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MAXFIELD PARRISH (American 1870-1966)
Sugar Hill, Late Afternoon, 1930
Oil on prepared board
25 x 30-1/2 inches (63 x 76 cm)
Signed and dated lower right: Maxfield Parrish 1930
Titled, inscribed, dated and signed verso: Sugar Hill:Late Afternoon/Plainfield, New Hampshire/1930/Maxfield Parrish

Provenance:
The Artist;
Estate of the Artist;
Eli Lily Collection (Indianapolis, Indiana);
Private Collection (Tennessee)

Literature:
Letter of authentication from Maxfield Parrish, Jr. dated July 19, 1975; Letter from the same to Rosalind Mikesell, discussing a photograph of his father's studio dating from about 1932 in which the painting appears, dated July 19, 1975; Bruce Weber, American Paintings IX (New York: Berry-Hill Galleries, 2001), pp, 110-111 (reproduced)

Sugar Hill, Late Afternoon was painted in 1930 and records a view of the hill behind Parrish's property in the central New Hampshire town of Plainfield where he lived from 1898 until his death in 1966. Parrish, an enormously successful illustrator, developed a serious interest in landscape painting during the course of the 1930s, which intensified as the result of a particular commission: in 1934 the firm of Brown and Bigelow engaged him to paint summer and winter scenes of his own choosing for a series of calendars. As Alma Gilbert has noted, during the last thirty years of his life Parrish 'sought to capture the tranquil, idyllic settings of the spectrally picturesque New England area where he lived' (Alma Gilbert, Maxfield Parrish: The Masterbooks (Berkeley, California: Ten Speed Press, 1995], p. 168).

Parrish purposefully sought to make his images direct and eye-catching. He consistently gave equal attention to all details in his compositions in order to achieve 'a quality of reality and consequently a beauty of truth' (Coy Ludwig, Maxfield Parrish [New York: Watson-Guptill Publications, 1973
Auction 652 | Lot: 23157 | May 25, 2007

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WILLIAM GLACKENS (American 1870-1938)
Nude Pulling On Stocking (Nude With Red Hair), circa 1925
Oil on canvas
32 x 26 inches (81 x 66 cm)

Provenance:
Estate of the artist, 1938 to present

Literature:
Touchstone 7 (June 1920): 193 (reproduced);
List made in 1943 of works in estate of William J. Glackens left to Mrs. William J. Glackens, William Glackens File, Whitney Museum of American Art Papers, Archives of American Art, microfilm reel no. N658, frame 601, no. 47;
William Glackens File, Whitney Museum of American Art Papers, Archives of American Art, microfilm reel no. 658, frame 273;
Card file of works by William J. Glackens, William and Ira Glackens Papers, Archives of American Art, microfilm roll 4710, frame 376, no. 30;
Richard Joel Wattenmaker, "The Art of William Glackens," Ph.D. Dissertation, New York University Institute of Fine Arts, 1973, pp. 247-248m 454, 457 (reproduced)

William Glackens was born in Philadelphia, Pennsylvania. In 1891, following his graduation from Philadelphia's Central High School where John Sloan was a fellow student, he joined the Philadelphia Record as an artist-reporter, and worked in a similar capacity from 1892 to 1895 for the Philadelphia Press. Also working for the Press at this time were Sloan, George Luks, and Everett Shinn-all of whom became associated with a group of progressive painters known as "The Eight." In 1893 Glackens studied briefly with Thomas Anschutz at the Pennsylvania Academy of the Fine Arts. Glackens and the artist Robert Henri shared a studio in 1894, and traveled to Europe together the following year. Upon his return to America in 1896 Glackens settled in New York and worked as an illustrator for the New York Herald and later for the New York World. In 1908 he became a member of the Eight(Henri, Sloan, Shinn, Luks, Maurice Prendergast, Arthur B. Davies, and Ernest Lawson) who held a landmark exhibition at the Macbeth Galle
Auction 652 | Lot: 23141 | May 25, 2007

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MILTON AVERY (American 1893-1965)
Laguna Beach, 1943
Oil on canvas
16 x 20 inches (40.6 x 50.8 cm)
Signed and dated lower left: Milton/Avery/1943
Inscribed, signed and dated verso: "Laguna Beach"/by Milton Avery/16 x 20/1943

Milton Avery's generalized treatment of form and flattened color masses linked him artistically with the development of Abstract Expressionism during the 1940s. Indeed, his friendships woth Mark Rothko and Adolph Gottlieb proved to be mutually inspirational, even though Avery never entirely relinquished a desire for representation in his painting.

