American Art
Officers
Todd Weyman
Vice President & Director, Prints & Drawings
tweyman@swanngalleries.com
(212) 254-4710 ext. 33
Lisa Crecenzo
Dept. Manager & Client Relations
lcrecenzo@swanngalleries.com
(212) 254-4710 ext. 51
Sarah McMillan
Cataloguer
smcmillan@swanngalleries.com
(212) 254-4710 ext. 28
Meagan Gandolfo
Cataloguer
mgandolfo@swanngalleries.com
(212) 254-4710 ext. 58
Gabriella Moreno
Administrator
gmoreno@swanngalleries.com
(212) 254-4710 ext. 50
George S. Lowry
Chairman
Nicholas D. Lowry
President, Principal Auctioneer
924899
Andrew M. Ansorge
Vice President & Controller
Alexandra Mann-Nelson
Chief Marketing Officer
2030704
Todd Weyman
Vice President & Director, Prints & Drawings
1214107
Nigel Freeman
Vice President & Director, African American Art
Rick Stattler
Vice President & Director, Books & Manuscripts
Administration
Andrew M. Ansorge
Vice President & Controller
aansorge@swanngalleries.com
Ariel Kim
Client Accounting
akim@swanngalleries.com
Diana Gibaldi
Operations Manager
diana@swanngalleries.com
Kelsie Jankowski
Communications Manager
kjankowski@swanngalleries.com
Shannon Licitra
Shipping Manager
slicitra@swanngalleries.com
19th Century
Martin johnson heade
Newburyport.
Pencil on cream wove paper, 1858. 220x293 mm; 8⅝x11½ inches. Inscribed "Newburyport" in pencil, lower right recto.
Inscribed "My great uncle Martin Johnson Heade drew this sketch in 1858/Elaine Heed Housley" by Elaine Heed Housley, the artist's grandniece, in pen and ink, verso.
Ex-collection Spanierman Gallery, New York with the label on the frame back; Eaton Fine Art Inc., Palm Beach with the label on the frame back; private collection, New Jersey.
Heade (1819-1904) returned repeatedly during his career to sketch and paint the countryside and marshes around Newburyport, Massachusetts. His Sunset, Newburyport Meadows, oil, 1863, is in the collection of the Saint Louis Art Museum, his Newburyport Marshes, oil, 1866-76, is in the collection of the Museum of Fine Arts, Boston, and his Newburyport Meadows, oil, 1876-81, is in the collection of the Metropolitan Museum of Art, New York.
Estimate
$2,000 – $3,000
Hermann herzog
Dutch Canal Scene.
Oil on canvas, circa 1855-60. 330x480 mm; 13x18⅞ inches. Signed in oil, lower right recto, and titled in pencil, upper stretcher bar verso.
Ex-collection private collection, New York.
Estimate
$2,000 – $3,000
James hamilton
Moonlit Landscape (Night and Peace).
Oil on canvas. 250x360 mm; 10x14 inches.
Ex-collection private collection, West Hyannisport, Massachusetts; thence by descent to current owner, private collection, Massachusetts.
Estimate
$1,500 – $2,500
Morston constantine ream
Still Life with Grapes.
Oil on panel. 440x225 mm; 17¼x9 inches. Signed in oil, lower left recto.
Ex-collection David Cook Galleries, Denver; private collection, New York.
Estimate
$1,500 – $2,500
Daniel huntington
Cecilia.
Oil on canvas mounted on board, 1863. 226x180 mm; 8⅞x7⅛ inches. Signed, titled and dated in oil, lower recto.
Ex-collection private collection, West Hyannisport, Massachusetts; thence by descent to current owner, private collection, Massachusetts.
Estimate
$1,000 – $1,500
Daniel huntington
Group of 4 pencil drawings.
Three studies of hands for Sacred Lesson, circa 1844. Inscribed “Sacred Lesson” in pencil, recto and two initialed in pencil, recto * A Dog Sitting. With an additional study in pencil, verso. Various sizes and conditions.
Ex-collection Spanierman Gallery, New York; private collection, New Jersey.
Estimate
$1,000 – $1,500
Daniel huntington
Group of 4 pencil drawings.
Woman Leaning on a Book. Initialed in pencil, lower right recto * Studies of Biblical Scenes. With additional studies in pencil, verso * Woman Walking * Fabric Study, with heightening in white pencil. With a study of a hand in pencil, verso. Various sizes and conditions.
Ex-collection Spanierman Gallery, New York; private collection, New Jersey.
Estimate
$1,000 – $1,500
Alfred thompson bricher
Sheet of Studies with Portraits of Women.
Pencil on cream wove paper, circa 1880. 280x180 mm; 11x7⅛ inches.
Ex-collection private collection, Westport, Connecticut.
Estimate
$1,500 – $2,500
John la farge
The Sphynx is Weary, She Dreams o’er the World.
Gouache, watercolor and black chalk on illustration board, 1865. 260x315 mm; 10¼x12⅜inches. Initialed and dated in watercolor, lower right recto.
Ex-collection F. Burrall Hoffman, Jr., New York and Hobe Sound; private collection, Vermont.
According to Dr. James L. Yarnall, "This is one of La Farge's most experimental watercolors of the 1860s. Mixing chalk, watercolor and gouache, he developed the kind of heavy-laden, expressive and painterly surface effects that came to characterize his watercolors after 1880."
One of several works that La Farge made to illustrate Ralph Waldo Emerson's poem, The Sphinx (this image was never published). Another version of this watercolor and gouache, also from the Hoffman collection, was sold at Swann Auction Galleries, New York, June 12, 2014, sale 2354, lot 22.
Estimate
$7,000 – $10,000
Thomas eakins
The Dancing Lesson.
Pen and ink on cream wove paper, 1878. 150x195 mm; 5⅞x7⅝ inches. Signed and dated in ink, lower right recto.
The drawing used as the illustration of the same-titled watercolor (now in the collection of the Metropolitan Museum of Art, New York) in the catalogue Eleventh Annual Exhibition of the American Watercolor Society, New York, February 4-March 3, 1878, number 92.
Ex-collection the artist and president of the American Watercolor Society, James D. Smillie, New York; thence by descent to current owner, private collection, New Jersey.
Estimate
$4,000 – $6,000
Alfred wordsworth thompson
No Fool Like an Old Fool.
Oil on canvas, 1868. 235x310 mm; 9⅛x12¼ inches. Initialed and dated in oil, lower left recto.
Sold Neal Auction Company, New Orleans, December 6, 2008, lot 924; Babcock Galleries, New York, with the label on the frame back; acquired from the above by the current owner, private collection, Lancaster, Pennsylvania.
Estimate
$2,000 – $3,000
Emil carlsen
Coastal Scene with a Fisherman Beaching his Boat.
Oil on canvas, 1886. 355x610 mm; 14x24 inches. Signed and dated in oil, lower center recto, and signed, dated and inscribed "Boat Study" in oil, verso.
This work is included in the Emil Carlsen Archives. We thank Bill Indursky for his assistance in the cataloguing of this lot.
Ex-collection private collection, West Hyannisport, Massachusetts; thence by descent to current owner, private collection, Massachusetts.
Estimate
$2,500 – $3,500
Emil carlsen
Study of a House.
Watercolor and charcoal with white heightening on cream wove paper, double-sided, circa 1897. 300x410 mm; 11⅞x16¼ inches. With a study of a figure in ink, verso.
With—Ano 1719—Arm’s Jr., pen and ink and wash on cream wove paper. 205x173 mm; 8x6¾ inches.
These works are included in the Emil Carlsen Archives. We would like to thank Bill Indursky for his assistance in the cataloguing of this lot.
Ano 1719—Arm’s Jr.: exhibited as Ano 1719-Armir at “The Art of Emil Carlsen: 1853-1932”, Worstman-Rowe Galleries, January 10-February 21, 1975; Rubicon Gallery, Los Altos, CA, January 17-February 28, 1975; The El Paso Museum of Art, El Paso, TX, March 2-30, 1975; Robert Rice Gallery, Houston, TX, April 10-May 1975; Coe Kerr Gallery, New York, NY, June-July 1975; The Fine Arts Gallery of San Diego, San Diego, CA, August 20-October 10, 1975; The Norton Gallery of Art, West Palm Beach, FL, November-December 1975, page 94, number 166.
Ex-collection the estate of the artist; Wortsman-Rowe Gallery, San Francisco (Ano 1719—Armir with the label); private collection, Florida.
Carlsen (1848-1932) used drawing to record color information, draw contours for transfer to a painting or as a pre-sketch before inking. Most of his drawings were destroyed once used to transfer to the canvas, so very few have survived. Study of a House possibly portrays William Merritt Chases’ homestead in Shinnecock, New York; he often stayed with Chase (1849-1916) from around 1876 until he met Julian Alden Weir (1852-1919) and spent time at Weir’s home in Connecticut. The house is found in other works by Carlsen. The figural study verso is a grid drawing with contour for transfer or enlargement, and is similar to those he made around 1896-97 after studying in Paris with Antoine Vollon, which were similar to the French artist’s in style. The other drawing, Ano 1719 Arm’s Jr., likely represents a bar or tavern in Boston, or possibly, England.
Estimate
$1,200 – $1,800
Albert pinkham ryder
Houses by the Sea.
Oil on panel. 202x350 mm; 8x14 inches. Signed in oil, lower right recto.
Ex-collection private collection, California.
Estimate
$10,000 – $15,000
Elihu vedder
Castle Ruins near Liguria.
Oil on canvas, circa 1869. 345x530 mm; 13⅝x20⅞ inches.
Ex-collection Mark Borghi Fine Art, Inc., New York, with the label on the frame back; private collection, New Jersey.
Estimate
$4,000 – $6,000
James d. smillie
Gay Head, Martha’s Vineyard (Rocky Coastline).
Watercolor with white heightening on cream wove paper, 1873. 175x263 mm; 6⅞x10⅜ inches. Initialed, dated and titled in watercolor, lower right recto.
Ex-collection private collection, New York.
Estimate
$1,500 – $2,500
John henry hill
Three pencil landscape drawings.
Glaslyn, North Wales, with heightening in gouache, circa 1880. 273x381 mm; 10¾x15 inches. Inscribed in pencil, lower right recto * Valley Landscape, 1864. 231x275 mm; 9⅛x10⅞ inches. Signed and dated in pencil, lower right recto * Pot Hole on Pea Brook, New York, circa 1880. 261x194 mm; 10¼x7⅝ inches. Titled in pencil, lower left recto.
Each ex-collection, private collection, New Jersey.
Estimate
$1,000 – $1,500
John henry hill
Three pencil landscape drawings.
Salt Water Near Portland, Maine, with heightening in gouache, circa 1880. 241x320 mm; 9½x12⅝ inches. Signed and annotated in pencil, recto and verso * Nidau Castle, Switzerland, 1879. 177x255 mm; 7x10 inches. Dated and inscribed “Nidau” in pencil, lower right recto * Ferry Across the Androscoggin at Bethel, circa 1880. 179x255 mm; 7x10 inches. Signed and titled in pencil, recto and titled in pencil, verso.
Each ex-collection private collection, New Jersey.
Estimate
$1,000 – $1,500
David johnson
Two pencil landscape drawings.
Beeches, pencil with white chalk heightening on tan wove paper, double-sided, 1889. 470x315 mm; 18½x12⅜ inches. Initialed, dated and titled in pencil, lower right recto and verso * Ravine at Joyceville, Connecticut, pencil with white chalk heightening on grayish beige wove paper, 1899. 318x464 mm; 12½x18¼ inches. Titled, initialed and dated in ink, upper right recto.
Both ex-collection private collection, New Jersey.
Estimate
$1,500 – $2,500
John francis murphy
Marsh Landscape with Trees.
Watercolor on cream wove paper. 175x160 mm; 6⅞x6¼ inches. Signed in watercolor, lower right recto.
Ex-collection private collection, New Jersey.
Estimate
$1,000 – $1,500
John francis murphy
The Country Path.
Oil on canvas, 1885. 205x303 mm; 8¼x12⅞ inches. Signed and dated in oil, lower left recto.
Ex-collection Spanierman Gallery, New York with the label on the frame back; private collection, New Jersey.
Estimate
$1,200 – $1,800
William aiken walker
Farm Scene with Cotton Fields.
Oil on canvas, circa 1900. 500x700 mm; 19¾x27½ inches. Signed in oil, lower left recto.
Ex-collection private collection, New York.
Estimate
$7,000 – $10,000
Dennis miller bunker
Landscape with a River.
Watercolor on paper mounted on board, 1890. 255x343 mm; 10⅛x13½ inches. Signed and dated in watercolor, lower right recto.
Ex-collection private collection, New Jersey.
Estimate
$2,500 – $3,500
D. s. peirce
Lake Tear of the Clouds, Headwaters of the Hudson River, New York.
Oil on canvas, 1892. 640x920 mm; 25¼x36¼ inches. Signed and dated in oil, lower right recto.
Ex-collection private collection, Washington, D.C.
Estimate
$1,500 – $2,500
Edward moran
Ship in a State of Distress: An Allegory of the Civil War.
Oil on canvas. 455x810 mm; 18x32 inches. Signed in oil, lower left recto.
Ex-collection Burt Chernow, Westport, Connecticut; Harvey Koizim, Westport, Connecticut; Collection of the County Federal Bank, Westport, Connecticut; private collection, Fairfield County, Connecticut, circa 1987.
Moran (1829-1901) emigrated from England to the United States in the 1840s and lived through the turbulence of the mid-19th century and the Civil War. He came from a prominent family of American artists; two of his brothers were Thomas Moran (1837-1926), the painter and printmaker of the Hudson River School, and Peter Moran (1841-1914, see lot 27).
In this work by Moran, which allegorizes a country torn apart by civil war, the fallen mast floats in the harbor while the crew gathers on the deck around the remnants of the mast. There is a solitary figure who represents President Abraham Lincoln on the main deck. The flag lies inverted, a mariner's sign of distress, high in the rigging above.
Estimate
$8,000 – $12,000
Peter moran
Marsh View, East End, Long Island.
Watercolor and pencil on cream wove paper, circa 1886. 230x303 mm; 9x11⅞ inches. Signed in pencil, lower right recto.
Ex-collection private collection, New Jersey.
Estimate
$1,000 – $1,500
William louis sonntag, jr.
Building of the Monument, Central Park, New York.
Watercolor on cream wove paper. 340x260 mm; 13½x10¼ inches.
Ex-collection Vose Galleries, Boston with the label on the frame back; sold Grogan & Co., Boston, October 4, 2008, lot 55; private collection, New York.
Estimate
$1,000 – $1,500
Charles warren eaton
Coast of Maine.
Watercolor on wove paper, circa 1890. 276x382 mm; 10⅞x15 inches. Signed in watercolor, lower left recto, and titled in pencil, verso.
Ex-collection private collection, New Jersey.
Estimate
$1,000 – $1,500
Charles warren eaton
Two watercolors.
Webster Lake, on cream wove paper, 1895. 305x405 mm; 12x16 inches. Signed, dated and inscribed “Webster” in watercolor, lower right recto * Corner of the Field, on paper mounted on board, 1896. 270x390 mm; 10⅝x15⅜ inches. Signed and dated in watercolor, lower right recto, and titled in pencil, verso.
Both ex-collection private collection, New Jersey.
Estimate
$1,500 – $2,500
Charles warren eaton
Storm over the Landscape.
Oil on board. 303x455 mm; 12x17⅞ inches. Signed in oil, lower right recto.
Ex-collection private collection, New Jersey.
Estimate
$2,000 – $3,000
Charles warren eaton
Night in Flanders.
Watercolor on board, 1901. 455x555 mm; 18x22 inches. Signed and dated in watercolor, lower left recto, and signed, titled and inscribed "D" in watercolor, verso.
Exhibited "Watercolors, Etc.," Boston Art Club, April 5-26, 1902, number 26, as "Moonlight in Flanders"; "Thirty-Fourth Annual Exhibition," American Watercolor Society, New York, February 11-March 28, 1905, number 35 (illustrated); "Exhibition of Water Colors and Pastels," Salmagundi Club, New York, December 11-18, 1912, number 35, as "Evening in Holland."
Ex-collection private collection, Phoenix.
Estimate
$1,500 – $2,500
Charles warren eaton
Lake Como, Italy.
Oil on board, circa 1913. 157x217 mm; 6¼x8⅝ inches. Signed in oil, lower right recto.
Sold Skinner, Boston, August 21, 2014, lot 1474; private collection, Berkshire, New York.
Estimate
$1,200 – $1,800
John haberle
Two pencil drawings.
Seated Boy, 1886. 228x132 mm; 8⅞x5¼ inches. Signed and dated in pencil, lower right recto * Man with a Pipe, 1892. 305x229 mm; 12x9 inches. Signed and dated, lower right recto.
Both ex-collection private collection, New Jersey.
Estimate
$1,200 – $1,800
John grabach
Three early pencil drawings.
The Horse Fair, after Rosa Bonheur, with white heightening in gouache, circa 1898. 103x166 mm; 4x6½ inches. Signed in pencil, on the mat. Inscribed “made when I was 12 year old” and with a portrait sketch in pencil, verso * Drawing from a Photograph, circa 1900. 280x171 mm; 11x6¾ inches. Inscribed “photo same size” in pencil, lower center recto, and with a figure sketch in pencil, verso * Hand Study from Life, 1901. 128x201 mm; 5x7⅞ inches. Signed, dated and inscribed “Life” in pencil, lower left recto, and inscribed “Drawn Oct 25 1901 from Life” in pencil, verso.
Each ex-collection private collection, New Jersey.
Estimate
$1,000 – $1,500
Francis hopkinson smith
Group of 4 drawings.
World’s Columbian Exposition, River Bank, pencil on cream wove paper, circa 1893 * Venetian Square, pencil on blue wove paper * Gondolas before a Bridge, crayon with white heightening on paper * Study along a Canal, crayon on paper. Various sizes and conditions.
Each ex-collection private collection, New Jersey.
Estimate
$1,500 – $2,500
Frederick macmonnies
Pan of Rohallion.
Bronze on a marble base, 1890. 290 mm; 11½ inches (height, including base). With the artist’s signature and date incised on the sphere. Cast in Paris, with the foundry mark “RBW” on the ring of bronze below the sphere.
Published Smart and Gordon, A Flight with Fame: The Life and Art of Frederick MacMonnies: With a Catalogue Raisonné of the Artist’s Works, Madison, Connecticut, 1996, pages 85, 89-90, 92, 99, 106, 150, 156, 237 and 288, other examples illustrated.
Ex-collection private collection, New York.
The current work is the design for a larger fountain figure by MacMonnies (1863-1937), made for the private estate “Rohallion” belonging to Howard Adams in Seabright, New Jersey. One of the artist’s most successful models, it was edited by both French and American foundries in several sizes and sold through Paris and New York art dealers, particularly Durand-Ruel and Theodore B. Starr.
Estimate
$1,200 – $1,800
Impressionism, Aestheticism & Tonalism
Thomas buford meteyard
From Marley Common, Surrey.
Watercolor on cream wove paper, circa 1920. 280x380 mm; 11x15 inches. Signed with the artist’s monogram in watercolor, lower right recto, and titled in pencil, verso.
Ex-collection private collection, New Jersey.
Born in Illinois, Meteyard (1865-1928) and his family settled on Moses Hill Farm in the village of Fernhurst near Marley Common, Surrey, England, in 1916 after travelling throughout Europe, the United States East Coast and Chicago during much of the 1890s-1900s. He admired the work of French impressionist painter Claude Monet (1840–1926) and, between 1890 and 1893, visited Monet’s home and gardens at Giverny on multiple occasions.
