39.4 cm)

THOMAS BUSH HARDY (British, 1842-1897)
The Grand Canal, Venice, 1879
Watercolor on paper
12-3/4 x 18-1/4 inches (32.4 x 46.4 cm) window
Signed, titled, and dated lower right: T.B. Hardy, Venice, 1879

PROVENANCE:
The Fine Art Society, Ltd., London (label verso).

THOMAS LUNY (British, 1759-1837)
Along the Water's Edge, 1816
Oil on canvas
24 x 33-3/4 inches (61.0 x 85.7 cm)
Signed and dated lower left: Luny 1816

ROBERT TAYLOR PRITCHETT (British, 1828-1907)
Castle of Chillon, Lake Geneva
Watercolor on paper
4-1/2 x 10 inches (11.4 x 25.4 cm) window
Monogrammed lower left: R.T.P.

PROVENANCE:
Walker's Galleries, Ltd., London (label verso).

PEDER MORK MONSTED (Danish, 1859-1941)
Lake Scene, 1892
Oil on canvas
24-1/2 x 38 inches (62.2 x 96.5 cm)
Signed and dated lower left: P. Monsted 1892

PROVENANCE:
Private collection, New York.

PAUL SIGNAC (French, 1863-1935)
Tarascon
Watercolor and conte crayon on paper
11 x 17 inches (27.9 x 43.2 cm)
Signed and titled lower right: P. Signac / Tarascon
Titled verso: Tarascon / le Chateau

PROVENANCE:
The Redfern Gallery, London, 1946 (label verso);
Ben Roberts;
Christie's, New York, Impressionist and Modern Art, September 12, 2007, lot 20;
Scottsdale Art Auction, Scottsdale, lot 154 (label verso);
The Duffy and Tina Oyster Foundation, Dallas, Texas.

This painting is listed in the cahier manuscript in the artist's hand and will be included in the forthcoming catalogue raisonné being compiled by Françoise Cachin.

JAMES JACQUES TISSOT (French, 1836-1902)
The Prodigal Son: The Departure, 1880-81
Oil on canvas
27-1/4 x 36 inches (69.2 x 91.4 cm)
Stenciled canvas verso: W. Badger/ ___/ 07, Boundary Road/ S. John's Wood/ & 49 Dorset Street/ Portman Square

PROVENANCE:
Artist's posthumous sale, Hôtel Drouot, Paris, July 9-10, 1903, bought by Alfred Stroelin;
Henri Brendle, Zurich, from whom bought by a private collector in 1929 and thence by descent;
Sotheby's, November 22, 1983, lot 63;
Christie's, New York, 19th Century European Art, October 27, 2004, lot 74.
Sotheby's London, Victorian & Edwardian Art, July 15, 2008, Lot 56 (part).

EXHIBITED:
K. Matyjaszkiewicz, James Tissot 1836-1902, New York, 1984, pp. 133-134, cat. no. 153.

The Departure is an oil study that is the first of a series of four paintings about the parable of the Prodigal Son. The series was exhibited throughout the 1880s and 90s, including shows at the 1882 exhibition at Dudley Gallery in London, Galerie Sedelmeyer, the Exposition Universelle in Paris, and at the World's Columbian Exposition in Chicago in 1893. The larger finished series is at the Musée des Beaux-Arts in Nantes, where the artist was born.

Tissot visited the theme of the Prodigal Son throughout his career; for the 1880s series, however, he chose a modern representation. The Departure features a son conversing with his father, presumably about his departure. To his left his sister (Tissot's mistress Kathleen Newton) is pictured knitting and his brother seated with a contemplative gaze out the window.

Another painting in the series is The Return, which depicts the reconciliation of the impoverished son and his father at the dockside, with his brother and sister standing beside. The last two pictures from the series, In Foreign Climes (sold Christies, New York, 27 October 2004, lot 75) and The Fatted Calf, relate the second and fourth parts of the story. In Foreign Climes depicts the young adventurer watching geishas dancing in a Japanese riverside tea-house, whilst The Fatted Calf depicts the family harmoniously reunited at a table in an English waterside rose bower.

ALEXANDRE NIKOLAEVICH BENOIS (Russian/French, 1870-1960)
Interior of a Room, 1924
Watercolor and pencil on paper
12 x 16-1/2 inches (30.5 x 41.9 cm)
Signed along left side and dated lower right
Elaborate inscription/dedication in French lower right: termine le 19 [?] 1924. le jour ou nous avons eu le plaisir [illeg] reçevoir chez nous [illeg] chers amis les John? Nott... [came to an end on the 19th of ? 1924, the day on which we had the pleasure of receiving you at our home, dear friends the John? Nott....]

A second extensive inscription by the artist in pencil (sheet verso): je travaillais absolument seul dans tout ce quartier immense du château ou m'avait d'ailleurs donné une clef enfin de penetrer dans le "carré de l'Arsenal." [I've worked absolutely alone in this immense part of the chateau to which I was given a key so that I could access the "Courtyard of the Arsenal."]

PROVENANCE:
Private collection.

JOHN LAVERY (Irish, 1856-1941)
Pair of Sketches of Interiors of the Artist's Studio
Oil on panel
12 x 10 inches (30.5 x 25.4 cm)
Each signed lower left: J. Lavery

PROVENANCE:
Arden Gallery, Scottsdale, Arizona (label verso);
Private collection, Rush Springs, Oklahoma.

HENRY JULES JEAN GEOFFROY (French, 1853-1924)
In the Artist's Studio
Oil on canvas
21-3/4 x 15 inches (55.4 x 38.1 cm)
Signed lower right: J. Geoffroy

PROVENANCE:
Private collection, Irving, Texas.

LUIS ALVAREZ CATALÁ (Spanish, 1836-1901)
The Costume Ball, 1881
Oil on canvas
22 x 33 inches (55.9 x 83.8 cm)
Signed and dated lower right: L. Alvarez/ Roma 1881

PROVENANCE:
Private collection, New York.

JACQUES FRANÇOIS CARABAIN (Belgian, 1834-1920)
Italian Village Scene
Oil on canvas
29-1/2 x 20-3/4 inches (74.9 x 52.8 cm)
Signed lower right: J. Carabain

PROVENANCE:
Private collection, New York.

ALESSANDRO SANI (Italian, 1870-1950)
On Market Day
Oil on canvas
23 x 29 inches (58.4 x 73.7 cm)
Signed upper left: A. Sani

PROVENANCE:
Private collection, New York.

ENRICO FANFANI (Italian, 1810-1910)
Woman by the Well
Oil on canvas
31-1/2 x 22 inches (80.0 x 55.9 cm)
Signed lower left: E. Fanfani

PROVENANCE:
Private collection, New York.

ALBERT H. SCHMIDT (Swiss, 1883-1970)
Djemaa el Fna, Marrakech
Oil on board
16-1/2 x 27-1/4 inches (41.9 x 69.2 cm)
Signed lower right: Schmidt

PROVENANCE:
Private collection, New York.

JOHN ALEXANDER HARINGTON BIRD (British, 1846-1936)
Desert Rider, 1905
Watercolor and pencil on paper
14 x 28 inches (35.6 x 71.1 cm)
Signed and dated lower right: Harington Bird/ 1905

PROVENANCE:
Joel Oppenheimer, Chicago (mat label).

BRONISLAW JAMONTT (Polish, 1886-1957)
Paysage Romantique (Romantic Landscape) , 1935
Oil on heavy handmade paper laid down on artists' cardboard
28-1/2 x 36-1/2 inches (72.4 x 92.7 cm)
Signed and dated lower right: Bronislaw Jamontt z Wilna XXXV

PROVENANCE:
Private collection.

EXHIBITED:
Carnegie International Exhibition, 1937, Pittsburgh, Pennsylvania, no. 240 (label verso of backing board "Paysage Romantique").

LITERATURE:
Peter Hastings Falk, ed., Record of the Carnegie Institute's International Exhibitions 1896-1996, Madison, CT, 1998, p. 168.

A slightly smaller work with a similar arrangement of motifs from 1929 is in the National Museum in Warsaw. Jamontt produced the present landscape the same year he became chair of the art department at the University of Vilnius. He was an important educator and a founding member of the Vilnius Society of Artists.

MICHELE CASCELLA (Italian, 1892-1989)
Spring
Oil on canvas
20 x 23-3/4 inches (50.8 x 60.3 cm)
Signed lower right: M. Cascella

EUGÈNE GALIEN LALOUE (French, 1854-1941)
Winter Street Scene - Paris
Gouache on paper
7-1/4 x 12-1/4 inches (18.4 x 31.1 cm)
Signed lower left: E. Galien-Laloue

PROVENANCE:
Nedra Matteucci Galleries, Santa Fe (label verso);
The Duffy and Tina Oyster Foundation, Dallas.

EUGÈNE GALIEN LALOUE (French, 1854-1941)
Parisian Market Scene
Watercolor on paper laid on board
9 x 11-3/4 inches (22.9 x 29.8 cm)
Signed lower left: E. Galien-Laloue

EDOUARD-LÉON CORTÈS (French, 1882-1969)
Porte Saint Martin, circa 1950
Oil on canvas
18 x 21-1/2 inches (45.7 x 54.6 cm)
Signed lower right: Edouard Cortès.
Inscribed verso: Private / Collection/ Lien- Aaron / #63

Accompanying this lot is a certificate of authenticity from David Klein.

ANTOINE BLANCHARD (French, 1910-1988)
Le Louvre et les Bouquinistes
Oil on canvas
13 x 18 inches (33.0 x 45.7 cm)
Signed lower right: Antoine Blanchard

PROVENANCE:
Callan Fine Art, New Orleans (label verso).

FRANÇOIS GALL (French, 1912-1987)
Eugénie Assise au Park Montsouris, 1959
Oil on canvas
26 x 21-1/4 inches (66.0 x 54.0 cm)
Signed lower right: F. Gall

This lot will be included in the upcoming François Gall Catalogue Raisonné, and the painting is accompanied by a letter of authenticity by M. Eugénie Gall dated July 29, 2007 (certificate no. 409).

PROVENANCE:
Christie's, New York, Impressionist and Modern Art, September 12, 2007, lot 45;
Duffy and Tina Oyster Foundation, Dallas, Texas.

PERE PRUNA OCERANS (Spanish, 1904-1977)
Portrait of Child with White Hat, 1927
Pencil and pastel on paper
13-3/4 x 10 inches (35.1 x 25.4 cm)
Signed and dated lower right: Pruna / 1927

PROVENANCE:
M. Seligman;
C.J. Carr;
Private collection, New York.

HENRY SPENCER MOORE (British, 1898-1986)
Three Seated Figures, 1981
Lithograph on paper
13 x 11 inches (33.0 x 27.9 cm)
Ed. 22/50
Pencil signed lower right: Moore

SAKTI BURMAN (Indian, b. 1935)
Lovers in the Mirror, 1999
Watercolor on Rives paper
19-3/4 x 25-1/2 inches (50.2 x 64.8 cm)
Signed lower center: Sakti Burman
Inscribed verso: Sakti Burman. "Lovers in the Mirror"/ 19.12.1999
Watermark: BFK RIVES FRANCE

PROVENANCE:
Private collection, Minnesota.

PAUL WEBER (German/American, 1823-1916)
Landscape with Covered Wagon, 1860
Oil on canvas
14 x 20 inches (35.6 x 50.8 cm)
Signed and dated lower right: Paul Weber / 1860

ARTHUR PARTON (American, 1842-1914)
Cows Watering
Oil on canvas
22 x 15-3/4 inches (55.9 x 40.0 cm)
Signed lower left: Arthur Parton

GEORGE INNESS, JR. (American, 1853-1926)
Autumn Afternoon, Indian Summer
Oil on canvas
18 x 24 inches (45.7 x 61.0 cm)
Signed lower right: G Inness

PROVENANCE:
Private collection, since 1900.

This painting by George Inness, Jr. is a smaller version of an 1894 composition by the artist's father, George Inness, Sr. (oil on canvas, 30 x 41 3/4 inches, private collection, previously with Meredith Long Co. Houston (1981) and Berry Hill Galleries, New York; see M. Quick, George Inness: A Catalogue Raisonné, New Brunswick, 2007, cat. no. 1145).
.

JOHN F. FRANCIS (American, 1808-1886)
Portrait of a Man, circa 1846
Oil on canvas
35 x 28-1/2 inches (88.9 x 72.4 cm)
Signed indistinctly and dated on the reverse
PROVENANCE:
Mr. and Mrs. George E. Missbach, Atlanta, Georgia;
High Museum of Art, Atlanta Georgia, until 2000;
Private collection, New York.

LITERATURE:
J.L. Larson, De. Hoopes and P. Peet, American Paintings at the High Museum of Art, New York, 1994, p. 195, illus.


Although best known for his "dessert" and "luncheon" still-life paintings, John F. Francis devoted his early career during the 1840s and '50s to portraiture, particularly of the elite from his hometown, Philadelphia. As a portraitist and silhouettist, Francis also painted subjects in rural Pennsylvania, Kentucky, Tennessee, Delaware, Ohio, Maine, Connecticut and Washington, D.C. During this time, he exhibited nearly twenty paintings at the Pennsylvania Academy of the Fine Arts annual exhibitions. His portraits were intimate, executed in a traditional manner: ladies and gentleman, or mothers with children, dressed in finery and seated in interiors framed by theatrical drapery and views of idyllic landscapes. Exemplifying Francis' early portraiture, this portrait highlights a stack of books to the sitter's left, intimating his intellectual or professional pursuits. The Presbyterian minister Dr. Charles Collins wrote about Francis shortly following his death: "Francis spoke with pride of his former associations among the opulent and distinguished society. Forty or fifty years ago, he ranked himself among the then well-known Philadelphia portrait painters, Sully, Darley, Brewster, etc." (A. Frankenstein, "J.F. Francis," Antiques, v.59, no.5, May 1951, p.375.)

WILLIAM ARBER BROWN KIRKPATRICK (American, b. 1880)
Woman in Blue, circa 1910s
Oil on canvas
32 x 25 inches (81.3 x 63.5 cm)
Signed lower right: W.A. Kirkpatrick

PROVENANCE:
Vose Galleries, Boston (label verso).

DE SCOTT EVANS (American, 1847-1898)
The Love Letter
Watercolor, gouache, and pencil on paper
23-1/2 x 15-1/2 inches (59.7 x 39.4 cm)
Signed lower left: De Scott Evans

ALBERT STERNER (American,1863-1946)
Olivia, 1903
Pastel on canvas
27 x 22 inches (68.6 x 55.9 cm)
Signed and dated lower left: Albert Sterner 1903

PROVENANCE:
Private collection.

This luminous pastel portrait depicts Olivia, daughter of the artist, who was three years old at the time she sat for this likeness. Sterner captured her maturing appearance and moods over the years both in paintings and in drawings of various media. Sterner's Olivia in Riding Habit of 1916 (oil on canvas, 32 x 26 in., acc. no. 50.3331) is in the permanent collection of the Museum of Fine Arts, Boston. A graphite and crayon drawing of Olivia Sterner at age eight, sketched by her father in Newport, Rhode Island in May 1911, was included in the 2006 exhibition, Drawings by Albert Sterner (1863-1946), at Spanierman Gallery in East Hampton.

The Hon. Paul H. Buchanan, Jr. Collection

EVERETT SHINN (American, 1876-1953)
The Artist in an Allegorical Setting, circa 1907
Oil on canvas
43-1/2 x 13-1/2 inches (110.5 x 34.3 cm)


PROVENANCE:
Hammer Galleries, New York (label verso);
Purchased from Grand Central Art Galleries, New York, June 11, 1980 (label verso).

This tall, thin painting of a flamboyantly-dressed artist at the easel - dashing off a portrait of a pretty woman - is a prime example of Everett Shinn's decorative rococo style. Owing to his ability to paint with tremendous speed (truly an American "fa presto"), his flashy brushwork, and his brilliance as a draftsman, Shinn was a favorite of New York's finest decorators and architects including Elsie de Wolfe, Stanford White, David Belasco, and Clyde Fitch. For a host of mansions Shinn painted murals, overdoors, ceilings, woodwork, mantelpieces, folding screens, sideboards, and even pianos in his rococo revival style. Artistically, Shinn was a talented chameleon: on one hand he produced paintings and drawings recording the grittiest urban denizens and their world in his so-called "Ashcan School" imagery, while on the other he painted Boucher-like confections for the homes of the upper crust.

This specific Louis XVIth-style painting by Shinn, with decorative gilt border and flourishes, originally formed part of a folding screen. It is reproduced in situ, in a photograph recording a lavish, unidentified interior, in Edith Deshazo's biography, Everett Shinn 1876-1953. A Figure in His Time, New York, p. 89.

JOHN GEORGE BROWN (American, 1831-1913)
Get'n Ready to Shovel, 1862
Oil on canvas
12 x 9 inches (30.5 x 22.9 cm)
Signed and dated lower left: J.G. Brown / 1862

PROVENANCE:
Roughton Galleries, Dallas (label verso);
The Duffy and Tina Oyster Foundation, Dallas, Texas.

KARL WITKOWSKI (American, 1860-1910)
Three Newsboys
Oil on canvas
24-1/4 x 30-1/4 inches (61.6 x 76.8 cm)
Signed lower right: K. Witkowski

PROVENANCE:
By descent to private collection, Mounds, Oklahoma.

FRANK DUVENECK (American, 1848-1919)
Man Holding a Skull (Memento Mori)
Oil on canvas
23-1/2 x 17-3/4 inches (59.7 x 45.1 cm)

PROVENANCE:
Collection of Georg Schaefer, Schweinfurt, Germany;
Neumeister Kunstauktionen, February 27, 1999, lot 67;
Private collection.

Circle of SANFORD ROBINSON GIFFORD (American, 1823-1880)
Mount Hood, Oregon, 1875
Oil on board
4-1/4 x 6-1/4 inches (10.8 x 15.9 cm)
Bears signature and date lower left: S. R. Gifford 1875

PROVENANCE:
Private collection, California;
Private collection, Oklahoma.

ARTHUR QUARTLEY (American, 1839-1886)
Morning Off Marblehead, 1877
Oil on canvas
10-1/2 x 19 inches (26.7 x 48.3 cm)
Signed and dated lower left: AQuartley 1877

EXHIBITED:
The Brooklyn Art Association, April 1878, no. 142.

THE HON. PAUL H. BUCHANAN, JR. COLLECTION

CHARLES A. WATSON (American, 1857-1923)
Bay of Baltimore
Oil on artist's board
5 x 10 inches (20.3 x 25.4 cm)
Signed lower right: C.A. Watson

Charles A. Watson was a landscape and marine painter who spent his artistic career in his hometown of Baltimore, Maryland. His favorite subjects were the Chesapeake and Baltimore Bays at sunrise, sunset, or at moments when they were slightly obscured by fog or mist. His works have an unassuming tranquility, and possess a refreshing, straightforward quality, notably devoid of artificially picturesque devices. Watson's marine views are frequently composed from the shore - often the beach - and from a rather low vantage point. The result is a design constructed exclusively of horizontal bands of sand, water and sky, only occasionally interrupted by a vessel on the sea. The approach is curiously minimal and unanecdotal. It is also deceptively simple: his ability to convey spatial recession convincingly through accurately foreshortened waves and clouds is evidence of his firm academic training. Watson studied with a number of notable Parisian-trained figures, among them Andre Castaigne, a pupil of Gerome, who distinguished himself as a successful portraitist and illustrator in his native France before coming to the United States where he established himself in New York and resided in Baltimore; and the Baltimore landscape painter Samuel Edwin Whiteman, who was a product of the École des Beaux-Arts in Paris where he had studied with Boulanger, Constant and Lefebvre, and won a prize in the Paris Exposition of 1889.

Some of Watson's later works show an awareness of Tonalism in their hazy paint application, where the evocation of mood is more important than a literal description of form. Watson preferred working on an intimate and sometimes miniature scale, which suggests in addition to his painterly manner and emphasis on light and atmosphere, that he worked outside directly in front of his subjects. With its ambitious palette of greens, blues and lavenders working in harmony, Bay of Baltimore is a testament to Watson's considerable skill as a colorist.

LOUIS RITTER (American, 1854-1892)
View of Capri, 1889
Oil on canvas
10-3/4 x 13 inches (27.3 x 33.0 cm)
Signed, dated, and titled lower right: Ritter 89 / Capri

PROVENANCE:
Skinner, Marlborough, Massachusetts, American and European Paintings, May 31, 1996, lot 44;
Private collection, New York.

GEORGE YEWELL (American, 1830-1923)
Bab Zuweyleh, Cairo, Egypt
Oil on canvas laid on canvas
12-1/2 x 10 inches (31.8 x 25.4 cm)
Inscribed on stretcher verso: Bab Zuweyleh - Cairo - Egypt / Built . A. D. 1087 / Painted by Geo. H. Yewell - N.A.


PROVENANCE:
Doyle, New York, Modern and Contemporary Art - European and American Art, December 3, 2003, lot 183;
Private collection, New York.

EDWARD PERCY MORAN (American, 1862-1935)
Venetian Harbor Scene
Oil on canvas
12 x 10 inches (30.5 x 25.4 cm)
Signed lower right: E. Percy Moran

GEORGE GIBSON (American, 1904-2001)
St. Theodosius Church-Ukraine, 1978
Watercolor on paper
22-1/2 x 29 inches (57.2 x 73.7 cm)
Signed, inscribed, and dated lower left: George Gibson / Aug. 1978 / ?WS

JANE FREILICHER (American, b. 1924)
Landscape with Pond
Gouache, watercolor, and graphite on paper
12 x 16 inches (30.5 x 40.6 cm) window
Signed lower right: Jane Freilicher

MAUDE DREIN BRYANT (American, 1880-1946)
Trees in the Fall, circa 1915
Oil on panel
8 x 10 inches (20.3 x 25.4 cm)
Artist's label verso, numbered 140

This screen of trees with radiant sun-dappled autumn foliage composed against a backdrop of saturated green fields and blue hills is the work of Maude Drein Bryant, a landscape and still-life painter born in Wilmington, Delaware. A product of both the Acadèmie Colarossi in Paris and the Pennsylvania Academy of the Fine Arts, where she trained under Thomas Anschutz, William Merritt Chase, and Hugh H. Breckenridge (to whom her style was most indebted), she adopted the brilliant Post-Impressionistic palette and technique exemplified by the present work, Trees in the Fall.