Avery began to achieve critical success in 1944, when he had his first museum exhibition at the Phillips Memorial Gallery in Washington, D.C. Major opportunities soon followed, including this first retrospective at the Baltimore Museum of Art in 1952. The Whitney Museum organized retrospectives of Avery's work in 1960 and 1982. Following Avery's death in 1965, Rothko remarked: 'Avery is first a great poet. His is the poetry of sheer loveliness of sheer beauty. Thanks to him this kind of poetry has been able to survive in our time...There have been several others in our generation who have celebrated the world around them, but none with inevitability where the poetry penetrated every pore of the canvas to the last touch of the brush' ('Commemorative Essay,' in Milton Avery (New York: Whitney Museum of American Art. 1982), p. 181).

Avery typically spent his summers in New England ,but in 1941 he drove cross-country from New York to California, and visited Yellowstone and Glacier National Parks along the way. While on the west coast he spent a month in Laguna Beach in Southern California where he painted the present canvas.

Auction 652 | Lot: 23187 | May 25, 2007

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EVERETT SHINN (American 1876-1953)
Curtain Call, 1925
Oil on canvas
9-1/4 x 11-1/4 inches (23 x 29 cm)
Signed and dated lower left: E. Shinn/1925

Provenance:
Tullah and Thomas Edward Hanley (Bradford, PA);
William Benton (Connecticut);
Private collection

Exhibitions:
Gallery of Modern Art, New York, Selections from the Collection of Dr. and Mrs. T. Edward Hanley, January 3 - March 12, 1967;
Berry-Hill Galleries, New York, The Spectacle of Life, November 29, 2000 - January 13, 2001

Literature:
Janay Wong, Everett Shinn: The Spectacle of Life (New York: Berry-Hill Galleries, 2000), pp. 86-87, 167 (reproduced);
Janay Wong, "Curtain Call", entry in American Paintings IX, (New York: Berry-Hill Galleries, 2001), pp. 98-99 (reproduced)

Shinn's portrayals of the theater provide some of his most visually spectacular pictures and reveal a life-long fascination with the stage that went beyond the role of mere observer. An active participant in his own productions, he was also on friendly terms with several actors and actresses. Around 1910, after receiving a commission to paint 22 x 45 foot murals for Trenton City Hall, Shinn built a large studio behind his Waverly Place residence. The studio also doubled as a theater which included crimson curtains, a proscenium, and a perfectly equipped miniature stage. Home to 'The Waverly Street Players', an amateur theater group, which included the Shinns, the Glackenses, Jimmy Preston, and David Belasco's assistant, Wilfred Buckland, the theater had the character of a private club for friends. For the performances, Shinn wrote three four act melodramas: The Prune Hater's Daughter, More Sinned Against than Usual, and Wronged from the Star. Shinn first exhibited representations of the theater in 1899 when he showed Scene - Julia Marlowe, Fourteenth Street Theater, and Interior Keith's
Auction 652 | Lot: 23139 | May 25, 2007

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TITLE, DATE
MEDIUM
DIMENSIONS

Auction 652 | Lot: 23057 | May 25, 2007

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HUGH H. BRECKENRIDGE (American 1870 -1937)
The Phlox Garden, circa 1906
Oil on canvas
25 x 30 inches (63.5 x 76.2 cm)
Signed lower right: Hugh H. Breckenridge
Incription verso: The Phlox Garden by Hugh H. Breckenridge

Exhibitions:
Worcester Museum of Art, Worcester, Massachusetts, Exhibtion of Paintings by Hugh H. Breckenridge, December 8-30, 1907, no. 9;
Albright Art Gallery, Buffalo Fine Arts Academy, Catalogue of Collection Pictures by Hugh H. Breckenridge, 1908, no. 9

A native of Virginia, Breckenridge attended the Pennsylvania Academy of Fine Arts, where he eventually taught after traveling and studying abroad. He is recognized as one of the leading Impressionist landscape painters of his time.

The Phlox Garden features the garden of Breckenridge's home in Fort Washington, dubbed "Phloxdale" because of the profusion of the flower on his property. In his landscape paintings, Breckenridge sought to represent every season and mood of nature, as well as a variety of light effects.