Estimate
$1,500 – $2,500
Thomas buford meteyard
Two watercolors on paper.
Scituate across the Marsh, circa 1900-05. 130x180 mm; 5⅛x7 inches. Signed in watercolor, lower right recto, and titled in pencil, verso * Garden, King Henry’s Road. 173x202 mm; 6⅞x8 inches. Titled in pencil, verso.
Both ex-collection private collection, New Jersey.
Estimate
$1,500 – $2,500
Everett shinn
Pont Neuf.
Watercolor and pencil on cream wove paper mounted on board, 1900. 180x255 mm; 7x10 inches. Signed and dated in pencil, lower left recto.
Ex-collection private collection, New York.
Estimate
$1,000 – $1,500
Joseph pennell
Obelisque–Snow, London.
Charcoal and gouache on grayish-brown wove paper, 1910. 255x355 mm; 10x14 inches. Signed in pencil, lower left recto. With a Los Angeles County Museum label on the frame back.
Ex-collection private collection, Phoenix.
Estimate
$1,500 – $2,500
Hayley lever
View of Thames with Reflections, London.
Oil on panel, circa 1902. 160x236 mm; 6¼x9⅜ inches. Signed in oil, lower right recto.
Ex-collection Spanierman Gallery, New York, with the label on the frame back; private collection, New Jersey.
Estimate
$3,000 – $5,000
Oliver judson
View of Florence * Church Interior.
Oil on board, double-sided, circa 1905-10. 478x635 mm; 18⅞x25 inches. Signed in oil, lower left recto.
Ex-collection private collection, New York.
Estimate
$1,500 – $2,500
Louis eilshemius
Two Bathers at a Stream.
Oil on artist’s board, circa 1915. 500x510 mm; 19¾x20 inches. Signed in oil, lower left recto.
Ex-collection private collection, California.
With a copy of Karlstrom, Louis Michel Eilshemius, New York, 1978.
Estimate
$2,000 – $3,000
Louis eilshemius
Three Nudes under a Yellow Sky.
Oil on board, circa 1905. 350x525 mm; 13¾x15¾ inches. Signed in oil, lower right recto.
Ex-collection private collection, California.
Estimate
$2,000 – $3,000
Louis eilshemius
Landscape with Playful Nymphs.
Oil on board, 1908. 583x673 mm; 23x26½ inches. Signed and dated in oil, lower right.
Ex-collection private collection, New York.
Estimate
$2,000 – $3,000
Louis eilshemius
Bather.
Oil on paper mounted on artist’s board, 1920. 303x203 mm; 12x8 inches. Signed and dated in oil, lower left recto.
Ex-collection private collection, California.
Estimate
$1,500 – $2,500
Louis eilshemius
Nude Bathing under a Tree.
Oil on board, circa 1910. 420x315 mm; 16¾x12⅝ inches. Signed in oil, lower left recto.
Ex-collection private collection, California.
Estimate
$1,500 – $2,500
Louis eilshemius
Group of 11 pen and ink drawings.
Each on the artist’s letterhead, two double-sided. Each 280x213 mm; 11x8½ inches. Seven signed in ink, lower left recto.
Each ex-collection private collection, California.
Estimate
$2,000 – $3,000
George gardner symons
Landscape with a Pond.
Oil on panel, circa 1900-10. 305x255 mm; 11⅞x10 inches. Initialed in oil, lower left recto.
Ex-collection private collection, New York.
Estimate
$1,200 – $1,800
Olive parker black
Autumn Landscape.
Oil on canvas, circa 1910. 510x610 mm; 20x24 inches. Signed in oil, lower left recto.
Ex-collection private collection, New York.
Estimate
$1,500 – $2,500
American school, late 19th century
Striding Moose.
Bronze, 1897. 240x340x127 mm; 9½x13½x5¼ inches. With the artist's name and date incised on the upper side of the base.
Ex-collection private collection, Chicago.
Estimate
$1,500 – $2,500
Frank reed whiteside
California Landscape.
Oil on canvas, circa 1920. 510x680 mm; 20x26¾ inches. With the artist’s estate ink stamp on the stretcher, verso.
Ex-collection the estate of the artist; David David Galleries, Philadelphia, with the ink stamp on the stretcher; private collection, New Jersey.
Estimate
$3,000 – $5,000
Frank reed whiteside
Hunting Small Game.
Oil on canvas, circa 1900. 450x370 mm; 17¾x14¾ inches. With the artist’s estate ink stamp verso.
Ex-collection the estate of the artist; David David Art Gallery, Philadelphia, with the ink stamp verso; John & Lynn Bolen Gallery, Inc., Santa Monica, with the label verso; sold Rago Auctions, Lambertville, New Jersey, December 2, 2005, lot 60; private collection, New Jersey.
Estimate
$1,000 – $1,500
Laura gardin fraser
Young Kid Gamboling.
Bronze, 1919. 185x165x90 mm; 7½x6½x3½ inches. With the artist's signature and dated incised on the upper side of the bronze base. Cast by Kunst Foundry, New York, with the foundry mark on the edge of the bronze base.
Ex-collection private collection, Pennsylvania.
Fraser (1889-1966) is known for being the first woman credited with designing a U.S. coin. She studied at the Art Students League, New York, before starting her career as a sculptor. Her designs included the 1921 Alabama Centennial half dollar and the 1922 Grant Memorial half dollar, among others. In 1931, she won a competition to design the new quarter with George Washington, but her design was ignored by the Treasury Secretary, Andrew Mellon. The design was issued in 1999 on a commemorative five-dollar gold piece. She also won numerous commissions for heroic-size sculptures throughout her career, often being the only woman included in competitions.
Estimate
$1,000 – $1,500
Frank w. benson
Geese in Flight.
Pen and ink on paper, double-sided, circa 1915. 190x245 mm; 7½x9⅝ inches. Signed in ink, lower right recto. With a study of a male nude in ink verso.
With—Deer Hunter, etching, 1924. 200x275 mm; 8x11 inches, full margins. Edition of 150. Signed in pencil, lower left. A very good impression. Paff 229.
Both ex-collection private collection, Connecticut.
Estimate
$1,500 – $2,500
Howard russell butler
Moonlit Coast.
Oil on canvas, circa 1910-20. 380x630 mm; 15¼x25½ inches. Signed in oil, lower left recto.
Ex-collection private collection, Phoenix.
Estimate
$1,500 – $2,500
Carl lindin
Bermuda at Twilight.
Oil on canvas, circa 1916-17. 550x660 mm; 21¾x26 inches.
Published From Sweden to Woodstock: The Art and Career of Carl Eric Lindin, David Cook Fine Art, Denver, 2005, plate 22, page 62.
Ex-collection the estate of the artist; David Cook Galleries, Denver, with the label on the frame back; private collection, New York.
Lindin (1869-1942) was born in Sweden and moved to the United States in 1887, settling in Chicago. He studied at the Art Institute of Chicago and then returned to Europe, studying in Paris at Académie Julien. In the early 1900s, he moved to Woodstock, New York where he co-founded the Woodstock Artists Association. He is known for landscape painting, focusing on moonlit views, often in a Tonalist and Post-Impressionist style.
Estimate
$3,000 – $5,000
Arthur b. davies
Clouds over a Landscape.
Pastel and gouache on tan wove paper. 247x330 mm; 9¾x13 inches. Signed in pencil, lower left recto.
Ex-collection private collection, New Jersey.
Estimate
$1,000 – $1,500
Arthur b. davies
Sky Study, Ramapo Mountains.
Oil on panel. 135x235 mm; 5⅜x9⅜ inches. Inscribed “This was done by Arthur B. Davies/M. D. Davies/1965” by Mildred Dunbar Davies, the artist’s daughter-in-law, in pencil, verso.
Ex-collection private collection, New Jersey.
The Ramapo Mountains are a forested chain of the Appalachian Mountains in northeastern New Jersey and southeastern New York. They range in height from 900 to 1,200 feet in New Jersey, and 900 to 1,400 feet in New York.
Estimate
$2,000 – $3,000
Arthur b. davies
Italianate Landscape with a Blue Sky.
Color pastels and gouache on bluish-gray paper, circa 1928. 240x312 mm; 9½x12¼ inches.
Ex-collection Germaine Montereau Collection, France, with the blue ink stamp verso (not in Lugt); Sotheby’s, New York, December 19, 2003, lot 1114; Spanierman Gallery, New York, with the label; private collection, New Jersey.
Germaine Montereau (born 1892) was a French tapestry manufacturer who had workshops in Morocco. She met Davies (1862-1928) in the 1920s, and they became friends. She purchased works directly from Davies and received some as gifts.
Estimate
$1,500 – $2,500
Arthur diehl
Schooner at Sea.
Oil on card stock. 235x105 mm; 9¼x4¼ inches. Signed in oil, lower right recto.
Ex-collection private collection, New Jersey.
Estimate
$1,000 – $1,500
Frederick oakes sylvester
Clouds over Elsah, Illinois.
Oil on canvas mounted on board, 1911. 256x202 mm; 10x8 inches. Signed and dated in oil, lower right recto.
Ex-collection private collection, New York.
Estimate
$2,000 – $3,000
Martha walter
Evening Stroll, Paris.
Oil on panel, 1904. 223x164 mm; 8¾x6½ inches. With the artist’s estate ink stamp, verso.
Ex-collection the estate of the artist; David David Art Gallery, Philadelphia, with the ink stamp verso; private collection, New Jersey.
Estimate
$3,000 – $5,000
Charles kaelin
Evening in the Southern Pines.
Color pastels on gray wove paper. 405x360 mm; 16x14 inches. Signed in pencil, lower right and left recto.
Exhibited “Dialogues with Nature: Works by Charles Salis Kaelin (1858-1929),” Rockport Art Association, Rockport, Maine, July 28-August 31, 1990, Chidlaw Gallery, Art Academy of Cincinnati, December 4-23, 1990, Clarke Galleries, Stowe, Vermont, March 23-April 14, 1991, with labels on the frame back.
Ex-collection Spanierman Gallery, New York; private collection, New Jersey.
Estimate
$1,500 – $2,500
Charles kaelin
Rocky Coast.
Color pastels on black wove paper. 345x395 mm; 13½x15½ inches.
Exhibited “Dialogues with Nature: Works by Charles Salis Kaelin (1858-1929,” Chidlaw Gallery, Art Academy of Cincinnati, December 4-23, 1990, Clarke Galleries, Stowe, Vermont, March 23-April 14, 1991, with labels on the frame back.
Ex-collection Spanierman Gallery, New York, with the label on the frame back; private collection, New Jersey.
Estimate
$1,500 – $2,500
Annie gooding sykes
Dunes and Marshes, Montauk.
Watercolor with heightening in white chalk on paper, 1903. 375x554mm; 14¾x21¾ inches. Signed in watercolor, lower right recto, and signed and dated in blue ink. With a watercolor study of a canal scene, verso.
Ex-collection private collection, New Jersey.
One of several prominent women associated with the artistic life of Cincinnati at the turn of the century, Sykes (1855-1931) specialized in colorful, Impressionist-inspired watercolors. She was born in Brookline, Massachusetts; her father was a silversmith and engraver, and her mother was a gifted needleworker. Stimulated by the artistic example of her parents, Sykes studied at the Lowell Institute in Boston in 1875 and enrolled at the school of the Museum of Fine Arts in 1878. She married in 1882 and moved with her husband to Cincinnati, at that time a flourishing cultural center dubbed the "Queen City of the West." In order to refine her artistic skills, she enrolled at the Cincinnati Art Academy in 1884. Throughout the next decade, she continued her training under such notable American painters as Frank Duveneck and Thomas Satterwhite Noble. Although she occasionally worked in oil, watercolor became Sykes' favorite medium of expression.
She was a regular contributor to the annual exhibitions of the Boston Art Club, New York Watercolor Club, Art Institute of Chicago, the Philadelphia Water Color Club and the Ohio Water Color Society. In 1892, she became a charter member of the Woman's Art Club of Cincinnati. Over a three-decade-long period, Sykes exhibited at the Cincinnati Art Museum on forty-two occasions.
Estimate
$1,500 – $2,500
Annie gooding sykes
Children at the Beach.
Watercolor on paper, circa 1900. 375x560 mm; 14¾x22 inches. Signed in red ink, lower right recto. With a watercolor study of a woman knitting, verso.
Ex-collection private collection, New Jersey.
Estimate
$2,000 – $3,000
Annie gooding sykes
The Orchard Cottage.
Watercolor on wove paper, circa 1900. 431x570 mm; 17x22½ inches. Signed in pencil, lower left recto.
Ex-collection private collection, New Jersey.
Estimate
$1,500 – $2,500
Annie gooding sykes
Garden with Cherry Trees in Blossom.
Watercolor on paper, circa 1900. 400x533 mm; 15¾x21 inches. Signed in pencil, lower right recto.
Ex-collection private collection, New Jersey.
Estimate
$2,000 – $3,000
Annie gooding sykes
Still Life with Chrysanthemums.
Watercolor and gouache on artist’s board. 470x510 mm; 18½x20⅛ inches. Signed in watercolor, lower left recto.
Ex-collection private collection, New Jersey.
Estimate
$2,000 – $3,000
Annie gooding sykes
Gladiolus Garden.
Watercolor on cream wove paper, circa 1900. 530x380 mm; 21x15 inches. Signed in pencil over red ink, lower left recto.
Ex-collection private collection, New Jersey.
Estimate
$1,500 – $2,500
Abastenia st. leger eberle
Omar Khayyam Bookends.
Pair of gilded bronzes, 1913. Both approximately 170x170x150 mm; 7x7x6 inches. Both with the artist’s signature, date and copyright incised on the lower backs of the figures. Cast by Griffoul, Newark, New Jersey, with the foundry mark on the lower right edge of both figures.
Ex-collection private collection, Pennsylvania
Published “Noted Sculpture in M. U. Museum,” The Missourian Magazine: A Monthly Supplement to the University Missourian, March 1915, page 1 (another cast listed); Noun, Abastenia St. Leger Eberle: Sculptor (1878-1942), Des Moines, 1980, page 13, number 18 (another cast illustrated); Rubinstein, American Women Sculptors: A History of Women Working in Three Dimensions, Boston, 1990, page 215 (another cast listed).
Both ex-collection private collection, New Jersey.
Estimate
$3,000 – $5,000
Louis betts
En Passant.
Oil on canvas, circa 1910. 1270x880 mm; 50x34½ inches. Signed in oil, upper left recto.
Exhibited “Eighteenth Annual Exhibition,” Cincinnati Museum Association, 1911.
Ex-collection O’Brien Art Galleries, Chicago; Irene Treverrow, Bronxville, New York; sold Sotheby’s, New York, December 1980, lot 191; private collection, Pennsylvania.
Betts (1873-1961) was born in Little Rock, Arkansas, and received his training from his artist father before studying portrait painting at the Pennsylvania Academy of the Fine Arts, Philadelphia. He won the Cresson Scholarship, which allowed him to study abroad for two years in Europe, where he painted society portraits of the upper class. When he returned to the United States, he continued to build his career painting portraits of prominent society members. This bold study of a nude model, with a silk robe over her left shoulder, while not unusual in his ouevre, was an infrequent subject for Betts, it is also among the largest nude studies by the artist to be offered at auction.
Estimate
$5,000 – $8,000
Cecil de blaquiere howard
Meditation.
Bronze, 1920. 510x285x400 mm; 20¼x11½x16 inches. Artist's signature incised on the platform verso. Cast by Valsuani, Paris, with the "Cire Perdue Valsuani" foundry mark on the platform verso.
Ex-collection private collection, Pennsylvania
Estimate
$5,000 – $8,000
Arthur b. davies
Nude Model, Dancing.
Color pastels and black chalk on oiled, cream wove paper mounted on card stock, circa 1905. 425x312 mm; 17x12½ inches. Signed in black chalk, lower right recto.
Ex-collection private collection, Chicago.
Estimate
$1,200 – $1,800
Arthur b. davies
Nude Study.
Color pastels on tan wove paper. 455x335 mm; 17⅞x13⅛ inches. With the artist’s signature ink stamp, lower right recto.
Ex-collection the estate of the artist; private collection, New Jersey.
Estimate
$1,000 – $1,500
Evelyn beatrice longman
Peggy.
Bronze sculpture, with marble and bronze base, 1912. 685 mm; 27 inches (height, excluding base). With the artist’s incised signature on the inside of the right shoulder. Titled on the lower verso of the bust. Cast by Roman Bronze Works, New York, with the foundry mark on lower verso of the bronze base.
Ex-collection private collection, Pennsylvania
Longman (1874-1954) was born in Winchester, Ohio. When she visited the World’s Columbian Exposition, Chicago, in 1893, she was inspired to become a sculptor and enrolled at the School of the Art Institute of Chicago studying under Lorado Taft. She became known for her allegorical sculptures; Victory was her debut large-scale sculpture at the 1904 Louisiana Purchase Exposition, St. Louis, and was placed on the fair’s centerpiece building. She also contributed to the sculptural decorations for the Lincoln Memorial in Washington, D.C. In 1919, she was the first woman sculptor to be elected as a full member of the National Academy of Design.
Estimate
$1,500 – $2,500
George de Forest Brush
Portrait Study of Nina Gaither.
Red chalk on peach-tone paper, 1911. 493x335 mm; 19½x13⅛ inches. Signed in red chalk, center right recto. With a figural study, verso.
Exhibited “George De Forest Brush: Master of the American Renaissance”, Berry-Hill Galleries, New York, November 12-December 14, 1985, The Currier Gallery, Manchester, New Hampshire, March 2-April 20, 1986, The Fine Arts Center, Cheekwood, Nashville, Tennessee, May 17-July 6, 1986.
Ex-collection Mrs. John Marlowe; private collection, New Jersey.
Estimate
$1,500 – $2,500
Ashcan School
William glackens
Figure Studies, a Man and Woman.
Conté crayon on tan wove paper. 205x244 mm; 8⅛x9⅝ inches.
Sold Doyle, New York, April 4, 2012, sale 12AM01, lot 69; private collection, Potomac, Maryland.
Estimate
$1,000 – $1,500
George luks
Studies of Children.
Pencil on cream wove paper. 198x255 mm; 7⅞x10¼ inches.
Ex-collection Davis Galleries, New York, with the red ink stamp verso, and the label on the frame back; private collection Potomac, Maryland.
Estimate
$1,000 – $1,500
Abastenia st. leger eberle
Little Mother.
Bronze, 1907-11. 345 mm; 13¾ inches (height). With the artist’s incised signature and dated “1911” on the left side of the bronze base. Cast by S. Klaber & Co. Founders, New York, with the foundry mark on the bronze base verso.
Acquired from Post Road Gallery, Larchmont, New York, 1981; by the current owner, private collection, Pennsylvania.
Conceived by Eberle (1878-1942) in 1907, this bronze was cast in 1911 and stands out among the artist’s most important Ashcan School works.
Eberle (1878-1942) was known for her politically and socially conscious small-scale bronze sculptures that depicted the poor residents of New York’s Lower East Side. She was born in Webster City, Iowa and was raised in Canton, Ohio. She began teaching herself by copying tombstones and memorials before studying at the Arts Students League, New York. In 1907, she began composing sculptures in a social realist manner and was associated with the Ashcan School, which also included artists Robert Henri, John Sloan and George Luks, and photographers such as Jacob Riis and Lewis Hine, all of whom rebelled against American Impressionism and academic realism popular in the art market at the time. Many artists associated with the Ashcan School exhibited at the Macbeth Gallery, New York; Eberle showed there from 1907-13. In 1913, she exhibited two works at the Armory Show, one titled White Slave that depicted a child prostitute (child prostitution was then euphemistically reffered to as white slavery). The shocking combination of contemporary realism, with a man peddling the youth by his side, and her blatant nudity caused considerable controversy. Overall, Eberle believed art should have a social function and that the artist has, “No right to work as an individualist with no responsibility to others.”