FROM THE ESTATE OF CHARLES MARTIGNETTE

ARTHUR DAVENPORT FULLER (American, 1889-1966)
Young Couple in a Garden, 1921
Oil on canvas
20 x 30 inches (50.8 x 76.2 cm)
Signed and dated upper left: Arthur / Fuller / 21

OLIVE PARKER BLACK (American, 1868-1948)
Autumn Landscape
Oil on canvas
16 x 24 inches (40.6 x 61.0 cm)
Signed lower right: Olive P. Black

PROVENANCE:
By descent to private collection, Mounds, Oklahoma.

DONNA NORINE SCHUSTER (American, 1883-1953)
Fishing Boats in the Harbor
Oil on canvas
14-1/2 x 21-1/2 inches (36.8 x 54.6 cm)
Signed lower right: Donna Schuster

We are grateful to Ray Redfern who verbally confirmed the authenticity of this lot.

EDWARD FRANCIS ROOK (American, 1870-1960)
San Pedro Guadeloupe
Oil on canvas
30-1/2 x 36-1/4 inches (77.5 x 92.1 cm)

GEORGE LOFTUS NOYES (American, 1864-1954)
Gloucester Harbor, 1951
Oil on canvas
14-1/4 x 18-1/4 inches (36.2 x 46.4 cm)
Signed lower right: G.L. Noyes

GEORGE LOFTUS NOYES (American, 1864-1954)
Gloucester Harbour , 1951
Oil on canvas
14-1/4 x 18-1/4 inches (36.2 x 46.4 cm)
Signed lower left: G.L. Noyes

FROM THE ESTATE OF CHARLES MARTIGNETTE

FREDERICK JUDD WAUGH (American, 1861-1940)
Early Moonrise, 1910
Oil on canvas laid on masonite
20 x 30 inches (50.8 x 76.2 cm)
Signed lower right: Waugh

ALEXANDER JOHN DRYSDALE (American, 1870-1934)
Marsh Landscape, 1931
Watercolor on paper
9-1/2 x 30 inches (24.1 x 76.2 cm) window
Signed and dated lower right: A.J. Drysdale/ 1931

ALEXANDER JOHN DRYSDALE (American, 1870-1934)
Marsh Landscape, 1931
Watercolor on paper
9-1/4 x 19 inches (23.5 x 48.3 cm)
Signed and dated lower right: A.J. Drysdale/ 1931

ALEXANDER JOHN DRYSDALE (American, 1870-1934)
Louisiana Bayou Landscape
Watercolor on paper
15 x 19-3/4 inches (38.1 x 50.2 cm)
Signed lower left: A J Drysdale

LAURA COOMBS HILLS (American, 1859-1952)
Floral Still Life
Oil on paper
19 x 14 inches (48.3 x 35.6 cm) window
Signed lower left: Laura Hills

ABRAHAM WALKOWITZ (American, 1880-1965)
Still Life of Flowers, 1923
Oil on canvas
24 x 20 inches (61.0 x 50.8 cm)
Signed and dated lower right: A. Walkowitz / 1923

GEORGE HERBERT BAKER (American, 1878-1943)
The Red Barn in Winter
Oil on canvas
22 x 18 inches (55.9 x 45.7 cm)
Signed lower left: G. H. Baker

PROVENANCE:
Treadway/Toomey, Oak Park, Illinois, 20th Century Art & Design, September 10, 2000, lot 512;
Private collection, New York.

DALE NICHOLS (American, 1904-1995)
Cottage with Spanish Moss, 1959
Oil on canvas
20 x 24 inches (50.8 x 61.0 cm)
Signed and dated lower left: Dale Nichols - 1959

CARL WUERMER (American, 1900-1983)
Rural Delivery
Oil on linen canvas
20 x 24 inches (50.8 x 61.0 cm)
Signed lower left: Carl Wuermer

PROVENANCE:
Grand Central Art Galleries, New York (label verso);
Private collection, Houston, Texas.

EDMUND WILLIAM GREACEN (American, 1877-1949)
Seated Woman
Oil on artist's board
15-3/4 x 12 inches (40.0 x 30.5 cm)
Signed lower left: Edmund Greacen

LEON KROLL (American, 1884-1974)
Pensive Nude
Oil on canvas board
24-1/4 x 20 inches (61.6 x 50.8 cm)
Signed lower left: Leon Kroll

PROVENANCE:
Dr. and Mrs. Robert Lieberman, Winter Park, Florida.

JANET I. FISH (American, b. 1938)
Bananas, 1989
Watercolor and graphite on paper
17-3/4 x 23-3/4 inches (45.1 x 60.3 cm)
Signed and dated lower right: Janet Fish 1989

PROVENANCE:
Christies, New York, January 10, 2006, lot 106;
Private collection, New York.

EXHIBITED:
Arkansas Arts Center, 2006 Collector's Show, Dec. 1-31, 2006, no. 19.

JANET I. FISH (American, b. 1938)
Red Onions, 1976
Pastel on brown paper
14 x 16-1/2 inches (35.6 x 41.9 cm)
Signed and dated lower right: Janet Fish 76

PROVENANCE:
Christies, New York, January 10, 2006, lot 107;
Private collection, New York.

CARL SPRINCHORN (American, 1887-1971)
Foothills at La Canada, California, 1919
Pastel on paper
16-3/4 x 23-1/2 inches (42.5 x 59.7 cm)
Signed lower right: Carl Sprinchorn

JACOB LAWRENCE (American, 1917-2000)
Life Study of a Female Nude
Oil on paper
23 x 16-3/4 inches (58.4 x 42.5 cm)

PROVENANCE:
Private collection.

EXHIBITED:
Arkansas Art Center, Little Rock, December 1980 (label verso).

PHILIP EVERGOOD (American, 1901-1973)
Cowboy and Mustang, 1954
Oil on canvas backed by masonite
12-1/4 x 16 inches (31.1 x 40.6 cm)
Signed and dated lower right: Philip Evergood / 54

PROVENANCE:
Kennedy Galleries, New York (label verso);
Dr. and Mrs. Robert Lieberman, Winter Park, Florida.

DAVID DAVIDOVICH BURLIUK (Russian/American, 1882-1967)
Girl, Duck, and Cow
Oil on canvas
9 x 11 inches (22.9 x 27.9 cm)
Signed lower left: Burliuk

PROVENANCE:
Private collection, New York;
R. B. Horowitz Fine Art, Minnesota (label verso);
Dr. and Mrs. Robert Lieberman, Winter Park, Florida.

DAVID DAVIDOVICH BURLIUK (Russian/American, 1882-1967)
Woman and Horse
Oil on canvas
12 x 16 inches (30.5 x 40.6 cm)
Signed lower right: Burliuk

PROVENANCE:
Dr. and Mrs. Robert Lieberman, Winter Park, Florida.

DAVID DAVIDOVICH BURLIUK (Russian/American, 1882-1967)
Amecameca, Mexico, 1947
Oil on board
11-1/2 x 16 inches (29.2 x 40.6 cm)
Signed, dated, and titled lower right: Burliuk 1947/ Amecameca, Mexico

DAVID DAVIDOVICH BURLIUK (Russian/American, 1882-1967)
The Beggars, 1930
Oil on canvas
17 x 13 inches (43.2 x 33.0 cm)
Signed lower right: Burliuk

PROVENANCE:
Martin Diamond Fine Arts, New York (label verso);
Dr. and Mrs. Robert Lieberman, Winter Park, Florida.

ISAAC SOYER (American, 1902-1981)
Red Stockings
Oil on canvas
28 x 15 inches (71.1 x 38.1 cm)
Signed lower right: ISAAC SOYER


PROVENANCE:
Christie's, New York, September 29, 1989, lot 349 (label verso).

ROBERT PHILIPP (American, 1895-1981)
Two Women in the Boudoir, 1976
Oil on canvas
29 x 35 inches (73.7 x 88.9 cm)
Signed and dated verso: Philipp / 1976

PROVENANCE:
Dr. and Mrs. Robert Lieberman, Winter Park, Florida.

ROBERT PHILIPP (American, 1895-1981)
Sunday Painter, 1974
Oil on canvas
30 x 40 inches (76.2 x 101.6 cm)
Signed lower left: Philipp
Inscribed verso: "Sunday Painter" By Robert Philipp 1974 / (Raphael Soyer) ("Sketching the Model")

PROVENANCE:
Ziegenfuss Gallery, Sarasota, Florida;
Dr. and Mrs. Robert Lieberman, Winter Park, Florida.

ROBERT PHILIPP (American, 1895-1981)
Daydreams, Paris
Oil on canvas
20 x 16 inches (50.8 x 40.6 cm)
Signed lower right: Philipp
Inscribed verso: "Daydreams, Paris" / Philipp

PROVENANCE:
Dr. and Mrs. Robert Lieberman, Winter Park, Florida.

RICHARD LINDNER (American, 1901-1978)
Children, circa 1950
Ink on paper
13-1/2 x 10-1/2 inches (34.3 x 26.7 cm)
Signed lower left: Richard Lindner

ARMANDO MORALES (Nicaraguan, b. 1927)
Pescaderas, 1979
Lithograph on paper
21-1/2 x 33 inches (54.6 x 83.8 cm)
Kyron ed. 4/75
Editioned, signed, and dated lower left: 4/75/ Morales/ 79

PAUL CADMUS (American, 1904-1999)
Mobile
Color screenprint on paper
16 x 19 inches (40.6 x 48.3 cm)
Inscribed and signed lower left: LXXV 73 / Cadmus

PAUL CADMUS (American, 1904-1999)
Stewarts, 1934
Etching on paper
Plate: 7-7/8 x 12 inches (20.1 x 30.5 cm)
Sheet: 11 x 15-3/8 inches (27.9 x 39.1 cm)
Pencil signed lower right: Paul Cadmus

PROVENANCE:
Midtown Galleries, New York;
Private collection.

LITERATURE:
Davenport, 35.

ROCKWELL KENT (American, 1882-1971)
Finished Drawing of a Man in Medieval Costume, 1956
Pen and ink with white gouache heightening on painted green laid paper
19-1/2 x 12-1/2 inches (49.5 x 31.8 cm)
Monogrammed and dated at lower center in blue ink and pencil: 19 K [inscribed by a circle] 56

PROVENANCE:
Private collection.

ROCKWELL KENT (American, 1882-1971)
Four Sheets of Original Drawings
Pen and ink on paper
Two bear stamps; one is signed Rockwell Kent and inscribed Tarrytown, New York.
Sheet sizes: 3-1/4 x 5-1/2 inches, 8-3/4 x 5-3/4 inches, 8 x 5 inches, and 6 x 8-1/2 inches

ROCKWELL KENT (American, 1882-1971)
Three sheets of drawings
All three stamped with Monhegan Studios stamp, 1907.
Graphite and charcoal on paper Sheet sizes: 5 x 6 in., 9 x 8.5 in., 8.5 x 8 in. (last two irregular edges)

PROVENANCE:
Private collection.

The complete contents of this lot can be viewed at HA.com.

ROCKWELL KENT (American, 1882-1971)
Three sheets of drawings
All three bear Monhegan studios stamp, 1907
Landscape, brush and ink wash on gray paper, 5 x 6.5 in.; sketches of man working, pen and ink, irregularly shaped sheet, 6 x 8 in.;
sketches with baseball player, pen and ink, 9 x 5.75 in.

PROVENANCE:
Private collection.

The complete contents of this lot can be viewed at HA.com.

OSCAR FLORIANUS BLUEMNER (American, 1867-1938)
North Bloomfield, 1925
Graphite on paper
4-1/2 x 6-1/4 inches (11.4 x 15.9 cm)
Titled, dated, and monogrammed upper left corner: N. Bloomfield/ 0-25/ OFB (monogram)
Inscribed verso: "Canal ___ near James St.", with color notes.

PROVENANCE:
Frederick Baker Inc., Chicago (label verso);
Private collection, New York.

EXHIBITED:
Arkansas Arts Center, "2005 Collector's Show," December 2, 2005-January 8, 2006.

LOUIS LOZOWICK (American, 1892-1973)
Steel Valley, 1936
Lithograph on paper
9-3/8 x 13-3/8 inches (23.9 x 34.0 cm), (sheet) 12.5 x 16.875 in.
Associated American Artists ed. 250, printed by George Miller
Pencil signed lower right: LOUIS LOZOWICK '43

PROVENANCE:
Private collection.

ALFRED HEBER HUTTY (American, 1877-1954)
Magnolia Gardens
Drypoint on paper
Plate: 6-1/2 x 6 inches (16.5 x 15.2 cm)
Sheet: 9 x 11-1/2 inches (22.9 x 29.2 cm)
Ed. 75
Pencil signed lower right: Alfred Hutty

PROVENANCE:
Private collection.

FRANK WESTON BENSON (American, 1862-1951)
Old Tom, 1926
Etching on paper
14-3/4 x 9-3/4 inches (37.6 x 24.9 cm), (sheet) 17.5 x 12.25 in.
Ed. 150
Pencil signed lower left: Frank W. Benson

LITERATURE:
Paff, 246.

PROVENANCE:
Private collection.

GRANT WOOD (American, 1891-1942)
Approaching Storm, 1940
Lithograph on paper
15-1/2 x 11-1/2 inches (39.4 x 29.2 cm) window
Signed in pencil lower right: Grant Wood

FRANK DUVENECK (American, 1848-1919)
Riva degli Schiavoni II
Etching on paper
Plate: 13-1/4 x 8-1/4 inches (33.7 x 21.0 cm)
Sheet: 18-1/4 x 11-1/2 inches (46.4 x 29.2 cm)
Signed, dated, and inscribed in the plate lower left: FD Venice 1880
Printer's mark verso: EHM

PROVENANCE:
Private collection.

JOHN TAYLOR ARMS (American, 1887-1953) and SAMUEL CHAMBERLAIN (American, 1895-1975)
Group of five etchings, four by Arms (Church of St. Francis; Veterans; Aspiration; Battlewagon) and one by Chamberlain (Harkness Memorial Chapel, Yale)
Etchings and aquatint on paper
All pencil signed
Aspiration bears Arms' dedication to Mr. and Mrs. Junius Morgan, parents of financier J. P. Morgan.

Church of St. Francis, Ciridale, 1931
Etching on paper
Plate: 7-1/2 x 10-1/2 inches (19.1 x 26.7 cm)
Sheet: 9-1/2 x 12-1/2 inches (24.1 x 31.8 cm)
Pencil signed and dated lower right: John Taylor Arms - 1931
Numbered in pencil lower left: Ed. 100

Veterans, 1916
Etching on paper
Plate: 5-7/8 x 3-7/8 inches (14.9 x 9.8 cm)
Sheet: 9-1/4 x 5-7/8 inches (23.5 x 14.9 cm)
Pencil signed and dated lower right: John Taylor Arms - 1916 -
Numbered in pencil lower left: 37/75

Aspiration (Tower of La Madeleine, Verneiul-sur-Avre), 1939
Etching on paper
Plate: 15-5/8 x 10-1/8 inches (39.7 x 25.7 cm)
Sheet: 18-1/2 x 12-3/4 inches (47.0 x 32.4 cm)
Pencil signed and dated lower right: John Taylor Arms - 1939
Numbered in pencil lower left: V [TP aside from ed. 419]
Inscribed in pencil from the artist: To Mrs. [or Mr.] Junius S. Morgan from John Taylor Arms / If you have one of my ships, you must also have one of my cathedrals! JTA
ex coll. Kelleher Galleries (stamp on mat backing)

Battlewagon, USS Alabama, 1943 [pictured]
Etching and aquatint on paper
Plate: 11-7/8 x 17-7/8 inches (30.2 x 30.2 cm)
Sheet: 15 x 21 inches (38.1 x 53.3 cm)
Pencil signed lower right: John Taylor Arms
Inscribed in pencil lower right: To my friends Henrietta and [?] Mueller

Harkness Chapel, Yale, 1933-34
Etching on paper
Plate: 10-3/4 x 8 inches (27.3 x 20.3 cm)
Sheet: 14-1/4 x 9-3/4 inches (36.2 x 24.8 cm)
Pencil signed lower right: Samuel Chamberlain
Numbered in pencil lower left: Ed. 125

JOHN TAYLOR ARMS (American, 1887-1953)
Group of 5 Prints
Etching and drypoint on paper
Each pencil signed
Light and Shade, Taxco [pictured], 1946, pencil signed and dated at lower right, inscribed with dedication by Arms lower left, (plate) 10.5 x 13.675 in., (sheet) 14.125 x 16 in.; Collegiate Church Toro, 1935, pencil signed lower right and inscribed Ed. 100 II at lower left, (plate) 9.5 x 12.5 in., (sheet) 11 x 16 in.; Sunlight and Shadows, pencil signed lower right and inscribed lower left: My first published plate / John Taylor Arms, (plate) 5.875 x 3.75 in., (sheet) 8.5 x 5.875 in.; The Arms' Christmas Card 1928, on thin tracing paper, signed and dated in pencil below plate, preserved with plate is the text of the card, (plate) 5.5 x 3 in., (sheet) 6.675 x 4 in.; Old Hoadley House, demonstration print by John Taylor Arms, 1941-42, elaborate description of plate and signed by Arms in pencil, (plate) 3.875 x 6 in, (sheet) 7.75 x 9.125 in.

ERLE LORAN (1905-1999); PHILIP CHENEY (b. 1897); CHARLOTTE JOAN STEINBERG; STOW WENGENROTH (1906-1978)
Group of Five American 20th-Century Lithographs
Lithograph on paper
Each pencil signed

Erle Loran 'San Francisco Bay', Philip Cheney 'Three Geese', Charlotte Joan Steinberg 'The Last Chore', Stow Wengenroth 'One Summer Day', and Stow Wengenroth 'Shore Line'. Full sheets.

OGDEN PLEISSNER (American, 1905-1983)
The Bell Tower
Oil on canvas
13-1/2 x 10-1/2 inches (34.3 x 26.7 cm)
Signed lower right: Pleissner
Inscribed verso: The Bell Tower

PROVENANCE:
Hirschl and Adler Galleries, New York;
New Orleans Auction Galleries, July 21, 2007, lot 161;
Private collection.

WILLIAM TROST RICHARDS (American, 1833-1905)
Seascape, 1901
Watercolor on paper
14 x 20 inches (35.6 x 50.8 cm)
Signed and dated lower left: Wm. T. Richards 1901

THE HON. PAUL H. BUCHANAN, JR. COLLECTION

WILLIAM TROST RICHARDS (American, 1833-1905)
British Coastal View (Coast of Cornwall), circa 1880
Oil on paper mounted on artist's board
8-3/4 x 16 inches (22.2 x 40.6 cm)
Signed lower left: Wm T. Richards

PROVENANCE:
Purchased from William Vareika, Newport, Rhode Island, 2000.

EXHIBITED:
"At Home and Abroad: Landscapes and Seascapes by William Trost Richards", William Vareika Fine Arts, Newport, Rhode Island, August 3 - October 15, 2000.

The rugged cliffs and tall stone pinnacles Richard recorded in this scene are characteristic of the Cornish coast in southwestern England, a landscape he painted quite extensively in 1880.

ALFRED THOMPSON BRICHER (American, 1837-1908)
Coastline with Distant Ships
Watercolor on paper
14 x 20-1/4 inches (35.6 x 51.4 cm)
Signed lower left: A. Bricher


PROVENANCE:
Private collection, New York.

Among the finest American marine painters who flourished during the last quarter of the 19th century, Alfred Thompson Bricher occupies a special place owing to his focus on the quietest aspect of the sea, low tide. Rather like his near-contemporary, Martin Johnson Heade, who was the first artist to explore in paint the landscape of New England salt marshes (previously considered topographically unremarkable), Bricher explored the sea at low tide without the pictorial drama of a wind-swept sky, churning surf, or vertical elements of interest. Rather, as in the present work, Coastline with Distant Ships, the New Hampshire-born Bricher took as his actual subject the crisp, clear light which illuminates the three zones of the paintings (earth, water and sky). The effect is quite modern in its minimalism: three bands of color, very near in tonality, are rendered with his feathery and tender brushwork.

Although during his lifetime Bricher's sea paintings in oil and watercolor brought him critical and financial success, enabling him to own homes in Staten Island and Southampton, New York, his work slipped from popularity following his death. Art historical scholarship from the 1970s and 80s reestablished Bricher's importance as a Luminist painter and watercolorist. The 1973 retrospective exhibition of his paintings mounted by the Indianapolis Museum of Art revived interest in his artistic achievement, and his work was subsequently included in two landmark exhibitions of American landscape painting, the National Gallery of Art's 1980 "American Light" and the Metropolitan Museum of Art's 1987 "American Paradise."

WILLIAM TROST RICHARDS (American, 1833-1905)
The Beach, Morning, circa 1888
Oil on panel
10 x 20 inches (25.4 x 50.8 cm)
Signed lower left: Wm. T. Richards
Inscribed verso: The Beach. Morning

PROVENANCE:
Estate of the artist;
Private collection, Philadelphia, c. 1970;
Thence by descent in the family until 2001;
Private collection, New York.

EXHIBITED:
Doll & Richards, Boston, 1888, cat. no. 29.

The Beach, Morning exemplifies Richards' Luminist compositions. Painted in Newport, Rhode Island around 1888, the year it was exhibited at Doll & Richards Boston gallery, it is noteworthy for its tonal range, tactile impasto, and elongated vista. Here, Richards demonstrates both his technical skills and his ability to capture emotion.

A native of Philadelphia, Richards developed his career through major national and international exhibitions, receiving medals at the 1876 Philadelphia Centennial Exposition and the 1889 Paris Exposition. Shortly before his death in 1905, he was awarded the Gold Medal from the Pennsylvania Academy of the Fine Arts.

ARTHUR FITZWILLIAM TAIT (American, 1819-1905)
Landscape with Sheep, 1893
Oil on canvas
18 x 27 inches (45.7 x 68.6 cm)
Signed and dated lower right: A F Tait NA, NY 93

PROVENANCE:
Purchased by the present owner from Skinner, 1980s.

LITERATURE:
W. H. Cadbury, Arthur Fitzwilliam Tait: Artist in the Adirondacks, including a checklist of his works by Henry F. Marsh, Newark, NJ, 1986, possibly no. 93.13 "Going to Pasture," p. 295.