Auction 652 | Lot: 23096 | May 25, 2007

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GEORGE INNESS (American 1825-1894)
Landscape, 1857
Oil on canvas-faced academy board
7-3/8 x 10-5/8 inches (18.7 x 27 cm)
Signed at lower left: G. Inness 1857

Provenance:
M. Giblin;
Mrs. Louis Wilson (Washington, DC);
Mrs. Graham B. Peake, to 1952 (New York);
With Grand Central Art Galleries, 1952 (New York);
Private collection (Dallas, Texas)

The painting depicts a peaceful countryside filling with soft light from the right with beautifully colored clouds in the lower sky. The foreground is shaded by trees on the right. A stream with cows wading, flows out from the left of the canvas to the right and then curves back again to the left. The stream passes back through high banks to the left and center, decorated with mature trees and a house at center. The background depicts a rolling landscape and a sloping mountain. An exceptionally detailed example of the period, this Landscape is part of a group of three paintings that passed through the market in 1952. Each painting in the series depicts a different time of day. The other two paintings The Meadows and The Sunset are currently in the collection of the Worcester Art Museum. This particular painting will be included in the supplement to Michael Quick's, George Inness: A Catalogue Raisonné (2006).
Auction 652 | Lot: 23017 | May 25, 2007

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GUY CARLETON WIGGINS (American 1883-1962)
The Avenue On A Winter's Day
Oil on canvas
12-1/8 x 16-1/8 inches (30.8 x 41 cm)
Signed lower left: Guy C. Wiggins
Inscribed verso: "The Avenue On A Winter's Day" / Guy C. Wiggins
Accompanied by a letter of authenticity from Guy A. Wiggins

Provenance:
Private Collection (Boca Raton, Florida)
Auction 652 | Lot: 23159 | May 25, 2007

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ALFRED HEBER HUTTY (American 1877-1954)
Charleston, circa 1920
Watercolor on Whatman paper on board
17-1/2 x 23-3/8 inches (44.4 x 59.3 cm)
Signed at lower right: Alfred Hutty

Provenance:
From the Estate of Linda S. Firestone

Alfred Hutty first moved to Charleston in 1920 to teach at the school at the Gibbes Museum and returned every summer thereafter. He worked primarily in drypoint but also painted non-romantized scenes similar to the present lot depicting figures in doorways and dilapidated buildings.
Auction 652 | Lot: 23132 | May 25, 2007

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BENJAMIN CONSTANT (French 1845-1902)
Tangiers, 1873
Oil on panel
15 x 21-1/4 inches (38.1 x 54 cm)
Inscribed lower right: B. Constant / Tangier, 1873

Provenance:
Boos Auction Gallery (Famington, Michigan);
Estate of Mr. Robinson, Curator, Detroit Institute of Art (Detroit, Michigan)

Auction 652 | Lot: 23240 | May 25, 2007

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JANE PETERSON (American 1876-1965)
A Market, Biskra
Oil on canvas
24 x18-1/4 inches (61 x 46.4 cm)
Signed lower right

Auction 652 | Lot: 23241 | May 25, 2007

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HIRAM POWERS (American 1805-1873)
Proserpine, modeled 1844
Marble
24 inches high (61 cm)
Inscription on front of base: Hiram Power

Literature:
Richard P. Wunder, Hiram Powers Vermont Sculptor, 1805 -1873 (Newark, Delaware: University of Delaware Press, 1990), II:187-204

Proserpin 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. Proserpin was originally intended to be a companion piece for Powers's bust Ginerva, which was executed in 1838, shortly after the sculptor's arrival in Florence.

In his description of this sculpture, Hiram Powers recounted the story of Proserpine (the Roman equivalent of Persephone) and explained his specific presentation of the goddess: "She was the daughter of Jupiter and Ceres and while gathering flowers when very young and exceedingly beautiful, was discovered by Pluto who seized her in his arms and bore her down through a neighboring lake to his own infernal dominions. Her mother sought her a long time in vain, but at last found out her fate and besought Jupiter to release her, which request was granted on condition that 'Proserpine' had eaten nothing while with Pluto. But unhappily she had eaten a pomegranate in his garden so a compromise was made, viz., she should come back to earth half the year and remain with her husband the other half. And so she appears in the bust with a wreath of wheat in bloom on her head and rising out of an acanthus (emblem of imm
Auction 652 | Lot: 23016 | May 25, 2007

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GUY CARLETON WIGGINS (American 1883-1962)
Snow Storm On The Avenue, 1917-1918
Oil on canvasboard
12 x 16 inches (30.4 x 40.6 cm)
Signed lower right Guy Wiggins
Inscribed verso Snow Storm On The Avenue / Guy Wiggins A.N.A., with a paper label for Russell's Artist's Canvas Boards and Lagakos-Turak Gallery
Accompanied by a letter of authenticity from Guy A. Wiggins;
Accompanied by a copy of the letter dated March 15, 1918 from Lyme, Conn. to the purchaser Mrs. Lawson; and a copy of a letter from The Fox Gallery

Provenance:
Mrs. Lawson, 1918
The Fox Gallery (New York, NY)
Lagakos-Turak Gallery (Philadelphia, Pennsylvania)