Estimate
$5,000 – $8,000
Abastenia st. leger eberle
Anne.
Bronze, 1921. 320x120x120 mm; 12½x5x5 inches. With the artist’s signature and date incised on the upper side of the bronze base. Cast by Kunst Foundry, New York, with the foundry mark on the edge verso.
Ex-collection private collection, Pennsylvania.
Estimate
$10,000 – $15,000
Abastenia st. leger eberle
Anne Hart.
Bronze, circa 1915. 70x90x50 mm; 3x3½x2 inches. With the artist’s initials incised on the front edge.
Ex-collection private collection, Pennsylvania.
Estimate
$1,500 – $2,500
Hugh breckenridge
Portrait of Herbert Welsh.
Color pastels on canvas, circa 1910. 760x1020 mm; 30x40 inches. Signed in pastel, lower right recto.
Ex-collection private collection, New Jersey.
Herbert Welsh (1851-1941) was known for his advocacy for the rights of Native Americans. In 1883, he co-founded the Indian Rights Association in Philadelphia, a group that worked on behalf of American indigenous peoples. He also was actively involved with fighting political corruption, joining the National Civil Service Reform League as a member on the executive committee.
Estimate
$1,500 – $2,500
Robert henri
Woman Resting.
Blue crayon on cream wove paper, 1916. 213x277 mm; 8½x11 inches. With the artist’s initials blind stamp, lower right recto, and dated “apr 1916” in pencil, lower left recto, and blue crayon, verso.
Ex-collection the estate of the artist; Hirschl & Adler Galleries, New York, with the label on the frame back; private collection, Chicago.
Estimate
$2,000 – $3,000
Robert henri
John Sloan in the Studio (John Paints a Portrait of Misses Sloan).
Crayon on cream wove paper, circa 1905-10. 260x175 mm; 10¼x6⅞ inches. Annotated in pencil, lower center recto.
Ex-collection Chapellier Galleries, Inc., New York, with a label on the frame back; private collection Potomac, Maryland.
Estimate
$1,500 – $2,500
John sloan
The Prostitute, Drama Scene.
Pencil on cream wove paper, circa 1905. 175x270 mm; 7x10⅞ inches. Signed, titled and inscribed “Stage 2” in pencil, lower recto.
Offered Christie’s, New York, sale 2142, March 5, 2009, lot 18; private collection Potomac, Maryland.
According to one recent study, “At the turn of the twentieth century, plays about prostitutes and fallen women were so popular that they may be said to constitute a genre–the brothel drama. Between 1898 and 1922, approximately 50 playsfeaturing prostitutes were produced in New York. The Library ofCongress and Robert Sherman’s Drama Cyclopedia list approximately 50 more that were copyrighted during this time, although it is uncertainwhether they were ever performed,” (Johnson, Sisters in Sin: Brothel Drama in America, 1900-1920, Cambridge, 2006, page 1).
Estimate
$1,500 – $2,500
Early 20th Century Modernism
Joseph pennell
Manhattan Bridge at Night, Looking Toward Williamsburg.
Crayon on paper mounted on card, circa 1908. 221x282 mm; 8¾x11⅛ inches. Signed by Elizabeth Robins Pennell, the artist’s wife, and inscribed “43” in pencil, and titled and inscribed “124” in pen and ink, on the support sheet lower margin.
Ex-collection Frederick Keppel & Co., New York, with the label on the support sheet; Hirschl & Adler Galleries, Inc., New York, with the label on the frame back; private collection, New York.
Estimate
$1,000 – $1,500
Leon kroll
Brooklyn Bridge and Lower Manhattan.
Oil on panel, 1911. 212x270 mm; 8½x10¾ inches. Signed and dated in oil, lower right recto.
Ex-collection private collection, Chicago.
Estimate
$15,000 – $20,000
Oscar bluemner
Two watercolors.
Long Island Sunset with Children, 1900. 157x255 mm; 6⅛x10 inches. Signed and dated in watercolor, lower left recto * Old Mill, Long Island, 1906. 147x250 mm; 5¾x10 inches. Initialed, titled and dated in pencil, upper left recto, and annotated by the artist in pencil, verso.
Both ex-collection the estate of the artist; private collection, Florida.
Estimate
$1,500 – $2,500
Oscar bluemner
Group of 5 drawings.
Hill at Bloomfield, crayon on cream wove paper, 1919. Signed with artist’s monogram in pencil, lower left recto, and titled and dated in pencil, upper right recto * Cortona Park, New York, pencil on cream wove paper, 1903. Signed with the artist’s monogram, titled and dated in pencil, lower left recto, and inscribed extensively in pencil, verso * Hanover, New Jersey, pencil on cream wove paper, 1909. Signed with artist’s monogram, titled and dated in pencil, lower right recto * Mill-Canal at Passaic River, Patterson, pencil on cream wove paper, 1908. Signed with artist’s initials, titled and dated in pencil, upper left recto * Morris Canal, Lincoln Park, New Jersey, 1908. Signed with initials, titled and dated in pencil, lower left recto. Various sizes and conditions.
Each ex-collection private collection, New Hampshire.
Estimate
$1,500 – $2,500
Oscar bluemner
Morris Canal, West Bayonne.
Color pencils on wove paper, 1911. 180x286 mm; 7⅛x11¼ inches. Initialed, dated and titled in pencil, lower left recto and annotated in pencil, verso.
Exhibited “Crossroads: On the Cusp of Modernism in America,” James Graham & Sons, New York, May 23-June 23, 2000.
Ex-collection the estate of the artist; private collection, Florida.
Estimate
$2,500 – $3,500
Oscar bluemner
View from Walnut Mountain, Liberty, New York.
Color pencils on cream wove paper, 1911. 142x182 mm; 5⅝x7¼ inches. Signed with the artist’s monogram in ink, lower right recto, and titled and dated in ink, lower left recto.
With—Ridgewood, Near Woodhaven Railroad, watercolor and pencil on cream wove paper, 1908. 130x175 mm; 5⅛x6⅞ inches. Initialed, titled, dated and annotated in pencil, recto, and annotated with a sketch of a locomotive in pencil, verso.
Both ex-collection the estate of the artist; private collection, Florida.
Estimate
$1,000 – $1,500
Oscar bluemner
Town Scene.
Watercolor and pencil on cream wove paper, 1925. 127x143 mm; 5x5⅝inches. Dated in pencil, lower left recto.
With—Three pencil drawings. Fairfield, 1909. Signed with the artist’s monogram, titled and dated in pencil, upper left recto * Mary’s Park, 1895. Signed with the artist’s monogram, titled and dated in pencil, lower center recto * Fairfield, New Jersey, 1908. Signed with the artist’s monogram, titled and dated in pencil, lower right recto.
Each ex-collection private collection, New Hampshire.
Estimate
$1,500 – $2,500
Oscar bluemner
Trees and Sun.
Color pastels on ivory wove paper. 265x183 mm; 10⅜x7¼ inches.
With—Group of three drawings. Waves, 1913. Watercolor and pencil on cream wove paper. Dated and inscribed "colored sketch" in ink, upper right recto, and with the artist's inscriptions in pencil, verso * Rural Industrial Scene, color crayons on cream wove paper * Houses with Tree, color pencil on cream wove paper, 1917. Dated in ink, upper right recto.
Each ex-collection private collection, New Hampshire.
Estimate
$2,000 – $3,000
Oscar bluemner
The Yard from North Window, Whitman Hotel, Elizabeth, New Jersey.
Charcoal on cream wove paper, 1933. 147x115 mm; 5¾x4½ inches. Titled and dated in pencil, lower recto.
Exhibited “Oscar Bluemner: Preparatory Drawings in Watercolor, Colored Pencil and Graphite”, James Graham & Sons, New York, October 24-December 7, 2002.
Ex-collection George Krevsky Gallery, San Francisco, with the label on the frame back; James Graham & Sons, New York, with the label on the frame back; private collection, New Jersey.
Estimate
$1,000 – $1,500
Oscar bluemner
Inudstrial Scene.
Watercolor and pencil on cream wove paper, circa 1920. 125x148 mm; 4⅞x5¾ inches
With—Red Building, watercolor and pencil on cream wove paper. 87x145 mm; 3½x5¾ inches * Sheet of Studies with Agricultural and Industrial Buildings, color pencils and pencil on paper. 166x95 mm; 6⅝x3¾ inches. Annotated in ink, verso.
Each ex-collection private collection, New Hampshire.
Estimate
$4,000 – $6,000
Abraham walkowitz
Church and Village, Cape Cod.
Watercolor and charcoal on paper, 1910. 280x450 mm; 11x17⅞ inches. Signed and dated in ink, lower right recto.
Ex-collection private collection, Provincetown, Massachusetts.
Estimate
$1,000 – $1,500
Abraham walkowitz
Bathers.
Oil on canvas mounted on board, circa 1910-15. 500x403 mm; 19¾x15⅞ inches. Signed in oil, lower right recto.
Ex-collection the estate of the artist; sold Skinner, Boston, sale 2340, November 17, 2006, lot 449; Tom Veilleux Gallery, Portland, Maine; private collection, New York.
Estimate
$4,000 – $6,000
Abraham walkowitz
Isadora Duncan, Dancing.
Watercolor, pen and ink and pencil on white wove paper. 328x215 mm; 12⅞x8½ inches. Signed and dedicated in ink, lower center recto.
Gifted by the artist to private collection, Illinois; private collection, Maryland; sold Doyle Galleries, New York, sale 0305211, lot 23; private collection, Holyoke, Massachusetts.
Estimate
$1,500 – $2,500
Abraham walkowitz
Isadora Duncan in Red.
Watercolor with pen and ink on paper. 328x216 mm; 12⅞x8½ inches. Signed and dedicated in pen and ink, lower edge recto.
Gifted by the artist to private collection, Illinois; private collection, Maryland; sold Doyle, New York, May 21, 2003, sale 305211, lot 23; private collection, Holyoke, Massachusetts.
Estimate
$1,500 – $2,500
Abraham walkowitz
Portrait of a Woman with a Hat and Necklace.
Color pastels and black chalk on paper, 1928. 315x254 mm; 12½x10¼ inches. Signed and dated in black chalk, lower left recto, and counter signed in pencil, upper right recto.
Ex-collection private collection, Chicago.
Estimate
$1,500 – $2,500
Abraham walkowitz
Cityscape.
Charcoal and pencil on tan wove paper, 1913. 302x223 mm; 12x8¾ inches. Signed and dated in ink, lower right recto.
Ex-collection private collection New York; private collection, New Jersey.
Estimate
$1,200 – $1,800
Abraham walkowitz
Cityscape.
Pencil and ink on paper, 1910. 351x212 mm; 13⅞x8⅜ inches. Signed and dated in pencil, lower right recto, and inscribed “AW 389” in pencil, verso.
Ex-collection Martha Parrish & James Reinish, Inc., New York, with the label; private collection, New York.
Estimate
$1,500 – $2,500
Abraham walkowitz
Two cityscape ink drawings.
Both brush and ink on cream wove paper, circa 1910-15. Both 265x170 mm; 10½x6¾ inches.
Both ex-collection private collection, Israel.
Estimate
$2,500 – $3,500
Abraham walkowitz
Three abstract cityscape ink drawings.
Each brush and ink on cream wove paper, circa 1912-30. One signed and dated “1912” in ink, lower right recto. Various sizes and conditions.
Each ex-collection private collection, Israel.
Estimate
$3,000 – $5,000
Abraham walkowitz
Abstract Mountain Landscape.
Watercolor on cream wove paper. 315x205 mm; 11½x8 inches. Signed in pencil, lower right recto.
Acquired directly from the artist’s estate, New York, by the current owner; private collection, New Jersey.
Estimate
$1,000 – $1,500
Charles burchfield
Still Life (Fan, Candle and Book).
Pencil on cream wove paper, 1913. 210x257 mm; 8⅜x10⅛ inches. Signed and dated in pencil, lower right recto.
Accompanying this lot is a research report completed by the Burchfield Penney Art Center, Buffalo, New York.
Ex-collection private collection, New York; thence by descent to the current owner, private collection, New York.
Burchfield (1893-1967) studied at the Cleveland School of Art starting in 1912. This drawing was likely made for a class project during his freshman year.
Estimate
$1,000 – $1,500
Charles burchfield
Sheet of Studies with Lions and Dragons * Sheet of Studies with Grotesque Heads.
Two pen and ink drawings on cream wove paper, 1913. Both 355x252 mm; 14x10 inches. Both signed and dated in ink, lower recto.
Accompanying this lot is a research report completed by the Burchfield Penney Art Center, Buffalo, New York.
Both ex-collection private collection, New York; thence by descent to the current owner, private collection, New York.
Burchfield (1893-1967) studied at the Cleveland School of Art starting in 1912. These drawings were related to his course work as he learned about the iconography of other cultures.
Estimate
$1,500 – $2,500
Charles burchfield
Church Steeple, Evening.
Indelible pencil on heavy cream wove paper, 1919. 300x228 mm; 11⅞x9 inches. Titled, dated and with artist’s annotations in pencil, verso.
Accompanying this lot is a research report completed by the Burchfield Penney Art Center, Buffalo, New York.
Exhibited “The Drawings of Charles E. Burchfield–An Exhibition Sponsored by The Print Club of Cleveland and The Cleveland Museum of Art”, The Cleveland Museum of Art, November 4-December 31, 1953, number 48, page 19, illustrated plate VII.
Ex-collection private collection, New York; thence by descent to the current owner, private collection, New York.
Estimate
$3,000 – $5,000
Charles burchfield
Untitled (Tulip Gardens).
Watercolor, gouache and pencil on paper, 1916. 148x225 mm; 5⅞x8⅞ inches. Dated in pencil, verso.
Accompanying this lot is a research report completed by the Burchfield Penney Art Center, Buffalo, New York.
Ex-collection private collection, New York; thence by descent to the current owner, private collection, New York.
According to the Burchfield Penney Art Center research report, this is likely the work titled Tulip Bed, listed in early inventories of Burchfield’s paintings.
Estimate
$3,000 – $5,000
Charles burchfield
Untitled (The House in the Woods).
Watercolor, gouache and charcoal on ivory wove paper. 250x142 mm; 10x5⅝ inches.
Accompanying this lot is a research report completed by the Burchfield Penney Art Center, Buffalo, New York.
Ex-collection private collection, New York; thence by descent to the current owner, private collection, New York.
Estimate
$5,000 – $8,000
Morgan russell
Study for “Synchromy, in Blue-Violet.”
Pen and ink on cream wove paper, circa 1913. 155x100 mm; 6x4 inches. With a pencil study, verso.
Exhibited “Morgan Russell: The Origins of a Modern Masterpiece”, The Montclair Art Museum, Montclair, New Jersey, January 25-April 26, 1998, The Museum of American Art of the Pennsylvania Academy of Fine Arts, Philadelphia, June 12-August 23, 1998, Heckscher Museum of Art, Huntington, New York, September 5-November 15, 1998, with the label on the frame back.
Ex-collection Washburn Gallery, New York, with the label on the frame back; private collection, New Jersey.
A preliminary study for the same-titled 1913 oil on canvas by Russell (1886-1953).
Estimate
$1,500 – $2,500
Thomas hart benton
Synchromist Landscape, Study for “Abstraction, The Cliffs, at Gay Head.”
Pencil on cream wove paper, circa 1915. 217x275 mm; 8½x11 inches.
Sold Christie’s East, January 24 1990, sale 6949, lot 201, with the label on the frame back; Lafayette Park Gallery, Ltd., San Francisco, with the label on the frame back; private collection, Los Angeles.
Estimate
$1,500 – $2,500
Hayley lever
Woodstock, New York.
Watercolor on cream wove paper, 1922. 280x381 mm; 11x15 inches. Signed, titled and dated in pencil, lower left recto.
Ex-collection private collection, New Jersey.
Estimate
$1,500 – $2,500
Hayley lever
From the Ohio Mountains, Woodstock.
Watercolor on ivory wove paper, 1920s. 425x522 mm; 16¾x20½ inches. Signed and titled in pencil, lower edge recto, and inscribed in pencil, verso.
Ex-collection private collection, New Jersey.
Estimate
$1,500 – $2,500
Hayley lever
Woodstock.
Watercolor on cream wove paper, 1922. 425x540 mm; 16¾x21¼ inches. Signed in crayon, lower right recto.
Ex-collection private collection, New Jersey.
Estimate
$1,500 – $2,500
Hayley lever
Stowe, Vermont.
Watercolor on board, 1920s. 270x365 mm; 10⅝x14¼ inches. Initialed in pencil, lower left recto.
Ex-collection private collection, New Jersey.
Estimate
$1,500 – $2,500
Hayley lever
Sunset over the City.
Oil on board. 197x250 mm; 7¾x9⅞ inches.
Ex-collection Gump’s Gallery, San Francisco, with the label on the frame back; Mongerson Wunderlich Galleries, Chicago, with the label on the frame back; private collection, New Jersey.
Estimate
$3,000 – $5,000
Hayley lever
Peacock Point, Locust Valley, Long Island.
Oil on board, 1937. 215x295 mm; 8⅜x11½ inches. Signed and dated in oil, lower recto.
Ex-collection the artist’s estate; Clayton-Liberatore Art Gallery, Bridgehampton, New York, with the label on the frame back; private collection, New York.
Peacock Point was the estate of Henry Pomeroy Davison, Sr., built by Walker & Gillette, between 1914-16. Davison was a financier and Senior Partner at J. P. Morgan, and was the chairman of the Red Cross during World War I. The house was demolished in 1962.
Estimate
$1,000 – $1,500
Vaclav vytlacil
Coastal Landscape with a Path and Cliffs.
Oil on canvas mounted on board, 1915. 323x380 mm; 12¾x15 inches. Signed and dated in oil, lower right.
Ex-collection David Findlay Jr, Inc., New York, with the label verso; private collection, New Jersey.
Estimate
$3,000 – $5,000
Joseph stella
Still Life with Chrysanthemums and Goldfish.
Oil on canvas, circa 1911-12. 605x504 mm; 24x20 inches. Signed in oil, lower left recto.
This work has been authenticated by Irma Jaffe, author of Joseph Stella, Harvard University Press. 1970.
Sold Christie’s, New York, September 28, 1989; Dr. Norton J. Cooksey, Bloomfield Hills; private collection, New York.
Estimate
$8,000 – $12,000
Edward berge
Frog Baby.
Bronze, circa 1920. 205 mm; 8¼ inches (height). With the artist’s signature and copyright incised on the bronze base. Cast by American Art Foundry, New York, with the foundry mark on the bronze base.
With–Wild Flower, bronze, circa 1916. 170 mm; 7 inches (height). With the artist’s signature and copyright incised on the bronze base.
Both ex-collection private collection, Pennsylvania.
Estimate
$1,000 – $1,500
Arnold rönnebeck
Two pen and ink drawings.
Isadora Duncan, Andante, circa 1912. 270x208 mm; 10¾x8¼ inches. Titled in Greek in pencil, left center * Isadora Duncan, circa 1912. 272x210 mm; 10x8⅜ inches. Both with the artist’s estate ink stamp, verso.
Both ex-collection the artist’s estate; thence by descent to current owner, private collection, Los Angeles.