Toward the end of his life, Arthur Fitzwilliam Tait produced a written inventory of some 1,557 paintings he made throughout the course of his artistic life. The original checklist, preserved in the Adirondack Museum, often provides the artist's original titles as well as prices paid and buyers for given works.

The present painting is consistent with the work described as number 93.13 in the checklist. Entitled "Going to Pasture" and measuring 18 x 27 inches, it bears close similiarity with other paintings of sheep subjects Tait also produced in 1893. In his checklist entry for number 93.13 [the number means the 13th painting Tait made in 1893], Tait noted that he had sold this painting in Chicago for $250.

JOHN FRANCIS MURPHY (American, 1853-1921)
Autumn Landscape, 1876
Oil paper on panel
6 x 10 inches (15.2 x 25.4 cm)
Signed lower left: J. Murphy

PROVENANCE:
The artist;
Private collection;
Mr. Paul Moro, 1978;
Mr. and Mrs. Herbert Baer Brill, 1978-1998;
Mrs. Edith Brill until 2000;
The Estate of Mrs. Edith Brill;
Private collection, New York.

EXHIBITED:
Hudson River Museum, New York, "J. Francis Murphy," April 29 - July 4, 1982, cat. no. 8.

Along with other American Tonalist painters, J. Francis Murphy preferred a muted palette of soft greys, moss greens, and golden yellows. Here Murphy's palette and painterly brushwork capture the poetic beauty of a pastoral landscape, an effect reminiscent of Corot and the French Barbizon School.

Primarily self-taught, Murphy possibly trained at the Chicago Academy of Design at the age of fifteen. In 1876, he made his debut with Summer Showers at the National Academy of Design, where he continued to exhibit annually until only a few years before his death. Named an Associate of the National Academy of Design in 1887, Murphy contributed regularly to the Art Institute of Chicago and other institutions, winning numerous prestigious prizes, notably at the National Academy of Design (1910), the Philadelphia Art Club (1899), and the Charleston Exposition (1902). Before his death in 1921, Murphy was recognized as a leading artist of his generation and was able to see one of his paintings sell at auction for nearly $16,000.

ARTHUR PARTON (American, 1842-1914)
Cows Watering at River's Edge, 1882
Oil on canvas
36 x 40 inches (91.4 x 101.6 cm)
Signed and dated lower left: Arthur Parton/ 1882

PROVENANCE:
Galerie Barbizon (label verso);
Thompson & Knight LLP., Dallas.

WILLIAM LOUIS SONNTAG (American, 1822-1900)
Autumn Landscape
Oil on canvas
14 x 20 inches (35.6 x 50.8 cm)
Signed lower left: W.L. Sonntag

PROVENANCE:
Mrs. Beatrice Dunn, Bismarck, Arkansas;
Private collection, Hot Springs, Arkansas (by descent).

William Sonntag's jewel-like Autumn Landscape, most likely a depiction of the Adirondacks, idealizes the American wilderness. As in his other paintings of this region, Sonntag utilizes a warm sunrise glow to illuminate a sweeping mountain range, bursting into autumn color. The dawn stillness is interrupted only by a rushing river and flurry of migrating birds - not by any signs of man or encroaching industrialization.

A native of Pennsylvania, Sonntag spent his early career in Ohio, during the 1840s training at the Cincinnati Academy of Fine Arts and painting landscapes in the nearby Ohio River Valley and the mountains of West Virginia and Kentucky. By the 1850s Sonntag had become a household name in this region, due in part to his commission from the B&O Railroad and to his regular appearances in the Western Art Union exhibitions. After trips to Europe in the early 1850s, Sonntag settled in New York City and became affiliated with the Hudson River School, favoring various eastern sites as his subjects: the Adirondacks, the Alleghenies, the Catskills, the Shenandoah Valley, and the White Mountains. The National Academy of Design awarded him associate membership in 1861.

GEORGE INNESS (American, 1825-1894)
Valley Near Perugia, 1871
Oil on canvas
24-1/4 x 19 inches (61.6 x 48.3 cm)
Signed lower right: G. Inness

PROVENANCE:
The artist;
Mrs. George (Elizabeth Hart) Inness (the artist's wife);
Fifth Avenue Art Gallery, Inness Executor's Sale, February 11-13, 1904, cat. no. 117;
Thomas E.H. Curtis, New York City, 1904;
Anderson Auction Galleries, November 14, 1918, cat. no. 60 (Curtis Sale);
Henry Schultheis, New York;
Private collection, circa 1920s;
By descent in the family;
Private collection, New York.

LITERATURE:
L. Ireland, The Works of George Inness: An Illustrated Catalogue Raisonné, Austin, 1965, pp. 97-8, no. 388, illus.
M. Quick, George Inness - A Catalogue Raisonné, New Brunswick, 2007, vol. I, p. 386, no. 405, illus.

In 1870 George Inness returned to Italy to paint the countryside for the American market, and on this occasion stayed for four years. The mid-career Italian paintings he produced during this extended trip offer more daring color effects and pictorial compositions than his earlier landscapes. The tighter landscapes give way to a broader handling that evokes a greater sense of atmosphere and light, and a much more subjective response to nature. Valley Near Perugia depicts a view of the Tiber valley from the hills east of Perugia. The canvas is suffused with a warm, atmospheric light which softly illuminates the features of the Italian countryside against an azure blue sky.

Valley Near Perugia bears an old inscription reading "Delaware Valley" and was catalogued as such, and dated to circa 1871 by Leroy Ireland in The Works of George Inness (Austin, 1965, pp. 97-98, no. 388, ill.). More recent scholarship by Michael Quick rightly relates the painting to an 1872 Inness entitled Near Perugia (Ireland, Works, pp. 151-152, no. 619, illustrated) and an 1873 painting The Perugian Valley, inscribed "Rome" (Ireland, Works, pp. 156-157, no. 641).

JOHN MARTIN TRACY (American, 1844-1893)
Field Trials in North Carolina, (Southern Field Trials: Lightfield Deuce & Prince Lucifer), (Central Field Trials), 1891
Oil on canvas
30 x 50 inches (76.2 x 127 cm)
Signed lower left: J.M. Tracy

PROVENANCE:
Private collection.

EXHIBITED:
"1893 Worlds Columbian Exposition", United States Alcove 182, no. 1156 (exhibited as SOUTHERN FIELD TRIALS, 1891).

LITERATURE:
W.B. Conkey, Worlds Columbian Exposition, Revised Catalogue Department of Fine Arts, Chicago, p. 74.

Ohio-born J.M. Tracy was renowned during his lifetime as a master painter of sporting scenes, dogs and horses, although during his early years as a professional artist he also painted portraits and landscapes of the American West. In 1881, possibly in response to the growing popularity of daguerreotypes, he closed his portrait studio in St. Louis and moved to Greenwich, Connecticut, to focus exclusively upon sporting subjects. The intense training in drawing from memory that Tracy had received at the École des Beaux Arts in Paris proved to be an invaluable tool once he turned to painting hunting subjects.

Field Trials in North Carolina is one of the largest works by Tracy to emerge from a private collection in recent decades. Selected by the United States as a work to be shown at the 1893 World's Columbian Exposition in Chicago shortly after it was completed, Fields Trials in North Carolina shows the artist in full command of his mature style at the height of his career.

JOHN SINGLETON COPLEY (American, 1738-1815)
Portrait of Mary Clarke (Mrs. Samuel Barrett), circa 1765-1770
Oil on copper
5-3/4 x 4-3/4 inches (14.6 x 12.1 cm)

PROVENANCE:
By descent to the sitter's daughter, Mrs. Mary E. Cabot;
Mrs. James Putnam, Boston;
Dr. Marian C. Putnam, New Haven;
Dr. and Mrs. Monroe A. McIver, Cooperstown, New York;
Private collection, New York.
Babcock Galleries, New York.

EXHIBITED:
Spink-Leger, London, Head and Shoulders, November 16 - December 17, 1999. no. 7.

LITERATURE:
A.T. Perkins, A Sketch of the Life and a List of Some of the Works of John Singleton Copley, 1873, p. 36.
F.W. Bayley, The Life and Works of John Singleton Copley, Boston, 1915, p. 56.
B.N. Parker and A.B. Wheeler, John Singleton Copley: American Portraits in Oil, Pastel and Miniature, with Biographical Sketches, Boston, 1938, p. 243
J. D. Prown, John Singleton Copley: In America 1738-1774, I, Cambridge, Massachusetts, 1966, p. 208, illus. 247

The famous colonial portraitist John Singleton Copley painted many memorable likenesses of the most prominent figures of his day, including his fellow Bostonians, Paul Revere and Samuel Adams, who played crucial roles in America's fight for independence.

The subject of this rare Copley miniature was his sister-in-law, Mary Clarke Barrett. She was the eldest child of Richard Clarke, a wealthy merchant and consignee for the East India Company, who was affiliated with the Boston Tea Party. The artist painted Mary in Boston during his engagement to her sister Susanna, before moving to England in 1774 at the urging of fellow portraitists Benjamin West and Sir Joshua Reynolds. In this intimate work, Copley demonstrates his tightly controlled brushwork and penchant for textures, making almost tactile the velvet ribbon of her hat and her pearl earring, satin gown, and feathered rose.

A companion piece depicting Mary's husband, Samuel Barrett, is in the collection of George B. Foste, Maryland.

GILBERT STUART (American, 1755-1828)
Portrait of the Right Honorable William Brownlow, circa 1790
Oil on canvas
30 x 25 inches (76.2 x 63.5 cm)
Inscribed on the stretcher in pencil: Lurgan

PROVENANCE:
By descent in the family to Charles, second Baron Lurgan, Brownlow House, until 1990;
Private collection, New York.

LITERATURE:
L. Park, Gilbert Stuart, vol. I, pp. 1893-1894, no. 121; vol. III, p. 77.
W.G. Strickland, A Dictionary of Irish Artists, vol. II.

William Brownlow (1726-1794), whose family helped found the linen industry in Ireland, was the son of William Brownlow and Lady Elizabeth Hamilton. An accomplished musician who trained in Italy from 1744 to 1748, Brownlow ultimately pursued a career in politics and represented the County Armagh in the Parliament of Lurgan from 1753 to 1794. Gilbert Stuart, who, in financial turmoil, had moved from London to Dublin in 1787, painted this portrait of Brownlow shortly before returning to the United States in 1792. Here, Stuart presents 64 year-old Brownlow during his parliamentary tenure, at his desk with a sample of linen in hand and books nearby. The marvelous translucency of the skin and flesh tones for which Stuart was justly celebrated are beautifully preserved in this portrait, and set off by the rich contrasts of the sitter's blue velvet jacket and the green tablecloth.

MARTIN JOHNSON HEADE (American, 1819-1904)
Jacqueminot Roses, circa 1883-1890
Oil on canvas
20 x 12 inches (50.8 x 30.5 cm)
Signed lower left: M.J. Heade
Original period frame
PROVENANCE:
Private collection, Massachusetts;
Richard York Gallery, New York;
Private collection, New York;
Babcock Galleries, New York;
Private collection.

LITERATURE:
T. Stebbins, The Life and Work of Martin Johnson Heade, New Haven, 2000, no. 520, illus., p. 329.

Heade painted flowers throughout his career, focusing especially on the subject during the final decade of his life when he was living in St. Augustine, Florida. Although he concentrated on southern varieties, such as Cherokee climbing roses and magnolias, jacqueminot roses remained a favorite. A visitor to his studio in 1896 remarked, "Mr. Heade, assisted by Mrs. Heade, received most cordially, surrounded by the exquisite blossoms Mr. Heade loves to paint, great Jacqueminot (sic) roses, rich and full..."1 Heade's Jacqueminot roses were regularly admired in Saint Augustine Tatler articles from the 1890s: "Then such roses! Great beautiful jacqueminots; with petals so delicately shaded as they rest by the rich plush draperies, handled as only Heade can paint them."2

In Jacqueminot Roses, Heade plays with textures, contrasting the velvetiness of the roses and tapestry with the hardness of the wood table and crystal vase. Heade scholar Ted Stebbins points out signifiers of class in the painting: "Though tumblers appear ordinary to modern eyes, they too were upscale items popular among the middle class. Such glasses were advertised as tumbler 'half pints' by numerous firms; they are made of blown glass with diamond-shaped etching over a frosted area, with cut flat flutes below."3

1 "The Painters," Saint Augustine Tatler 5, 3 (February 1, 1896), 5.
2 T. E. Stebbins, Jr., The Life and Work of Martin Johnson Heade: A Critical Analysis and Catalogue Raisonné. New Haven, 2000, p. 155.
3 Ibid., 136.

HIRAM POWERS (American, 1805-1873)
Proserpine, modeled 1844
Marble
24 inches (61.0 cm) high
Inscription on front of base: Hiram Powers

LITERATURE:
R. P. Wunder, Hiram Powers Vermont Sculptor, 1805 -1873, Newark, Delaware, 1990, II:187-204.

Proserpine was Powers's most popular sculpture. He carved 147 busts of the goddess of flowers in five different versions. The first version was completed in 1843 and shows the figure emerging from an elaborate wicker basket filled with a corsage of spring flowers. The second, the present example, was modeled a year later and features the goddess emerging from a basket filled with acanthus leaves. In the other versions Powers substituted a simple fringe of beads around the base, omitted the molding altogether, and depicted only the goddess's head and neck. Proserpine was originally intended to be a companion piece for Powers's bust Ginevra, which was executed in 1838, shortly after the sculptor's arrival in Florence.

MARGUERITE STUBER PEARSON (American, 1898-1978)
The Visitor
Oil on canvas
36 x 30 inches (91.4 x 76.2 cm)
Signed lower right: Marguerite S. Pearson

SEVERIN ROESEN (German/American, 1805-1882)
Still Life with Fruit and Champagne, circa 1865
Oil on canvas
40 x 50 inches (101.6 x 127.0 cm)

PROVENANCE:
Estate of the artist;
Private collection;
Private collection, Connecticut;
Childs Gallery, Boston;
The Currier Gallery of Art, Manchester, New Hampshire, circa 1985-2002;
Babcock Galleries, New York;
Private collection, Pennsylvania.

LITERATURE:
J. O'Toole, Severin Roesen, Lewisburg, Pennsylvania, 1992, p. 136.


Formerly in the collection of the Currier Museum of Art, New Hampshire, Still Life with Fruit and Champagne is noteworthy as one of Roesen's largest works, which features a complex and dynamic composition. Clustered on two stone tiers, grapevines, watermelons, plums, oranges, and lemons nestle a champagne bottle and flute. Nearby are a bowl of peaches, a compote with raspberries, and a bird's nest. Roesen scholar Judith Hansen O'Toole points out that few of Roesen's large paintings feature the technically-challenging spiral-peeled lemon, and only three contain a champagne bottle. A related painting of the same size, ambition and approximate date is in the permanent collection of the Brooklyn Museum of Art.

SEVERIN ROESEN (German/American, 1805-1882)
Fruit Still Life with Moth, circa 1860-1872
Oil on board
13-3/4 x 18 inches (34.9 x 45.7 cm)

PROVENANCE:
Private Southern collection;
Private collection, Pennsylvania;
Private collection, New York.

A letter of authentication from Judith Hansen O'Toole dated 2008 accompanies this lot.

Acclaimed for his "botanical accuracy, brilliant coloration, and technical virtuosity,"1 the still-life painter Severin Roesen emigrated from Germany in 1848 and practiced his craft in New York before settling permanently in the largely Germanic community of Williamsport, Pennsylvania, where he enjoyed steady patronage. Fruit Still Life with Moth, with its refined brushwork and elegantly balanced composition derived from European still-life traditions, characterizes the artist's best work from his later career. Roesen expert Judith O'Toole elaborates on the painting's symbolism: "The leaves and branch still attached to a ripe peach point to a colorful moth in the upper left-hand corner which seems about to alight. Insects and small birds are sometimes depicted in Roesen's work as traditional symbols of memento mori. In this case the moth is not hidden within the main still life, as is often Roesen's mode, but set aside in a delightful manner both bringing balance and animation to the composition."2

Roesen paintings are featured in prominent national collections, including those of the Amon Carter Museum, Brooklyn Museum of Art, Los Angeles County Museum of Art, Metropolitan Museum of Art, Pennsylvania Academy of the Fine Arts, Smithsonian American Art Museum, St. Louis Art Museum, United States Department of State, University of Vermont, Virginia Museum of Fine Arts, Westmoreland Museum of American Art, and the White House.

1N. Spassky, American Paintings in the Metropolitan Museum, vol. II.
2J. H. O'Toole, accompanying letter of authentication.

CHARLES SPRAGUE PEARCE (American, 1851-1914)
Moments of Thoughtfulness, 1882
Oil on canvas
21-1/2 x 29 inches (54.6 x 73.7 cm)
Signed lower left: Charles Sprague Pearce / Paris

PROVENANCE:
Estate of the artist;
Vanderbilt Estate, Cambridge, Massachusetts, circa 1920s;
By descent in the family, until 1999;
Private collection, Maine, 1999-2000;
Private collection, 2000-2009.

Charles Sprague Pearce was one of the most poetic and highly regarded American painters of French peasant subjects. Born in Boston, he was the grandson of the noted poet and banker Charles Pearce, who participated in the Boston Tea Party. After his graduation from the Boston Latin School, the aspiring painter worked as a merchant in the China trade, painting all the while. In 1873, upon the advice of William Morris Hunt, Pearce travelled to Paris where he studied in the atelier of Leon Bonnat alongside classmate John Singer Sargent. In the early 1880s he settled permanently in the small village of Auvers-sur-Oise, some 20 miles from Paris, where he devoted himself to painting tender and beautifully observed scenes of peasant life in a style strongly influenced by Jules Bastien Lepage and Jules Breton, which blends the freedom of Barbizon brushwork with an academic treatment of the figure. His reputation soon soared. The American expatriate showed regularly at the Paris Salon and received numerous awards, including the pinnacle of French distinction, the Legion of Honor.

Though based in France, Pearce always maintained close ties with the United States. He served as chairman of the Parisian jury for the Chicago Exposition of 1893 and the St. Louis Exposition of 1904, and in the 1890s executed a series of six lunette murals for the Library of Congress.

Prior to 1999, Moments of Thoughtfulness remained for 70 years in the same American family, who received it as a gift from the Vanderbilt estate in Cambridge, Massachusetts, during the 1920s. It is very likely that the Vanderbilt family acquired the painting directly from Pearce. This important painting's wonderful condition on an unlined canvas is a testament to its longevity in a private collection. Particularly well-preserved is the nearly life-sized face of the young, dark-haired girl. It is rendered with impeccable draftsmanship and a high degree of finish fully comparable to the best work of Pearce's contemporary, the great French academician Bouguereau. Contrasting with the porcelain quality of the figurative passage is the brushy, blisteringly white sky, a trademark of the revolutionary French landscapist Corot. The high horizon line of the hillside, as well as the gestural treatment of the wide grassy field sprinkled with red poppies in bloom, show Pearce's awareness of Impressionistic techniques, as well as of specific Japanese pictorial conventions informing contemporary French painting. In this one remarkable work, Pearce blended a constellation of influences, demonstrating how attuned he had been to the major trends in French art of his period.

WILLIAM MERRITT CHASE (American, 1849-1916)
The Red Kimona (Girl in Red) (The Artist's Daughter), circa 1908
Oil on canvas
33-1/2 x 28-3/4 inches (85.1 x 73.0 cm)

PROVENANCE:
Estate of the artist;
Chase Estate Sale, 1917;
M. Knoedler & Co., New York;
Mary D. Keeler, Los Angeles;
Private collection, Massachusetts;
Private collection.


EXHIBITED:
New York National Arts Club, "William Merritt Chase Retrospective Exhibition", January 5 - 13, 1910, no. 119, as Girl in Red.
Pennsylvania Academy of the Fine Arts, Philadelphia, "Annual Exhibition", Pennsylvania Academy of the Fine Arts,1911, no. 564, as Girl in Red;
Detroit Museum of Art, "Paintings by William M. Chase, N.A.", March 1916, no. 17 (and traveling to The Toledo Museum of Art, April 1916, no. 117);
Carnegie Institute, Pittsburgh, "Exhibition of Paintings by William Merritt Chase", November 3 - 30, 1922 (and traveling to the Cincinnati Museum, Ohio, December 1922; Albright Art Gallery, Buffalo, New York, January 13-February 1, 1923), no. 46, illustrated as Girl in Red (full-length).

LITERATURE:
R. Pisano, William Merritt Chase: Portraits in Oil, New Haven, 2006, vol. 2, pp. 236-37, nos. OP.496 & OP.496A, illus.

In 1868 Japan ended a long period of national isolation, and Japanese prints, ceramics, textiles, cloisonné, bronzes and other objects became more readily accessible to Europe and America. William Merritt Chase and his notable contemporaries James McNeill Whistler and John Singer Sargent not only participated in, but fueled the vogue for, Japanese costume subjects in painting. Chase, whose studio was famously filled with a vast array of objets d'art including decorative tapestries, ceramics, glass, woodwork, and metalwork from around the world, was quick to add Japanese kimonos and fans to his collection. With the costumes ready in his studio, Chase produced an immensely popular series of portraits with models in kimonos throughout the late 19th and early 20th centuries.

Modeled by the artist's daughter Dorothy, The Red Kimona is a striking portrait from Chase's Japanese period. The contrast of the bright red silk kimono decorated with sparkling golden embroidery against a dense black background creates a dramatic flair. According to Ronald Pisano, Chase specifically chose a very coarse canvas, as he did with many of the large paintings of this period, "with the intent of using the heavy weave to break up the pigment, thereby giving the work something of an effect similar to that achieved by the Impressionists."

This painting was originally conceived as a full-length portrait measuring 78 ½ x 36 inches, which had powerful formal affinities with Whistler's famous paintings of women in Japanese garments-notably La Princesse du pays de la porcelain (Freer Gallery of Art, Washington, D.C.). However, its mood is quite different. Whistler's women are more ethereal, ornamental, and emotionally inaccessible, while Chase's remain flesh-and-blood personalities, regardless of the costumes they put on. Even when he was working with the most evocative and impressionistic of means, Chase displayed his genius as a portraitist, for the personality always dominates the decoration.