Literature:
Henry Geldzahler, American Painting In The Twentieth Century, Metropolitan Museum, New York, 1965, p. 46.
Auction 652 | Lot: 23158 | May 25, 2007

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ALFRED STEVENS (American 1823-1906)
Winding The Mantle Clock, circa 1875-1880
Oil on panel
18-1/8 x 11- 5/8 inches (47.8 x 29.5 cm)
Signed lower left: Alfred Stevens

Auction 652 | Lot: 23025 | May 25, 2007

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ALEXANDER CALDER (American 1898-1976)
Kakemono, 1973
Gouache and Ink on paper
22-3/4 x 15-1/4 inches (57.8 x 38.7 cm)
Signed and dated lower margin

Provenance:
Merril Chase Gallery (Chicago, IL);
Acquired from the above by the present owner
Auction 652 | Lot: 23213 | May 25, 2007

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CHARLES SPRAGUE PEARCE (American 1851-1914)
Home From The Fields, circa 1880-84
Oil on canvas
18 x 11-1/2 inches (45.7 x 29.2 cm)
Signed and inscribed lower left: Charles Sprague Pearce/Paris
Stamped with artist's monogram on stretcher

Literature:
Julia Rowland Myers, "The American Expatriate Painters of the French Peasantry, 1863-1893," Ph.D. Dissertation, University of Maryland, College Park, 1989, p 239, ff 3

Pearce was born and raised in Boston. His grandfather and namesake was the noted poet and banker Charles Sprague, who was a participant in the "Boston Tea Party." After graduating from the Boston Latin School Pearce worked for five years as a merchant in the China trade. During this period he was also actively painting and in 1872 gained some local renown for his early efforts. In 1873 Pearce followed the advice of William Morris Hunt and went to Paris, where he spent three years studying in the private atelier of Leon Bonnat.

In Europe Pearce quickly established his reputation and became one of the most highly regarded American artists of the late 19th century. In the early 1880s he began to spend considerable time painting in the small village of Auvers-sur-Oise in Picardy and settled there permanently in 1885. He exhibited regularly at the Paris Salon and received many distinguished honors including the French Legion of Honor. Pearce maintained close ties with the United States and served as chairman of the Parisian jury for the Chicago Exposition of 1893 and the St. Louis Exposition of 1904. In the 1890s Pearce executed a mural decoration for the Library of Congress in Washington, D.C.

Together with Daniel Ridgeway Knight, Charles Sprague Pearce was regarded during the 1880s and 1890s as the finest and most poetic American painters of French peasant subjects. In 1888 George Sheldon remarked that Pearce and Knight 'each has made a study of the Brittany peasant-woman in her relations to the landsca
Auction 652 | Lot: 23036 | May 25, 2007

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ROBERT HENRI (American 1865-1929)
Place In Paris (Place de Breteuil), circa 1895-1897
Oil on panel
10-1/2 x 13-3/4 inches (26.7 x 34.9 cm)
Signed lower left: Robert Henri

Literature:
Robert Henri Record Book, 257A

During the period 1890-1903, Henri principally painted cityscapes, landscapes, and marine paintings. His interest in painting outdoors began in the late 1880s during his summer months he spent in France. The experience led him to experiment with Impressionism and to paint broadly brushed landscapes which recorded the rich effects of color and the transient effects of light. By 1895, Henri began to adopt a style that was equally bold in paint handling but which emphasized chiaroscuro effects and depended upon a more somber range of color. This approach reflects his admiration for the works of Manet, Hals, Velasquez and Rembrandt as well as seventeenth-century Dutch landscape painting and the nineteenth-century Barbizon School.

Place in Paris was painted sometime between the summer of 1895 and the autumn of 1897 while Henri was living at 49 Boulevard du Montparnasse. It was during this time that he formed a close association with the Canadian artist James Wilson Morrice. They would often go on sketching excursions together in Paris, in the surrounding suburbs of Saint Cloud and Charenton, and to Bois-le-Roi near Fontainebleau. They would sketch on small wood panels or, pochades, spontaneously recording the passing scene. Henri, referred to these works as 'memory sketches' or 'mental sketches,' and carried the panels together with brushes, palette, and a few tubes of oil in a small box that fit into his pocket. When creating such works in Paris he often situated himself at the table of an outdoor cafe (especially the Cafe Versailles in the Place de Rennes), and painted views featuring the surrounding street and crowd. He would cover the entire surface with a single tone, then freely work the subject into it.
Auction 652 | Lot: 23065 | May 25, 2007