These drawings were executed in Paris around 1912, when Rönnebeck (1885-1947) was studying sculpture with Antoine Bourdelle (1861-1929) at the Académie de la Grande Chaumière. At the same time, Bourdelle was working on the relief panels of the famous American modern dancer, Isadora Duncan (1877-1927) for the Théâtre des Champs Elysées, Paris, which opened in 1913.
Estimate
$1,000 – $1,500
Stuart davis
Faun and Girl from The Puritans.
Gouache, pencil and ink on paper, 1923. 470x600 mm; 18½x23⅝ inches. Signed and dated in gouache and titled “Faun and Girl from the Pilgrims” in pencil, lower margin recto.
Published A. Boyajian and M. Rutkoski, Stuart Davis: A Catalogue Raisonné, New Haven, Connecticut, 2007, vol. 2, pages 524-25, number 1075.
Ex-collection the artist; Mr. and Mrs. Ralph deGolier, Vineyard Haven, Massachusetts, circa 1925; Edith Gregor Halpert, New York; thence to the estate of Edith Gregor Halpert; offered Sotheby Parke Bernet, New York, “The Edith G. Halpert Collection of American Paintings Part II,” March 16, 1973, sale 3520, lot 3; sold Christie’s New York, March 23, 1984, sale LESLIE 5520, lot 99, to the current owner, private collection, Southfield, Michigan.
Costume designs for the play The Puritans, written by Ralph deGolier. Boyajian and Rutkoski note that “Although inscribed ‘Faun and Girl from the Pilgrims’ reference instead to the actual title of the play, The Puritans.”
Estimate
$15,000 – $20,000
Malvina hoffman
Head of a Monk.
Bronze on wooden base, circa 1920. 110x80x120 mm; 4½x3½x5 inches (excluding base). With the artist’s initials incised on the lower left.
Ex-collection private collection, Pennsylvania.
Estimate
$1,000 – $1,500
Malvina hoffman
Female Bust.
Belgian black marble and marble base, circa 1920. 610x408x130 mm; 24x16x5¼ inches (including base). With the artist’s initials incised on the upper side of the base.
Ex-collection private collection, Pennsylvania
Estimate
$5,000 – $8,000
Wilhelm hunt diederich
Diana and the Hound.
Paper collage, circa 1920. 220x300 mm; 8⅝x11¾ inches. Signed in ink, lower right recto.
Ex-collection private collection, California.
Estimate
$1,000 – $1,500
Edward sanford
Reclining Great Dane.
Bronze, 1915, 145x300x90 mm; 6x12x3½ inches. With the artist’s signature and date incised on the upper side of the base. Cast by A. Kunst Bronze Works, Astoria, New York, with the foundry mark on the edge of the base.
Ex-collection private collection, Pennsylvania
Estimate
$1,000 – $1,500
William gropper
Group of 7 ink drawings of the Democratic National Convention, New York.
Each brush and ink and pencil on tan wove paper, 1924. Includes Madison Square Garden (From the Rafters) * Madison Square Garden (Delegates) * Convention News: First Day Parade * Convention News: Second Day Sightseers * Convention News: Fourth Day Window Shopping * William Gibbs McAdoo * Governor Alfred E. Smith. Each signed in ink recto. Various sizes and conditions.
Each acquired from ACA Galleries, New York, with the label on the frame backs, by Paul T. Frankl, New York; thence by descent to his daughter; private collection, Los Angeles.
Estimate
$7,000 – $10,000
Jan matulka
Still Life with a Basket of Fruit.
Oil on canvas, circa 1920. 603x755 mm; 24x30 inches. Signed in oil, lower right recto.
Ex-collection ACA Galleries, New York, with the labels on the frame back; Sid Deutsch Gallery, New York, with the label on the frame back; Owings-Dewey Fine Art, Santa Fe, with the label on the frame back; private collection, Washington, D.C.
Estimate
$10,000 – $15,000
Howard cook
Still Life with Irises.
Drybrush and ink on tan wove paper, 1928. 355x310 mm; 14x12¼ inches. Signed and dated in pencil, lower left recto.
Ex-collection Hirschl & Adler Galleries, Inc., New York, with the label; private collection, New York.
Estimate
$1,500 – $2,500
Eugene henry bischoff
Portrait Study.
Charcoal on wove paper. 370x425 mm; 14¾x16⅝ inches. Initialed in charcoal, lower right recto.
Ex-collection private collection, New York.
Estimate
$1,500 – $2,500
Leon gaspard
A Market in Mongolia.
Charcoal and wash on cream wove paper, circa 1921. 310x406 mm; 12¼x16 inches. With the artist’s ink stamp, lower right recto.
Ex-collection the estate of the artist; private collection, Florida.
Estimate
$1,000 – $1,500
Arthur b. carles
Nude with Red Background.
Oil on canvas, circa 1925. 1005x740 mm; 35½x29 inches.
Exhibited “Memorial Exhibition: Arthur B. Carles, 1882-1952”, Pennsylvania Academy of Fine Arts, Philadelphia, and the Philadelphia Museum of Art, March 18-April 12, 1953, number 59; “Two Friends—Marin and Carles, a Memorial Exhibition,” Allen Memorial Art Museum, Oberlin, Ohio, May 15-June 13, 1955, number 9; “Arthur B. Carles, 1882-1952: Retrospective Exhibition,” Graham Gallery, New York, April 14-May 9, 1959, number 52; “Arthur B. Carles,” Washburn Gallery, New York, September 13-October 27, 1984, number 7; “The Orchestration of Color: The Paintings of Arthur B. Carles,” Hollis Taggart Galleries, New York, February 10-March 18, 2000, page 55, number 173, with the label on the frame back.
Ex-collection the estate of the artist; the artist’s daughter, the artist Mercedes Carles Matter, New York; thence by descent to Alex Matter, New York; Joan Washburn Gallery, New York; William O’Reilly Gallery & Co., New York; Hollis Taggart Galleries, New York; private collection, New Jersey.
Estimate
$30,000 – $50,000
Arthur b. carles
Standing Nude.
Chalk on tan wove paper. 570x405 mm; 22½x16 inches. Initialed in pencil, lower right recto, and inscribed with the artist’s sketchbook number “#172” in pencil, verso.
With—Study of a Street Scene, watercolor and pencil on cream wove paper. 180x125 mm; 7x5 inches.
Standing Nude: ex-collection David David, Inc., Philadelphia, with the label on the frame back; private collection, New Jersey.
Study of a Street Scene: ex-collection private collection, New Jersey.
Estimate
$2,500 – $3,500
Bertram hartman
Three watercolors.
Lovers on the Beach, watercolor and crayon, 1929. Signed, dated and inscribed “Long Beach” in pencil, lower right recto * Beach Gathering, watercolor and pencil, 1929. Dated and inscribed “Long Beach” in pencil, center left recto. With the artist’s estate ink stamp, lower right recto * Men Resting in the Square, watercolor and pencil. With the artist’s estate ink stamp, lower left recto. Various sizes and conditions.
Each ex-collection private collection, New York.
Estimate
$1,000 – $1,500
Max kalish
Harmony.
Bronze with green marble base, circa 1930. 365x225x125 mm; 14½x9x5 inches (excluding base). Artist’s signature incised on the right upper side of the bronze base.
Ex-collection private collection, Cleveland; sold Christie’s, New York, March 1, 2012, sale 2539, lot 156; private collection, New Hampshire.
Estimate
$3,000 – $5,000
Leon kroll
Two red crayon drawings.
Nude in an Archway, 1925. 505x320 mm; 9¾x12⅝ inches. Signed and dated in crayon, lower right recto * Sleeping Nude, circa 1925. 470x325 mm; 18⅜x12¾ inches. Signed in crayon, lower left recto.
Both ex-collection private collection, New Jersey.
Estimate
$1,000 – $1,500
Leon kroll
Nude on a Chaise.
Oil, gouache and charcoal on paper. 473x630 mm; 18⅝x24⅞ inches.
Ex-collection private collection, New Jersey.
Estimate
$1,500 – $2,500
Rockwell kent
Irish Lad.
Watercolor and pencil on cream wove paper, 1927. 248x349 mm; 10x14 inches. Signed and dated in ink, lower left recto.
Exhibited "Rockwell Kent: Water-Colors of Ireland and Drawings," Weyhe Gallery, New York, March 4-26, 1927; "Rockwell Kent: A Retrospective Loan Exhibition, Paintings, Lithographs and Woodcuts," Syracuse Museum of Fine Arts, January 6-February 3, 1937.
Ex-collection Weyhe Gallery, New York, with the original label on the frame back; private collection, Maine.
Estimate
$10,000 – $15,000
Wanda gág
House among Trees.
Color pastels on cream laid paper. 265x325 mm; 10½x12⅞ inches. With the artist’s ink stamp, verso.
Ex-collection private collection, Florida.
Gág (1893-1946) was primarily a printmaker; paintings and gouaches are scarce among her works. She trained at the Art Students League, New York. Along with her haunting lithographs of scenes in and around New York from the 1920s and 1930s, she is most remembered for her innovative and modern children’s books, consisting of stories she told her younger siblings when growing up and illustrated herself, including Millions of Cats, Gone is Gone and The ABC Bunny.
Estimate
$1,500 – $2,500
New York & Industrial Scenes
Lucille corcos
Central Park, New York.
Oil on artist's board, 1928. 635x765 mm; 25x30 inches. Signed, dated and inscribed "restored 1972" in oil, lower right recto.
Ex-collection the artist's sister, New York; thence by descent to the current owner, New York.
Corcos (1908-1973) is considered a leading modern American primitivist. She studied under Jan Matulka at the Art Students League, New York, before starting a career as an illustrator at Vanity Fair and for children's books. By the mid-1930s she was exhibiting in numerous museums, including the Whitney Biennial. Her works, painted in a semi-naïve style, were revered for their detail, brilliant colors and lively compositions.
Estimate
$4,000 – $6,000
Glenn o. coleman
Street Scene, Lower Manhattan.
Oil on canvas, circa 1935. 465x384 mm; 18½x15¼ inches. Signed in oil, lower center recto.
Ex-collection, private collection, Chicago.
Estimate
$4,000 – $6,000
Ida abramovich
New York Skyline.
Watercolor on cream wove paper, 1935. 375x530 mm; 14⅞x20⅞ inches. Signed in watercolor, lower right recto.
Ex-collection private collection, New York.
Estimate
$1,000 – $1,500
Reginald marsh
The Statue of Liberty.
Watercolor and pencil on cream wove paper, circa 1930. 508x355 mm; 20x14 inches.
This work has been authenticated by Norman Sasowsky, with the inscribed inventory number “WD-134” in pencil, lower right recto.
Ex-collection private collection, New York.
Estimate
$4,000 – $6,000
Reginald marsh
Lower Manhattan Skyline.
Watercolor on wove paper, 1932. 349x502 mm; 13¾x 19¾ inches. Signed and dated “May 23 1932” in watercolor, lower right recto.
Exhibited “The City as a Source,” Kennedy Galleries, New York, November 16-December 3, 1977, number 35.
Ex-collection Kennedy Galleries, New York, with the labels on the frame back; private collection, New York.
Estimate
$7,000 – $10,000
Reginald marsh
Bathers at a Pier, New York * Bathers Swimming.
Brush and ink and wash on heavy cream wove paper, double-sided, 1951. 570x785 mm; 22½x31 inches. Signed and dated in ink lower right on one side of the sheet.
Ex-collection William Benton Collection of Reginald Marsh, Storrs, Connecticut, with the blue ink stamp, lower right on the signed side of the sheet; private collection, Chicago.
Estimate
$7,000 – $10,000
Reginald marsh
Three Women Walking * Two Women Walking.
Brush and ink and wash with watercolor on paper, double-sided, 1944. 545x760 mm; 21½x30 inches. Signed and dated in pencil or ink, lower right recto and verso.
Ex-collection private collection, New York.
Estimate
$7,000 – $10,000
Reginald marsh
Two watercolor beach scenes.
Both watercolor on board, 1953. Both 125x102 mm; 4⅞x4 inches. Both signed and dated in watercolor or pencil, lower right recto.
Both acquired directly from the artist by private collection, Vermont; thence by descent to the current owner, private collection, Lancaster, Pennsylvania.
Estimate
$1,500 – $2,500
Reginald marsh
Woman on a Carousel Ride * Woman Walking.
Watercolor on philatelic album insert, double-sided, 1952. 250x200 mm; 9⅞x7¾ inches. Dated in watercolor, lower right recto.
Acquired directly from the artist, private collection, Vermont; thence by descent to current owner, private collection, Lancaster, Pennsylvania.
Estimate
$1,500 – $2,500
Harry herman wickey
Two Revelers.
Bronze, 1939. 240x170x95 mm; 9½x6¾x4 inches. Artist’s signature and date incised on the upper side of the bronze base, and with the annotation “Eleventh Avenue Series” incised on the rear upper side of the bronze base.
Ex-collection private collection, New Jersey.
Estimate
$1,500 – $2,500
Carl sprinchorn
Week of the Grand Opera, Los Angeles.
Brush and ink on cream wove paper. 200x300 mm; 8x11⅞ inches. Initialed in ink, lower center recto.
Ex-collection private collection, New Jersey.
Estimate
$1,000 – $1,500
Jerome myers
Market Scene.
Oil on board, 1939. 304x450 mm; 12x17¾ inches. Signed and dated in oil, lower right recto.
Ex-collection private collection, New Jersey.
Estimate
$3,000 – $5,000
Don freeman
All Saints Celebration.
Watercolor and pen and ink on heavy cream wove paper, circa 1930. 232x301 mm; 9¼x12 inches. Signed and titled in ink, lower margin.
Ex-collection private collection, Chicago.
Freeman (1908-1978) made another similar work of this subject, All Saints Celebration on Mulberry Street, New York, lithograph, 1933 (McCullough 64).
Estimate
$1,000 – $1,500
Louise emerson ronnebeck
Singers.
Tempera and color pencils on paper mounted on board, circa 1937. 613x613 mm; 24¼x24¼ inches. Inscribed “Detail right panel, Auditorium, Social Security Building. scale 1 = 1” in pencil, on the frame back.
Published Betsey Fahlman, “Louise Emerson Ronnebeck: A New Deal Artist of the American West,” Woman’s Art Journal, volume 22, number 2, page 14.
Ex-collection the estate of the artist; private collection, New York.
The basis of Ronnebeck’s (1901-1980) proposal for the Social Security Building in Washington, D.C. (renamed the Wilbur J. Cohen Federal Building in 1988) was the contrast between big band entertainment and the suffering unmitigated by lack of government aid. The auditorium fresco mural commission was instead given to Philip Guston (1913-1980) by the Treasury Section of Fine Arts.
Ronnebeck’s mural would have been approximately 7x8 feet overall. An image of the cartoon of the entire mural from the artist’s archives is available on request.
Estimate
$4,000 – $6,000
Walt kuhn
Two watercolor and ink drawings of clowns.
Smiling Clown, circa 1941. 180x125 mm; 7x5 inches. Initialed in ink, center right recto * Juggling Clown, circa 1941. 140x110 mm; 5½x4¼ inches. Both with partial ink or pencil studies, verso.
Both ex-collection private collection, Connecticut.
Estimate
$1,500 – $2,500
Emil ganso
Reclining Model.
Pencil and color pastels on paper, 1928. 535x420 mm; 21⅛x16½ inches. Signed and dated in pencil, lower right recto.
Ex-collection private collection, Washington, D.C.
Estimate
$1,000 – $1,500
Yasuo kuniyoshi
Portrait of a Woman.
Casein on canvas board, 1951. 595x450 mm; 23⅜x17¾ inches. Signed and dated, upper left recto.
Ex-collection private collection, Woodstock; private collection, New York.
Estimate
$10,000 – $15,000
Bernard karfiol
Resting, Perkins Cove, Ogunquit.
Oil on canvas, 1935. 1020x765 mm; 40x30 inches. Signed in oil, lower right recto.
Exhibited Whitney Museum, New York, "Third Biennial Exhibition of Contemporary American Paintings," November 10-December 10, 1936, no. 34.
Published Esquire, "A Selection of Paintings by Bernard Karfiol", March 1937, p. 15 (illustrated).
Ex-collection the artist, with The Downtown Gallery, New York with the ink stamp on the stretcher bar verso New York; Tom Veilleux Gallery, Portland, Maine; private collection, New York.
Estimate
$3,000 – $5,000
Harry leith-ross
Group of 4 drawings.
Bucks County Farm, double-sided drawing in conté crayon on paper, circa 1935. Artist’s notations in conté crayon, verso * Study for New Deal Mural, Masontown, Pennsylvania, watercolor on card, circa 1936 * Front Porch, pencil on paper * Sleeping Dog, conté crayon on paper. Initialed in conté crayon, lower right recto. Various sizes and conditions.
Each ex-collection private collection, New Jersey.
Estimate
$1,200 – $1,800
Harry leith-ross
Three conté crayon drawings.
Bucks County Farm. 87x101 mm; 3⅜x4 inches * Quarry. 280x355 mm; 11x14 inches * Industry, New Hope. 228x305 mm; 9x12 inches.
Each ex-collection private collection, New Jersey.
Estimate
$1,200 – $1,800
Harry leith-ross
Two conté crayon drawings.
Sketch for Mural II (Amish Country). 207x355 mm; 8¼x14inches * Sketch for Mural III (Miners). 133x305 mm; 5¼x12 inches.
Both ex-collection private collection, New Jersey.
Estimate
$1,000 – $1,500
Harry leith-ross
Three conté crayon drawings.
Miner. Signed in pencil and with artist's annotations in pencil, lower center recto * Man at Work * Farm Landscape. Initialed in ink, lower right recto. Very sizes and conditions.
Each ex-collection private collection, New Jersey.
Estimate
$1,200 – $1,800
Mahonri mackintosh young
Riggers Riveters.
Bronze medal, 1943. 73 mm; 2⅞ inches (diameter). Edition of approximately 700. Incised signature and date, lower left obverse and incised monogram, lower right reverse. Cast by the Medallic Art Company, New York, for the Society of Medalists 30th issue, incised on the lower edge.
Ex-collection private collection, New York.
Born in Salt Lake City, Utah, Young (1877-1957) was the grandson of Brigham Young (1801-1877). He began to sculpt as a child and showed himself to be a precocious young talent. Young settled in New York and attended The Art Students League and the prestigious Académie Julian in Paris. The subjects of his work, rendered in the Social Realist style, were industrial laborers and construction workers who transformed New York. Young’s proposal to the Society of Medalists, who issued cast medals approximately twice a year, was selected by the committee and he was awarded the 30th issue.
Estimate
$1,200 – $1,800
Post Impressionism
Mahonri mackintosh young
Royal Cortissoz.
Bronze medal, 1940. 103 mm; 4¼ inches (diameter).
Ex-collection private collection, New York.
Cortissoz (1869-1948) was an American art historian and from 1891 until his death, the art critic for the New York Herald Tribune. During his tenure at the newspaper, he consistently championed traditionalism and decried modernism. While he typically vilified European modernists such as Pablo Picasso, Henri Matisse, Vincent van Gogh and Piet Mondrian, referring to them as “egotists,” he held less scorn for American modernists like Arthur B. Davies, Guy Pène du Bois and Georgia O’Keeffe, who used traditional techniques.
Estimate
$1,000 – $1,500
George luks
Double-Portrait of Josephine DeGrange Sullivan Kenney and her Cousin Mildred Maria Lagan DeGrange.
Oil on canvas, circa 1930. 905x754 mm; 36x30 inches. Signed in oil, lower right recto.
Ex-collection Josephine DeGrange Sullivan Kenney, Santa Fe; thence by descent to private collection, Oklahoma; offered Santa Fe Art Auction, December 3, 2016, lot 384; private collection, New Mexico.