The canvas of The Red Kimona was cut down at some point to its current size, likely after 1949. It was not an uncommon practice for the artist, as he was known to have cropped a number of large canvases to make them more modern-looking and more practical for private homes. The tradition continued after his death, often at the recommendation of artists in his immediate circle.

Other examples of the kimono series are The Kimono, c. 1895 (Private Collection), The Mirror, c. 1901 (Cincinnati Art Museum) and the stunning Girl in the Blue Kimono (The Blue Kimono), c. 1898 in the collection of the Parrish Art Museum.

HOVSEP PUSHMAN (American, 1877-1966)
Goddess of the Night
oil on panel
24 x 20-3/8 inches (61.0 x 51.8 cm)

PROVENANCE:
Mr. and Mrs. Jessie D. Wiggin, 1935;
Private collection, Meridian, Mississippi, circa 1980 to 2006;
Private collection.

EXHIBITED:
"Hovsep Pushman", Grand Central Galleries, New York, November 1935, no. 19.

LITERATURE:
Pushman inventory journal, no. 332.

The painting is in its original frame.

DENNIS MILLER BUNKER (American, 1861-1890)
Portrait of a Woman, circa 1890
Oil on canvas
22 x 18 inches (55.9 x 45.7 cm)
Incised across bottom of canvas: Friday 9 am

PROVENANCE:
The artist;
Mrs. Isabella Stewart Gardner, Boston, Massachusetts 1890;
The Detroit Institute of Arts, as gift from Mrs. Gardner, 1907-93;
Sotheby's, New York, May 27, 1993, lot 23;
Warren Adelson, New York;
Babcock Galleries, New York;
Private collection, New York.


EXHIBITED:
St. Botolph Club, Boston, "Dennis Miller Bunker, Memorial Exhibition", 1891, no. 27
(as The Dark Haired Model).

LITERATURE:
E. Hirschler, Dennis Miller Bunker: American Impressionist, Boston, 1994, p. 179.

Bostonian Isabella Stewart Gardner, the preeminent Gilded Age art collector, befriended and championed numerous contemporary artists, such as John Singer Sargent, Henry James, Bernard Berenson, and Dennis Miller Bunker. Born in New York, Bunker moved to Boston in 1885 and, quickly swept under Gardner's wing, painted various portraits of her family, including her brother-in-law and his children. It was through Gardner that Bunker met John Singer Sargent, who would become his great friend and mentor. In 1888, after Sargent left Boston for New York, Bunker inherited his clients, Boston's wealthiest and most prominent families.

Portrait of a Woman exemplifies Bunker's facility in capturing human beauty and character with the simplest of compositions. By limiting the color of the model's dress and the background to black tones, he focuses attention on her illuminated, elegantly turned face. This portrait was featured in a memorial exhibition of Bunker's work, organized shortly after his death by fellow artist Charles Platt and other friends. Today major museum collections, in Boston and beyond, possess paintings by Bunker, validating art historian Ted Stebbins' praise: "Bunker is now regarded as one of the major painters at work during the penultimate decade of the nineteenth century in America."

WILLARD LEROY METCALF (American, 1858-1925)
October Afternoon - Vermont, 1922-1923
Oil on canvas
26-1/2 x 29-1/4 inches (67.3 x 74.3 cm)
Signed lower left: W L METCALF
Metcalf estate stamp (verso)

PROVENANCE:
Milch Galleries, New York (frame bears Milch Galleries label);
Estate of Mrs. Mary Whaley, Short Hills, New Jersey;
William Doyle Galleries sale, April 4, 1979, lot 147, illustrated in black and white;
Private collection, New York, 1979 to present.

LITERATURE:
E. de Veer and R.J. Boyle, Sunlight and Shadow: The Life and Art of Willard L. Metcalf, New York, 1987, p, 143, ill. cat. no. 178 (black and white).

In 1922 the American Impressionist Willard Leroy Metcalf began a series of ambitious mid- to large-scale paintings of the New England landscape around Chester, Vermont (including the majestic North Country of 1923 in the Metropolitan Museum of Art, New York, and Indian Summer, Vermont of 1922 in the Dallas Museum of Art, Dallas, Texas), which would occupy him for the rest of his life. The present work, October Afternoon - Vermont, belongs to this extraordinary body of Metcalf's late-career landscapes-arguably his greatest-that possess an intensely emotional, but confident, broken brushwork, and a subtlety of color unprecedented in his previous efforts.

Metcalf's burst of painting activity beginning in February of 1922 followed directly on the heels of a miserable two-year period for the artist, when personally and professionally he was falling apart. In 1920 he was forced to confront the truth that his second marriage was failing, and he began moving around restlessly among the familiar places in Connecticut he had previously lived in and painted-Falls Village, Woodbury, Leete's Island, and even Kent, where his first wife and her new husband (the man she had left Metcalf for) resided. Nothing made him feel any better, and nothing managed to lift his sagging spirits, not even painting.

Nonetheless, during this dark time, in October of 1920, Metcalf came to discover the landscape around Chester, Vermont. The terrain of this region of southeastern Vermont had somehow previously escaped his notice, despite the fact he had lived and worked just up the river in the Cornish, New Hampshire artists' community, an enclave which included his friends Maxfield Parrish and Homer Saint-Gaudens. The towering, but undulating hills of Chester afforded vistas across rich green valleys to other swollen rises, and inspired Metcalf to pick up his brush for a bit. His initial stay there was brief, though it did yield four or five paintings. It was not enough for a one-man show at the Milch Galleries in the spring, however, and during the following year, he painted very little. What he did do was drink heavily. Late in 1921 his binges escalated and at one point, as Bruce Chambers so clearly put it, "He found himself in Boston, with no idea how, when or why he had arrived there" (B. Chambers, "Willard Leroy Metcalf: A Partial History of the Renaissance," in Willard Metcalf, 1858-1925: Yankee Impressionist, Spanierman Galleries, New York, 2003, p. 48). Someone, perhaps an acquaintance, was concerned enough to contact the artist's New York dealer, Albert Milch, who rushed up to Boston with an ultimatum: stop drinking or lose representation with his gallery. Metcalf gave up the bottle and the painting resumed with a marvelous new vigor and direction, with the hills of Chester as powerful inspiration.

For a period of ten months (February through November 1922), sixty-three year-old Metcalf painted in Chester, Vermont, outside, in the manner of the French Impressionists. He produced more than 15 paintings, which had a larger artistic vision than anything he had ever done. His conceived his paintings as great sweeps of countryside, rather than snippets of scenery. There was a new heroism and monumentality to the work, which can be felt in October Afternoon - Vermont. The painter Frank Benson, one of Metcalf's last surviving friends from The Ten (the circle of American Impressionists who exhibited together), joined him in Chester during October 1922 for companionship, and doubtless also for encouragement.

When Metcalf exhibited his 1922 Chester landscapes at his one-man show at Milch Galleries in 1923, critics were quick to note that they possessed something new. They had gained in force and simplicity of design, and had become considerably less sweet. Financial success followed critical success. In 1924 Milch awarded Metcalf another one-man show, which drew even more praise than that of the previous year. The Metropolitan Museum of Art, not known at the time for its interest in contemporary painting or Impressionism, purchased North Country for its permanent collection. Metcalf kept painting, and his works kept improving.

At this point in his career, Metcalf most deeply admired the work of John Twachtman for its broken brushwork and Tonalism. Indeed, as October Afternoon - Vermont clearly demonstrates, Metcalf fully grasped the significance of Twachtman's low-contrast aesthetic, albeit with a palette of greater chromatic saturation. In October Afternoon, Vermont, the hues have the same value, and because they exist at the same level of intensity, this creates the effect of a shimmering atmospheric light. Damp turning leaves and grassy fields seem to be radiating warmth underneath the hot sun of an Indian summer sky. The hills and spindly trees are artfully cropped to suggest the viewpoint of someone wandering just over a rise and happening upon a stunning intersection of field and mountain and sky.

Not long before he suffered the heart attack that ended this late, poetic phase of his life, Metcalf wrote a letter to his daughter Rosalind, trying to put into words the place of painting in his life and what he strove to say with it. The language is as fresh and unguarded as his best painting: "My desk here looks as though a cyclone had struck it. Letters and bills piled up - waiting to be attended to - and I've been so busy with my painting, I've simply put it off...I am, as usual, ashamed at such gross procrastination...particularly when, like me, one has thoughts for hardly anything but the making of, the giving everything in one's soul and being over to the endless effort of putting paint on a canvas with a miserable little brush - and endeavoring to make it express thoughts and dreams that will perhaps reach out and say something to someone, something that will make wandering souls stop and look - perhaps awaken something in them that may make them think of beautiful things, and so perhaps happiness. Oh my dear - it's a long journey this painting game - and such a hard and continued effort - if one has an idea, such as I have, and the desire for perfection."

This work was sold under the title Autumn Landscape in 1979 to the current owner, and was possibly exhibited as Late Afternoon in October, no. 23 (no dimensions recorded) in the Willard Metcalf exhibition staged at the Corcoran Gallery of Art, Washington, D.C., from January 3 through February 1, 1925.

CHILDE HASSAM (American, 1859-1935)
Washington Scene (St. John's Church), 1926
Watercolor and graphite on paper
13 x 9 inches (33.0 x 22.9 cm)
Titled, signed and dated lower right: Washington / Childe Hassam March 29, 1926.

America's most famous Impressionist, Childe Hassam specialized in cityscapes and landscapes noted for their refined palette and technique. Born in Boston, he studied first at the Boston Art Club and then in Paris at the Académie Julian with Boulanger, Lefebvre and Doucet. It was in Paris that he embraced the Impressionism of Monet, Pissarro and Sisley, later introducing this style to American audiences. He exhibited in every major national and international exhibition of his time, won more than 30 important prizes and medals, and saw his work enter the principal collections of his day. A key figure in The Ten, a group of American Impressionists, Hassam was invited to participate in the 1913 Armory Show. The paintings in his estate were bequeathed to the American Academy of Arts and Letters - a magnificent legacy for modern artists.

Hassam frequently painted urban street life and architecture, and Washington Scene (St. John's Church) is one of a series of approximately twelve watercolors that he created while visiting the nation's capital. Other examples from this series are in the collections of the New Britain Museum of American Art and Harvard's Fogg Art Museum. Hassam's gestural brushwork and colorful palette are evident here in the wind-tousled tree foliage screening the church.

EDWARD DUFNER (American, 1871-1957)
By the River
Oil on canvas
46-1/2 x 34-1/4 inches (118.1 x 87.0 cm)
Signed lower left: Edward Dufner

FROM THE ESTATE OF CHARLES MARTIGNETTE

LOUIS FREDERICK BERNEKER (American, 1872-1937)
Blowing Dandelions
Oil on board
23-1/2 x 20 inches (59.7 x 50.8 cm)
Signed lower right: Louis F. Berneker
Signed verso: Louis F. Berneker / 71 E. 59 st.

RICHARD E. MILLER (American, 1875-1943)
Zilpha and the Clam Digger, 1935
Oil on canvas
48 x 49 inches (121.9 x 124.5 cm)
Signed lower left: Miller

PROVENANCE:
Private collection.

EXHIBITED:
"Fourteenth Biennial Exhibition of Contemporary American Oil Paintings," Corcoran Gallery of Art, Washington, D.C., March 24 - May 5, 1935, no. 227.

LITERATURE:
Catalogue of the Fourteenth Biennial Exhibition of Contemporary American Oil Paintings, Corcoran Gallery of Art, Washington, D.C., 1935, ill. opposite p. 85.

Most serious artists at one time or another during the course of their careers depart from the well-known idiom that made them famous to create something quite different, but equally compelling. Such was the case with the immensely successful American Impressionist, Richard E. Miller, a St. Louis, Missouri, native whose paintings of beautiful women in gorgeous gowns arranged almost like still lifes in sun-drenched domestic interiors were avidly collected by museums and private collectors alike. His energetic brushwork, fluid paint and luscious color, mastered over the course of many years in the Giverny artists' colony in France, described worlds of elegance and leisure. But following the stock market crash of 1929, Miller sharply turned his back on radiant Impressionism and refined subject matter, to paint for half a decade the fisher families of Cape Cod, Massachusetts. It was a subject closely associated with his longtime friend and associate Charles Hawthorne. However, the somber palette and sculptural solidity Miller adopted for these sensitive works were characteristic of the newly emerging American Regionalist style, a brand of realism born, incidentally, in his native Midwest with Thomas Hart Benton, John Stuart Curry and Grant Wood.

Although he had lived and worked in Provincetown, Massachusetts, since 1918, Miller had never made the hardworking "sea-going farmers" of the Cape-the subject of this marvelous painting of a girl and her father (Zilpha and the Clam Digger of 1935)-the subject of his art. His new interest in their quiet dignity, sobered by years of hard manual labor at a way of life that was rapidly disappearing, had everything to do with cultural relevance and his own social conscience. As the United States plunged into the Great Depression, images of sun-dappled ladies of leisure struck the wrong visual chord. Figures tied actually and metaphorically to the land they worked had far more gravitas. They became the motifs Miller wanted to put on canvas.

Miller was doubtless aware of Grant Wood's iconic American Gothic of 1930 (Art Institute of Chicago), where the figure of the farmer and his wife are presented front and center before a pinched and tidy house with chintz curtains in the windows and neatly trimmed lawn all around. While the insistent monumentality of Wood's figures bears some resemblance to Miller's fisher folk, his biting narrative does not. Miller's depictions of the Cape's hardworking farmer-fishermen were softer and more sympathetic, both in execution and in sentiment. He stressed their nobility.

The two greatest paintings from this fascinating moment in Richard Miller's career were Cape Cod of 1932 in the permanent collection of the Joslyn Art Museum, Omaha, and the present work, Zilpha and the Clam Digger of 1935, a painting much less-well known having been held continuously in private collections. Both paintings are nearly identical in size, measuring almost 50 inches square. Both present pairs of figures against what Mary Louise Kane termed, "barren yet enduring hills," which she notes Miller himself had identified as the same Truro hills playwright "Eugene O'Neil [sic] used in 'Beyond the Horizon'" (M. L. Kane, A Bright Oasis: The Paintings of Richard E. Miller, The Jordan Volpe Gallery, New York, 1997, p. 67). As Kane points out, Miller gave the flesh of these figures the same color as the pale Truro hills, thereby linking them to the bedrock of their country.

Whether Miller conceived these two large paintings as part of a series is unknown, for no other works of this particular type featuring figures of such quiet grandeur and prominence have been traced. The artist painted still lifes and landscapes in a similar vein, but without the human element which sets these two works apart from the rest in artistic potency. Miller's decision to send these two canvases to two Corcoran Biennial exhibitions, in 1932 and in 1935, shows that he regarded them as his most important achievements of the period.

WILLIAM JAMES GLACKENS (American, 1870-1938)
Three Tomatoes, circa 1915
Oil on wood panel
8-1/2 x 10-1/2 inches (21.6 x 26.7 cm)
Estate stamp verso

PROVENANCE:
Kraushaar Galleries, New York;
Private collection, Connecticut;
Private collection, New York.

Beginning in 1925, William Glackens divided his time between Europe and America with extended periods in France. After an early trip to Spain and France in 1906, where Glackens encountered the work of Pierre Auguste Renoir, he had an awakening response to color. Glackens abandoned the gritty, urban aesthetic of The Eight for a more colorful palette. Three Tomatoes' feathery brushstrokes coalesce to produce a lush, shimmery surface on the fruits. The bright reds against the rich blues and purples show the artist's mastery of color and luminosity inspired by the daring chromatic experiments of Renoir.

JOHN SLOAN (American, 1871-1951)
Girl with Auburn Hair, (Miss Kitty Yoder), circa 1900
Oil on canvas
23-1/2 x 19-1/2 inches (59.7 x 49.5 cm)
Inscribed verso: 708/#708 / Miss Yoder "Kitty" / Girl with Auburn Hair / 1903
JS inventory #708

PROVENANCE:
Estate of the artist;
Kraushaar Galleries, New York (label verso);
Private collection, New York

EXHIBITED:
Moore College of Art Gallery, Philadelphia, "John Sloan/ Robert Henri: Their Philadelphia Years (1886-1904)", October 1-November 12, 1976.

LITERATURE:
St. John Bruce, "John Sloan in Philadelphia," American Art Journal 13, Fall 1971, p. 86, illus.
G. Holcomb, A Catalogue Raisonné of the Paintings of John Sloan, 1900-1913, Ph.D. diss., University of Delaware, 1972, pp. 103-104 illus.
R. Elzea, John Sloan's Oil paintings, A Catalogue Raisonné, Newark, 1991, pp. 54-55, illus. no. 36.


Girl with Auburn Hair depicts Kitty Yoder, a close Philadelphia friend of John and Dolly Sloan, in the dim light of a neighborhood eatery. Here Sloan demonstrates his early interest in presenting his sitters within the context of daily life -- a harbinger of The Eight's vanguard urban subjects. Girl with Auburn Hair also recalls the tonal painting technique so admired by Robert Henri, William Merritt Chase, and John Singer Sargent.

ERNEST LAWSON (American, 1873-1939)
Tropic Night
Oil on panel
15 x 20 inches (38.1 x 50.8 cm)

PROVENANCE:
The artist;
Edmund W. Greacen;
Nan Greacen (wife of the artist);
Michael St. Clair, 1961;
Estate of Michael St. Clair;
Private collection.

EXHIBITED:
National Gallery of Canada, "Ernest Lawson", 1966;
Hecksher Museum, New York, 1975.

Of all the painters associated with The Eight, Ernest Lawson emerged as the only true landscape painter. He had his first solo exhibition at the Pennsylvania Academy in 1907, and won a prize for a winter landscape, a theme which became his single most identifiable subject. Lawson was known for his richly colored and heavily impastoed style of impressionism, which the critic James Hunecker described as "a palette of crushed jewels." Lawson painted from life, traveling throughout New England, France, Spain and Florida studying bucolic landscapes. Tropic Night, painted in Florida, is a prime example of Lawson's much sought after "crushed jewel" technique. A thick paint application of vibrant colors captures the warmth and subtle glow of a Florida twilight.

Tropic Night was a gift from the artist to his friend and colleague Edmund Greacen. In addition to being a distinguished painter, Greacen was also a president of Grand Central Galleries artists' cooperative in New York. Upon his death, Greacen"s wife inherited this painting, and she subsequently sold it to Michael St. Clair through Grand Central Galleries. Michael St. Clair is the former director of Babcock Galleries and the painting was in his private collection until his death in 1998.

JOHN MARIN (American, 1870-1953)
Sunset, Cape Split, Maine, 1943
Watercolor and graphite on paper laid on paper
5-3/4 x 16 inches (14.6 x 40.6 cm)
Signed and dated lower right: Marin 43
Titled and dated verso: Sunset / Cape Split / Me / 1943

PROVENANCE:
The Downtown Gallery, New York;
Mr. and Mrs. Irving Brown, Brooklyn, 1961;
Private collection, New York.

EXHIBITED:
Birnham Wood Galleries, New York, "Modern Life: American Paintings Between the Wars," July 5 - August 5, 2007.

LITERATURE:
S. Reich, John Marin: A Stylistic Analysis and Catalogue Raisonné, Tucson, Arizona, 1970, p. 729, no. 43.16.

From 1907 through 1917, Alfred Stiegliz's New York gallery "291" and its successor "An American Place" became the epicenter of a new community of artists and critics who championed modern art, photography as a fine art, and also children's art and naïve art in the United States. Stieglitz promoted the work of a core group of American modernists who experimented with varying degrees of abstraction in their work, and who were eventually dubbed "the Stieglitz Group." These figures included John Marin, Charles Demuth, Georgia O'Keeffe, Arthur Dove, and Marsden Hartley, all of whom explored the merits of form and color in a way that would come to define the direction of early American modernism.

Marin was a master of his preferred watercolor medium, and Sunset, Cape Split, Maine displays his confidence and virtuosity with it. With just a few strokes of color, Marin captures the spirit of an electric sunset on water laid out before him with brilliant vitality. The blues, reds, pinks, and purples fill the sky and are echoed in the water. Maine was a favorite subject of Marin's; he vacationed there every summer from 1914 until his death in 1953, and drew much of his artistic inspiration from its soaring skies and cranky shorelines.

WILLIAM ZORACH (American, 1887-1966)
The White House (Robinhood Village), circa 1935
Watercolor on paper
15 x 22-1/2 inches (38.1 x 57.2 cm)
Signed lower right: William Zorach
Inscribed verso: Robinhood Village
Watermark: 1934 England B(?)

PROVENANCE:
The artist;
George Robinson, New York;
Thence by descent until 2003;
Sotheby's, New York, October 7, 2003, lot 203;
Private collection, New York.

MARGUERITE THOMPSON ZORACH (American, 1887-1968)
Sunset, Provincetown
Watercolor and graphite on paper
7-3/4 x 12-1/4 inches (19.7 x 31.1 cm)
Signed lower right: Zorach
Titled lower left: Sunset, Provincetown

CHARLES DEMUTH (American, 1883-1935)
Trees and House (Provincetown), 1916
Watercolor and graphite on paper
9-3/4 x 13-1/4 inches (24.8 x 33.7 cm)
Signed and dated lower left: C. Demuth - 1916

PROVENANCE:
Estate of the artist Robert Locher, 1935;
Nelson Goodman, Schwenksville, Pennsylvania, (bequest from above),1956;
Vance Jordan Fine Art, New York;
Thomas Colville;
Babcock Galleries, New York;
Private collection, New York.

EXHIBITED:
Rhode Island School of Design, Providence, Rhode Island, Demuth Exhibition, 1939;
Fogg Art Museum, Harvard University, Cambridge, Massachusetts, 1972- 1995 (on loan)

LITERATURE:
E. Farnham, Charles Demuth: His Life, Psychology and Works, vol. II, Ph.D. diss., Ohio State University, 1959, no. 220, p. 295.
G. Greer and A. Smith, American Paintings 1860-1960, New York, 2000, p. 36, illus. p. 37.

The Precisionist painter and watercolorist Charles Demuth received his early training in Philadelphia, at the Drexel Institute and the Pennsylvania Academy of Fine Arts. By 1915 he had traveled to Paris on several occasions, forming close associations with patrons Leo and Gertrude Stein and Fauvists Henri Matisse, André Derain, Raoul Dufy and Maurice de Vlaminck. After his return to New York, Demuth exhibited at Alfred Stieglitz's "291" gallery and continued to experiment with color within a modernist vocabulary, as did his friends Marsden Hartley, Georgia O'Keeffe, and John Marin, who also belonged to Stieglitz's stable of artists.

