1900 - 1910

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Lot 1
EDWARD HOPPER
Landscape with Farm Houses.

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Lot 2
EDWARD HOPPER
The Creek at Hogencamps.

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Lot 3
OSCAR BLUEMNER
Landscape, Staten Island.

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Lot 4
OSCAR BLUEMNER
Group of 6 drawings.

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Lot 5
EDWARD HOPPER
Fisher Boy.

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Lot 6
EDWARD HOPPER
Galleon in a Storm.

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Lot 7
EDWARD HOPPER
The Storm.

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Lot 8
EDWARD HOPPER
The Sloop.

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Lot 9
ABRAHAM WALKOWITZ
Two watercolors of Cape Cod.

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Lot 10
ABRAHAM WALKOWITZ
Two watercolors of Cape Cod.

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Lot 11
EDWARD HOPPER
A Work Horse * Studies of Kneeling Figures.

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Lot 12
EDWARD HOPPER
Study of a Horse (An Old Favorite).

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Lot 13
EDWARD HOPPER
The Eagle or The Eagle and Dead Red Deer (after Sir Edwin Landseer).

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Lot 14
EDWARD HOPPER
Alone.

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Lot 15
EDWARD HOPPER
A Russian Lancer.

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Lot 16
EDWARD HOPPER
One of the Preobrajenski Regiment.

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Lot 17
EDWARD HOPPER
Even the Worm Will Turn.

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Lot 18
EDWARD HOPPER
A Cossack.

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Lot 19
EDWARD HOPPER
A Russian Grenadier.

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Lot 20
EDWARD HOPPER
A Native American in Cavalry Uniform with a Pistol.

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Lot 21
EDWARD HOPPER
Standing Man in Khakis, Sketching.

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Lot 22
JOHN MARIN
Ponte Ghetto, Venice.

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Lot 23
JOHN MARIN
Porta San Marco, Venice.

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Lot 24
JOHN MARIN
Quartier de la Maison Blanche.

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Lot 25
JOHN MARIN
Rainy Day at Meaux.

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Lot 26
JOSEPH PENNELL
Canyon, No. III.

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Lot 27
EDWARD HOPPER
Street Scene with a Man Playing an Organ Grinder.

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Lot 28
EDWARD HOPPER
The Ivory Booth.

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Lot 29
EDWARD HOPPER
Wedded (after Lord Frederic Leighton).

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Lot 30
ROBERT HENRI
Study of a Woman with Hand on Chin.

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Lot 31
JOHN SLOAN
Robert Henri.

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Lot 32
EDWARD HOPPER
Portrait of a Gentleman.

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Lot 33
EDWARD HOPPER
Portrait of a Bearded Man with a Hat (William Merritt Chase).

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Lot 34
EDWARD HOPPER
Pope Innocent X (after Diego Velázquez).

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Lot 35
EDWARD HOPPER
The Enchantment of Don Quixote (after Gustave Doré).

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Lot 36
EDWARD HOPPER
Liz.

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Lot 37
EDWARD HOPPER
Woman with a Fur-Collar Jacket * Man with a Pipe Seated on a Stool in Tyrolian Costume.

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Lot 38
EDWARD HOPPER
Seated Woman in a Long Dress with a Bow * Seated Woman in a Gown with a Parasol.

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Lot 39
JOHN SLOAN
Turning Out the Light.

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Lot 40
JOHN SLOAN
The Women's Page.

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Lot 41
JOHN SLOAN
Man, Wife and Child.

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Lot 42
JOHN SLOAN
Two etchings.

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Lot 43
JOHN SLOAN
The Little Bride.

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Lot 44
JOHN SLOAN
Connoisseurs of Prints.

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Lot 45
EDWARD HOPPER
Sheet of Studies with a Man Smoking a Pipe * Architectural Elements and Birds.

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Lot 46
JOHN SLOAN
Man Monkey.

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Lot 47
EDWARD HOPPER
Sheet of Studies with Men in Hats and a Saloon Keeper.

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Lot 48
EDWARD HOPPER
Full-Length Portrait of a Man in Jacket and Knickers.

1910 - 1920

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Lot 49
EDWARD HOPPER
Man Smoking a Cigar.

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Lot 50
JOHN SLOAN
Barber Shop.

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Lot 51
GEORGE BELLOWS
Artists Judging Works of Art.

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Lot 52
GEORGE BELLOWS
Dance in a Madhouse.

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Lot 53
PAUL STRAND
New York (City Hall Park).