Estimate
$5,000 – $8,000
Clara d. davidson
Sonny.
Oil on canvas, circa 1925. 510x410 mm; 20¼x16¼ inches. Signed in oil, lower center recto.
Ex-collection private collection, Chicago.
Davidson (1874-1962) studied at Cooper Union’s Woman’s Art School from 1889-93, then continued her studies at the Art Students League, New York, with Arthur Wesley Dow. She spent four years in Europe, maintaining a studio in Paris and studying with Alphonse Mucha and Jacques-Emile Blanche. Working as an illustrator upon her return to the United States, she published her work in The Saturday Evening Post and Town & Country. She is known for her figurative drawings and paintings, and exhibited at institutions such as the National Academy of Design, New York, and the Pennsylvania Academy of Fine Arts, Philadelphia, among others.
Estimate
$1,500 – $2,500
Alice beach winter
Pond, Gloucester.
Oil on canvas, circa 1920. 405x506 mm; 16x19⅞ inches. Signed in oil, lower right recto.
Ex-collection private collection, California.
Estimate
$8,000 – $12,000
Harriet randall lumis
Wastefield.
Oil on canvas, circa 1921. 615x720 mm; 24¼x28½ inches. Signed in oil, lower right recto.
Ex-collection R. H. Love Galleries, Chicago, with the label on the frame back; sold Bonhams, New York, May 24, 2011, lot 1018; private collection, Berkshire, New York.
Exhibited “Harriet Randal Lumis, 1870-1953, An American Impressionist,” Springfield Art Museum, Springfield, Massachusetts, December 4, 1977-January 1, 1978; the Rahr–West Art Museum, Manitowoc, Wisconsin, January 15-February 5, 1978; the Butler Institute of American Art, Youngstown, Ohio, March 1978; the Connecticut Valley Historical Society, Springfield, Massachusetts, April 9-May 21, 1978; the Lyme Historical Society, Old Lyme, Connecticut, June 11-July 23, 1978.
Published Harriet Randal Lumis, 1870-1953, An American Impressionist, Chicago, 1977, catalogue number 8 (illustrated).
Estimate
$7,000 – $10,000
Mabel greer
Seaside Landscape.
Oil on canvas. 408x510 mm; 16x20 inches. Signed in oil, lower left recto.
Ex-collection private collection, New Jersey.
Estimate
$1,000 – $1,500
John f. carlson
Western No. 11–Thaw at Mt. Ranier.
Oil on board, 1923. 300x400 mm; 12x16 inches.
With the Vose Galleries, Boston authentication ink stamp, verso.
Ex-collection Vose Galleries, Boston, with the label verso; Babcock Galleries, New York, with the label verso; private collection, New Jersey.
Estimate
$4,000 – $6,000
Edward h. potthast
Landscape with Trees and a Lake.
Gouache on paper mounted on board. 460x385 mm; 18⅛x15⅛ inches. Signed in gouache, lower left.
Ex-collection private collection, California.
According to Mary Ran, this work may be by Potthast (1857-1927), though it could also be by his nephew and namesake Edward H. Potthast II, who studied with him and painted in a similar style.
Estimate
$1,500 – $2,500
Robert emmett owen
Autumn Landscape.
Oil on canvas. 450x495 mm; 17⅝x19⅝ inches. Signed in oil, lower left recto.
Ex-collection private collection, New Jersey.
Estimate
$1,500 – $2,500
Robert emmett owen
Gray Day at New Boston.
Oil on canvas board. 305x400 mm; 12x15¾ inches. Signed in oil, lower right recto.
Ex-collection private collection, New Jersey.
Estimate
$1,200 – $1,800
Dodge macknight
Landscape with Stones in Foreground.
Watercolor with pencil on cream wove paper. 365x510 mm; 14⅜x20⅛ inches. Signed in watercolor, lower left recto.
Ex-collection Adelson Galleries, Inc., New York, with the label on the frame back; Babcock Galleries, New York, with the label on the frame back; private collection, New Jersey.
Estimate
$1,000 – $1,500
Dodge macknight
Landscape, Gaspe Peninsula.
Watercolor on cream wove paper, circa 1915-20. 385x560 mm; 15⅛x22 inches. Signed in watercolor, lower left.
Ex-collection Babcock Galleries, New York, with the label on the frame back; Adelson Galleries Inc., New York, with the label on the frame back; private collection, New Jersey.
Estimate
$1,000 – $1,500
Joseph sacks
Group of 4 watercolors.
California Landscape. Signed in ink, verso * San Francisco * Country Lanscape. Signed in ink, verso * Church (Detail). Signed in ink, verso. Each circa 1920. Various sizes and conditions.
Each ex-collection private collection, New Jersey.
Estimate
$1,000 – $1,500
Joseph sacks
Group of 4 watercolors.
Country Cottage * Overlook * View of Train Trestle * Bridge Scene. Each circa 1925. Each signed in pen and ink, verso. Various sizes and conditions.
Each ex-collection private collection, New Jersey.
Estimate
$1,000 – $1,500
Martha walter
Market by the Marabout, North Africa.
Watercolor on cream wove paper, 1930s. 163x194 mm; 6½x7⅝ inches. Signed in pencil, lower left recto, and titled in pencil, verso. With the artist’s estate ink stamp, verso.
Ex-collection the estate of the artist; David David Art Gallery, Philadelphia, with the ink stamp verso; private collection, New Jersey.
Estimate
$1,500 – $2,500
Martha walter
Cafe in Tunis.
Oil on board, 1930s. 220x250 mm; 8⅝x9⅞ inches. Signed in oil, upper right recto. With the artist’s estate ink stamp, verso.
Ex-collection the estate of the artist; David David Gallery, Philadelphia, with the ink stamp verso; private collection, New Jersey.
Estimate
$2,000 – $3,000
Anthony thieme
Old Mill, Storrs.
Oil on board. 297x405 mm; 12x16 inches. Incised signature, lower right recto.
Ex-collection Casson Galleries, Boston, with the label on the frame back; sold Bonham’s, New York, May 24, 2011, lot 1010; private collection, Berkshire, New York.
Estimate
$1,500 – $2,500
William starkweather
At Mystic, Connecticut.
Oil on board, 1923. 260x350 mm; 10¼x13¾ inches. Signed in oil, lower right recto.
Ex-collection private collection, New Jersey.
Estimate
$1,200 – $1,800
Hayley lever
Corinthian Yacht Club, Marblehead.
Watercolor and pencil on heavy wove paper, circa 1925. 381x560 mm; 15x22 inches. Signed and titled in ink, lower left recto, and inscribed “No 3” in pencil, verso.
Ex-collection private collection, New Jersey.
Estimate
$1,500 – $2,500
Allen philbrick
Eben Cheney’s Dairy Farm, Golden Ridge Road.
Oil on canvas, 1937. 745x1050 mm; 29⅜x41⅜ inches. Signed and dated in oil, lower right recto and inscribed “11” in ink, verso.
Ex-collection private collection, New Jersey.
Philbrick (1879-1964) was born in Utica, New York, but raised in Winnetka, Illinois and studied at the Art Institue of Chicago before traveling to Paris to study at the Académie Julian and Académie Colarossi. He spent summers near Damariscotta, Maine, which was often the inspiration for his work. The years of 1932-42 are considered his most innovative period and the last years during which he painted in oil, using brilliant colors and switching between the brush and the palette knife. His subject matter focused mainly on small towns and landscape during the Great Depression, evincing hints of the struggle of its inhabitants despite the overall compositions appearing peaceful.
Estimate
$1,000 – $1,500
Allen philbrick
High Dunes on Lake Michigan.
Oil on canvas, circa 1930. 760x975 mm; 30x38⅜ inches. Inscribed in pencil “18” lower right recto and in ink, verso.
Ex-collection private collection, New Jersey.
Estimate
$1,000 – $1,500
Sears gallagher
Farm House, Temple Mountain, New Hampshire.
Watercolor on cream wove paper. 252x351 mm; 9⅞x13⅞ inches. Signed in watercolor, lower left recto.
Ex-collection private collection, New Jersey.
Estimate
$2,000 – $3,000
Sears gallagher
Mt. Washington by Center Conway, New Hampshire * House by the Shore.
Watercolor on cream wove paper, double-sided, circa 1930. 400x500 mm; 15¾x19⅝ inches. One signed lower left, the other lower right in watercolor.
Ex-collection private collection, New Jersey.
Estimate
$2,000 – $3,000
Sears gallagher
Lobster Cove Point, Gloucester.
Watercolor on cream wove paper mounted on board. 377x508 mm; 14⅞x20 inches. Signed in watercolor, lower left recto.
With–Fishing Boats, Gloucester, watercolor on cream wove paper, circa 1945. 255x353 mm; 10x13⅞ inches. Signed in watercolor, lower left recto.
Exhibited “Twenty-Third Annual Exhibition,” North Shore Arts Association, Gloucester, Massachusetts, 1945, with the label verso.
Both ex-collection private collection, New Jersey.
Estimate
$1,000 – $1,500
Alice kent stoddard
Monhegan Coast.
Oil on canvas. 640x930 mm; 25x36½ inches. Signed in oil, lower left recto.
Ex-collection the estate of the artist, with the ink stamp on the stretcher verso; David David Gallery, Philadelphia, with the ink stamp on the stretcher verso; private collection, New Jersey.
Born in Watertown, Connecticut, Stoddard (1883-1976) attended the Philadelphia School of Design for Women and Pennsylvania Academy of Fine Art (where she studied under William Merritt Chase). During World War I she worked as a combat artist on the European front depicting soldiers and French refugees. She is known primarily as a portraitist who depicted Philadelphia socialites, but she also painted and etched landscapes and seascapes. Many of those works depict the scenery on Monhegan Island in Maine, where she rented and eventually bought her cousin Rockwell Kent’s (1882-1971) cottage and studio.
Estimate
$4,000 – $6,000
Abraham bogdanove
Oceanside.
Oil on board. 300x405 mm; 11¾x16 inches. Signed in oil, lower right recto.
Ex-collection Spanierman Gallery, New York, with the label on the frame back; private collection, New Jersey.
Estimate
$2,000 – $3,000
Philip shumaker
Waves Crashing against the Coastline.
Oil on canvas, circa 1940. 503x710 mm; 20x28 inches. Signed in oil, lower left.
Ex-collection private collection, New Jersey.
Estimate
$2,000 – $3,000
Harry leslie hoffman
Bermuda Coastline.
Oil on board. 302x400 mm; 12x15¾ inches. With the artist’s estate ink stamp, verso.
Ex-collection the estate of the artist; private collection, New Jersey.
Estimate
$1,500 – $2,500
Harry leslie hoffman
Mouth of the Jungle Stream, British Guiana.
Oil on board. 303x405 mm; 12x16 inches. Signed in oil, lower right recto.
Ex-collection the estate of the artist; private collection, New Jersey.
Estimate
$1,500 – $2,500
Harry leslie hoffman
Landscape, British Guiana.
Oil on board, circa 1925. 303x405 mm; 11⅞x16 inches. With the artist’s ink stamp, verso.
Ex-collection the estate of the artist; private collection, New Jersey.
Estimate
$1,500 – $2,500
Charles maclellan
Western Landscape with Trees.
Oil on canvas, circa 1930. 460x555 mm; 18x21¾ inches. Signed in oil, lower right recto.
Ex-collection private collection, New Jersey.
Estimate
$1,000 – $1,500
Lawrence nelson wilbur
Autumn Sunlight, Central Park.
Oil on artist’s board, 1967. 140x180 mm;5½x7⅛ inches. Signed in oil, lower left recto, and dated, titled and dedicated in ink, verso.
Gifted by the artist to the current owner, private collection, Washington, D.C.
Estimate
$1,000 – $1,500
Lawrence nelson wilbur
Mountains at Sunrise.
Watercolor and pencil on wove paper, circa 1950. 515x670 mm; 20¼x26⅜ inches. Signed in ink, lower left recto.
Ex-collection private collection, Washington, D.C.
Estimate
$1,000 – $1,500
Arnold friedman
Landscape.
Oil on board. 190x235 mm; 7⅜x9¼ inches.
Ex-collection Zabriskie Gallery, New York, with the label on the frame back; private collection, New Jersey.
Estimate
$2,000 – $3,000
Margaret patterson
Summer Fields.
Watercolor and gouache on artist’s board, 1949. 392x470 mm; 15⅜x18½ inches. Signed and dated in watercolor, lower right recto and verso.
Ex-collection private collection, Massachusetts.
Estimate
$1,500 – $2,500
Otto moilan
Clear Skies (Mississippi River, Minneapolis).
Oil on canvas, circa 1920. 514x607 mm; 20¼x24 inches. Titled and inscribed with the artist’s name and address on a label on the frame back.
Acquired from Beard Art Galleries, Minneapolis, 1995, with the label; by private collection, Washington, D.C.
Moilan (1881-1937) was born in Finland and studied at the Helsingfors Art School before moving to Minnesota and attending the Minneapolis School of Art. He operated a photography studio while also painting and creating monotypes. In 1929, he became a teacher at the Kansas City Art Institute. During the 1930s, he worked as part of the WPA in Kansas City.
Estimate
$1,500 – $2,500
Otto moilan
Village Landscape.
Oil on linen, circa 1920. 610x710 mm; 24x28 inches. Signed in oil, lower right recto.
Acquired from Beard Art Galleries, Minneapolis, 1995, by private collection, Washington, D.C.
Estimate
$1,500 – $2,500
Joseph stella
Landscape with Trees.
Color pastels and black chalk on paper, circa 1930. 470x610 mm; 18¾x24¼ inches. Signed in black chalk, lower right recto.
Ex-collection Rabin & Krueger, Inc., Newark, with the ink stamp verso; sold Christie’s, New York, February 13, 2002, lot 108; private collection, New York; Snyder Fine Art, New York, with the label; private collection, Chicago.
Estimate
$4,000 – $6,000
William zorach
Coastal View.
Watercolor and black crayon on paper, 1962. 385x563 mm; 15¼x22¼ inches. Signed and dated in black ink, lower right recto.
Ex-collection private collection, Chicago.
Estimate
$2,500 – $3,500
William zorach
Tranquility.
Polished bronze on wooden base, 1954. 170x450x80 mm; 7x18x3½ inches. With the artist’s signature and date incised lower verso, and numbered 5/6 lower verso. With the “Zorach Collection” label titled and annotated in ink on the underside of the base.
Published Art is My Life: The Autobiography of William Zorach, Cleveland, 1967, number 64 (another cast illustrated).
Ex-collection private collection, Massachusetts; sold Sotheby’s, New York, October 2, 2015, sale 9404, lot 21; private collection, New Hampshire.
Estimate
$5,000 – $8,000
Leon dolice
Twilight, New York Harbor.
Color pastels on smooth cream wove paper, circa 1930. 303x482 mm; 12x19 inches. Signed in pastel, lower right recto.
Ex-collection the estate of the artist, New York; Spanierman Gallery, New York; private collection, New York.
Estimate
$1,200 – $1,800
Leon dolice
Serene Morning, New York Harbor.
Color pastels on smooth cream wove paper, circa 1930. 304x482 mm; 12x19 inches. Signed in pastel, lower right recto.
Ex-collection the estate of the artist, New York; Spanierman Gallery, New York; private collection, New York.
Estimate
$1,200 – $1,800
Leon dolice
Chrysler Building at Christmas.
Color pastels on card stock. 650x505 mm; 25⅝x20 inches. Signed in pastel, lower right recto.
Ex-collection private collection, Massachusetts.
Estimate
$1,500 – $2,500
Guy wiggins
Winter at the Library, New York.
Oil on artist’s board, circa 1950. 230x305 mm; 9¼x12 inches. Signed and inscribed “N.A.” in oil, lower right recto, and signed, titled and inscribed “N.A.” in oil, verso.
Ex-collection private collection, New York; sold Plaza Art Galleries, New York; private collection, New York, thence by descent to the current owner, private collection, Arizona.
Estimate
$20,000 – $30,000
Mid-Century Modernism & Symbolic Realism
David burliuk
Milk Maid.
Watercolor, gouache and crayon on paper. 285x385 mm; 11⅜x15¼ inches. Signed in watercolor, lower left recto.
Ex-collection private collection, Phoenix.
Estimate
$1,500 – $2,500
David burliuk
Hot Springs, New Mexico.
Oil on canvas board. 205x250 mm; 8x10 inches. Signed and titled in oil, lower left recto.
Ex-collection private collection New York; private collection, New Jersey.
Estimate
$1,500 – $2,500
David burliuk
Two Men Resting by the Woods with Distant Mountains.
Watercolor on cream wove paper. 280x375 mm; 11x14⅞ inches. Signed in watercolor, lower left recto.
Ex-collection private collection, Phoenix.
Estimate
$2,000 – $3,000
John whorf
Bather on the Lake Shore * Fishing Boat.
Watercolor on wove paper, double-sided. 545x365 mm; 21½x14⅜ inches. Signed twice in ink, recto and verso.
Ex-collection private collection, Phoenix.
Estimate
$2,500 – $3,500
John whorf
Two watercolors.
Bathers, on cream wove paper. 250x355 mm; 9⅞x14 inches. Signed in ink, lower left recto * Little Red School House, St. Regis Falls, New York, on artist’s board. 258x376 mm; 10⅛x14¾ inches. Signed in ink, lower left recto, and titled in ink verso.
Ex-collection private collection, California.
Estimate
$2,000 – $3,000
Theresa bernstein
Snowy Path, Central Park.
Oil on wood panel. 450x600 mm; 17¾x23⅝ inches. Signed in oil, lower right recto.
Ex-collection private collection, New York.
Estimate
$1,200 – $1,800
Theresa bernstein
Backyard View, Gloucester.
Oil on canvas board, circa 1920. 505x610 mm; 19⅞x24 inches. Signed in oil, lower left recto.
Acquired directly from the artist in the 1970s; by the current owner, private collection, Washington, D.C.
Estimate
$3,000 – $5,000
William meyerowitz
Self-Portrait.
Oil on canvas, circa 1930. 1015x760 mm; 40x30 inches. Signed in oil, lower right recto.
Acquired directly from the artist in the 1970s; by the current owner, private collection, Washington, D.C.
Estimate
$4,000 – $6,000
William meyerowitz
Figural Movement.
Watercolor on smooth tan Japan paper. 373x280 mm; 14¾x11¼ inches. Signed in ink, lower center recto.
Ex-collection private collection, Chicago.
Estimate
$1,500 – $2,500
John grabach
Study of Male Model.
Charcoal on cream laid paper. 940x586 mm; 37x23⅛ inches. Signed in charcoal, lower right recto.
Ex-collection private collection, New Jersey.
Estimate
$1,500 – $2,500
Louise nevelson
Male Model Posing.
Pen and ink on tan wove paper, circa 1930. 420x275 mm; 16½x11 inches. Signed in ink, upper left recto.
Ex-collection Albert Argentieri, New Jersey, friend of the artist; thence by descent, private collection, New Jersey.
During the 1950s and 1960s, Argentieri, a photographer and artist, lived near Louise Nevelson (1899-1988) and her assistant, Ted Haseltine, his dear friend. Albert photographed Louise, her artworks and sculptures; both Albert and Ted. When staying in New Jersey, both Albert and Ted would collect wooden pieces from abandoned buildings and other locations for Nevelson to use in her sculptures. The early etchings and drawings she gifted to Argentieri are unique.
Estimate
$2,000 – $3,000
Louise nevelson
Two ink drawings.