In Trees and House, 1916, Demuth constructs a jaunty Cubist landscape of Provincetown, Massachusetts, from flat, geometric shapes and faceted planes. The town's famous Pilgrim Monument is visible in the background. Thin washes of pastel colors soften the insistent angularity of these fragmented forms, creating a distinctive effect that is assertive and delicate at the same time.

ARTHUR GARFIELD DOVE (American, 1880-1946)
Brown Barn, 1935
Watercolor on paper
4-3/4 x 6-3/4 inches (12.1 x 17.1 cm)
Signed lower center: Dove
PROVENANCE:
Alfred Stieglitz, New York;
Private collection, New York.

While studying in Paris, Arthur Dove met fellow American artist Alfred Maurer who introduced him to Matisse, Cézanne, and Picasso. Inspired by Matisse, in particular, Dove began to reduce his compositions to large areas of pure color.

This experimentation with color and abstraction continued to shape Dove's career upon his return to New York. In 1912 the photographer and modern art promoter Alfred Stieglitz organized at his gallery "291" Dove's debut solo exhibition. Here, Dove featured a series of pastels, Ten Commandments, considered radical as the first public exhibition of abstract art by an American.

In 1933 Dove inherited his parents' estate in Geneva, New York, prompting him to make his living as a farmer until poor health forced him to relocate in 1938. Moved by the beauty of the countryside, Dove created abstract works derived from the "essence of nature." Brown Barn suggests the elemental power of the rural landscape through the earth-toned, minimalist barn archetype.

CHARLES SHEELER (American, 1883-1965)
Barn Decorations (Hex Signs), 1959
Tempera on plexiglass
6-1/2 x 9-1/2 inches (16.5 x 24.1 cm)

PROVENANCE:
The Downtown Gallery (Edith Halpert), New York, 1959;
Terry Dintenfass Gallery, New York;
Drs. Macia and Meyer Friedman, and their estates, 1978-2001;
Sotheby's, New York, American Paintings, November 28, 2001, lot 142;
Private collection, New York.

EXHIBITED:
The Downtown Gallery, New York;
Amon Carter Museum, Fort Worth, "American Art... 20th Century Image to Abstraction", 1967;
Terry Dintenfass Gallery, New York.

After World War I, Charles Sheeler and a small group of American artists, including Charles Demuth, Joseph Stella, and Georgia O'Keeffe, popularized a highly controlled genre of painting that became known as "Precisionism." Though the group's subject matter often varied greatly, all were known for a style characterized by simple forms, clear outlines and smooth surfaces.

The Precisionist painters chose distinctly American subjects that were unique to life in the early 20th century, such as industrial landscapes and regional culture. In Barn Decorations, Sheeler applies his new technique to a familiar scene. Barn decorating reached its peak in the early 20th century and was quite common in Pennsylvania, where Sheeler resided. This reference to the folk art tradition serves as a potent reminder of Sheeler's recognition of shared artistic tenents between modernist and primitivist expressions.

Barn Decorations (Hex Signs) is related to a large oil of the same subject - one of Sheeler's last paintings. As was often his practice after 1940, Sheeler completely resolved a composition in smaller versions before undertaking the final version, first on plexiglass, then in tempera on board. The 7 1/2 x 10 in. tempera on paper version of this work belongs to the Stephen and Sybil Stone Foundation (see M. Friedman, B. Hayes, and C. Millard, Charles Sheeler, Washington, D.C., 1968, p. 31).

ALFRED HENRY MAURER (American, 1868-1932)
Abstract Portrait, circa 1930
Gouache on paper
21 x 17 inches (53.3 x 43.2 cm)
Signed lower left: A.H. Maurer

PROVENANCE:
Estate of the artist, 1932-1941;
Mrs. Eugenia Maurer Fuerstenberg, (the artist's sister), and Alfred H. Maurer, (the artist's nephew);
Hudson D. Walker, New York, 1941;
Sylvan Cole;
Babcock Galleries, New York;
Private collection, New York.

In search of the refinements awarded by Parisian training, the precocious painter Alfred Maurer travelled to France in 1897, where he shifted his artistic direction from moody fin-de-siècle style portraits and genre scenes of café life to an avant-garde Cubist and Fauvist aesthetic. The speed by which he mastered in startling succession academic portraiture, Impressionistic urban subjects rendered with virtuoso brushwork and a high-keyed palette, Cézannesque and Fauvist still lifes and landscapes, and eventually Cubist portrait heads, caught the attention of art critics on both sides of the Atlantic. His work was included in major shows of contemporary painting of the period, including the 1907 Salon d'Automne, Alfred Stieglitz's gallery "291" and "An American Place" in 1909 and 1910, the Armory Show of 1913, and the 1916 Forum Exhibition at Anderson Galleries.

By the 1920s, Maurer devoted most of his time to developing Cubist still lifes and portraits. In 1928, he moved to a new studio and began working from a live model. Using the figure as both a focal and inspiration point, he created a series of paintings and drawings of "Cubist heads," of which this work is a fine, monumental example. Abstract Portrait uses lines to break apart the face and the upper torso of the subject into provocative shards or fanciful multicolored planes. The results had a wide spectrum of moods and, doubtless, meanings. The insightful poet and art critic Gerrit Henry, on viewing Maurer's works from this period, remarked that "here was an artist who knew just what he was undoing..." A champion of figurative painting at a time when conceptualism and art theory kept all painting on the defensive, Henry was keenly attuned to the work of painters, like Maurer, who shifted to abstraction only after having mastered representation at a very high level. Gerrit Henry regarded their abstraction as if it were representation in another mode, which it arguably was.

PRESTON DICKINSON (American, 1891-1930)
Still Life with Condiments (The Provolone Cheese), circa 1925
Pastel on paper laid down on paper
17 x 23-1/2 inches (43.2 x 59.7 cm)

PROVENANCE:
The Downtown Gallery, New York, 1964;
Owen Gallery, New York.

EXHIBITED:
Birnam Wood Galleries, New York, "Modern Life: American Paintings between the Wars", July 5 - August 5, 2007.

With the financial assistance of philanthropist Henry Harby and future gallery owner Charles Daniel, New York native Preston Dickinson moved to Paris at the turn of the 20th century, where he was influenced by the avant-garde artists Paul Cézanne, Georges Braque, and Juan Gris. During this period, he studied at the École des Beaux Arts and the Académie Julian and exhibited at the Salon des Artistes Françaises and the Salon des Indépendants.

Upon his return to New York, Dickinson applied the Cubism he had learned in Paris to distinctly American subjects, including modern architecture and industry. His emphasis on the American scene and his tightly controlled use of line linked him with the Precisionists, notably Charles Sheeler and Charles Demuth, with whom he exhibited at the Charles Daniel Gallery.

In Still Life with Condiments, Dickinson's innovative technique - a combination of Cubism and Precisionism - accentuates the geometric core of the assembled objects: circular plate, spherical peach, rectangular place mat and knife, and cylindrical salami, bread loaf, salt shaker, and tumbler. Here, Dickinson also carefully juxtaposes textures, from the hardness of the wood table and metallic knife to the luminosity of the glass vessels, to the fleshiness of the oversized fruit.

EDGAR LEVY (American, 1907-1975)
Lucille at the Drafting Board, circa 1933
Oil on canvas
36 x 48 inches (91.4 x 121.9 cm)

PROVENANCE:
Estate of the artist, 1975;
Joel Levy (the artist's son), 1975-1990;
Babcock Galleries, New York, 1990;
Private collection, 1990-2009.

Edgar Levy is remembered as an artist of firm convictions, as well as a lively and articulate thinker. As a young art student he secured an attendant's job at the Harlem Hospital autopsy room in order to study anatomy. Later in life he studied advanced mathematics at Columbia and attended international scientific conferences in Europe. Levy's interest in art led him to study at the Art Students League under modernist Jan Matulka. There, he formed lifelong associations and friendships with George McNeil, Dorothy Dehner, Irene Rice Pereira, David Smith, Mark Rothko, Adolf Gottlieb and his future wife, Lucille Corcos. John Graham, himself lionized for the advancement of Abstract Expressionism, wrote in his book System and Dialectics of Art that Levy was one of "the young outstanding American painters" of the period. Levy was among those American artists who articulated the basis for what would become Abstract Expressionism. His work embraced Cubism, Fauvism, and Expressionism while asserting an original - sometimes rugged and sometimes witty - approach to the struggle between abstraction and non-objective painting.

REGINALD MARSH (American, 1898-1954)
East River, New York, 1923
Watercolor on paper
14-3/4 x 19-1/2 inches (37.6 x 49.5 cm)
Inscribed lower right: East River New York / May 11, 1923 / Reginald Marsh
Stamped lower right: Marsh Collection / Cat # wc-23-21

PROVENANCE:
Dr. and Mrs. Robert Lieberman, Winter Park, Florida.

PAUL RESIKA (American, b. 1928)
Untitled
Oil on canvas
60-1/2 x 108-1/2 inches (153.7 x 275.6 cm)
Signed lower left: Resika

PROVENANCE:
Graham Modern, New York (label verso);
Salander O'Reilly Gallery, New York (label verso);
Private collection, New York.

ERIC SLOANE (American, 1910-1985)
Summer
Oil study on board
20-1/2 x 25 inches (52.1 x 63.5 cm)
Signed lower left: Eric Sloane
Titled verso: Summer

GUY CARLETON WIGGINS (American, 1883-1962)
Wall Street Winter
Oil on canvasboard
12 x 16 inches (30.5 x 40.6 cm)
Signed lower left: Guy Wiggins N.A.
Titled and signed verso: Wall St. Winter. / Guy Wiggins N.A.

PROPERTY OF A PRIVATE DALLAS ART COLLECTOR

GUY CARLETON WIGGINS (American, 1883-1962)
Fifth Avenue Looking Towards the Empire State Building, Winter
Oil on canvas
20 x 24 inches (50.8 x 61.0 cm)
Signed lower right: Guy Wiggins N.A. Titled and signed verso: Fifth Avenue Looking Towards the Empire State Building, Winter / Guy Wiggins

PROVENANCE:
Morgan Knott Gallery, Dallas.
Private collection, Dallas.

GUY CARLETON WIGGINS (American, 1883-1962)
Old and New York
Oil on canvas
28 x 42-1/2 inches (71.1 x 108.0 cm)
Signed lower left: Guy Wiggins N.A.
Titled and signed verso: Old & New York / Guy Wiggins N.A.

PROVENANCE:
Private collection, Waco, Texas.

FROM THE ESTATE OF MARY ELLEN BUNYARD

JASPER FRANCIS CROPSEY (American, 1823-1900)
Greenwood Lake, Autumn on the Hudson, 1875
Oil on canvas
18 x 30 inches (45.7 x 76.2 cm)
Signed and dated lower right: J. F. Cropsey / 1875

PROVENANCE:
Dr. Carlton Palmer, Long Island, New York;
Private collection, San Angelo, Texas.

This work was possibly exhibited in the 1875 Louisville Industrial Exposition as no. 135 in its catalogue, and will be included in the forthcoming catalogue raisonné of the artist's works which will be published by the Newington-Cropsey Foundation.

FROM THE ESTATE OF MARY ELLEN BUNYARD

DAVID JOHNSON (American, 1827-1908)
Untitled (Pastoral Scene), 1867
Oil on canvas
16-1/4 x 26 inches (41.3 x 66.0 cm)
Monogrammed and dated lower right: 67

DOUGLAS ABDELL (American, b. 1947)
Kraenk #25, 1983
Mixed media on wood
46 x 14-1/2 inches (116.8 x 36.8 cm)
Titled, dated, and signed on top: "Kraenk #25" / 1983 Doug Abdell

PROVENANCE:
Dr. and Mrs. Robert Lieberman, Winter Park, Florida.

TONY AGOSTINI (Italian, 1916-1990)
Composition with Violin
Oil on canvas
18-1/4 x 22 inches (46.4 x 55.9 cm)
Signed lower left: Tony Agostini
Titled and signed verso: "Composition au Violon"/ Tony Agostini

PROVENANCE:
Arthur Lenars & Cie., Paris (label verso);
Dr. and Mrs. Robert Lieberman, Winter Park, Florida.

JAMES E. ALLEN (American, 1894-1964), R. W. WOICESKE (American, 1887-1953), LOWELL S. BOBLETER (American, 1902-1973), CARMAN BONANNO (American, born 1901), and HANS KLEIBER (German-American, 1887-1967)
Group of 5 American Prints of Birds and Winter Landscapes
Etching and drypoint

Woiceske, pencil signed and inscribed: White Magic / Special Print / R. W. Woiceske
Kleiber, pencil signed and inscribed: Winter Residents / Hans Kleiber
Bobleter, pencil signed lower right: Lowell Bobleter
Bonanno, At Rest in the Marsh, 1946, pencil signed lower right: Carman Bonanno
Allen, Flying Flamingoes, n.d., (plate) 6 3/4 x 13 7/8 in., pencil signed lower right: James E. Allen

PROVENANCE:
Private collection.

FREDERICK R. SPENCER (American, 1806-1875)
Portrait Of A Woman In A Blue Dress, 1851
Oil on canvas
36 x 29 inches (91.4 x 73.7 cm)
Signed and inscribed on reverse: Painted by F. R. Spencer 1851

AMERICAN SCHOOL (19th Century)
Coastal Scene
Oil on canvas
12 x 20-1/4 inches (30.5 x 51.4 cm)

AMERICAN SCHOOL (19th century)
Girl with Ringlets in Pink Dress
Oil on canvas
33 x 27 inches (83.8 x 68.6 cm)

PROVENANCE:
Private collection, Fairfield, Texas.

AMERICAN SCHOOL (19th Century)
River Vista with Covered Bridge
Oil on canvas
18 x 37 inches (45.7 x 94.0 cm)

AMERICAN SCHOOL (20th Century)
Untitled (Sunburst)
Steel and brass
37 x 18 x 2 inches (94.0 x 45.7 x 5.1 cm)


PROVENANCE:
Dr. and Mrs. Robert Lieberman, Winter Park, Florida.

AMERICAN SCHOOL (20th Century)
Untitled (Country House)
Gouache on board
19-1/2 x 29-1/2 inches (49.5 x 74.9 cm)

AUGUSTE-PAUL-CHARLES ANASTASI (French, 1820-1889)
Summer Repose, 1876
Oil on panel
6 x 9-3/4 inches (15.2 x 24.8 cm)
Initialed and dated behind liner lower right: AA.76

PROVENANCE:
Christie's, New York, Nineteenth Century Art, October 5, 1999, lot 40.

THAI SCHOOL (unknown)
The King Receiving a Subject
Watercolor, ink and gilt on linen
21 x 17 inches (53.3 x 43.2 cm) window

PEGGY BACON (American, 1895-1987)
Group of 3 etchings and drypoints (The Promenade Deck; Easygoing, Wellfleet, 1952; What's for Dinner? Welfleet, 1952)
Drypoint and etching
Each pencil signed lower right: Peggy Bacon
The Promenade Deck, (plate) 6 x 8.25 in., (sheet) 11 x 14 in.; Easygoing, Wellfleet, (plate) 8 x 10 in., (sheet) 12.625 x 14.25 in.; What's for Dinner? Welfleet, (plate) 7. x 7.5 in., (sheet) 14.5 x 11 in.

PROVENANCE:
Private collection

O. F. BAKER (American, Late 19th century)
Oceanscape with ships in the distance
Oil on canvas
22 x 36 inches (55.9 x 91.4 cm)
Signed lower right: O F Baker

PROVENANCE:
Private collection

ROBERT BALL (British, 1918-2008), KARL DEHMANN (American, 1886-1974), ROSE CROSMAN (American, born 1887), EDNA LAWRENCE (American, 1898-1987), and KATHERINE MERRILL (American, 1876-1962)
Group of 13 architectural views by English and American printmakers
Etching and drypoint

PROVENANCE:
Private collection.

BARBIZON SCHOOL (French, 19th century)
Landscape with Cows
Oil on canvas
6 x 13 inches (15.2 x 33.0 cm)

ROBERT BATES (British, b. 1943)
As for Man..., 1984
Watercolor on paper
3 x 11 inches (7.6 x 27.9 cm)

PROVENANCE:
Collection of Robert L. B. Tobin (label verso);
Doyle, New York, European Art - Modern and Contemporary Art, May 6, 2004, lot 79.

FRANK T.M. BEATTY (American, 1899-1984)
Old Church and Ruins, London
Oil on board
14 x 19-3/4 inches (35.6 x 50.2 cm)
Signed lower left: F. Beatty
Titled and signed verso: Old Church and Ruins, London/ By Frank Beatty

ROBERT BEAUCHAMP (American, 1923-1995)
Portrait of a Man with Blue Eyes, 1975
Oil on canvas
32 x 32 inches (81.3 x 81.3 cm)
Signed and dated lower right: Robert Beauchamp / 75
Inscribed verso: Beauchamp / 1975 / 32 x 32

PROVENANCE:
Dr. and Mrs. Robert Lieberman, Winter Park, Florida.

BETTY STUDIOS (American, circa 1900)
Floral Still Life (oval)
Oil on canvas
30 x 23 inches (76.2 x 58.4 cm)
Signed to right of vase: Betty Studios

PROVENANCE:
Private collection.

GEORGE BIDDLE (American, 1885-1973), M.B. YOUNG, WILLIAM GROPPER (American, 1897-1977), JOHN COSTIGAN (American, 1888-1972)
Group of 6 American Lithographs
Lithograph
Each pencil signed
Sheet sizes: Biddle, The Expectant Thistles, 1928, 8/100, 11.5 x 16 in.; Biddle, Hombre! Que sin V[...]!, 1928, 3/100, 11.125 x 16 in.; Biddle, Coffee Handlers, 1928, 10/100, 16 x 11/25 in.; Young, Wild Horses, 72/150, 19 x 12 in.; Gropper, Uprooted, 12.5 x 19.25 in.; Costigan, Child with Goats, 147 proofs, Albany Print Club issue 1939-1940, 14.5 x 21 in.

PROVENANCE:
Private collection.

FRANZ A. BISCHOFF (Austrian, 1864-1929)
Seascape, 1926
Oil on artist's board
6-1/4 x 8-1/4 inches (15.9 x 21.0 cm)

JACQUES BLENY (French, 20th Century)
Le Forum au couchant (The Sleeping Forum), 1959
Oil on canvas
20 x 25 inches (50.8 x 63.5 cm)
Signed and dated lower left: Bleny 59
Inscribed in pencil on verso: No. 3 Le Forum au couchant

PROVENANCE:
Private collection

BLISS (20th Century)
Beach at Truto
Oil on masonite
24 x 48 inches (61.0 x 121.9 cm)
Signed and Dated lower right: Bliss '62

From the Estate of Charles Martignette.

CHARLES BLONDIN
La Place de la Concorde, Paris
Oil on canvas
12-1/2 x 17 inches (31.8 x 43.2 cm)
Signed lower left

PROVENANCE:
Private collection

WILLIAM JOSEPH J. C. BOND (British, 1833-1926)
Forest River
Oil on canvas
12 x 9 inches (30.5 x 22.9 cm)
Signed lower left: J.C. Bond
Signed verso: William Joseph Julius Bond/ Londonderry, England
Stencilled verso: REEVES & SONS,/ Manufacturers/ L13 Cheapside, London.

PROVENANCE:
New Orleans Museum of Art, 2005 (inscription verso);
Duffy Oyster Family Collection, Dallas, Texas (inscription verso).

OTTO BOTTO (Swiss/American, 1903-1967)
Still life with fruit on a table, c. 1940-50s
Oil on canvas
23-1/2 x 29 inches (59.7 x 73.7 cm)
Signed in lower right corner: OBotto


PROVENANCE:
Private collection.

The first artist whom the influential dealer Charles Egan showed in a New York gallery all his own on 57th Street (after leaving his job with J. B. Neumann's New Art Circle Gallery) was Swiss transplant Otto Botto. Artist Milton Resnick recalled that Egan's gallery was a tiny hole in the wall, and he had been able to fix it up only with the help of his artist friends Isamu Noguchi, Giorgio Cavallon, Milton Resnick, Willem de Kooning, and Franz Kline. In that inaugural show, Egan showed what Resnick called Botto's "watercolors a la Picasso." Certainly the present work, painted in oil, possesses a marked influence of Picasso, though owing a small pastedown label with a price in French francs on the back provides a clue that it could date from roughly a decade earlier. In 1934 Botto had a one-man show at the Gallery Secession in Paris where he exhibited oils. Within two years of his show of Botto's work, Egan gave Willem de Kooning his first solo exhibition (1948). Two years later he mounted the first one-man show of work by Franz Kline.

LOUIS BOUCHÉ (American, 1896-1969)
Hope Cove, Devonshire, England, 1933
Oil on canvas
22 x 28-1/4 inches (55.9 x 71.8 cm)
Signed and dated lower left: Louis Bouché 1933
Signed and titled stretcher verso: Louis Bouché/ Hope Cove

PROVENANCE:
The Downtown Gallery, New York;
Kraushaar Galleries, Inc., New York.

EXHIBITED:
Pennsylvania Museum of Art, Philadelphia (label verso).

HERCULES BRABAZON (British, 1821-1906)
Mediterranean Seaport
Watercolor and gouache on paper
5-1/4 x 6-1/4 inches (13.3 x 15.9 cm) window
Monogrammed lower right: H.B.B.

LOUISE BOYER (born 1890) and EDGAR DORSEY TAYLOR
Two American 20th-Century Depression-Era Urban Scene Prints, 1930s
Drypoint and lithograph

'The U.V.X. Jerome' 51/150 by Edgar Dorsey Taylor (lithograph);
'Daily Dozen, Monastery Hill, Pittsburgh No16' by Louise Boyer (drypoint).