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Lot 54
PAUL STRAND
New York (Fifth Avenue).

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Lot 55
EDWARD HOPPER
Sheet of Figure Studies.

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Lot 56
CHARLES BURCHFIELD
Artist and Patron.

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Lot 57
CHARLES BURCHFIELD
Two pencil drawings.

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Lot 58
CHILDE HASSAM
Reading in Bed.

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Lot 59
JOHN SLOAN
Woman and Child on the Roof.

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Lot 60
JOHN SLOAN
Three etchings.

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Lot 61
PEGGY BACON
The Socialist Meeting.

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Lot 62
JOHN SLOAN
Hell Hole.

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Lot 63
JOHN SLOAN
Arch Conspirators.

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Lot 64
JOHN SLOAN
Night Windows.

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Lot 65
CHILDE HASSAM
Fifth Avenue, Noon.

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Lot 66
EDWARD HOPPER
Under Control.

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Lot 67
LEWIS W. HINE
King Philip Spinning room, Oiler Boy--Oils all the spindles in this room.

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Lot 68
WILLIAM ZORACH
The Hog Slaughter.

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Lot 69
GEORGE BELLOWS
Head of a Woman.

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Lot 70
MAURICE STERNE
Group of 5 pencil drawings of Mabel Dodge.

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Lot 71
MAX WEBER
Woman with Closed Eyes.

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Lot 72
ARTHUR B. DAVIES
Two etchings with aquatint.

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Lot 73
ARTHUR B. DAVIES
Andante.

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Lot 74
ARTHUR B. DAVIES
Model, Dancing.

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Lot 75
JOHN SLOAN
Model Resting.

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Lot 76
EVERETT SHINN
Standing Nude with Drapery.

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Lot 77
EDWARD HOPPER
Study of Fencers and Boxers.

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Lot 78
EDWARD HOPPER
Studies of Men in Hats and an Arched Window.

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Lot 79
JOHN MARIN
Cityscape and Bridge Study.

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Lot 80
JOHN MARIN
Brooklyn Bridge, No. 6 (Swaying).

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Lot 81
JOHN MARIN
Woolworth Building (The Dance)

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Lot 82
JOHN MARIN
Woolworth Building, No. 2.

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Lot 83
JOHN MARIN
Woolworth Building (Swaying).

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Lot 84
GEORGIA O'KEEFFE
Some Memories of Drawings.

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Lot 85
ABRAHAM WALKOWITZ
Abstract Cityscape.

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Lot 86
ABRAHAM WALKOWITZ
Two Abstract Cityscape pencil drawings.

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Lot 87
ABRAHAM WALKOWITZ
Three abstract pencil drawings.

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Lot 88
ABRAHAM WALKOWITZ
Three abstract pencil drawings.

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Lot 89
WILLIAM ZORACH
Mountain Stream.

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Lot 90
ROCKWELL KENT
Shore (Resurrection Bay).

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Lot 91
ROCKWELL KENT
The Cabins.

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Lot 92
JOHN MARIN
Summer.

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Lot 93
CHARLES BURCHFIELD
Sunrise over Snowfield.

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Lot 94
MAX WEBER
Pine Trees.

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Lot 95
CHARLES DEMUTH
Daylilies.

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Lot 96
MAX WEBER
Still Life with a Vase and Lemon.

1920 - 1930

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Lot 97
EDWARD HOPPER
Figures in an Interior and a House Front * Interior Study and Geometric Study.

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Lot 98
MARTIN LEWIS
Charleston Practice—Lunch Hour.

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Lot 99
PEGGY BACON
Bicycle Rider.

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Lot 100
PEGGY BACON
Two drawings.

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Lot 101
MARTIN LEWIS
Under the Street Lamp.

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Lot 102
GEORGE BELLOWS
Married Couple.

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Lot 103
GEORGE BELLOWS
Reducing, Small, Third Stone.

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Lot 104
GEORGE BELLOWS
The Drunk, First Stone.

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Lot 105
GEORGE BELLOWS
The Dead-Line.

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Lot 106
GEORGE BELLOWS
The Hold-Up.

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Lot 107
EDWARD HOPPER
Night Shadows.

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Lot 108
MARTIN LEWIS
Relics (Speakeasy Corner).

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Lot 109
ISAAC FRIEDLANDER
Around the Corner.

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Lot 110
JOHN SLOAN
The Lafayette.

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Lot 111
LEO J. MEISSNER
Shine?

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Lot 112
RAPHAEL SOYER
Union Square.