Standing Female Nude, pen and ink on tan wove paper, circa 1930. 430x125 mm; 17x5 inches. Signed in ink, lower left recto * Standing Male Nude. 430x135 mm; 17x5⅜ inches. Signed in ink, lower left recto.
Ex-collection Albert Argentieri, New Jersey, friend of the artist; thence by descent, private collection, New Jersey.
During the 1950s and 1960s, Argentieri, a photographer and artist, lived near Louise Nevelson (1899-1988) and her assistant, Ted Haseltine, his dear friend. Albert photographed Louise, her artworks and sculptures; both Albert and Ted. When staying in New Jersey, both Albert and Ted would collect wooden pieces from abandoned buildings and other locations for Nevelson to use in her sculptures. The early etchings and drawings she gifted to Argentieri are unique.
Estimate
$2,000 – $3,000
Louise nevelson
Two Standing Male Models.
Ink on paper, circa 1930. 300x170 mm; 11¾x6¾ inches. Signed in ink, lower left recto.
Ex-collection Albert Argentieri, New Jersey, friend of the artist; thence by descent, private collection, New Jersey.
During the 1950s and 1960s, Argentieri, a photographer and artist, lived near Louise Nevelson (1899-1988) and her assistant, Ted Haseltine, his dear friend. Albert photographed Louise, her artworks and sculptures; both Albert and Ted. When staying in New Jersey, both Albert and Ted would collect wooden pieces from abandoned buildings and other locations for Nevelson to use in her sculptures. The early etchings and drawings she gifted to Argentieri are unique.
Estimate
$2,000 – $3,000
Louise nevelson
Seated Figure in a Suit.
Brush and ink on thin wove paper, circa 1940. 430x352 mm; 17x13⅞ inches. Signed in ink, lower right recto.
Ex-collection Albert Argentieri, New Jersey, friend of the artist; thence by descent, private collection, New Jersey.
During the 1950s and 1960s, Argentieri, a photographer and artist, lived near Louise Nevelson (1899-1988) and her assistant, Ted Haseltine, his dear friend. Albert photographed Louise, her artworks and sculptures; both Albert and Ted. When staying in New Jersey, both Albert and Ted would collect wooden pieces from abandoned buildings and other locations for Nevelson to use in her sculptures. The early etchings and drawings she gifted to Argentieri are unique.
Estimate
$2,000 – $3,000
Elaine de kooning
An early sketchbook with 6 pencil drawings.
Bound sketchbook with 6 pencil drawings on paper, 1938. 284x210 mm; 11⅛x8¼ inches. Signed “Elaine Fried” and dated in pencil on the first page.
Ex-collection the artist Conrad Fried (1920-2009), Elaine de Kooning’s brother, Sullivan County, New York; private collection, Sullivan County, New York.
Estimate
$3,000 – $5,000
Elaine de kooning
Portrait of a Seated Woman.
Pencil on wove paper, 1946. 302x225 mm; 11⅞x8⅞ inches. Signed and dated in pencil, lower right recto and verso.
Ex-collection the artist Conrad Fried (1920-2009), Elaine de Kooning’s brother, Sullivan County, New York; private collection, Sullivan County, New York.
Estimate
$1,500 – $2,500
Elaine de kooning
Bull.
Ball-point pen and ink on note paper, circa 1970. 92x125 mm; 3⅝x4⅞ inches.
Ex-collection the artist Conrad Fried (1920-2009), Elaine de Kooning’s brother, Sullivan County, New York; private collection, Sullivan County, New York.
Estimate
$1,000 – $1,500
Paul cadmus
Reclining Male Nude (NM 77A).
Color crayons on reddish-brown toned paper, 1970. 318x360 mm; 12½x14⅛ inches. Signed and inscribed “NM 77A” in crayon, upper left recto.
Ex-collection the artist’s estate; Jon F. Anderson and Philis Raskind-Anderson, Connecticut; private collection, New York.
Estimate
$3,000 – $5,000
Paul cadmus
Standing Male Nude (NM 48).
Conté crayon on bluish-gray laid paper, circa 1965. 485x245 mm; 19⅛x9⅝ inches. Signed and inscribed “NM 48” in crayon, lower left recto.
Ex-collection Midtown Gallery, New York, with the label on the frame back; private collection, New York; thence by descent to current owner, private collection, Atlanta.
Estimate
$5,000 – $8,000
George tooker
Untitled (Young Man Facing a Woman).
Egg tempera and ink on gessoed panel, circa 1950. 470x470 mm; 18½x18½ inches. With the artist's name "G. C. Tooker" in crayon on the panel verso.
Ex-collection Lincoln Kirstein, New York; the estate of Lincoln Kirstein, New York; gifted to Jack Woody, publisher, Twelvetrees Press, Pasadena (Woody published Kirstein's Quarry: A Collection in Lieu of Memoirs, 1986, and was also an early publisher of George Platt Lynes photographs; his George Platt Lynes: Photographs 1931-1955, 1981, with an introductory text by Kirstein, is a photography book icon; private collection, New Mexico.
Tooker (1920-2011) was born in Brooklyn and, after graduating from Harvard University with an English degree in 1942 and enlisting in the Officer Candidates School, United States Marine Corps (he was discharged for medical reasons), studied at the Art Students League, New York, from 1943 to 1945 under the artists Reginald Marsh and Kenenth Hayes Miller. Tooker met Paul Cadmus at the Art Students League and through Cadmus was introduced to Jared and Margaret French, all of whom would work together, collaborate and become lifelong friends in the ensuing decades. Through his connection with Cadmus and French, Tooker also became closely acquainted with Monroe Wheeler and Lincoln Kirstein, both of whom had strong ties to the nascent Museum of Modern Art, New York.
In 1946, in large part due to Kirstein's influence, Tooker was included in the groundbreaking exhibition "Fourteen Americans" curated by Dorothy Miller, at The Museum of Modern Art, which was a significant success in his early career. Three years later, following a half year of travel through Italy and France, studying old masters and architecture with Cadmus, Tooker participated in the exhibition "Symbolic Realism," 1949-50, organized by Kirstein, which brought him further recognition; the same year The Subway, egg tempera on panel, 1950, was acquired by the Whitney Museum of American Art, New York, his first painting to enter a museum collection. He had his first solo exhibition the following year at the Edwin Hewitt Gallery, New York.
Like Cadmus and French, Tooker was categorized by art critics as a "Magic Realist," though he resisted this label. He said of his work, "I am after painting reality impressed on the mind so hard that it returns as a dream, but I am not after painting dreams as such, or fantasy." Describing his process, he noted, "I don't really think I'm a creator. I feel that I'm a passive vessel, a receptor or translator . . . The fascinating thing about painting is the discovery." Tooker's work gradually fell out of the spotlight with the ascent of Abstract Expressionism, Pop Art and Minimalism in the decades following the 1950s, though he continued to paint in the assiduous style he had developed during his early career.
The death of his partner, the artist and activist William R. Christopher, in 1973, prompted his conversion to Catholicism and a deeper spirituality in his work thereafter. Tooker's work was rediscovered during the 1980s and his appeal widened starting with his representation by DC Moore Gallery, New York, in the late 1990s and the exhibition "George Tooker: A Retrospective," at the National Academy Museum, New York; Pennsylvania Academy of the Fine Arts, Philadelphia; and Columbus Museum of Art, Ohio, in 2008-09. He spent the last decades of his career focusing on his art and spiritual life in relative solitude at his home in rural Vermont. Tooker received the prestigious National Medal of Arts in 2007; he died at home in April 2011.
Although Tooker had begun to experiment with egg tempera early in his career through Marsh at the Art Students League, it was both Cadmus and French who encouraged him to adopt it as his primary medium. The technique had close ties to Renaissance painting, which all three artists emulated, and was the primary panel painting medium for nearly every painter in the European Medieval and Early Renaissance period up to 1500. Tempera is a quick-drying, tedious and unforgiving method of painting that is hard to change after being applied. This deliberate method suited Tooker's disposition and artistic theory. He spent several intensely-focused hours each day, most days a week, for roughly four months fine-tuning each piece, slowly and deliberately building up color and dimension. He mixed his colors by hand, using water, egg yolk and powdered pigment.
Tooker's images convey a sense of overwhelming silence, as in the current painting, and the figures he depicts are rarely overcome by emotion and seldom convey individuality. Although in this work, the features of the male, with the large, dark eyes, prominent brown, round face, full lips and close-cropped hair bear a striking resemblance to Tooker in his twenties, and the style of the dress worn by the woman is one frequently modeled by Magaret French in numerous 1940s/1950s PaJaMa photographs (the moniker "PaJaMa" is a portmanteau of the first two letters of Paul, Jared and Margaret which the three artists used to reflect a fluid and collective mode of authorship in their photography). Tooker's work is grounded with a precise geometric architecture, which is both a gesture to the ubiquitous use of perspective in Renaissance art and a recognition of the order and rigidty of modern architecture. In the current work, the scaffold, playground-like frame is similar to one seen in PaJaMa photographs from the 1940s and 1950s, on which Cadmus and Jared and Margaret French often posed for photographs, on the beach at Fire Island, New York.
We would place the current painting among a number of works which Garver refers to as "summer pictures" which the artist seems to have conceived as, "Pleasures of the past--of childhood--recalled by Tooker in his paintings as one might recall the memory of a special celebration, special because of its distinctness from everyday life." The figure of the youth with arms raised and holding onto the scaffold structure in the current work is posed similarly and bears a striking resemblance to the boy in Divers, egg tempera on gesso panel, 1951-52. Garver adds that Divers, "Bears a strong resemblance to Bathers and to Coney Island in its use of wooden planking as a major compositional and framing element. For Tooker, it is a happy picture, and the thin figure on the ladder is an acknowledged self-portrait. It is one of Tooker's most schematized paintings," (Garver, George Tooker, San Francisco, 1992, page 74, illustrated pages 74 and 76). In the current work, Tooker used the geometric scaffold structure and the shadows it casts on the ground to echo the compositional framing element of the wood planking in these other paintings. Moreover, the red bathing suits worn by the youths in Divers and Acrobats, egg tempera on gesso panel, 1950-52, match that in the current painting, and the female model in the Garden Party, egg tempera on gesso panel, 1952, another of Tooker's "summer pictures," appears to be the identical model wearing the same red dress as in the current work.
Estimate
$100,000 – $150,000
Eugene francis savage
Two oils on canvas.
Motherhood, 1947. 357x347 mm; 14x13¾ inches. Signed and dated in oil, lower right recto, with the estate stamp, verso * Undine in the Net. 340x390 mm; 13¼x15⅜ inches. Signed in oil, lower right recto. Both mounted on board.
Both ex-collection the estate of the artist; Taylor Graham, New York, with the label verso; private collection, New York.
Estimate
$4,000 – $6,000
Dennis burlingame
Circus Scene.
Oil on canvas, 1952. 455x610 mm; 18x24 inches. Signed and dated in oil, lower right recto.
Ex-collection private collection, New Jersey.
Estimate
$1,500 – $2,500
John b. lear
Contemplation Under the Pier.
Watercolor on illustration board, circa 1960. 510x760 mm; 20⅛x29⅞ inches. Signed in watercolor, lower right recto.
Ex-collection private collection, New Jersey.
Estimate
$3,000 – $5,000
Louis grell
The Swimming Hole.
Oil on canvas, 1953. 517x620 mm; 20¼x24¼ inches. Signed and dated in oil, lower left recto. Inscribed with the scale notation "6 FT x 18 FT" in black crayon, verso.
Ex-collection the estate of the artist, Chicago; Fredricka Grell, the artist's wife, Chicago; thence by descent to Helen Grell Bellenger, the artist's sister, Council Bluffs, Iowa; Council Bluffs Public Library, Iowa; thence by descent to Arthur Louis Grell, the artist's nephew, and the artist's great-niece, Council Bluffs, Iowa; private collection, Chicago.
Born in Council Bluffs to German emigrant meat market owners, Grell (1887-1960) was sent to Germany to study and trained at School of Applied Arts in Hamburg and at the Royal Academie of Fine Arts in Munich, under Franz von Struck (1908-12). When America's involvement in World War I became certain, Grell was forced to escape Europe in 1914 through Norway and landed his first American artistic position as a stage set designer for large Broadway productions in New York in 1915.
During the late 1910s, Grell made his way back to the Midwest and settled in Chicago, where he became the main art instructor at the Chicago Academy of Fine Arts (1916-22) where one of his students was animator and cartoonist, Walt Disney (1901-1966). By the early 1930s, Grell had embarked on a solo career as a portrait and mural painter. He became among the most prominent muralists of the Hollywood Golden Age, with a regular clientele list that included old movie palace giants Balaban and Katz, and Rapp and Rapp architects, the Albert Pick Hotel chain, Daprato Statuary Company, Publix Theaters, Paramount and Universal Studios. Significant large scale mural commissions by Grell include: Paramount Pictures Corporate Headquarters, Los Angeles; Times Square Paramount Theatre, New York; Eldorado Hotel, New York; Gateway Theatre, Chicago; Congress Plaza Hotel, Chicago, Bank of New York lobby murals, Aragon Ballroom Grand stairway, Chicago and the Union Station World War II ticket counter mural, St. Louis.
The current work is the study for a mural, indicated by the scale inscription on the verso.
Estimate
$3,000 – $5,000
Adolf dehn
Green Fields, Pennsylvania.
Watercolor and gouache on paper, circa 1950. 375x562 mm; 15x22¼ inches. Signed in watercolor, lower left recto.
Ex-collection Associated American Artists, New York, with the label on the frame back; private collection, Chicago.
Estimate
$1,500 – $2,500
Adolf dehn
Farm Scene.
Watercolor on cream wove paper, 1941. 563x492 mm; 22½x19½ inches. Signed and dated in watercolor, lower right recto.
Ex-collection private collection, Connecticut.
Estimate
$1,500 – $2,500
Leon dabo
Mont Sainte-Victoire, Aix-en-Provence.
Watercolor and pencil on cream wove paper, circa 1950. 280x270 mm; 11x10⅝ inches. Signed in ink, lower left recto, and with the artist’s monogram ink stamp, verso.
Ex-collection Davis Galleries, New York, with the label on the frame back; private collection, New York.
Estimate
$1,000 – $1,500
Andrew winter
Twin Sentinels.
Gouache on cream wove paper, circa 1940. 500x682 mm; 19⅝x26⅞ inches. Signed in watercolor, lower right recto, and titled and inscribed “#128” in pencil, verso.
Ex-collection private collection, New Jersey.
Estimate
$1,500 – $2,500
Andrew butler
Arizona Riverbed.
Oil on canvas, circa 1940. 610x762 mm; 24x30 inches.
Ex-collection the estate of the artist; thence by descent; acquired from the former by the current owner, private collection, New York.
Estimate
$2,000 – $3,000
Robert lockard
Mackenzie Park.
Watercolor on paper, 1939. 395x576 mm; 15½x22⅝ inches. Signed in watercolor, lower right recto, and signed, dated and inscribed “Lubbock—Texas” in watercolor, verso.
Ex-collection the artist, Lubbock, Texas; thence by descent to the current owner, private collection, New York.
Estimate
$1,500 – $2,500
Robert lockard
#7 Abstraction.
Watercolor on cream wove paper, 1940. 397x565 mm; 15⅝x22¼ inches. Initialed in watercolor, lower right recto, and inscribed with the title in pencil, verso.
Exhibited William Reaves Fine Art, Houston, “Modernism in Texas,” February 10-March 10, 2012, number 7.
Ex-collection the artist, Lubbock, Texas; thence by descent to the current owner, private collection, New York.
Estimate
$1,500 – $2,500
Emil bisttram
Western Mountain Landscape.
Watercolor on cream wove paper. 228x268 mm; 9x10½ inches. Signed in watercolor, lower right recto.
Ex-collection private collection, West Hyannisport, Massachusetts; thence by descent to current owner, private collection, Massachusetts.
Estimate
$1,000 – $1,500
Emil bisttram
Desert Night.
Color pencils on paper, 1943. 210x240 mm; 8¼x9½ inches. Signed and dated in pencil, lower right recto, and signed, titled and inscribed “Taos N.M.” in pencil, on the previous mount.
Ex-collection private collection, Santa Monica, California.
Estimate
$3,000 – $5,000
Emil bisttram
Sanctuary.
Oil on canvas. 1020x810 mm; 40¼x32 inches. Signed in oil, lower right recto, and signed and titled in pencil, verso.
Ex-collection Canfield Gallery, Sante Fe; acquired from the former by the current owner, private collection, Kansas.
Estimate
$25,000 – $30,000
Ward lockwood
Southwest No. 31–Seashore.
Casein and oil on illustration board, circa 1955. 765x565 mm; 30x22 inches. Signed in oil, lower right recto, and titled in pencil, verso.
Ex-collection Canfield Gallery, Sante Fe, with the label on the frame back; acquired from the former by private collection, Kansas.
Lockwood (1894-1963) studied at the University of Kansas and the Pennsylvania Academy of Fine Arts. After serving in the Army in 1917, he studied in Paris at the Academie Ranson and was exposed to European modern movements such as Cubism and Futurism that would influence his work. In the 1920s, he moved to Taos, New Mexico and became part of the artist’s colony in the area. In the 1930s he worked for the WPA and also began a teaching career at University of California, Berkeley and the University of Kansas, Lawrence before settling in Taos after his retirement. Throughout his career, he worked in a range of Modern styles embracing new theories and approaches towards visual art that arose in the first half of the 20th century.
Estimate
$4,000 – $6,000
Henry miller
Abstract Composition.
Watercolor on paper, double-sided, 1946. 295x400 mm; 11⅝x15¾ inches. Signed and dated in ink, lower right recto.
Ex-collection Arwin Galleries, Detroit, with the label; private collection, Vermont.
While known as one of the most significant American writers of the 20th century, Miller (1891-1980) also painted. He drew from the subconscious, blending his dreams with reality in often surrealistic and abstract compositions. These works were often gifted to his friends.
Estimate
$1,500 – $2,500
Henry miller
Sibylline Figure.
Watercolor on cream wove paper, 1943. 448x303 mm; 17¾x11⅞ inches. Signed and dated in ink, lower right recto.
Ex-collection Arwin Galleries, Detroit, with the label; private collection, Vermont.
While known as one of the most significant American writers of the 20th century, Miller (1891-1980) also painted. He drew from the subconscious, blending his dreams with reality in often surrealistic and abstract compositions. These works were often gifted to his friends.
Estimate
$1,500 – $2,500
Gerald coarding
Musician.
Oil on canvas, 1946. 709x478 mm; 27⅞x18¾ inches. Signed and dated in oil, lower right recto.
Acquired directly from the artist; thence by descent to the current owner; private collection, New York; sold Swann Galleries, New York, sale 2513, lot 224; private collection, New York.
Estimate
$4,000 – $6,000
Tobias musicant
Flags Flying.
Oil on board, double-sided, circa 1950. 610x255 mm; 24x10 inches. Signed in oil, upper right recto.
Ex-collection private collection, New Jersey.
Estimate
$4,000 – $6,000
Attilio salemme
Untitled.
Gouache, watercolor and pencil on card stock, circa 1950. 225x304 mm; 9x12 inches. Signed in pencil, lower right recto.
Ex-collection private collection, Chicago.
Salemme (1911-1955) was born in Boston and joined the Marines at age 16 in 1927. After his military service, he intended to study science, but instead decided to become an artist while working as a framer in 1942 at the precursor to the Solomon R. Guggenheim Museum, the Museum of Non-Objective Art, New York. Salemme died suddenly of a heart attack at age 44, after a short-lived but creatively inspired artistic career.
Estimate
$1,500 – $2,500
Burgoyne diller
Second Theme.