ARTHUR BRISCOE (British,1873-1943), ALPHONSE LEGROS (French, 1837-1911), HERBERT JOHNSON HARVEY (British, 1884-1928), and WILLIAM (Sir) ROTHENSTEIN (British, 1872-1945)
Group of 4 English and French Prints
Etching and lithograph

Alphonse Legros etching, Herbert Johnson Harvey etching 'Old Nan', William Rothenstein litho trial proof 'Portrait of Arthur Springern' 1911, Arthur Briscoe 'The Shadow of the Mainsail'

HERCULES BRABAZON BRABAZON (British, 1821-1906), attr. Vandeyne (French, 19th Century), HENRI LEBASQUE (French, 1865-1937), and JEAN LIBERTE (American, 1896-1965)
Group of 4 Nineteenth and Twentieth-Century Drawings
Various media (pastel, sanguine chalk, pen and ink)
5.5 x 6.5 in. (image); Vandeyne, 9.5 x 12.5 in.(image); Lebasque, 8.25 x 10.5 in. (sheet); Liberte, 7.5 x 10 in. (image).


PROVENANCE:
attr. Vandeyne ex. coll. Hugo and Monica Pearls;
Private collection.

MURAT BRIERE (Haitian, 1938-1988)
Islanders dancing around drummers
Oil on masonite board
27-1/2 x 35-3/4 inches (69.9 x 90.8 cm)
Signed twice along lower edge: Murat Briere

PROVENANCE:
Feinstein (notation verso);
Private collection.

ALOIS BROCH (German, 20th Century)
Gypsy Girl
Oil on canvas
24 x 19-1/2 inches (61.0 x 49.5 cm)
Signed lower right: A. Broch

ALEXANDER BROOK (American, 1898-1980)
The Artist's Model, 1928
Oil on canvas
34 x 26 inches (86.4 x 66.0 cm)
Signed and dated lower right: A. Brook / 1928

ALEXANDER BROOK (American, 1898-1980), GEORGE CONSTANT (American, 1892-1978), and ALICE HAROLD MURPHY (American, 1896-1966)
Group of 6 American Prints
Lithographs and etchings
Each pencil signed
Brook, Interlude, AAA ed. 250, (sheet)15.75 x 11.75 in.; Brook, Morning, AAA ed. 250, (sheet) 14 x 11 in.; Murphy, Reflection, (sheet) 14 x 11.75 in., (plate) 10 x 7.875 cm.; Constant, Untitled (Long haired woman), 1/20, 1931, (plate) 10 x 9.375 in., (sheet) 17 x 11.5 in.; Constant, Untitled (short haired woman), 1/20, 1931, (plate) 11 x 8.625 in., (sheet) 11.375 in.; Constant, Descent from the Cross, 1/20, 1930, (plate) 11.75 x 14.5 in., (sheet) 17 x 20.25 in.

PROVENANCE:
Private collection.

JOSEF BÜCHE (German, 1848-1948)
Tyrolean Man Smoking
Oil on board
12-1/4 x 10 inches (31.1 x 25.4 cm)
Signed lower right: J. Büche

MAURICE BUFFET (French,1909-2000)
Townhouse with walled garden, c. 1950
Oil on canvas
31 x 39-1/4 inches (78.7 x 99.7 cm)
Signed lower left: Maurice Buffet

PROVENANCE:
Private collection.

GEORGE ELBERT BURR (American, 1859-1939), ALBION HARRIS BICKNELL (American, 1837-1915), ERNEST HASKELL (American,1876-1925), JULIAN WALBRIDGE RIX (American, 1851-1903)
Group of 5 American Landscape etchings
etching

Burr's Evening Arizona, 1925, is pencil signed lower left; Ernest Haskell is pencil signed lower right.

PROVENANCE:
Private collection.

CHARLES GREEN BUSH (American, 1842-1909)
Rider on a Carriage, 1879
Mixed media on linen
11-1/4 x 7 inches (28.6 x 17.8 cm)
Signed and dated lower right: G. B. Bush / Paris. 79

ANTONIO CANELLA (Italian, 1849-1922)
Troubadour, 19th century
Watercolor on paper
6-3/4 x 4-1/2 inches (17.1 x 11.4 cm)
Signed: A Canella
PROVENANCE:
Private collection.

Canella was a Venetian painter who exhibited in Venice and Paris.

VARALDO J. CARIANI (American, 1891-1969)
Impressionist Landscape, 1922
Oil on board
12 x 10 inches (30.5 x 25.4 cm)
Signed lower right: V.J. Cariani
Signed and dated verso: V.J. Cariani/ 1922

LAURENT CASIMIR (Haitian, 20th Century)
Two paintings: Islanders Receiving Aid, and Islanders With Coconuts
Oil on masonite board
Islanders Receiving Aid, 24 x 30 in.
Islanders With Coconuts, 24 x 32-1/4 inches (61.0 x 81.9 cm)
Both signed: Casimir

PROVENANCE:
Private collection.

FEDERICO CASTELLON (1914-1971), ARTHUR HEINTZELMAN (1890-1965), JEROME MYERS (1867-1940), and WILLIAM GROPPER (1897-1977).
Group of 4 American Depression-Era Etchings
Etching
Each pencil signed

Castellon, Rice Farmer, AAA print, etching, pencil signed. Image size: 9-7/8 x 7-7/8 in. Sheet size: 13 x 11 in.
Heinzelman, man at table holding apples, etching, pencil signed and numbered, ed. 100. Image size: 9-7/8 x 7-7/8 in. Sheet size: 15-3/4 x 10-3/4 in.
Myers, Cronies, etching, pencil signed and titled. Image: 4-5/8 x 6-1/2 in. Sheet: 7-1/4 x 9-3/8 in.
Gropper, Hauling Nets, 1936, etching, pencil signed and inscribed lower center "To my friend Dr. Morrow."

CAZIEL (Polish/British, 1906-1988)
Abstract figures of bathers in yellow interior, c. 1947
Oil on canvas
21 x 25-1/2 inches (53.3 x 64.8 cm)
Signed lower center: Caziel

PROVENANCE:
Galerie Allard, Paris (three stamps verso);
Private collection.

Following studies at Warsaw Academy of Arts, Kazimierz Józef Zielenkiewicz, Caziel (born 16 June 1906), went to Italy and then France, where after Liberation, he settled in Aix-en-Provence. In 1946 Caziel moved to Paris, where in the same year, he designed the Polish Pavilion for the UNESCO International Exhibition of Modern Art. In 1947, when sharing a studio with Picasso, Galerie Allard held a one-man exhibition, which was subsequently shown in the United States. A monumental painting by Caziel was acquired by the Musée d'Art Moderne, Paris.

From 1948 he exhibited regularly at the Salon de Mai alongside Picasso, Leger and most of the leading Avant-Garde.
By 1965 Caziel was already known and respected painter in Paris and in 1966 he held his first exhibition at the Grabowski Gallery in London prior to his settling in England in 1969.

Since the 1998 Caziel Retrospective at the National Museum in Warsaw, Caziel has been widely recognized not only in his native Poland, but also in England and the rest of Europe and America, where his work can be found in many prominent private collections.

SAMUEL CHAMBERLAIN (American, 1895-1975)
Group of 3 Etchings/Drypoints
Etching and drypoint
Each pencil signed
The Sunlit Tower, Colmar, (plate) 14 x 7.75 in., (sheet) 18 x 11.75 in.
Davenport College (sheet, 13.5 x 8.5 in; plate, 9.75 x 6.75 in.) and Pierson College (sheet, 10.125 x 7 in.; plate, 13.75 x 10.75 in.), both from the Yale University series, ed. 125, 1933-34.

PROVENANCE:
Private collection.

PHILIPPE-MARIE CHAPERON (French, 1823-1907)
Valpurgis, 1902
Watercolor, pen and ink, and gouache on paper laid on artist's cardboard
(sheet including black border) 12 x 15-1/2 inches (30.5 x 39.4 cm)
Signed, dated and titled along lower edge of the image: Ph. Chaperon 1902

PROVENANCE:
Baroness Windisch-Graetz

Chaperon was a well-known scene designer associated with Auguste-Alfred Rube in Brussels and Paris.

JAMES CHAPIN (1887-1975), DON FREEMAN (1908-1978), and LAWRENCE BEALL SMITH (born 1902)
Group of 3 American Scene Lithographs
Lithograph
Each pencil signed

James Chapin, Child at Window, pencil signed and titled, sheet size: 16 x 12 in.
Don Freeman, carriage driver in Central Park, pencil-signed lower right, sheet size: 11-1/4 x 12 1/4 in.
Lawrence Beall-Smith, The Crisis, 1941, signed, titled and dated in pencil, AAA ed. 250, sheet size: 12 x 15-1/2 in.

FRANCESCO CHRISTOFANETTI (Italian, 1901-1951)
Abstract Landscape and Sea
Oil on canvas
28 x 45 inches (71.1 x 114.3 cm)
Signed lower right: F. Christofanetti

GEORGE CLARE (British, 1830-1900)
Primulas and a Bird's Nest on a Mossy Bank
Oil on canvas
8 x 10 inches (20.3 x 25.4 cm)
Signed lowered right: George Clare

SAMUEL JOSEPH CLARK (British, 1834-1912)
Untitled (Farm Scene)
Oil on canvas
17 x 21 inches (43.2 x 53.3 cm)
Signed lower left: S. J. Clark

SAMUEL JOSEPH CLARK (British, 1834-1912)
Untitled (Logging Scene)
Oil on canvas
17 x 21 inches (43.2 x 53.3 cm)
Signed lower left: S. J. Clark

SAMUEL COLMAN (American, 1832-1920), DAVID CAMERON (Scottish,1865-1945), and MARTIN HARDIE (British,1874-1952)
Group of 5 British and American Landscape Etchings
Etching

David J Cameron, 'The Lion and the Unicorn' and 'Culzewn Castle'
Samuel Colman, 'The Pont de Gand'
Martin Hardie, 'The Picnic' and 'Wells-on Sea'

HOWARD NORTON COOK (American, 1901-1980)
Mexican Interior, 1933
Etching
Plate: 16-1/8 x 10-5/8 inches (41.0 x 27.0 cm)
Sheet: 20 x 14-1/2 inches (50.8 x 36.8 cm)
Pencil signed and dated lower right: Howard Cook imp. 1933
Titled in pencil lower left: Mexican Interior

PROVENANCE:
Private collection.

EXHIBITED:
Los Angeles Art Association Exhibition (label verso of backing which also bears Weyhe Gallery stamp).

This print was featured as the frontispiece for the October 1933 issue of Harper's magazine. One of his finest treatments of a Mexican subject, this etching was honored as one of the best prints of 1933.

THOMAS SIDNEY COOPER (British, 1803-1902)
Pastoral Scene with Horse
Oil on canvas
20 x 24 inches (50.8 x 61.0 cm)

ALFRED BRYANT COPELAND (American, 1840-1909)
Study, Salle Francois Premier, Cluny, Paris, 1885
Oil on canvas
16-3/4 x 22-1/4 inches (42.5 x 56.5 cm)
Signed, dated and inscribed at lower left with description of setting
Samuel Holloway, London, framemaker-gilder (label verso)

PROVENANCE:
William Vareika Fine Arts, Newport, Rhode Island (label verso);
Private collection.

EXHIBITED:
(old partial label central stretcher bar) Boston [?] Exhibition;
"The Paris Universal Exhibition of 1889L American Artists at the World's Fair," Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, September 15, 1989 through July 30, 1990 (label verso), cat. no. 7.

JACK COUGHLIN (American, born 1932), NANCY NEMEC (American, 1923-2003), and RICHARD FLORSHEIM (American, 1905-1979)
Group of Four 20th-Century American Prints
Etching, woodcut and serigraph, lithograph
Each pencil signed
Coughlin, Owl in Flight, AAA etching, 225/250, signed and numbered in pencil, (plate) 14.875 x 10.5 in., (sheet) 17.5 x 13.25 in.
Coughlin, Homage to Manet, AAA etching, 37/250, signed, titled and numbered in pencil, (plate) 14.875 x 9.5 in., (sheet) 17.375 x 13 in.
Nemec, The Seeds of War, 1963, serigraph and woodcut, The Annual Print for 1962-1963 for the Print Club of Albany, 32/150, signed, titled, dated and numbered in pencil, (plate) 14.75 x 9.75 in., (sheet) 18.875 x 13.75 in.
Florsheim, Time Has Form, 1950, lithograph, 2/21, signed , dated and numbered in pencil and titled in ink on back of mat, (plate) 11 x 14.75 in., (sheet) 16 x 23 in.

PROVENANCE:
Private collection.

FRANCESCO CRISTOFANETTI (Italian, 1901-1951)
Sails
Oil on canvas
50 x 36 inches (127 x 91.4 cm)

PROVENANCE:
Valentine Gallery, New York (label verso).

EXHIBITED:
"Twelve Contemporary Paintings," MoMA, New York (label verso).

CURRIER & IVES
Pair of prints: The Mother's Dream and Willie and Mary
Colored prints
15in. x 10-3/4in.

RALPH WORMELEY CURTIS (American, 1854-1922)
A Street in Hyderabad, Deccan, India
Watercolor and graphite on paper
12-1/2 x 18-3/4 inches (31.8 x 47.6 cm)
Titled verso: A Street in Hyderabad / Deccan / India

ARTHUR BOWEN DAVIES (American, 1862-1928)
Nude Figure Study
Pastel on paper
18 x 13 inches (45.7 x 33.0 cm)
Stamped lower left: Arthur B. Davies

PROVENANCE:
Dr. and Mrs. Robert Lieberman, Winter Park, Florida.

ARTHUR BOWEN DAVIES (American, 1862-1928)
Group of 6 prints (4 lithographs printed by George Miller, and 2 etching/aquatints)
Lithographs and etching/aquatints
Each pencil signed
All four lithographs signed and inscribed by printer George Miller
Lithographs: Old Stone Quarry, Valley West of Canada Creek, Rock Pasture, Coulee Indian Country, (sheets) 16 x 22.75 in. each.
Etching/aquatints: Untitled kneeling figure, (plate) 12 x 8 in., (sheet)15.5 x 11.75 in.; Amber Garden, (plate) 12 x 8 in., (sheet) 15.125 x 10.125 in.

HARRY ALLEN DAVIS (American, 1914-2006)
Queen Anne Victorian Home
Mixed media on paper
20-3/4 x 28-3/4 inches (52.7 x 73.0 cm)
Signed lower right: Harry A. Davis

PROVENANCE:
Jackson & Wickliff, Carmel, Indiana, March 20, 2004, lot 314;
Private collection, New York.

ALEX DE ANDREIS (Belgian/British, 1880-1929)
Cavaliers in an Interior
Oil on canvas
21-1/2 x 25-1/2 inches (54.6 x 64.8 cm)
Signed lower right: A. de Andreis

PROVENANCE:
Private collection, Houston, Texas.

JEAN DE BOTTON (French/American, 1895-1978)
La Tamise - au Chateau de Hampton, 1947
Oil on canvas
14-1/4 x 17-1/4 inches (36.2 x 43.8 cm)
Signed lower left: Jean de Botton
Inscribed with dedication on stretcher: Pour le Noel de la 70 [Tote?]

PROVENANCE:
Private collection.

P. DE BRUIN (Flemish, 19th Century)
Hay Harvest
Oil on canvas
15-1/4 x 23-1/2 inches (38.7 x 59.7 cm)
Signed lower right: P. de Bruin

PROVENANCE:
Mrs. Beatrice Dunn, Bismarck, Arkansas;
Private collection, Hot Springs, Arkansas (by descent).

ADOLF ARTHUR DEHN (American, 1895-1968)
Group of 3 scarce, small edition lithographs, 1927 (2) and 1938
Lithograph
Each pencil signed and dated lower right: Adolf Dehn

PROVENANCE:
Private collection.

Hot Saw, 1938, (plate) 9.75 x 14 in., (sheet) 11.25 x 15.25 in., numbered at lower left in pencil: 30 prints - Hot Saw
Untitled (Three women), 1927, (plate) 10.25 x 15.25 in., (sheet) 13 x 16.75 in., inscribed at lower left: 20 prints
Untitled (Mountain landscape), 1927, (plate) 10.75 x 14.75 in., (sheet) 14 x 18.5 in., inscribed at lower left: 25 prints

LEON DELDERENNE (Belgian, 1864-1921)
Landscape with Sand Dunes, c. 1905
Oil on canvas
17-3/4 x 26 inches (45.1 x 66.0 cm)
Signed lower right: L. Delderenne

PROVENANCE:
Private collection.

DELONG (20th century)
Still Life with Blue Vase, 1957
Oil on canvas
10-1/4 x 14-1/4 inches (26.0 x 36.2 cm)
Signed and dated lower right: 1957 DeLong
Inscribed on stretcher: DeLong

PROVENANCE:
Private collection, Fairfield, Texas.

JEAN DENIS (French, 20th century)
City square with a statue, c. 1950-60
Watercolor and ink on paper
14 x 11 inches (35.6 x 27.9 cm)
Signed lower left in ink: Jean Denis

PROVENANCE:
Private collection.

WERNER DREWES (German/American, 1899-1985), OTAKAR COUBINE (Czech, 1883-1969), KONRAD SCHUELER (German, born 1938)
Group of 3 20th-Century Prints
Woodcut, drypoint and etching/aquatint
Each pencil signed

Konrad Schueler, Witch, 1966, etching and aquatint, Associated American Artists print, ed. 250 (image: 11 ¾ x7 ¼ in. paper: 16 x 12 in.)

EDWARD DUNCAN (British, 1803-1882)
A Pair of Mumbles Oyster Boats,1855
Pair of watercolors on paper
7-3/4 x 12-3/4 inches (19.7 x 32.4 cm) each
Each signed and dated lower right: E. Duncan / 1855
Each titled lower left: Mumbles Oyster Boat

DUTCH SCHOOL (19th Century)
Flora and Fauna
Oil on board
8-1/4 x 10-1/2 inches (21.0 x 26.7 cm)
Withdrawn

ANTON EBERT (German, 1845-1896)
Portrait of a Lady
Oil on canvas
24 x 19 inches (61.0 x 48.3 cm)
Signed lower right

PROVENANCE:
Texas Art Gallery, Dallas (label verso).

KERR EBY (American, 1890-1946)
Group of 4 etchings (Pauldavid, Brittany, 1924, ed. 90; Shadows, 1930, ed. 50; Day's End, Driftway, 1931, ed. 100; Artillery Trains, 1920)
Etching
Each pencil signed
Sheet sizes: Pauldavid, Brittany, 12 x 16.375 in; Shadows, 13 x 18 in.; Day's End, Driftway, 11.675 x 18.5 in.; Artillery Trains, 8.75 x 17 in.

PROVENANCE:
Private collection.

KERR EBY (American, 1889-1946), THOMAS MORAN (American, 1837-1926), CHAUNCEY RYDER (American, 1868-1949), A. H. BICKNELL (American, 1837-1915), and JOSEPH PENNELL (American, 1860-1926)
Group of 5 American prints
Etching, drypoint and lithograph

PROVENANCE:
Private collection.

Eby, In the Open, etching (Fine Print of the Year 1927), signed and numbered ed. 90 in pencil, (sheet) 12 x 16-3/4 in.
Ryder: The Mob. 14th July in Paris., etching, pencil signed, (sheet) 17 x 12-7/8 in.
Moran, Morning, etching, (sheet) 9 x 12 in. (in Brooklyn Society of Etchers portfolio)
Bicknell, etching, (sheet) 10-1/4 x 16 in.
Pennell, Zaandam, 4-19-97, lithograph, signed and dated in the plate, (sheet) 12 x 15-5/8 in.

NICOLAAS MATHIEU EEKMAN (Belgian, 1889-1973)
Le Sorcier aux Betes, 1968
Ink and watercolor on paper
19-1/4 x 14-1/4 inches (48.9 x 36.2 cm)
Signed and monogrammed lower left: Eekman / F. H.
Inscribed lower right

ERNST EGGER (Swiss,1874-1973)
Les Oliviers, c. 1930
Oil on canvas
23 x 28 inches (58.4 x 71.1 cm)
Signed lower left: E. Egger
Inscribed with artist's name and title on stretcher

PROVENANCE:
Galerie Moos, Geneva (label verso with #3694);
Private collection.

A.J.M. ELLRICK
West Rock, New Haven
Oil on canvas
22 x 34 inches (55.9 x 86.4 cm)
Signed lower left: Ellrick
Titled and signed verso: West Rock, New Haven / Ellrick

NICOLAI FECHIN (Russian, 1881-1955)
Bearded Man
Lithograph on paper
12 x 10 inches (30.5 x 25.4 cm) (window)
Edition: 6/50
Signed lower right: Nicolai Fechin

W. FELLERT, RUDOLF BLIND (Austrian-British, 1846-1889), attr. ANTON SMINCK PITLOO (Dutch-Italian, 1791-1837), attr. ROWBOTHAM, ANONYMOUS
Group of 8 19th-Century European Drawings
Various media on paper (pen and ink, ink wash, pencil and watercolor)
Fellert, 6.5 x 5.5 in (sheet); Blind (4 sheets), 7.35 x 9 in., 5.875 x 3.875 in., 5.875 x 4 in., 4 x 5.25 in.; Anonymous military subject 2.875 x 3.625 in.;attr. Rowbotham, 8.25 x 11.75 in., attr. Pitloo, 7 x 10.5 in. (image), sheet 9.5 x 13 in.

PROVENANCE:
Fellert, ex. coll. Yoenburg-Birstein;
attr. Pitloo, ex. coll. Dr. George La Porte (Jan Nicholas Streep);
Private collection.

ANTHONY VANDYKE COPLEY FIELDING (British, 1787-1855)
Panoramic Landscape
Watercolor on paper
10 x 13-3/4 inches (25.4 x 34.9 cm) (window)
Signed lower right: Copley Fielding

Ascribed to ANTON OTTO FISCHER (American, 1882-1962)
Clipper Ship at Dawn
Oil on canvas
25 x 21 inches (63.5 x 53.3 cm)
Signed lower right: Anton Otto Fischer

From the Estate of Charles Martignette.

ANTON OTTO FISCHER (American, 1882-1962)
A Winter Stream
Oil on canvas
20 x 28 inches (50.8 x 71.1 cm)
Signed lower right: Anton Otto Fischer

From the Estate of Charles Martignette.

HIRAM PEABODY FLAGG (American, 1859-1937)
Sunset over the Church Steeple, 1923
Oil on canvas laid on board
5-3/4 x 8 inches (14.6 x 20.3 cm)
Signed and dated lower left: H. Peabody Flagg 1923

PROVENANCE:
The Marbella Gallery, New York (label verso);
Bonhams & Butterfields, San Francisco, American and California Paintings and Sculpture, June 14, 2000, lot 2059.