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DANIEL HUNTINGTON (American 1816-1906)
Portrait Of Cornelius Vanderbilt II, 1896
Oil on canvas
30 x 25 inches (76.2 x 63.5 cm)
Signed and dated lower left: D. Huntington / 1896

Auction 652 | Lot: 23046 | May 25, 2007

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WILHELM KUHNERT (German 1865-1926)
Egyptian Landscape
Oil on canvas
26-3/4 x 15-1/2 inches (67.9 x 39.4 cm)
Signed lower left: W. Kuhnert

Provenance:
Gallery G (Heidleberg, Germany)

Auction 652 | Lot: 23235 | May 25, 2007

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WALTER CRANE (British 1845-1915)
Europe, Asia, Africa, circa 1870
Panel Triptych
56-1/2 x 16-3/8 inches, each, approximately (143.5 x 41.6 cm)
Monogramed, right panel lower right: CW

Auction 652 | Lot: 23237 | May 25, 2007

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LARRY POONS (American, born in Toyko, Japan 1937)
Untitled, 1981
Acrylic on canvas
34-3/8 x 21-¾ inches (87.3 x 55.2 cm)
Signed and dated verso: 1981 / L. Poons

Provenance:
Private collection

The American abstract painter Larry Poons had, as David Carrier has noted, "a fast breaking career--he became famous when he was very young." After studying at the New England Conservatory of Music (1955-57) he switched schools to pursue his other artistic interest--painting--at the Boston Museum School of Fine Arts in 1958. When he was barely twenty, he attracted critical attention for his elegant paintings in the minimalist/pop vein that had replaced the gestural, emotionally-charged art of the Abstract Expressionists a decade and a half before. The high-grade materiality of paint found in the dripped skeins of enamel by Jackson Pollock, the slashes of pigment made with household brushes in the billboard-sized work of Franz Klein, and the puddling and pouring of thinned out pigment onto a canvas so that it bleeds and drips gave way, in the early sixties, to clarity and flatness. Getting messy with materials had been eclipsed by paint that had to behave according to definite lines, patterns and abstract shapes to achieve optical effects of evenly modulated color. Paintings were preplanned designs. It was into this new art world, where formalism rather than the paint or the gesture reigned supreme, that Larry Poons emerged as a major figure. His work had the grid, the mathematics, the geometry, and the incredible discipline of a Mondrian behind it. But it also had his musical sense, too, of timing and syncopation which gave his early canvases a distinctive, personal timbre.

But Poons didn't want to keep making the paintings which made him an art star-nor could he. The tide had turned, plus Poons had new interests. By the beginning of the 1970s, Poons wanted to begin exploring the raw materiality of paint, even though the current trends co
Auction 652 | Lot: 23227 | May 25, 2007

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RALSTON CRAWFORD (American 1906-1978)
Nantucket, 1932
Oil on canvas
26 x 22 inches (66 x 55.9 cm)
Signed lower right: CRAWFORD
Inscribed on stretcher: NANTUCKET, 26" X 22" / 1932
Stamped on stretcher: Ralston Crawford Estate 32.24

Provenance:
Lee Nordess Galleries, label verso (New York);
Private collection

Art historically Ralston Crawford has been grouped with the American Precisionists-Charles Sheeler, Charles Demuth and Morton Livingston Schamberg--whose slices of the American landscape and vernacular architecture have characteristic sharp-edged forms, and clearly distilled planes and volumes. Their iconic presentations of grain elevators, docks, shipyards, barns, even common garden flowers in inexpensive vases were, in the 1930s, a new brand of realism--streamlined realism--and were prized as archetypal American imagery. Indeed, within seven years of painting this silvery-blue arrangement of boats and houses at Nantucket, Ralston Crawford produced Overseas Highway (1939), the work which catapulted him to national fame. In Overseas Highway, an empty causeway rushes confidently and aggressively into deep perspective. As Carter Ratcliff noted, "After nearly a decade of economic depression, it [Crawford's painting] was a welcome message" of hope, and relief, and was reproduced in Life magazine.

Crawford produced the present work, Nantucket, in 1932, at the moment in his career when his pictorial style began the shift from a more painterly, European-inspired brand of modernism, to one that was more severe and reductive (Precisionist). Notably, in this and a handful of related works which Crawford produced during the summer of 1932, the artist chose the subject of the sea as the vehicle for exploring a tighter flattening of form, and a greater clarification of planes. For Crawford, the sea was the environment in which he felt most at home, and the motifs associate
Auction 652 | Lot: 23145 | May 25, 2007

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EDWARD HENRY POTTHAST (American 1857-1927)
Lawn Tennis, St. Ives circa 1885-1890
Oil on panel
5-5/8 x 9-1/16 inches (14 x 23 cm)
Signed lower left: E. Potthast

Literature:
To be included in Mary Ran's forthcoming catalogue raisonnée of the works of Edward Potthast.