Color crayons and pencil on vellum, circa 1950. 220x197 mm; 8⅝x7¾ inches.
Exhibited “Burgoyne Diller: Twenty-Five on Paper,” Michael Rosenfeld Gallery, New York, September 10-November 5, 2005, with the label on the frame back.
Ex-collection Michael Rosenfeld Gallery, New York, with the label on the frame back; private collection, New Jersey.
Estimate
$3,000 – $5,000
Josef zenk
Romanesque.
Oil on canvas, circa 1950-60. 610x760 mm; 24x30 inches. Signed in oil, lower right recto.
Ex-collection private collection, New Jersey.
Zenk (1904-2000) was born in New York and attended the National Academy of Design and The Art Students League. Afterwards, he moved to Utica, New York and was active in its artistic community. In 1937, he had a one-man show at the Munson-Williams-Proctor Institute, Utica. In 1942, the museum purchased his first work. In the 1940s, he started making woodblock prints for which he became known. Later he moved to Bucks County, Pennsylvania where he spent the rest of his career.
Estimate
$5,000 – $8,000
Dwinell grant
Contrathemis.
Colored pencil and paper collage on tracing paper, 1941. 210x276 mm; 8¼x10⅞ inches. Initialed and dated in pencil, lower left recto.
Ex-collection private collection, New Jersey.
Estimate
$1,500 – $2,500
Dwinell grant
Surreal Abstraction.
Oil on canvas, 1961. 790x585 mm; 31x23 inches. Initialed and dated in oil, lower right recto.
Ex-collection private collection, New Jersey.
Grant (1912-1991) studied at the Dayton Art Institute, Ohio and the National Academy of Design, New York. He was interested in non-objective art early in his career; when he started a teaching job in 1935 at Wittenberg College in Ohio, he was convinced it was “part of the earth itself.” While at Wittenberg, he channeled most of his creativity into stage sets and became interested in experimental film. He wrote to Hilla Rebay (1890-1967), director of the Museum of Non-Objective Painting (now the Solomon R. Guggenheim Museum), which led to him moving to New York to work at the museum while also furthering his own artistic practice, which included experimental filmmaking as well as painting.
Estimate
$4,000 – $6,000
Louis schanker
Abstract Composition (Twigs and Leaves).
Watercolor and gouache on paper, 1945. 680x500 mm; 26¾x19¾ inches. Signed and dated in ink, lower right recto, and titled in pencil, verso.
Ex-collection private collection, New York.
Estimate
$1,000 – $1,500
Lloyd ney
Untitled.
Watercolor on paper, 1963. 610x460 mm; 24x18⅛ inches. Signed and dated in watercolor, lower right recto.
Estimate
$1,500 – $2,500
Lloyd ney
Abstract Composition.
Watercolor and pencil on white wove paper, 1953. 275x345 mm; 10⅝x13⅝ inches. Signed, dated and inscribed “New Hope, PA” in ink, lower right recto.
Ex-collection private collection, New Jersey.
Estimate
$2,500 – $3,500
John sennhauser
Abstract Composition.
Acrylic, gouache and paper collage on cream wove paper, 1962. 607x785 mm; 24x31 inches. Signed and dated in gouache, lower right recto.
Ex-collection private collection, New Port Richey, Florida.
Estimate
$1,500 – $2,500
John sennhauser
Black Lines in Colorspace No. 30.
Watercolor on cream wove paper, 1946. 305x457 mm; 12x18 inches. Signed and dated in ink, lower left recto, inscribed “#30” in pencil, verso, and signed, titled, dated and inscribed with the artist’s address in ink on the original matting.
Ex-collection private collection, Phoenix.
Estimate
$1,500 – $2,500
Charles green shaw
Montage.
Collage with diminutive French playing cards mounted on a late 19th century game board, circa 1935-50. 285x380 mm; 11¼x15 inches. With the artist's original "Montage by Shaw" label and inscribed "226" on a label, verso.
Ex-collection private collection, Arizona.
Estimate
$1,500 – $2,500
Howard cook
The Park Apartments.
Color pastels and watercolor on paper, circa 1950. 555x410 mm; 21⅞x16⅛ inches. Signed in pencil, lower right recto, and titled in ink, lower left recto.
Ex-collection the Estate of Evelyne Z. Daitz, New York.
Estimate
$3,000 – $5,000
Joseph meierhans
The Station.
Color pastels with white heightening on cream wove paper, 1946. 275x350 mm; 10⅞x13⅞ inches. Signed and dated in ink, lower right recto.
Ex-collection Island Weiss Gallery, New York, with the label on the frame back; private collection, New Jersey.
Estimate
$1,500 – $2,500
Joseph meierhans
The Garden.
Oil and enamel on masonite, circa 1950. 760x605 mm; 29⅞x23⅞ inches. Signed in oil, lower right recto.
Ex-collection private collection, New Jersey.
Estimate
$2,500 – $3,500
Joseph meierhans
Town Politicians.
Gouache on cream wove paper. 303x455 mm; 12x18 inches. Signed in gouache, lower right.
Ex-collection Island Weiss Gallery, New York, with the label on the frame back; private collection, New Jersey.
Estimate
$1,200 – $1,800
Joseph meierhans
Untitled (Landscape).
Oil on masonite, circa 1950. 605x760 mm; 23⅞x29⅞ inches. Incised with the artist’s signature, lower right recto.
Ex-collection private collection Massachusetts; private collection, New Jersey.
Estimate
$2,500 – $3,500
Sidney gross
Two oil paintings.
Construction, circa 1950. 870x1110 mm; 34¼x43¾ inches. Signed in oil, lower right recto and inscribed “253” and “69” verso * Abstract City Scene, circa 1950. 860x1085 mm; 34x42¾ inches. Inscribed “46” and “256” in ink, verso.
Both ex-collection Elaine A. Richmond Gross, wife of the artist, New York; donated to The Art Students League, New York, 1984, funds will go to preservation of The Art Students League permanent collection.
Estimate
$1,500 – $2,500
Charles seliger
Abstract Bird.
Color pencils on paper, 1955. 196x245 mm; 7¾x9⅝ inches. Signed and dated in pencil, lower left recto.
Ex-collection private collection, New Jersey.
Estimate
$1,000 – $1,500
Charles keeling lassiter
Seated Female Nude.
Watercolor and ink on paper, 1964. 385x567 mm; 15¼x22½ inches. Signed and dated in ink, lower right recto.
Ex-collection private collection, Chicago.
Lassiter (1926-2005) was a reclusive artist who rarely left his New York apartment, isolating himself from news and current events, absorbing the energy and chaos of the city during infrequent outings. He eschewed Abstract Expressionism and rejected trends of Minimalism and Pop Art and produced lively, surreal figurative work in line with the visions of Jean Dubuffet and Paul Klee. Early in his career, his work was featured in an exhibition at The Museum of Modern Art, New York, “Recent Drawings,” April 25-August 5, 1956, and in addition to The MoMA, his works can be now found in the Metropolitan Museum of Art, New York; Brooklyn Museum, New York; Yale University Art Gallery, New Haven; Carnegie Museum of Art, Pittsburgh, and the Collection de l’Art Brut in Lausanne, Switzerland.
Estimate
$1,200 – $1,800
Eve medoff
Totem # 1.
Oil on canvas, circa 1965. 800x600 mm; 31½x23⅝ inches. Signed in oil, lower right recto, and signed and titled in felt-tip pen and ink, on the stretcher bar verso.
Ex-collection private collection, New Jersey.
Estimate
$1,000 – $1,500
Ethel magafan
Crest of a Mountain.
Watercolor on cream wove paper, circa 1950. 260x355 mm; 10¼x14 inches. Signed in watercolor, lower left recto and signed and titled, verso.
Ex-collection private collection, West Hyannisport, Massachusetts; thence by descent to current owner, private collection, Massachusetts.
Estimate
$2,500 – $3,500
Lena gurr
Fluttering Sails.
Oil on canvas board, circa 1950. 535x850 mm; 21x33½ inches. Signed in oil, lower left recto.
Ex-collection ACA Galleries, New York, with the original label; private collection, Massachusetts.
Gurr (1897-1992) was born in Brooklyn. She studied art at the Educational Alliance Art School and was awarded a scholarship to The Art Students League, New York, where she studied with John Sloan (1871-1951). Gurr had a prolific career in which she painted landscape scenes and still lifes, but her most noted works were the everyday city scenes that were laced with social commentary. She often painted in a semi-Cubist style, but always also tried to capture a sense of humanity within abstraction.
Estimate
$5,000 – $8,000
Herman maril
The River.
Oil on canvas. 765x920 mm; 30¼x36½ inches. Signed in oil, lower left recto. With the Rental Gallery, Baltimore Museum of Art, printed label verso.
Estimate
$3,000 – $5,000
Vaclav vytlacil
Abstract Composition (Violet, Yellow and Black).
Casein, crayon and ink on board, 1958. 361x463 mm; 14¼x18¼ inches. Signed and dated incised with pencil, lower right recto.
Ex-collection private collection, New Jersey.
Estimate
$4,000 – $6,000
Vaclav vytlacil
Colorado Landscape.
Color pastels, watercolor and acrylic on paper, 1953. 572x725 mm; 22½x28½ inches. Signed and dated in pencil, lower center recto, and dated in pencil, lower right recto.
Ex-collection private collection, New Jersey.
Estimate
$3,000 – $5,000
Vaclav vytlacil
Colorado Springs, Summer 1951.
Color pastels and watercolor on wove paper, 1953. 587x735 mm; 23⅛x28⅞ inches. Signed and dated in pencil, lower right recto, and titled and inscribed with the artist’s name in pencil, verso.
Ex-collection private collection, New Jersey.
Estimate
$3,000 – $5,000
Vaclav vytlacil
Colorado Springs, 1951.
Color pastels, watercolor and acrylic on paper, 1953. 740x590 mm; 29⅛x23¼ inches. Signed and dated in gouache, lower center recto, and titled and inscribed with the artist’s name in pencil, verso.
Ex-collection private collection, New Jersey.
Estimate
$3,000 – $5,000
Earl kerkam
Seated Nude.
Watercolor and gouache on paper, circa 1950. 425x312 mm; 17x12½ inches. Signed in ink, upper right recto.
Ex-collection private collection, Chicago.
Estimate
$1,000 – $1,500
Earl kerkam
Figure Study.
Gouache and pastel on tan wove paper, circa 1950. 460x370 mm; 18⅛x14⅝ inches. Signed in ball-point pen and ink, lower right recto.
Ex-collection private collection, New Jersey.
Estimate
$1,000 – $1,500
Milton avery
Stove Top Still Life with a Tea Kettle and Pan.
Gouache and watercolor on board, double-sided. 325x220 mm; 12⅞x8⅝ inches. Signed in gouache, lower right recto.
Ex-collection private collection, West Hyannisport, Massachusetts; thence by descent to current owner, private collection, Massachusetts.
Estimate
$2,500 – $3,500
Milton avery
Sheet of Studies with Portrait, Fish and Landscape.
Brush and ink and pencil on paper, 1950. 426x351 mm; 16¾x13⅞ inches. Signed in pen and ink, right center recto and titled, dated and signed in pencil, verso.
Ex-collection Pembroke Gallery, Houston, with the label on the frame back; private collection, Houston; sold Heritage Auctions, Dallas, February 21-22, 2015, lot 61135; private collection, New York.
Estimate
$2,000 – $3,000
Gershon benjamin
Beech Trees.
Oil on wove paper, 1950. 915x610 mm; 36x24 inches. Signed and dated in oil, lower right recto.
Ex-collection the estate of the artist, New York; private collection, New Jersey.
Estimate
$4,000 – $6,000
Gershon benjamin
The Orchard.
Gouache on wove paper, 1950. 560x783 mm; 22x30⅞ inches. Signed and dated in gouache, lower right recto, and inscribed “#579 The Orchard by Gershon Benjamin 22x30” in watercolor, verso.
Ex-collection private collection, New Jersey.
Estimate
$5,000 – $8,000
Gershon benjamin
Beach Scene.
Watercolor on wove paper, 1983. 380x560 mm; 15x22 inches. Signed and dated in watercolor, lower left recto.
Ex-collection private collection, New Jersey.
Estimate
$3,000 – $5,000
Gershon benjamin
The Towers of New York * New York Backyards #5.
Watercolor on white wove paper, double-sided, 1947-48. 560x770 mm; 22x30⅜ inches. Signed and dated “47” in watercolor, lower center recto, and signed and dated “-48” in watercolor, upper right verso. Accompanied by a note card with the inventory numbers “523a and 523b.”
Ex-collection private collection, New Jersey.
Estimate
$5,000 – $8,000
William gropper
Senators.
Oil on masonite, 1940-50. 360x362 mm; 14⅛x14¼ inches. Signed in oil, lower right recto.
Ex-collection the artist, Croton-on-Hudson, New York, with the ink stamp on the frame back; private collection, New York.
Estimate
$2,500 – $3,500
Harry zitter
Portrait of a Rabbi.
Oil on canvas board, 1940. 305x255 mm; 12x10 inches. Signed and dated in oil, upper right recto.
Ex-collection private collection, New Jersey.
Estimate
$1,500 – $2,500
Mitchell siporin
The Steel Puddlers.
Casein on paper, 1949. 485x608 mm; 19x24 inches. Signed and dated in casein, lower right recto.
Exhibited “Mitchell Siporin: A Retrospective,” Rose Art Museum Waltham, Massachusetts, 1976, number 49; “Mitchell Siporin: The Early Years 1930-1950,” Babcock Galleries, New York, 1990, number 24; “Mitchell Siporin: Paintings and Unique Works on Paper 1930-1949,” Susan Teller Gallery, 2004, number 19.
Ex-collection the estate of the artist; Susan Teller Gallery, New York, with the label on the frame back; sold Doyle, New York, June 29, 2016, lot 102; private collection, New York.
Estimate
$2,500 – $3,500
Anton refregier
Seated Woman with a Guitar.
Oil and gouache on Masonite, 1953. 1022x763 mm; 40¼x30¼ inches. Signed and dated in oil, lower right recto.
Ex-collection private collection, Chicago.
Born in Moscow, Refregier (1905-1979) emigrated to the United States in 1920. He was active in the 1930s and 1940s in the Federal Art Project, WPA, and during this time created his controversial mural in the Rincon Annex Post Office, San Francisco, depicting the history of San Francisco.
Estimate
$2,000 – $3,000
Adolf konrad
Nude in a Red Robe.
Oil on canvas, 1955. 767x610 mm; 30¼x24 inches. Signed in oil, lower right, and dated and inscribed “Valle de el Mexquital” and “Zimaban Hidaigo Mexico” in pencil on the stretcher bar, verso.
Estimate
$1,000 – $1,500
Raphael soyer
The Ages of a Woman.
Pencil on bi-fold cream laid paper. 165x215 mm; 6½x8½ inches (folded). Signed in pencil, lower right recto, and inscribed “Season’s Greetings from Rebecca and Raphael Soyer” in ink on the inside.
Ex-collection private collection, New York.
Estimate
$1,000 – $1,500
Moses soyer
Pensive Woman in an Orange Blouse.
Oil on canvas. 405x305 mm; 16x12 inches. Signed in oil, lower right recto.
Sold Doyle, New York, February 14, 2018, sale 18FD01, lot 80; private collection, Connecticut.
Estimate
$1,200 – $1,800
Moses soyer
A Model in the Studio.
Oil on canvas. 560x380 mm; 22x15 inches. Signed in oil, lower left recto.
Ex-collection the Circulating Library of the Dayton Art Institute, Ohio, with the label on the frame back; private collection, New York.
Estimate
$2,000 – $3,000
Chaim gross
Seated Nude.
Brush and ink and watercolor on Japan paper, 1926. 270x183 mm; 10¾x7⅛ inches. Signed and dated in ink, lower right recto.
Ex-collection Albert Argentieri, New Jersey; thence by descent to the current owner, private collection, New Jersey.
Estimate
$1,000 – $1,500
Chaim gross
Mother and Child.
Polished bronze. 165x180x65 mm; 6½x7⅛x2½ inches (excluding the wooden base). Incised with the artist’s signature, lower edge.
Ex-collection private collection, New York.
Estimate
$1,200 – $1,800
Chaim gross
Bust Portrait of a Woman.
Carved wood, circa 1940. 375x200x110 mm; 15x8x4½ inches. With the artist’s signature and cypher and dedicated, lower right.
Ex-collection the dedicatee Emil Arnold, New York; the Estate of Emil Arnold, New York; sold Swann Auction Galleries, New York, March 9, 2000, sale 1853, lot 691; private collection, Boston; sold Skinner, Boston, December 8, 2020, lot 1157; private collection, Chicago.
Estimate
$2,000 – $3,000
Cylde singer
The Couple–Staten Island Ferry.
Oil on masonite, 1967. 248x200 mm; 9⅞x7⅞ inches. Signed in oil, lower left recto, and signed and dated in oil, verso.
Sold Rachel Davis Fine Arts, Cleveland, June, 16, 2007, lot 391; private collection, New York.
Estimate
$1,000 – $1,500
Alexander farnham
Beach at Watch Hill, Rhode Island.
Oil on canvas. 305x406 mm; 12x16 inches. Signed in oil, lower left recto.
Ex-collection The Coryell Gallery, Lambertville, with the label; private collection, New Jersey.
Estimate
$1,200 – $1,800
Alexander farnham
House Overlooking the Bay, Watch Hill, Rhode Island.
Oil on canvas. 255x360 mm; 10x14 inches. Signed in oil, lower left recto.
Ex-collection private collection, New Jersey.
Estimate
$1,000 – $1,500
Robert bliss
Two oil paintings.
Lone Figure on a Beach, on canvas. 50x610 mm; 19¾x2 inches. Signed in oil, lower right recto * Landscape with Cabins, on masonite, 1948. 457x610 mm; 18x24 inches. Signed and dated in oil, lower right recto.
Both ex-collection private collection, Chicago.
Estimate
$2,000 – $3,000
Larry rivers
View on Fire Island, New York.
Oil on canvas, circa 1951-52. 765x915 mm; 30¼x36 inches. Signed in ink, verso.
Ex-collection private collection, New York.
The Larry Rivers Foundation does not have record of this work in their archives; they can neither confirm nor reject the attribution.
Rivers (1923-2002) trained to become a Jazz musician, but in the late 1940s, after being exposed to Cubism and studying with Hans Hofmann for two years, redirected himself toward the fine arts. In 1950, he met the poet Frank O’Hara, beginning a lifelong association with various literary figures (Jack Kerouac and Allen Ginsberg among them), and had his first one-man exhibition at the Tibor de Nagy Gallery, New York.
Rivers’s early work reveals foremost Abstract Expressionist tendencies, albeit with the appropriation of various everyday objects that both influenced and brought him closer to the Pop art movement. His artistic style was perhaps best summed up by Andy Warhol, who mused, “Larry’s painting style was unique–it wasn’t Abstract Expressionism and it wasn’t Pop, it fell into the period in between. But his personality was very Pop.”
Estimate
$10,000 – $15,000
David levine
Campo Beach.
Watercolor on cream wove paper, 1958. 225x303 mm; 8⅞x11⅞ inches. Signed and dated in pencil, lower center recto.
With—Man in Cap, charcoal on cream wove paper, 1962. 280x215 mm; 11⅛x8½ inches. Signed and dated in pencil, lower right recto * Seated Woman, color lithograph. 123x93 mm; 4¾x3⅝ inches. Signed in pencil, lower right.
Campo Beach and Seated Woman: ex-collection private collection, New York.
Man in Cap: ex-collection Davis Galleries, New York, with the gallery ink stamp verso and the gallery label on the frame back; private collection, New York.