DEAN FLEMING (American, born 1933)
Untitled, 1965
Acrylic on canvas
32 x 32 inches (81.3 x 81.3 cm)
Signed and dated on verso: DEAN FLEMING 65

PROVENANCE:
Private collection

EXHIBITED:
Park Place Gallery, SoHo, New York (of which Fleming was a co-founder with Mark di Suvero in 1963, label verso).

OLIVIER FOSS (French, born 1920)
Street scene with cafes at night
Oil on canvas
18-1/4 x 21-3/4 inches (46.4 x 55.2 cm)
Signed lower left: O Foss

PROVENANCE:
Private collection

GILBERT FOSTER (British, 1855-1906)
Artic Regions
Oil on canvas
20 x 36 inches (50.8 x 91.4 cm)
Signed lower left: G. S. Foster / 900

FRENCH SCHOOL (20th Century)
Barges on the Seine, Paris, February 1938
Oil on canvas
18 x 21-3/4 inches (45.7 x 55.2 cm)
Inscribed and dated lower right: T Fevrier 1938

PROVENANCE:
Private collection

FRENCH SCHOOL (20th century)
Boats in the Harbor
Oil on canvas
20 x 24 inches (50.8 x 61.0 cm)
Signed illegibly lower right

ALEXANDRE GARBELL (French, 1903-2003)
Boucher aux Halles de Paris, 1961
Oil on canvas
18 x 21-1/2 inches (45.7 x 54.6 cm)
Signed and dated lower left: Garbell '61

PROVENANCE:
David Findlay, New York (label verso).

SAMUEL WOOD GAYLOR (1883-1957), NEIL WILLIAMS (1934-1988), ELIAS FRIEDENSOHN (1924), JOE LASKER (born 1919), JOSEPH HIRSCH and UNIDENTIFIED
Group of 6 American 20th-Century Drawings
Various media (watercolor, marker, ink, charcoal, pastel)
Each signed
Sheet sizes: Gaylor, Metropolitan Fantasy, 10 x 6.25 in.; Williams, 14 x 17 in.; Friedensohn, 16 x 11.5 in.; Lasker, 16 x 20 in.; Hirsch, 25 x 19 in.; Unidentified, 8 x 6.25 in.

PROVENANCE:
Private collection.

Attributed to LILLIAN MATHILDE GENTH (American, 1876-1953)
Nude in a Field
Oil on canvas
40 x 22 inches (101.6 x 55.9 cm)

From the Estate of Charles Martignette.

SAMUEL L. GERRY (American 1813-1891)
Tarrying at the Brook
Oil on panel
9 x 6 inches
Signed lower left
Titled and signed verso
PROVENANCE:
Estate of R. F. Voyer, Honey Grove, Texas

ANDRÉ GISSON (American, 1928-2003)
View of a park in the south of France, Nice
Oil on canvas
20 x 24 inches (50.8 x 61.0 cm)
Signed lower left: André Gisson

PROVENANCE:
Galerie Charpentier, Paris (stamp verso);
Private collection.

GERASSIM SEMENOVICH GOLOVKOV (Russian, 1863-1909)
Fishing Boats in Hafen
Oil on board
10-1/4 x 14 inches (26.0 x 35.6 cm)
Signed in Cyrillic in lower right corner
Inscribed in Cyrillic on verso

JACQUES ENGUERRAND GOURGUE (Haitian, 1930-1996)
Lush mountainous landscape with island hut, figure and stream
Oil on masonite board
20 x 36 inches (50.8 x 91.4 cm)
Signed lower right: J E Gourgue

PROVENANCE:
Private collection.

At the age of 17, Gourgue's work was exhibited at the Museum of Modern Art in New York. His painting "The Magic Table" is in the museum's permanent collection.

MARION GREENWOOD (American, 1909-1970)
Group of 10 lithographs
Lithograph
Ed. 250
Each pencil signed lower right: Marion Greenwood
Each titled in pencil lower left

This group of Associated American Artist-issued lithographs includes: "Fringed Scarf," (sheet) 15 x 11.75 in., "The Jade Bracelet," (sheet) 13 x 17.5 in.,"Reverie," (sheet) 17.25 x 13 in., "Girl," (sheet) 17 x 13 in., "Sisters," (sheet) 17.25 x 13.25 in., "Eastern Memory," (sheet) 16 x 12 in., "Dancer," (sheet) 17.25 x 13 in., "Hong Kong Girl," (sheet) 16 x 12 in., "Carib Mother," (sheet) 16.25 x 12.25 in., and "Carib Girl" (sheet) 17.5 x 13.5 in.

SUSAN GRISELL (American, 20th Century)
Cottage on a Lake
Oil on board
8 x 10 inches (20.3 x 25.4 cm)
Signed lower right: Grisell

19th-Century French Follower of GUERCINO (Italian, 1591-1666)
The Betrayal of Christ
Oil on canvas
14 x 18 inches (35.6 x 45.7 cm)

This work is a small copy after Guercino's The Betrayal of Christ of 1621 in the permanent collection of the Fitzwilliam Museum, Cambridge, England.

AARON HARRY GORSON (American, 1872-1933)
Portrait of a Man with Glasses and Beard
Oil on canvas
21-1/2 x 14-1/4 inches (54.6 x 36.2 cm)

JULES GUERIN (American, 1866-1946)
The Aqueduct Night
Oil on canvas
30 x 22 inches (76.2 x 55.9 cm)
Signed lower right: Jules Guerin
Titled verso: Aqueduct Night


PROVENANCE:
Illustration House, New York, November 15, 2003, lot 86.
From the Estate of Charles Martignette.

OSCAR GUSTAFSSON (Swedish, 20th century)
Two works: Industrial building on the water, and Industrial town on the coast, 1951
Oil on wood and oil on masonite (respectively)
20 x 24-1/2 inches (50.8 x 62.2 cm) (both)
Both signed in full and dated 51

PROVENANCE:
Private collection.

THOMAS SCHOFIELD HANDFORTH (American, 1897-1948)
Group of 4 Art Deco Etchings of North Africa, c. 1924-1928
Etching
Each pencil signed lower right: Thomas Handforth

PROVENANCE:
Private collection

Man astride a horse riding through exotic landscape, (plate) 8.25 x 10.25 in., (sheet) 11 x 15 in., inscribed in pencil lower left: [ed.] 50 - 3rd State
Man with Bull, (plate) 6.25 x 7.5 in., (sheet) 11 x 14.875 in., numbered in pencil lower left: - 50
Figures in a horse-drawn carriage, (plate) 6.5 x 8.25 in., (sheet) 11 x 15 in., numbered in pencil lower left: - 50
In the Oasis (Figure riding a donkey among palm trees before a mosque), (plate) 6 x 5.25 in., (sheet) 11 x 9 in., numbered in pencil lower left: - 50

ERNST HARDT (German, 1869-1917)
A Country Stream
Oil on canvas
42-1/2 x 56 inches (108.0 x 142.2 cm)
Signed lower left: Ernst Hardt

HERMAN HARTWICH (American, 1853-1926)
New England Landscape
Oil on canvas
18-1/4 x 24-1/4 inches (46.4 x 61.6 cm)

Attributed to JEAN JACQUES HENNER (French, 1829-1905)
Red Haired Woman in Profile
Oil on board
10-5/8 x 8-1/2 inches (27.0 x 21.6 cm)

GLENN COOPER HENSHAW (American, 1884-1946)
Early Sailing Ships in Dry Dock
Pastel on paper
12-3/4 x 15-1/4 inches (32.4 x 38.7 cm)
Signed lower right: Henshaw

PAUL HERZEL (American, 1876-1956)
Artist and Model
Oil on panel
22-1/2 x 18-3/4 inches (57.2 x 47.6 cm)
Signed faintly lower right: Paul Herzel

WILLIAM H. HILLARD (American, 1836-1905)
Tropical Landscape
Oil on canvas
21 x 17 inches (53.3 x 43.2 cm)
Signed lower left: W.H. Hillard

PROVENANCE:
Skinner, September 17, 1993, lot 198;
Jaques Fine Art Gallery, Portsmouth, New Hampshire (label verso);
private collection.

EDWIN FREDERICK HOLT (British, 1830-1912)
A Wayside Conversation, 1893
Oil on canvas
30 x 40 inches (76.2 x 101.6 cm)
Signed and dated lower left: E.F. Holt 1893 / Prize Med. & R.A.

PROVENANCE:
Christie's, South Kensington, British and Victorian Paintings including Scottish Pictures, March 8, 2001, lot 368.

JOHN HORACE HOOPER (British, 1877-1899)
Cottage Near Pond
Oil on canvas
24 x 42 inches (61.0 x 106.7 cm)
Signed lower left: J. Horace Hooper

School of JOHN HOPPNER (British, 1758-1810)
Lady Margaret Falconer
Oil on canvas
30 x 25 inches (76.2 x 63.5 cm)

PROVENANCE:
Private collection.

According to the label on reverse of the stretcher, Lady Margaret Falconer was the daughter of Sir Biggs Falconer of [illegible] Mount, County Cork, Ireland.

EARL HORTER (American, 1881-1940)
Atlantic City Beach Scene
Pencil on paper
13-1/2 x 21-1/2 inches (34.3 x 54.6 cm)
Signed lower left: E. Horter

WILLIAM SAMUEL HORTON (American, 1865-1936)
Women in Market Town in Norway, c. 1926
Charcoal on paper
7-1/2 x 9-3/4 inches (19.1 x 24.8 cm) (window)
Signed lower left: Horton
Titled and dated verso: "Women in Market Town in Norway" c. 1926

PROVENANCE:
Collection of the artist's son, W. Gray Horton (verso);
M. Knoedler & Co., Inc., New York (label verso).

CHARLES HORWOOD (British, 1907-1975)
At the Shore
Oil on artist's board
11 x 16 inches (27.9 x 40.6 cm)
Signed lower right: Charles Horwood

LINDLEY HOSFORD (American, 19th/20th century)
The Dunes, 1908
Oil on artist's board
9-1/2 x 13 inches (24.1 x 33.0 cm)
Monogrammed lower right.
Inscribed verso and on reverse of frame.

PROVENANCE:
Robert Schoelkopf Gallery, New York (label verso);
Graham Williford, Fairfield, Texas;
By descent to private collection, Fairfield, Texas.

ALFRED CORNELIUS HOWLAND (American, 1838-1909)
Pastoral landscape with cows resting
Oil on artists' canvasboard
9-1/2 x 12-1/4 inches (24.1 x 31.1 cm)
Signed lower left: A. C. Howland

PROVENANCE:
Private collection

ALBERT J. HOYT (American, 19th Century)
Mountain Landscape
Oil on canvas
18-1/4 x 14-1/4 inches (46.4 x 36.2 cm)
Signed

EDITH HOYT (American, 1894-?)
Demolition of the Charity Hospital Paris
Oil on canvas
26-1/2 x 39-3/4 inches (67.3 x 101.1 cm)

WALTER BEACH HUMPHREY (American, 1892-1966)
White Man's Last Chance
Mixed media on board
22 x 14 inches (55.9 x 35.6 cm)
Signed center right: Walter / Beach / Humphrey
Inscribed lower right: Walter Pitkin / To be sized

ITALIAN SCHOOL (19th Century)
Children Touring Pompeii, 1896
Oil on board
9-1/2 x 12-1/4 inches (24.1 x 31.1 cm)
Signed and dated lower right: Muratori/ 96
Inscribed verso: "Piccola veduta di Pompei"/ A. Muratori

PROVENANCE:
Galleria Ca' D'Oro, Rome (stamp verso)

FELIX JEAN (Haitian, 20th century)
Islanders and fish, c. 1965-1975
Oil on masonite board
29-1/2 x 24 inches (74.9 x 61.0 cm)
Signed lower left: Felix Jean

PROVENANCE:
Stephen Benjamin (name inscribed verso);
Private collection.

DAVID WU JECT-KEY (Chinese/American, 1890-1968)
House with figures on back porch
Oil on canvasboard
12 x 16 inches (30.5 x 40.6 cm)
Signed at lower left in oriental characters, with a red chop, and in English: D. WU JECT-KEY

PROVENANCE:
Private collection.

ROBERT E. JOHNSTON (American, 1885-1933)
Crossing the River
Oil on board
6-1/2 x 8-1/4 inches (16.5 x 21.0 cm)
Signed lower right: Robert E. Johnston

LOUIS JOSEPH
Islanders praying around a pear tree, 1974
Oil on masonite board
23-1/2 x 35 inches (59.7 x 88.9 cm)
Signed and dated lower left: Louis Joseph 74

PROVENANCE:
Private collection.

HENRY GEORGE KELLER (American, 1869-1949)
Impressionist Landscape, ca. 1910
Watercolor and gouache on paper
10-1/2 x 13-1/4 inches (26.7 x 33.7 cm)
Monogrammed lower right: HGK

EXHIBITED:
Flint Institute of Arts, Flint, Michigan, "Art of Collecting," November 27, 1988 - January 3, 1999 (label verso).

JAMES EDWARD KELLY (American, 1855-1933)
The First Stroke, 1877
Graphite and goauche on paper
9-1/2 x 7-1/2 inches (24.1 x 19.1 cm) (window)
Signed lower right: Kelly

"The First Stroke" appeared in the December 1877 edition of Scribner's Monthly (label verso).

PROVENANCE:
The Leonard Clayton Gallery, Inc., New York (label verso).

JAMES EDWARD KELLY (American, 1855-1933)
Going Upstairs to Bed, 1877
Graphite and goauche on paper
6-1/2 x 8 inches (16.5 x 20.3 cm) (window)
Titled and dated center and lower left: Going to Bed/ "Horse Hotel," St. Nicholas 1877

"Going Upstairs to Bed" appeared in the December 1876 edition of St. Nicholas (label verso).

PROVENANCE:
The Leonard Clayton Gallery, Inc., New York (label verso).

ROCKWELL KENT (American, 1882-1971)
Drawing of a man with a child (design for New Year's card?)
Pencil on tracing paper
(sheet) 8-1/2 x 7 inches (21.6 x 17.8 cm)
Studio stamp, Monhegan Studios 1907

PROVENANCE:
Private collection.

PAUL BERNARD KING (American, 1867-1947)
Sailing Ships in the Harbor
Oil on canvas
24-1/2 x 20 inches (62.2 x 50.8 cm)
Signed lower right: Paul King

WILLIAM KIDD (British, 1790-1863)
Craigleith Quarry
Oil on canvas
12-1/2 x 16-1/2 inches (31.8 x 41.9 cm)
Signed lower right: Wm. Kidd

EXHIBITED:
"Art et Travail," Geneva, 1957 (label verso).

TROY KINNEY (American, 1871-1938)
Group of 3 works depicting the Ballet Russe, 1921 and 1922
chalks and drypoint
Each pencil signed

This group of works consists of one original drawing containing 2 studies of Pavlova dancing (sheet, 14.5 x 11.75 in., and window, 10 x 8 in.); and two drypoints: Fokin and Fokina in Le Spectre de la Rose (plate, 9 x 11.25 in., and sheet, 13.75 x 18.5 in.); and Gavotte Pavlowa with Alexander Volinin (plate, 6.25 x 11.5 in., and sheet, 9.25 x 11 in.).

Attributed to HENDRIK BAREND KOEKKOEK (Dutch, 1849-1895)
A Quiet Harbor
Oil on board
12 x 16 inches (30.5 x 40.6 cm)
Initialed lower right: H. K.

PROVENANCE:
Cooling Galleries, London (label verso).

AUGUSTUS KÖLLNER (German/American, 1813-1906)
Seminary at Gettysburg, Pennsylvania, 1840
Ink and wash on paper
7-1/2 x 10-1/2 inches (19.1 x 26.7 cm) (window)
Inscribed lower left: Seminary for Pastors at Gettysburg

Inscribed lower right: June 1840 -- Seminary at Gettysburg, Pa.

SEI KOYANAGUI (Japanese, 1896-1948)
Cat sleeping on an armchair, c. 1920s
Oil on canvas
21-1/4 x 25-3/4 inches (54.0 x 65.4 cm)
Signed lower right: Sei Koyanagui
EXHIBITED:
Museum of Modern Art (small paste-down, handwritten label verso).

PROVENANCE:
Private collection.

MAURICE LANGASKENS (Belgian, 1884-1984)
The Violinist, 1910
Black and white chalk on brown paper
15-1/2 x 12 inches (39.4 x 30.5 cm) (window)
Signed and dated lower left: M. Langaskens 1910

PHILTON LATORTUE (Haitian, 20th century)
Junkano festival with masked figures in the streets
Oil on masonite board
24 x 32 inches (61.0 x 81.3 cm)
Signed lower right: Ph. Latortue

PROVENANCE:
Private collection.

JULES LE BLAIR (British, 20th Century)
Landscape
Oil on canvas laid on board
16 x 24 inches (40.6 x 61.0 cm)
Signed lower right: Jules le Blair

JOHN B. LEAR, JR. (American, 1910-2008)
Classical Figure Study, ca. 1940s
Graphite on paper
11-1/2 x 7-1/4 inches (29.2 x 18.4 cm) (window)
Signed lower right: John Lear
Inscribed label verso: An original pencil drawing by noted Philadelphia artist John Lear. This drawing was done in the late 40's. The male model was his favorite, a black man -- Jim Shelton.

FREDERICO "RICO" LEBRUN (American, 1900-1964)
Turkey, 1958
Ink on board
13-3/4 x 31-1/2 inches (34.9 x 80.0 cm)
Signed and dated lower right: Lebrun 58

KARL-AUGUST LEBSCHE (German, 1800-1877)
An Entrance to an Estate
Oil on panel
7-1/4 x 3-1/2 inches (18.4 x 8.9 cm)
Initialed lower left: CL

CARL-AUGUST LEBSCHE (German, 1800-1877)
Sun-Dappled Steps
Oil on panel
7-1/2 x 3-1/2 inches (19.1 x 8.9 cm)

PROVENANCE:
Christies, New York, Nineteenth Century Art, March 28, 2000, lot 71.

HAYLEY LEVER (American, 1876-1958)
Fisherman's House
Watercolor and pen and ink on paper
12-3/4 x 18 inches (32.4 x 45.7 cm) (window)
Signed lower left: Hayley Lever

PROVENANCE:
Dr. and Mrs. Robert Lieberman, Winter Park, Florida.

MARTIN LEWIS (American, 1881-1962)
Boss of the Block, 1939
Etching and aquatint
11-1/2 x 7-1/2 inches (29.2 x 19.1 cm)
Pencil signed lower right: Martin Lewis

LITERATURE:
McCarron, 128.

PROVENANCE:
Private collection.

HUC-MAZELET LUQUIENS (American, 1881-1961), HERBERT WATERS (American, born 1903), ASA CHEFFETZ (American, 1897-1965), ANON. GERMAN EXPRESSIONIST
Group of 4 woodcuts and wood engravings
Luquiens, Christmas greetings, 1930, pencil signed, titled and dated, (sheet) 6.25 x 5 in., (plate) 4 x 3 in.;
Waters, Untitled print with bell, pencil signed, (plate) 4.5 x 3.75 in. (not examined out of mat);
Cheffetz, Peaceful Valley, pencil signed lower right, The Annual Print for 1943-1944 for the Print Club of Albany, (sheet) 10.5 x 14 in., (plate) 4.5 x 9 in.;
Anon. German Expressionist print on brown paper, (plate) 3.5 x 3.25 in., (sheet) 4 x 3.75 in.

PROVENANCE:
Private collection.

DONALD SHAW MACLAUGHLAN (Canadian, 1876-1938)
Group of 4 landscape prints (including The Path in the Woods, 1917 (2 impressions in different inks, black and brown); Little Pool, 1900; River Song No. 2, 1918)
Etching and drypoint
Each pencil signed lower right
Each stamped verso with inked printer's stamp: T.F.T.
The Path in the Woods (brown ink impression), (plate) 9 x 13.75 in.,(sheet) 9.75 x 14.75 in.; The Path in the Woods (black ink impression), (plate) 9 x 13.75 in.,(sheet) 13.25 x 18 in.; Little Pool, irregular margins, (plate) 7.25 x 12 in., (sheet) 8 x 12.75 in.; River Song No. 2, (plate) 7.75 x 8.25 in., (sheet) 9.5 x 10 in.

PROVENANCE:
Private collection.

ELMER LIVINGSTON MACRAE (American, 1875-1953)
Girl at the Shore, 1912
Pastel and charcoal on board
6 x 7 inches (15.2 x 17.8 cm) (window)
Signed and dated lower right: E.L. MacRae/ 1912

ÉDOUARD MANET (French, 1832-1883)
Charles Baudelaire de Profile
Etching on Arches paper
Plate size: 4-1/4 x 3-5/8 inches (10.8 x 9.2 cm)
Sheet size: approx. 10-3/4 x 8-5/8 in.
Monogrammed in the plate upper left
Inscribed in the plate "Peint et Grave par Manet 1862/ Imp. A. Salmon" in the lower edge of the plate
Posthumous printing

PEPPINO MANGRAVITE (Italian, 1896-1978)
Moonlight
Oil on canvas
20 x 24 inches (50.8 x 61.0 cm)

PROVENANCE:
Dudensing Galleries, New York, no. 201 (label verso).

HENRI MATISSE (French, 1869-1954)
Nude, 1950
Lithograph on paper
16 x 11-1/2 inches (40.6 x 29.2 cm) (window)
Signed and dated lower left: H. Matisse/ Oct. 50

PROVENANCE:
DuBose Gallery, Houston, Texas (label verso);
The Duffy Oyster Family Collection, Dallas, Texas (inscription verso).

EXHIBITED:
New Orleans Gallery, February 1978 (inscription verso).

VIOLET MEGE (French, born Algeria 1889)
Still Life with Tambourine and Jugs
Oil on canvas
18 x 22 inches (45.7 x 55.9 cm)
Signed upper left: Violet Mege


PROVENANCE:
Private collection

Violet Mege, who was trained both at the Academie Julian and the École des Beaux-Arts in Paris, first made a name for herself painting remarkable, light-filled genre scenes of the women of Algiers. By 1917 she had made her way to the American Southwest where she participated in the inaugural exhibition of the Taos Society of Artists held in 1917 at the Hotel Majestic, Taos, New Mexico. Her attraction to strong lighting effects and powerful color and brushwork won her many opportunities to exhibit in the United States. She also worked in Mexico.