Lawn Tennis, St. Ives was likely painted during the course of Potthast's stay abroad in the late 1880s and early 1890s. Potthast is known to have traveled extensively in Europe at this time. As in many of Potthast's works, faces are featureless or concealed from the viewers gaze. The artist commonly created small outdoor sketches of this type, and then worked them up into larger paintings in his studio.

Auction 652 | Lot: 23062 | May 25, 2007

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GUY CARLETON WIGGINS (American 1883-1962)
A Winter's Snow / Plaza
Oil on canvasboard
12 x 16 inches (30.5 x 40.6 cm)
Signed lower left: Guy Wiggins N.A.
Inscribed verso: A Winter's Snow / Guy Wiggins N.A. / Plaza
Accompanied by a letter of authenticity from Guy A. Wiggins
Auction 652 | Lot: 23161 | May 25, 2007

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REINHOLD VON MOELLER (German 1847-1918)
The Desert Cavalcade, 1881
Oil on canvas
18-1/2 x 30-1/2 inches (47 x 77.5 cm)
Signed lower left: R. v. Moeller / München 1881

Auction 652 | Lot: 23234 | May 25, 2007

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WILLIAM HOLBROOK BEARD (American 1824-1900)
It Rains It Shines, The Devil Whipping His Wife
Oil on canvas
24 x 20 inches (61 x 50.8 cm)

Provenance:
Private collection;
Adelson Galleries, label verso (New York);
Questroyal Fine Art, label verso (New York)

The author of this provocative nineteenth-century painting, William Holbrook Beard, was born into a family of portrait, animal, landscape, and genre painters in the small town of Painesville, Ohio, near Cleveland. He is best known for his satiric genre scenes featuring animals as stand-ins for human beings behaving badly. He frequently used bears as protagonists. The present work is less anecdotal, and more hauntingly compelling than many of his satirical works. In the upper scene, an innocent child has happened upon a peculiar wooden grate on the ground in a clearing of a misty field. Noises from below the strange construction attracted the child's attention and led him to kneel down and listen. In the lower, underground scene, which is rendered in an entirely different palette of earth tones and fiery furnace reds, Beard has painted a scene of a devil flogging his wife. Reminiscent of the work of Salvator Rosa, the subject is doubtless related to a literary source, but has a painterly rather than illustrational quality.

Basically self-taught, the young artist began his career painting with his older brother James Henry Beard, and then worked for several years as an itinerant portraitist in his home state. He moved to New York City in 1845, but by 1850 left the larger metropolis for Buffalo. There he established a studio and became close to a group of successful artists including portraitist Thomas LeClear (whose daughter he married) and Swedish-born landscapist Lars Gustave Sellstedt, Buffalo's principal mid-century painter. Beard remained in Buffalo until 1856, the year he left for a two-year tour of Europe. He traveled extensively, and met and painted with many American artists inc
Auction 652 | Lot: 23018 | May 25, 2007

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HARRIET WHITNEY FRISHMUTH (American 1880-1980)
The Vine, 1921
Bronze with green patina
11-1/5 inches high (29.2 cm)
Inscribed: 1921 / HARRIET W. FRISHMUTH / ©
Foundary mark: GORHAM CO. FOUNDERS / QBWS

Auction 652 | Lot: 23110 | May 25, 2007

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GEORGES JULES VICTOR CLAIRIN (French 1843-1919)
A Puppetshow On A Spanish Street, 1869
Oil on canvas
30-1/2 x 47 inches (77.5 x 119.4 cm)
Signed lower left: Clairin Madrid 1869

The present painting is an early career work by Clairin. A similar version of the same subject, somewhat smaller in scale, was offered at Tajan, Paris, August 3, 2005, lot 45.

Georges Clairin was one of the last successful practitioners of Orientalist painting. He studied at the Ecole des Beaux-Arts in Paris with Francois Picot and Isidore Pils, and first exhibited at the French Salon in 1866. In 1868, he joined the painter Henry Regnault in Spain, where he was entranced by the Moorish architecture, which quickly figured prominently in his paintings. The present work was painted on that first sojourn to Spain, when he also fell sharply under the sway of the Spanish Orientalist painter, Mariano Fortuny y Marsal. With Regnault, Clairin subsequently traveled to Tangier where he made extensive study of local costume and set up an atelier with Regnault.