Estimate
$1,500 – $2,500
David levine
Garment Worker.
Watercolor on paper. 175x126 mm; 7x5 inches. Initialed in watercolor, lower right recto.
Ex-collection Davis Galleries, New York, with the label on the frame back; private collection, Potomac, Maryland.
Estimate
$1,000 – $1,500
David levine
Two pencil drawings.
The Croquet Player, 1966. 275x173 mm; 11⅞x6¾ inches. Signed and dated in pencil, lower right recto * Seated Figure. 175x125 mm; 7x4⅞ inches. With a study of a portrait in pencil, verso.
The Croquet Player: ex-collection Davis Galleries, New York, with the label on the frame back; purchased Stair Galleries, Hudson, New York, May 8, 2010, lot 290 by the current owner, private collection Potomac, Maryland.
Seated Figure: ex-collection Davis & Langdale, Company, Inc., with the label; private collection Potomac, Maryland.
Estimate
$1,000 – $1,500
Aaron shikler
Seated Man in an Interior.
Watercolor on paper. 395x285 mm; 15⅝x11⅛ inches.
Ex-collection Davis Galleries, New York, with the ink stamp, verso; private collection Potomac, Maryland.
Estimate
$1,000 – $1,500
Philip evergood
Man at Minehead.
Oil on board, 1951. 403x325 mm; 15⅞x12¾ inches. Signed and dated in oil, lower right recto.
Ex-collection ACA Galleries, New York, with the ink stamp verso; private collection, New York.
Estimate
$3,000 – $5,000
Philip evergood
Young Woman in Profile, Brushing her Hair.
Oil on masonite. 405x505 mm; 16x20 inches. Signed in oil, lower right recto.
Ex-collection private collection, New Jersey.
Estimate
$2,000 – $3,000
Franz kline
Group of 6 portrait drawings.
Nellie, charcoal on paper. Jimmy Frehold, charcoal on paper * Andy, charcoal on paper * Bill Boylan, red crayon on paper * Steve, charcoal on paper * Rose, brown crayon paper. Each circa 1945. Each signed and titled in pencil recto. Various sizes and conditions.
Each ex-collection Mr. Endes Sieveri, Minetta Tavern, New York; Allan Stone Gallery, New York; Jeremy Stone Gallery, San Francisco; private collection, Massachusetts.
These drawings were done by Kline (1910-1962) during the 1940s when he was a regular at Minetta Tavern in Greenwich Village, New York. He sold these caricature portraits for 50 cents each to help pay his bar tab.
Estimate
$3,000 – $5,000
Ruth gikow
A Cappella.
Oil on canvas, 1974. 610x455 mm; 24x18 inches. Signed in oil, lower right recto.
Ex-collection Kennedy Galleries, New York, with the label on the frame back; the artist’s daughter, Susanna (Gikow) Levine; thence by descent to current owner, private collection, New York.
Estimate
$2,000 – $3,000
Robert kulicke
Still Life.
Oil on paper, 1963. 165x296 mm; 6½x11⅝ inches. Signed and dated in pencil, upper center recto.
Ex-collection private collection, Potomac, Maryland.
Estimate
$1,500 – $2,500
Luigi lucioni
Still Life with a Vase, Glass and Magnolia Leaf.
Oil on canvas, 1983. 255x310 mm; 10x12 inches. Signed and dated in oil, lower right recto.
Acquired from the artist; thence by descent to the current owner, private collection, St. Louis.
Estimate
$4,000 – $6,000
Post-Surreal & Expressionist Figures & Landscapes
Aaron bohrod
View from the Hill.
Oil on masonite. 428x580 mm; 16¾x23 inches. Signed in oil, lower left recto.
Ex-collection private collection, New York.
Estimate
$2,000 – $3,000
Henry martin gasser
Winter Night.
Charcoal and gouache on tan wove paper, circa 1950. 253x325 mm; 9⅞x12¾ inches. Signed in charcoal, lower left recto.
Ex-collection private collection, Phoenix.
Estimate
$1,200 – $1,800
William thon
Winter Landscape.
Oil on canvas, circa 1960. 383x482 mm; 15¼x19 inches. Inscribed with the artist’s name in ink, on the stretcher verso.
Ex-collection private collection, Chicago.
Estimate
$1,000 – $1,500
William thon
Two watercolors with gouache.
Winter Landscape. 680x1015 mm; 27x40 inches. Signed in ink, lower right recto * Forest in Winter. 530x700 mm; 21x27½ inches. Signed in ink, lower right recto.
Both ex-collection private collection, California.
Estimate
$2,000 – $3,000
Chen chi
Nocturne on the Whangpoo.
Watercolor on cream wove paper. 240x320 mm; 9½x12½ inches. Signed in watercolor, lower right recto.
Ex-collection Kleemann Galleries, New York, with the label on the frame back; private collection, Phoenix.
Estimate
$1,500 – $2,500
Leonid berman
Cape Cod.
Oil on canvas, 1973. 635x380 mm; 25x15 inches. Initialed and dated in oil, lower right recto and verso.
Ex-collection private collection, New York.
Estimate
$1,200 – $1,800
Fairfield porter
Maine Landscape.
Watercolor and gouache with pen and ink on cream wove paper. 370x555 mm; 14⅝x21¾ inches.
With—Three pencil drawings of Maine landscapes. Various sizes and conditions.
Each property from the estate of Anne E. C. Porter, with the estate stamp, verso.
Estimate
$1,500 – $2,500
Fairfield porter
Landscape.
Watercolor and pencil on cream wove paper, double-sided. 400x573 mm; 15¾x22½ inches.
Property from the estate of Anne E. C. Porter, with the estate stamp, verso.
Estimate
$2,000 – $3,000
Fairfield porter
Fairview, North Carolina.
Watercolor and pencil on ivory wove paper, 1964. 260x360 mm; 10¼x14¼ inches. Signed in pencil, lower right recto, and signed, titled and inscribed “watercolor” in pencil, verso.
Sold Sloans and Kenyon, Chevy Chase, Maryland, June 20-22, 2008, lot 1475; Mark Borghi Fine Art, Inc., New York, with the label on the frame back; private collection, New York; private collection, New Jersey.
This work was executed at the home of the artist’s brother, Edward Porter.
Estimate
$7,000 – $10,000
Fairfield porter
Group of 5 city scenes.
Study of Buildings, watercolor and pencil on paper * Pedestrians on the Sidewalk, pen and ink on cream wove paper * Parked Cars, pen and ink on lined cream wove paper * Study of a City Street, pen and ink on cream wove paper, double-sided. With a pencil study verso * City Block with the St. George Hotel, pen and ink on cream wove paper. Various sizes and conditions.
Property from the estate of Anne E. C. Porter, with the estate stamp, verso.
Estimate
$2,000 – $3,000
Fairfield porter
Three drawings.
Guitar Player on a Rug, color pastels and pencil on cream wove paper * Rug Study, color pastels on cream wove paper * Guitar Player, pencil on cream wove paper. Various sizes and conditions.
Property from the estate of Anne E. C. Porter, with the estate stamp, verso.
Estimate
$2,000 – $3,000
Nell blaine
Portrait of Dilys Evans.
Oil on canvas, 1962. 405x303 mm; 16x11⅞ inches. Signed in oil, upper left recto, and dedicated and dated in ink, verso.
Ex-collection the artist, New York; Dilys Evans, New York; thence by descent to the current owner, private collection, New Mexico.
Blaine (1922-1996) studied with Hans Hoffmann before moving to New York and immersing herself in the Second Generation of New York School abstract expressionist painters. She was the youngest member of the American Abstract Artists group in 1944. Later in her career she was drawn towards working in a more representational style, blending it with her dynamic brushwork reminiscent of her earlier Abstract Expressionist paintings.
In the 1950s, she met Dilys Evans, a nurse who helped Blaine recouperate from polio complications at Mount Sinai Hostpital, New York. Blaine has noted that Evans brought her paint and canvas to the hospital while she was recovering from polio so she could produce art. They eventually become lovers, and together they traveled extensively, including to the UK, St. Lucia, and Gloucester, among other locations.
Estimate
$2,000 – $3,000
Nell blaine
Flower Bouquet.
Watercolor on paper, 1959. 423x343 mm; 16⅝x13½ inches. Signed and dedicated to Dilys Evans in ink, lower left recto.
Ex-collection the artist, New York; Dilys Evans, New York; thence by descent to the current owner, private collection, New Mexico.
Estimate
$1,500 – $2,500
Nell blaine
Still Life with Teacups.
Oil on canvas board, 1964. 300x403 mm; 11¾x16 inches. Signed and dated in oil, lower left recto, and with the artist’s ink stamp, verso.
Ex-collection the artist, New York; Dilys Evans, New York; thence by descent to the current owner, private collection, New Mexico.
Estimate
$2,000 – $3,000
Nell blaine
Still Life, New York.
Oil on canvas, 1963. 510x700 mm; 20x27½ inches. Signed, dated and dedicated in oil, lower right recto and with the artist’s ink stamp on the upper stretcher bar, verso.
Ex-collection the artist, New York; Dilys Evans, New York; thence by descent to the current owner, private collection, New Mexico.
Estimate
$2,500 – $3,500
Nell blaine
Ledge Gloucester, October First, II.
Watercolor and color pastels on cream wove paper, 1987. 277x378 mm; 11x15 inches. Signed in pencil, lower left recto.
Ex-collection the artist, New York; Dilys Evans, New York; thence by descent to the current owner, private collection, New Mexico.
Estimate
$2,000 – $3,000
Nell blaine
Snowscape with Fir and Birch.
Oil on canvas, 1964. 585x715 mm; 22x28 inches. Signed and dated in oil, lower left recto.
Exhibited Tibor de Nagy Gallery, New York, with the label on the frame back.
Ex-collection the artist, New York; Dilys Evans, New York; thence by descent to the current owner, private collection, New Mexico.
Estimate
$3,000 – $5,000
Robert beauchamp
Untitled (Two Animals in a Landscape).
Oil on canvas, 1961. 780x1150 mm; 31x45½ inches. Signed and dated in oil, verso.
Ex-collection the Estate of Evelyne Z. Daitz, New York.
Estimate
$1,500 – $2,500
Herbert gentry
Odd Couple.
Gouache and watercolor on cream wove paper, circa 1988. 320x240 mm; 12½x9½ inches. Signed in ink, lower left recto.
Ex-collection private collection, Stockholm.
Estimate
$1,000 – $1,500
Herbert gentry
Morning Walk.
Watercolor on paper, 1979. 263x212 mm; 10¼x8⅜ inches. Signed in watercolor, lower right, and titled and dated in pen and ink, verso.
Ex-collection private collection, New Jersey.
Estimate
$2,000 – $3,000
Hans burkhardt
Two drawings.
Abstract Figure, charcoal on cream laid paper, 1939. 632x485 mm; 24⅞x19⅛ inches. Signed and dated in pencil and with the artist’s blind stamp, lower right recto * Two Nudes, color pastels on gray laid paper, 1972. 665x510 mm; 26⅛x20⅛ inches. Signed and dated in pencil and with the artist’s blind stamp, lower right recto.
Both ex-collection private collection, California.
Estimate
$1,500 – $2,500
Hans burkhardt
Four Standing Nudes.
Color pastels on cream laid paper, 1969. 660x440 mm; 26x17½ inches. Signed and dated in pencil, lower right recto, and dedicated in pencil, lower center recto.
Ex-collection private collection, California.
Estimate
$1,500 – $2,500
Abstract Art
Larry young
Seated Woman.
Bronze, 1988. 475 mm; 19 inches (height). Edition of 20. With the artist's incised signature, date and inscribed "AP/20" on the side of the base. Cast by the artist, Columbia, Missouri
Ex-collection private collection, New Jersey.
Estimate
$1,500 – $2,500
Eugenia okoshi
Water Juggle.
Oil on canvas, circa 1960. 1020x690 mm; 40⅛x27⅛ inches. Signed in oil, lower right recto and verso.
Ex-collection private collection, New Jersey.
Estimate
$2,000 – $3,000
John mcqueen
Untitled #183.
Wood basket sculpture with circular Plexiglas base, 1988. 1020x1020x615 mm; 40x40x24 inches.
Ex-collection private collection, Buffalo.
Estimate
$1,500 – $2,500
James lechay
The Cape.
Watercolor, gouache and pencil on paper. 555x773 mm; 22x30½ inches. Signed in pencil, lower right, and titled in pencil, verso.
Ex-collection private collection, New Jersey.
Estimate
$3,000 – $5,000
Paul resika
6th of October, 1987.
Oil on canvas, 1987. 382x608 mm; 15x23⅞ inches. Signed in oil, lower left recto, and incised with the title, lower right recto.
Ex-collection Graham Modern Gallery, New York with the label on the stretcher bar verso; private collection, Palm Beach, Florida.
Estimate
$5,000 – $8,000
Christian white
World Trade Center from Battery Park City, New York.
Oil on canvas, circa 1978. 790x940 mm; 31x37 inches.
Ex-collection Harbor Gallery, Cold Spring Harbor, New York, with the label on the frame back; private collection, New York; thence by descent to the current owner, private collection, New York.
According to a hand-written authentication note by the artist which accompanies the lot, he made the painting, "From the landfill which later became Battery Park City, and shows the West Side elevated highway, which at the time still ran by the World Trade Center."
Estimate
$1,500 – $2,500
Landscape New Realism
Joseph mcgurl
Dune Shack, Long Island.
Oil on board. 226x305 mm; 9x12 inches. Signed in oil, lower right recto.
Acquired directly from the artist; by private collection, Massachusetts.
Estimate
$2,000 – $3,000
Joseph mcgurl
Farmland near Westport River.
Oil on panel, 1989. 605x910 mm; 24x36 inches. Signed and dated in oil, lower right recto.
Estimate
$3,000 – $5,000
Joseph mcgurl
Twilight in the Mangroves.
Oil on canvas, 1992. 730x1275 mm; 29x50¼ inches. Signed and dated in oil, lower right recto.
Estimate
$4,000 – $6,000
James winn
Industrial Area, No. 6.
Acrylic on paper, 1985. 690x1832 mm; 27x72 inches. Signed and dated in pencil, lower right recto.
Ex-collection Monique Knowlton Gallery, Inc., New York, with the label on the frame back.
Estimate
$3,000 – $5,000
James winn
May Corn, No. 16.
Acrylic on panel, 1998. 462x1170 mm; 18x46 inches. Signed in acrylic, lower right recto. With the artist’s printed label, titled, dated and inscribed in ink, verso.
Estimate
$2,000 – $3,000
James winn
Clearing Off, No. 5.
Acrylic on panel, 1995. 432x907 mm; 17x36 inches. Signed in acrylic, lower left recto.
Estimate
$1,500 – $2,500
Harold gregor
Illinois Landscape #66.
Oil and acrylic on canvas, 1984. 995x1730 mm; 39x68 inches. Signed, titled, dated and inscribed in oil, verso.
Estimate
$3,000 – $5,000
Harold gregor
Illinois Landscape #52.
Oil and acrylic on canvas, 1982. 1525x2088 mm; 60x82 inches. Signed in oil, lower right recto. Signed, titled, dated and inscribed in ink, twice, on the verso and the frame back.
Ex-collection Tibor de Nagy Gallery, New York, with the label on the frame back.
Estimate
$4,000 – $6,000
Harold gregor
Illinois Landscape #84.
Oil and acrylic on canvas, 1986. 510x1148 mm; 20x45 inches. Signed in oil, lower left recto, and signed, titled, dated and inscribed in oil, verso.
Estimate
$3,000 – $5,000
Harold gregor
Illinois Landscape #133.
Oil and acrylic on canvas, 1994. 615x3050 mm; 24x120 inches. Signed in oil, lower right recto, and signed, titled, dated and annotated in acrylic, verso.
Ex-collection Richard Gray Gallery, Chicago, with the label on the frame back.
Estimate
$4,000 – $6,000
Altoon sultan
Round Bales, Ryegate, Vermont.
Oil on canvas, 1994. 914x1372 mm; 36x54 inches. Signed and dated in oil, lower right recto.
Ex-collection Marlborough Gallery, New York, with the label on the stretcher.
Estimate
$1,500 – $2,500
William c. barron
Looking West.
Oil on canvas, 1987. 615x1780 mm; 24x70 inches. Signed and dated in oil, lower left recto. With the artist’s printed label, titled, dated and inscribed in ink, verso.
Estimate
$1,000 – $1,500
William c. barron
Prairie Restoration.
Oil on canvas, 1995. 770x1070 mm; 30½x32¼ inches. Signed and dated in oil, lower right recto.
Estimate
$1,000 – $1,500
William c. barron
Pastoral Vista.
Oil on canvas, 1996. 1140x1780 mm; 45x70 inches. Signed and dated in oil, lower left recto, and signed, titled, dated and inscribed in ink on the stretcher bar, verso. With the artist’s printed label, titled, dated and inscribed ink ink, on the stretcher bar, verso.
Estimate
$1,000 – $1,500
James d. butler
Parker’s Ridge.
Oil on panel, 1994. 765x1376 mm; 30x54 inches. Signed and dated in oil, lower right recto.
Ex-collection Hollis Taggart Galleries, New York.
Estimate
$2,000 – $3,000
James d. butler
Alban Meadows.
Oil on canvas, 1993. 660x1015 mm; 26x40 inches. Signed and dated in oil, lower right recto.
Estimate
$1,500 – $2,500
James d. butler
Damp River Air.
Oil on canvas, 1990. 665x1020 mm; 26x40 inches. Signed and dated in oil, lower right recto.
Estimate
$1,500 – $2,500
Keith jacobshagen
In October the Light begins to Pale.
Oil on canvas, 1996. 915x1170 mm; 36x46 inches. Signed and dated in oil, lower right recto.
Estimate
$3,000 – $5,000
Arthur cohen
Brooklyn Bridge.
Oil on canvas, 1994. 715x995 mm; 28x39 inches. Signed and dated in oil, lower right recto.
Estimate
$2,000 – $3,000
Doug osa
The West Bottoms.
Oil on linen, 1997. 1425x1706 mm; 56x67 inches. Signed, titled and dated in ink, verso.
Ex-collection Tatistcheff Gallery, Inc., New York, with the label on the frame back.
According to a statement by the artist, on a photocopy note that accompanies the lot, which is a view of part of Kansas City, Missouri, "12th Street Viaduct is the bridge in the background of the painting. I stood on Forester Viaduct and looked south for this painting. The entire area is known as the West Bottoms."
Estimate
$1,500 – $2,500
Daniel morper
Illuminations.
Oil on linen, 1997. 1273x1630 mm; 50x64 inches. Signed in oil, lower right recto.
Ex-collection Tatistcheff Gallery, Inc., New York, with the label on the frame back.
Estimate
$1,500 – $2,500
Bernard palchick
Renewal * Consensus.
Two oils on linen, both 1996. Both 455x1275 mm; 18x50¼ inches. Both signed and dated in oil, lower right recto.
Estimate
$2,000 – $3,000
Ken moylan
Bridal Veil Falls, Yosemite Valley.
Oil on panel, 1996. 1195x1220 mm; 47x48 inches (trapezoidal shape). Signed, titled and dated in ink, verso.
Estimate
$1,500 – $2,500
Thomas martin uttech
Mijakwadong Gisiss (Azure Blue Twilight).
Oil on canvas in the artist’s original oil painted wood frame, 1996. 990x990 mm; 38¾x38¾ inches (overall, including the frame). Signed, titled, dated and annotated in oil, verso.
Ex-collection Schmidt Bingham Gallery, New York, with the label on the frame back.