JAMES ARTHUR MERRIAM (American, 1880-1951)
Coastal Landscape, c. 1920s
Oil on canvas
12 x 14-1/2 inches (30.5 x 36.8 cm)
Signed lower right: James Merriam

OLIVER HILARY SAMBOURNE MESSEL (British, 1904-1978)
Costume Design for "Bells On" number in Lionel Bart musical
Watercolor and black chalk
14-3/4 x 10 inches (37.5 x 25.4 cm)
Signed at lower left: Oliver Messel
Inscribed: Morris Dances

PROVENANCE:
Wright Hepburn Gallery, London (label verso of mat);
Private collection.

ERNEST FREDERICK MEYER (American, 1863-1952)
Market, Brooklyn, New York
Oil on canvas
12 x 15-3/4 inches (30.5 x 40.0 cm)
Signed lower left: Ernest Meyer
Titled in pencil on stretcher verso: Market, Brookly[n]

PROVENANCE:
Salmagundi Club Auction Sale (label verso);
Schwarz Gallery, Philadelphia (label verso).

LITERATURE:
Philadelphia Collection LXXI, plate 91, illus.

ADDISON THOMAS MILLAR (American, 1850-1913)
Building in Madrid, 19?0
Oil on panel
8 x 5 inches (20.3 x 12.7 cm)
Signed and dated upper left: A. T. Millar 19?0 A. D.

LOUIS MUHLSTOCK (Canadian, 1904-2004)
Young Negro Girl, 1949
Ink line drawing on paper
24-1/2 x 20 inches (62.2 x 50.8 cm)
Signed and dated lower right: Muhlstock/ 1949

Titled and signed verso: #14/ "Young Negro Girl"/ Louis Muhlstock/ 3414 Ste. Famille St./ Montreal

CHARLES FAIRFAX MURRAY (British, 1849-1919)
Figure Study with Violin
Pencil on paper
12 x 7-3/8 inches (30.5 x 18.7 cm)

ROBERTSON KIRTLAND MYGATT (American, 1862-1919)
Moonlight on the Marshes, 1913
Oil on canvas
18 x 26 inches (45.7 x 66.0 cm)
Signed and dated lower left: Robertson Kirtland Mygatt 1913

PROVENANCE:
Phillips, New York, American Art, November 28, 2000, lot 87.

GEORGE LAURENCE NELSON (American, 1887-1978)
Foxglove with Still Life, 1938
Oil on canvas laid on board
20 x 24 inches (50.8 x 61.0 cm)
Signed and dated lower right: G.L. Nelson / 38
Inscribed verso: Foxglove with Still Life / by George Laurence Nelson / Kent, Conn.

PROVENANCE:
Matt Galleries, New York (label verso).

FRIED PAL (Hungarian, 1893-1976)
Nanette
Oil on canvas
24 x 30 inches (61.0 x 76.2 cm)
Signed lower right: Fried Pal

PROVENANCE:
Tiroche Auction House, Israel, Israeli & International Art - Part I, June 27, 2009, lot 274.

WALTER SIMPSON PARKE (American, b. 1909)
Model
Oil on masonite
24 x 18 inches (61.0 x 45.7 cm)
Signed indistinctly lower left

ROI GEORGE PATRIDGE (American, 1888-1984), JOHN COSTIGAN (American, 1888-1972), and EUGENE HIGGINS (American, 1874-1958)
Group of 4 American Etchings
Etching

PROVENANCE:
Private collection.

CLARA GREENLEAF PERRY (American, 1871-1960)
Rio Frio, South America, 1939
Oil on board
12 x 15 inches (30.5 x 38.1 cm)
Titled and dated verso: Rio Frio/ S. America/ Nov. 39

HEINRICH HERMAN PFEIFFER (American, 1874-1960)
The Garden Courtyard
Oil on canvas
16 x 20 inches (40.6 x 50.8 cm)
Signed lower right: H. Pfeiffer

PHILIPPE-MARIE PICARD (French, 1915-1997)
Nature morte (Still Life with Fruit and Candle), c. 1959
Oil on canvas
13 x 18 inches (33.0 x 45.7 cm)
Signed lower right: Ph. M. Picard

PROVENANCE:
Private collection.

EXHIBITED:
Galerie Claude Levin, Paris, June 29, 1959 (label verso).
n.b. On the occasion of this exhibition, Picard was presented with the Silver Medal of the City of Paris by Pierre Taittinger, Vice President of the Consul General of the Seine, Municipal Advisor of the City of Paris, and Member of the Commission for the Fine Arts (invitation preserved verso).

MAX POLLAK (Austrian/Czech, 1886-c. 1970)
Complete series of 10 prints of Nikolsburg refugee camp [In Fluchtlingslager Nikolsburg-Auskammen], 1914
Drypoint and etchings
Various sizes, full margins
Ed. 75
Each pencil signed lower right: Max Pollak
Each inscribed in pencil lower left with title and numbered

This rare series of ten etchings by Max Pollak records displaced Galician families which he made while he was on duty with the Austrian army in 1914.

PROVENANCE:
Private collection.

MIKHAIL POMERANZEV (Russian, 19th Century)
Boats at Dock in Winter, 1885
Oil on canvas
9 x 22-1/2 inches (22.9 x 57.2 cm)
Signed in Cyrillic and dated lower right: 1885

MICHEL-MARIE POULAIN (1906-1991)
Le Doubs, 1955
Oil on canvas
25-1/2 x 32 inches (64.8 x 81.3 cm)
Signed lower left: Michel Marie Poulain
Signed, titled and dated on reverse

PROVENANCE:
Private collection.

MICHEL POURTEYRON (French, born 1938)
Femme, Forme Noire, 1976
Oil on canvas
46 x 28-1/2 inches (116.8 x 72.4 cm)
Signed lower left: M. Pourteyron
Signed, dated, titled and inscribed with address on reverse

PROVENANCE:
Private collection.

WOLFGANG POZEBA (American, 1936-1982)
Bison Herd, 1962
Watercolor and ink on collaged paper
12-1/2 x 29 inches (31.8 x 73.7 cm) (window)
Signed and dated lower center: Wolf Pogzeba/ 62

ROBERT RAUSCHENBERG (American, 1925-2008)
...I Pledge to Make the Earth a Secure and Hospitable Home for Present and Future Generations, 1991
Lithograph in colors on paper
25 x 25 inches (63.5 x 63.5 cm) (window)


Signed in graphite lower right: Rauschenberg
Titled at top: "...I Pledge to Make the Earth a Secure and Hospitable Home for Present and Fugure Generations"
Printed at bottom: Earth Summit '92/ Rio de Janeiro/ 1991 Robert Rauschenberg Foundation.

PROVENANCE:
Private collection, Minnesota.

The present was created for the United Nations Conference on the Environment held in Rio de Janeiro.

PHILIP REISMAN (American, 1904-1992)
Family Dinner
Oil on paper mounted on board
21 x 30 inches (53.3 x 76.2 cm)
Signed lower right: Philip Reisman

PROVENANCE:
Dr. and Mrs. Robert Lieberman, Winter Park, Florida.

AIDEN LASSELL RIPLEY (American, 1896-1969)
Sand Island Sketch
Watercolor and pencil on board
8 x 12 inches (20.3 x 30.5 cm)

Inscribed verso: Two sketches/No. 1 island and Sand island -- both including Shadow retrieving -- and Marion in blind -- E.F. in front of blind to rescue bird. Sand island sketch in dull light./ No. 1 island sketch in sunlight./ Make a good deal of the poodle./ More color in trees in background./ Woodcock Cover/ Grouse and Grapes/ Quail Near the Big Oaks/ A Grouse on an Apple Tree

PROVENANCE:
The Estate of A. Lassell Ripley (stamp verso).

WILLIAM RITSCHEL (American, 1864-1949)
Dutch harbor with windmill
Oil on canvas
26 x 16 inches (66.0 x 40.6 cm)
Signed lower right: W. Ritschel 46

PROVENANCE:
Private collection.

EUGENIO OLIVA RODRIGO (Spanish, 1857-1925)
Refreshment on the Neapolitan Coast
Oil on panel
5-3/4 x 8-1/2 inches (14.6 x 21.6 cm)
Signed lower right: E. Oliva / Rodrigo

WALTER ROSE (German, 1903-1964)
Springtime Thaw in Wartime Germany
Oil on canvas
36-1/2 x 53-3/4 inches (92.7 x 136.5 cm)
Signed lower right: W. Rose
Inscribed lower right: Schondorf ....

SAMUEL ROTHBORT (Russian/American, 1882-1971)
Manhattan Skyline
Oil on canvas
24 x 36 inches (61.0 x 91.4 cm)
Signed lower center: S Rothbort

PROVENANCE:
Dr. and Mrs. Robert Lieberman, Winter Park, Florida.

The figure in the lower left has been confirmed to be the artist's son Lawrence Rothbort (1920-1963).

CHAUNCEY FOSTER RYDER (American, 1868-1949)
Group of 4 etchings and drypoints (Criccieth Castle, Wales; Old Chapel at Gorbio; North Carolina Homestead; Forgans),
Etching and drypoint
Each pencil signed lower right: Chauncey F. Ryder
Criccieth Castle, Wales, (plate) 9 x 11.875 in., (sheet) 11 x 15.5 in.; Old Chapel at Gorbio, (plate) 9 x 11.875 in., (sheet) 10.875 x 15 in.; North Carolina Homestead, (plate) 8 x 9.875 in., (sheet) 10.5 x 13.25 in.; Forgans, (plate) 9 x 11.75 in., (sheet) 10.875 x 15.25 in.

PROVENANCE:
Private collection.

CORNELIUS SALISBURY (American, 1882-1970)
Ebb Tide, 1936
Oil on artist's board
16 x 20 inches (40.6 x 50.8 cm)
Signed and dated lower right: Cornelius Salisbury '36
Titled and signed verso: "Ebb Tide" / Cornelius Salisbury

CARL LUIS HEINRICH-SALZE (German, 1891-1964)
Self Portrait
Charcoal on paper
17-1/2 x 14 inches (44.5 x 35.6 cm)
Signed lower left: Heinrich Carl

J. SELLENATI (Italian, late 19th century)
Tyrolean Couple
Oil on Panel
8-1/4 x 6-1/4 inches (21.0 x 15.9 cm)
Signed lower right: J. Sellenati

PROVENANCE:
Christie's, New York, Nineteenth Century Art, March 28, 2000, lot 106.

PAMELA KELLY SILLS (American, 20th Century)
Triptych: L.V. Cutting Garden, Calaway Hibiscus 2, and Reflection, 1981
Acrylic on canvas
47-1/2 x 31-1/2 inches and 47-1/2 x 56 inches (120.7 x 80.0 cm)
Signed, titled, and dated respectively: upper left, upper right center, and upper right

PROVENANCE:
Art South Gallery, Montgomery, Alabama, 1983;
Hilton Anatole, Dallas, Texas, 1983-2004;
Heritage Auction Galleries, Dallas, Crow Partnership Signature Auction, 2007, Lot 33315;
Private collector, Dallas, Texas.

JOHN SLOAN (American, 1871-1951)
Group of 2 etchings (including Nude on Stairs, 1930)
Etching
Each pencil signed
Nude on Stairs, pencil signed and inscribed "100 proofs," (plate) 9.875 x 7.75 in., (sheet) 14,125 x 12.5 in.
Scene of men dining, pencil signed lower left, printed at top of plate "Copyright 1904 by The Frederick J. Quinby Company," Peters Bros. imp., (plate) 5.5 x 3.75 in., (sheet) 8.25 x 5.375 in.

PROVENANCE:
Private collection.

JOHN SLOAN (American, 1871-1951)
The Day on the Roof
Charcoal and pencil on paper mounted on board
12-1/2 x 15 inches (31.8 x 38.1 cm)
Signed lower left: John Sloan
Inscribed verso: "Daw" she asked "phwat be ye doin' on the roof?"/ (The Day on the Roof)/ Mrs. Reilly appears

LITERATURE:
"Day on the Roof," The Century Illustrated Monthly Magazine, New York (label verso).

ARTHUR SMITH (American, 20th Century)
Boxers, 1935
Oil on masonite
16 x 22-1/2 inches (40.6 x 57.2 cm)
Signed and dated lower left: A. Smith 35

PROVENANCE:
Dr. and Mrs. Robert Lieberman, Winter Park, Florida.

WALTER GRANVILLE SMITH (American, 1870-1938)
The Bend Pool, 1929
Watercolor on paper
9-1/2 x 13-1/2 inches (24.1 x 34.3 cm) (window)
Signed and dated lower left: W. Granville Smith/ 1929

EUROPEAN SCHOOL (18th Century)
Portrait of a Saint
Oil on canvas
24-1/4 x 19-3/4 inches (61.6 x 50.2 cm)

MARGARET F. SPENCER (American, 1882-?)
Fan and Violets
Oil on canvas
20 x 24 inches (50.8 x 61.0 cm)
Signed lower right: Margaret F. Spencer
Artist label verso: Fan and Violets / Margaret F. Spencer

PROVENANCE:
Graham Williford, Fairfield, Texas;
By descent to private collection, Fairfield, Texas.

RICHARD STALTER (American, b. 1934)
Country Shed and Times Square (double-sided painting)
Oil on board
9 x 12 inches (22.9 x 30.5 cm)
Signed lower right on both sides: Stalter

ALBERT EDWARD STERNER (American, 1863-1946)
Two Ladies and a Gentleman
Pen and ink on paper
16 x 11-3/4 inches (40.6 x 29.8 cm) (window)
Signed lower right: To C. Bohm/ with regard,/ Albert E. Sterner

JULIAN RUSSELL STORY (American, 1857-1919)
Portrait of a Woman
Oil on canvas
30-1/2 x 25 inches (77.5 x 63.5 cm)

HAZEL JANICKI TEYRAL (American, 1918-1976)
Group of 4 Christmas-Themed Paintings (Frosted Window (Self-Portrait) signed and titled on the mat; Snowflake, signed and titled on the mat; Untitled (Christmas Ornaments), signed and dated 1950 lower right; Untitled (Wrapped Packages), signed and dated '50 at lower right
Gouache on paper (2) and gouache on illustration board (2)
Each signed: Hazel Janicki Teyral
Sheet sizes: 15.125 x 14 in., 10.5 x 13.5 in., 11.25 x 13.5 in., 11.25 x 13.75 in.

PROVENANCE:
Private collection.

Hazel Janicki was an artist from Cleveland, Ohio.

HARRY R. TOWNSEND (American, 1885-1968)
Country Lane Landscape
Oil on canvas
18 x 20 inches (45.7 x 50.8 cm)
Signed lower left: H. R Townsend

PROVENANCE:
Stuart Holman, Auctioneer, Cincinnati, Spring Selection Auction, May 1, 2004, lot 95B.

Ascribed to JOSEPH MALLORD WILLIAM TURNER (British, 1775-1851)
Seascape
Oil on canvas
12-1/2 x 18 inches (31.8 x 45.7 cm)
Bears signature lower right: J. M. W. Turner

MAX UNOLD (German, 1885-1964)
Field Workers, 1920
Watercolor
11 x 17 inches (27.9 x 43.2 cm)
Signed and dated lower left: Unold 1920

P. VALERY (Italian)
A Reflective Moment
Watercolor and graphite on paper
19 x 13-3/4 inches (48.3 x 34.9 cm) window
Signed lower right: P. Valery/ Roma

SIENTJE MESDAG VAN HOUTEN (Dutch, 1834-1909)
Landscape with Pine Trees
Oil on canvas
27 x 35 inches (68.6 x 88.9 cm)
Signed lower right: S. Mesdag van Houten

PROVENANCE:
Cyrus Boutwell, Denver (label verso);
Private Collection, Raton, New Mexico.

SIENTJE MESDAG VAN HOUTEN (Dutch, 1834-1909)
Tonal Landscape
Oil on canvas
27-1/2 x 35 inches (69.9 x 88.9 cm)
Signed lower right: SMvH
Inscribed label verso: Mesdag v. Houten; no. 34/ Veentje

PROVENANCE:
Private Collection, Raton, New Mexico.

Circle of REMBRANDT VAN RIJN (Dutch, 1606-1669)
The Lovers
Pen and ink on paper
6-1/2 x 6-1/2 inches (16.5 x 16.5 cm)

ELIHU VEDDER (American, 1836-1923)
Roadside Figure and Umbrella, c. 1890
Pastel on paper
12-1/2 x 22 inches (31.8 x 55.9 cm) (window)
Signed lower right: Vedder

After DIEGO VELÁZQUEZ (Spanish, 1599-1660)
Portrait of a Man
Oil on canvas
14 x 12 inches (35.6 x 30.5 cm)

FRANZ SERAPH VON LENBACH (German, 1836-1904)
Portrait of a Gentleman
Oil on canvas
20 x 16 inches (50.8 x 40.6 cm)
Inscribed in pencil on lower stretcher bar: Lenbach
Inscribed on back of canvas: Lenbach
PROVENANCE:
Collection of Robert Knaus, Munich;
Habertizel & S. Kende, Vienna;
Private collection.

M.G.W. (French, 20th century)
La Riviere
Oil on canvas
19-1/2 x 23-1/2 inches (49.5 x 59.7 cm)
Initialled lower left: MGW
Titled on stretcher
PROVENANCE:
Private collection

WILLIAM WALCOT (British, 1874-1943), SIDNEY TUSHINGHAM (British, 1884-1968), and SEYMOUR HADEN (British, 1818-1910)
Group of 5 British Landscape Etchings
Etching

PROVENANCE:
Private collection.

A. WEBER (European, 19th Century)
Coastal landscape
Oil on canvas
8-1/4 x 13-1/2 inches (21.0 x 34.3 cm)
Signed lower left: A Weber

PROVENANCE:
Private collection.

HANS WERNER-BEHN (American, 20th Century)
Dance of Death, 1926
Oil on board
17 x 27-1/2 inches (43.2 x 69.9 cm)
Signed and dated lower right: Hans Werner Behn 26

EXHIBITED:
The All-Illinois Art Exhibition, 1926 (label verso)

MAX WEYL (German, 1837-1914)
Roosters in the Yard, 1886
Oil on canvas
16-1/4 x 21 inches (41.3 x 53.3 cm)
Signed and dated lower right: Max Weyl / 86

FREDERICK DICKINSON WILLIAMS (American, 1829-1915)
Figures in a Classical Landscape
Pencil on paper
5-3/4 x 9 inches (14.6 x 22.9 cm)

PAUL H. WINCHELL (American, 1903-1972)
Street Mills, c. 1930
Oil on canvas
28 x 36 inches (71.1 x 91.4 cm)
Signed lower right: Winchell

FRITZ WINKLER (German, 1894-1964)
Group of 2 Brush and Ink Drawings of Horses in the Field (Plowing Team, 1924; The Haywagon, 1923)
Brush and ink on paper
Each initialled F Winkler and dated
Plowing Team, 1924, (sheet) 12 x 18 in.; The Haywagon, 1923, (sheet), 13 x 19 in.

PROVENANCE:
Private collection.

FRITZ WINKLER (German, 1894-1964)
Group of 4 Brush and Ink Drawings (Nordstrand Beached Boats, 1928; Im Nordsee, 1928; Nordstrand, 1931; Nordstrand Village, 1929)
Brush and ink on paper, two with scattered faint pencil notations for color.
Three initialled FW and dated; Nordstrand signed in pencil F W Winkler and titled and dated on verso.
Sheet sizes: Nordstrand Beached Boats, 12.875 x 19 in.; Im Nordsee, 13 x 19 in.; Nordstrand, 12.25 x 19 in.; Nordstrand Village, 12.625 x 18 in.)

PROVENANCE:
Private collection.

FRITZ WINKLER (German, 1894-1964)
Group of 3 Brush and Ink Drawings (The Circus, 1932; Monkey in Cage, 1928; Deer, 1928)
Brush and ink on paper
Two initialled FW and dated; The Circus signed F Winkler and dated in pencil verso.
Sheet sizes: The Circus, 14.875 x 21.25 in.; Monkey in Cage, 14.5 x 21 in.; Deer, 13 x 19 in.

PROVENANCE:
Private collection.

FRITZ WINKLER (German, 1894-1964)
Group of 3 Brush and Ink Drawings on four sheets depicting Peasants Working (Crop pickers, 1923; (two-sided) Laborers at rest, 1931 and Homeward Bound, 1931; and Strolling Along the Strand (Clamdiggers), 1931)
Brush and ink on paper, with pencil notations concerning color faintly indicated
Each initialled FW and dated
Crop pickers, (sheet) 11.625 x 18.25 in.; (two-sided) Laborers at rest and Homeward Bound, (sheet) 13 x 18.5 in.; and Strolling Along the Strand (Clamdiggers), (sheet) 19 x 11.5 in.

PROVENANCE:
Private collection.

FRITZ WINKLER (German, 1894-1964)
Group of 3 Brush and Ink Drawings of Farm Animals (Stallion in landscape, 1929; Horse at Rest, 1927; Bovine, 1927)
Brush and ink on paper
Sheet sizes: 12.75 x 18.5 in., 13 x 18 in., 13 x 18.5 in.
Each initialed FW and dated

PROVENANCE:
Private collection.

FRITZ WINKLER (German, 1894-1964)
The Sheepfold, 1927
Brush and ink on paper
12.25 x 19 in. (sheet)
Initialled FW and dated

PROVENANCE:
Private collection.

MORTON G. WINSLOW (American, 1899-1978)
Small New England Town, 1931
Watercolor on paper
14-1/2 x 21 inches (36.8 x 53.3 cm) (window)
Signed and dated lower right: Morton G. Winslow/ '31

JOHN WISINSKI (American, 1900-1986)
Stormy Seas, 1966
Oil on board
30 x 36 inches (76.2 x 91.4 cm)
Signed and dated lower right: John Wisinski '66

MABEL MAY WOODWARD (American, 1877-1945)
Late Afternoon, Provincetown, c. 1910s
Watercolor on paper
9 x 5-3/4 inches (22.9 x 14.6 cm) (window)
Signed lower right: M. Woodward