During the 1870s, Clairin contributed ceiling paintings to the grand decorative scheme of the Paris Opéra. In contrast to the efforts of his teacher, Pils, Clairin's paintings for the Opéra have a far greater lightness and expressive energy. His sensual, colorful and vibrant way of manipulating paint resulted in wonderful large-scale effects, and the artist soon won other major decorative commissions for public buildings in Cherbourg, Tour and Monte Carlo. In addition to his Orientalist subjects, Clairin produced numerous landscapes and society portraits. Perhaps his most famous sitter was Sarah Bernhardt, whom he portrayed in various roles.

Auction 652 | Lot: 23243 | May 25, 2007

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ANTONIO JACOBSEN (American 1850-1921)
U.S. Army Transport "Warren", 1900
Oil on canvas
22 x 36 inches (55.9 x 91.4 cm)
Inscribed lower right: A. Jacobsen 1900 West Hoboken NJ

Auction 652 | Lot: 23061 | May 25, 2007

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JOHN WHORF (American 1903-1959)
Stream Fisherman
Watercolor on paper
20-1/2 x 24-5/8 inches (52.1 x 62.5 cm)
Signed lower left: John Whorf

Provenance:
Gordan Dunthorne (Washington D.C.);
Walter Klinkhott Gallery (Montreal, Quebec);
Acquired as gift from Mrs. Joseph B. Ryan (Mont Tremblant, Quebec) to brother, 1985 (Dallas, Texas)

Auction 652 | Lot: 23118 | May 25, 2007

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LOUISE NEVELSON, (American 1899-1988)
Night Column II
Bronze with black patina
15 inches high (38.1 cm)
Inscribed on base: Nevelson 11/11

Russian-born Louise Nevelson's surrealist compositions deconstruct furniture and rooms transforming them into sculptural collages. Known for her monochromatic creations primarily in gold or black and composed of wood, the present offered work represents one of her rare bronze creations.

Auction 652 | Lot: 23220 | May 25, 2007

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WILLIAM FREDERICK DE HAAS (American 1830-1880)
A Fine Day On The Cliffs Of Star Island, Isles Of Shoals, NH, 1878
Oil on canvas
20-1/8 x 36-1/4 inches (51.1 x 92.1 cm)
Signed and dated lower right:William F. de Haas.78

Provenance:
Plaza Art Galleries, Inc. (New York)

Auction 652 | Lot: 23052 | May 25, 2007

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JOHANN BERTHELSEN (American 1883-1969)
The Plaza Hotel In Winter
Oil on canvas
20-1/8 x 24 (51.1 x 61 cm)
Signed lower right: Johann Berthelsen

Provenance:
Estate of Ava Gardner;
Acquired by present owner from the above
Auction 652 | Lot: 23162 | May 25, 2007

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ANTONIO JACOBSEN (American 1850-1921)
Steamship Seguranca, 1902
Oil on canvas
Inscribed lower right: Antonio Jacobsen / 1902 / 31 Palisade Ave. West Hoboken NJ

Auction 652 | Lot: 23059 | May 25, 2007

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$21,510 or more
ROBERT HENRI (American 1865-1929)
Coastal Scene
Oil on panel
8 x 10 inches (20.3 x 25.4 cm)

Provenance:
The Robert Henri Estate;
Chapellier Gallery (New York);
Mr. and Mrs. Edgar E. Townes, 1967 (Houston, Texas)

Literature:
Robert Henri Record Book, 45B

Auction 652 | Lot: 23064 | May 25, 2007

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Attributed to FRANK WESTON BENSON (American 1862-1951)
Portrait Of A Young Woman , 1912
Watercolor on paper
51-1/2 x 29-1/2 inches (130.8 x 74.9 cm)
Signed and dated lower right

Exhibition:
Wichita Art Museum, 1978 (Wichita, Kansas);
Union League Club of New York, 1980

Auction 652 | Lot: 23098 | May 25, 2007

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LEONARD BASKIN (American 1922-2000)
The Seer, 1975 -
Bronze
42-1/2 x 15 x 14 inches (107 x 38.1 x 35.6 cm)
Inscribed on base Baskin / 1975, and stamped Bedi-Makky / Art Foundry N.Y / © Kennedy Gallery / N.Y.

Provenance:
Crow Art Partnership collection (Dallas, Texas)

Son of a Rabbi, Baskin was an artist accomplished in a variety of mediums including sculpture, printmaking, watercolor, book illustration and graphic art. He also notably wrote and taught for many years, however he regarded himself first and foremost as a sculptor. His art tackled political and social issues resulting in a number of awards including the Jewish Cultural Achievement Award and the Gold Medal of the National Academy of Arts and Letters. Baskin is considered one of the universal sculptors of the twentieth century.
Auction 652 | Lot: 23221 | May 25, 2007

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ANTONIO JACOBSEN (American 1850-1921)
Sailing Ship St. Mary
Oil on canvas
22 x 36 inches (55.9 x 91.4 cm)

Auction 652 | Lot: 23058 | May 25, 2007

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KARL KNATHS(American 1891-1971)
Number Seven -- Saul, 1948
Oil on canvas
60 x 40 inches (152.4 X 101.6 cm)
Signed at lower right: Karl Knaths

Provenance:
Paul Rosenberg & Company (New York);
Private collection (Dallas, Texas)

Exhibition:
Four American Expressionists, at five venues from 1959-1960: Whitney Museum of American Art, New York, January 14 - March 1; Currier Gallery of Art, NH, April 8 - May 10; Colorado Springs Fine Arts Center (Colorado), May 24 - June 30; Columbus Gallery of Art, Ohio, July 15 - August 30; and the Dallas Museum of Fine Arts, Texas, November 22 - January 3

Literature:
Whitney Museum of American Art, Four American Expressionists, New York, 1959, p.11

An American modernist, Karl Knaths worked primarily in a cubist aesthetic, closely to that of Cezanne. Knaths was one of the most theoretical painters of his time and his compositions, like the above, were harnessed to a complex set of mathematical and geometrical relations. Knaths moved to Provincetown, Massachusetts, where he exhibited regularly with the Provincetown Art Association. There Knaths drew repeatedly from his surroundings often depicting fishermen, boats in the harbor, and deer in landscape. He also found inspiration, however, in American folklore and religion. The above example, Number Seven -- Saul, is from a series inspired by Old Testament, including Number Zero -- Adam, which is currently in the Albright-Knox Collection.

Auction 652 | Lot: 23190 | May 25, 2007

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WILLIAM THOMAS LUMPKINS (American 1909-2000)
La Jolla
Oil on canvas
60 x 47-1/2 inches (152.4 x 120.7 cm)

Auction 652 | Lot: 23191 | May 25, 2007

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ANTONIO JACOBSEN (American 1850-1921)
U.S. Army Transport "Terry", 1901
Oil on canvas
22 x 36 inches (55.9 x 91.4 cm)
Inscribed lower right: Antonio Jacobsen 1901, 31 Palisade Ave. West Hoboken N.J.

Auction 652 | Lot: 23060 | May 25, 2007

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EDMUND HENRY OSTHAUS (American 1858-1928)
Hunting Dogs
Watercolor on paper
24 x 32 inches (61 x 81.3 cm)
Signed lower left: Edm.H.Osthaus

Auction 652 | Lot: 23034 | May 25, 2007

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JANE PETERSON (American 1876-1965)
Anthuriums
Oil on canvas
40-1/2 x 30-1/2 inches (102.9 x 77.5 cm)
Signed lower left: JANE PETERSON

Provenance:
From the Estate of the artist;
Private collection (New York)
Auction 652 | Lot: 23080 | May 25, 2007

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ALFREDO ZALCE (Mexican 1908-2003)
Naturaleza Muerta, 1943
Oil on canvas
16-1/2 x 26 inches (41.9 x 66 cm)
Signed and dated lower left: Alfredo/ Zalce .43.
Christie's East (New York), Latin American Paintings..., November 21, 1995, Lot 2
Private collection (Dallas, Texas)

Zalce, a premier Mexican Modernist, was influenced Cezanne's early works. An influence which is reminiscent in this particular still life, which depicts an assortment exotic fruits that plays upon spatial relationships.
Auction 652 | Lot: 23197 | May 25, 2007

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STEPHEN MORGAN ETNIER (American 1903-1984)
Autumn Sun, 1959
Oil on canvas
23 x 38-1/4 inches (58.4 x 97.2 cm)
Signed and dated lower left

Auction 652 | Lot: 23201 | May 25, 2007

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DONALD SULTAN (American b.1951)
Black Lemons, 1984
Aquatint, artist's proof
48 x 62-1/2 inches, sheet (121.9 x 158.8 cm)
Signed and inscribed upper right: A.P. Black Lemons Nov 30 1984 D.S.

Auction 652 | Lot: 23228 | May 25, 2007

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$14,340 or more
EMILE JEAN HORACE VERNET (French 1789-1863)
Judith & Holifer
Oil on canvas mounted on masonite
42-1/2 x 35 inches (107.3 x 88.9 cm)

Auction 652 | Lot: 23236 | May 25, 2007

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$14,340 or more
CHARLES JAMES THERIAT (American 1860-1937)
Algerian Men
Oil on canvas
13 x 18-1/8 inches (33 x 46 cm)
Signed lower left

Auction 652 | Lot: 23239 | May 25, 2007

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