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Lot 113
RAPHAEL SOYER
East Side Street.

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Lot 114
JOHN TAYLOR ARMS
Early Morning, North River.

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Lot 115
JOHN TAYLOR ARMS
Cobwebs (Brooklyn Bridge).

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Lot 116
WILLIAM MEYEROWITZ
New York #1.

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Lot 117
JOHN MARIN
Downtown, New York.

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Lot 118
JOHN MARIN
Cityscape (Cover for World Service of the American Express).

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Lot 119
JOHN MARIN
New York Telephone Company Building from the River.

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Lot 120
JOHN MARIN
Downtown, The El.

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Lot 121
HOWARD COOK
Towers.

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Lot 122
ANTON SCHUTZ
Plaza Lights.

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Lot 123
ALICE CONKLIN BEVIN
Rue de Passy, Midnight.

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Lot 124
STUART DAVIS
Arch No. 1.

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Lot 125
CHARLES BURCHFIELD
Study for "Sulphurous Evening."

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Lot 126
JOHN SLOAN
Snowstorm in the Village.

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Lot 127
EDWARD HOPPER
The Railroad.

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Lot 128
REGINALD MARSH
Loco--Erie Watering.

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Lot 129
LEWIS W. HINE
Rail Yard.

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Lot 130
HOWARD COOK
The Station.

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Lot 131
MARTIN LEWIS
Shadows, Garage at Night.

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Lot 132
GEORGE BELLOWS
Indoor Athlete, Second Stone.

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Lot 133
GEORGE BELLOWS
Introductions.

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Lot 134
PEGGY BACON
Moving to 8th Street.

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Lot 135
GEORGE BELLOWS
Sixteen East Gay Street.

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Lot 136
GEORGE AULT
A Country House.

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Lot 137
ABRAHAM WALKOWITZ
Three lithographs.

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Lot 138
ABRAHAM WALKOWITZ
Two watercolors of Ogunquit, Maine.

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Lot 139
WILLIAM ZORACH
Rocky Landscape.

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Lot 140
JOSEPH STELLA
Muro Lucano, Italy.

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Lot 141
ARTHUR B. DAVIES
Landscape.

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Lot 142
ARTHUR B. DAVIES
Mountainous Landscape.

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Lot 143
ARTHUR B. DAVIES
Landscape with Clouds.

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Lot 144
WILLIAM ZORACH
Landscape with a Field of Flowers and a Distant Line of Trees.

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Lot 145
MARGUERITE ZORACH
View of Wethersfield Cove, Connecticut.

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Lot 146
WANDA GÁG
Moonlight.

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Lot 147
WANDA GÁG
In the Attic.

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Lot 148
WANDA GÁG
Evening.

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Lot 149
CHARLES BURCHFIELD
Three pencil landscape studies.

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Lot 150
CHARLES E. PRENDERGAST
Monte Carlo.

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Lot 151
JOSEPH STELLA
Cactus Flower.

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Lot 152
JOSEPH STELLA
Lotus Flowers.

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Lot 153
STEFAN HIRSCH
Two floral still lifes.

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Lot 154
MARSDEN HARTLEY
Grapes.

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Lot 155
MARSDEN HARTLEY
Flowers in Goblet #1.

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Lot 156
MARSDEN HARTLEY
Flowers in Goblet #2.

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Lot 157
MARSDEN HARTLEY
Flowers in Goblet #3.

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Lot 158
CHARLES DEMUTH
Tulips.

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Lot 159
YASUO KUNIYOSHI
Sketchbook with drawings.

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Lot 160
STUART DAVIS
Faun and Girl from The Puritans.

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Lot 161
ARTHUR B. CARLES
Woman Playing a Guitar.

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Lot 162
WALT KUHN
Edith.

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Lot 163
ARTHUR B. CARLES
Woman at a Table.

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Lot 164
EVERETT SHINN
Reading.

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Lot 165
JOHN SLOAN
Reading in the Subway.

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Lot 166
GEORGE BELLOWS
Morning, Nude Sketch.

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Lot 167
ARTHUR B. CARLES
Nude Model.

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Lot 168
ARTHUR B. CARLES
After the Bath.

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Lot 169
JAN MATULKA
Woman Bathing.

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Lot 170
MAX WEBER
The Mirror #2.

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Lot 171
YASUO KUNIYOSHI
Girl Dressing.

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Lot 172
REGINALD MARSH
Model.

1930 - 1940

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Lot 173
REGINALD MARSH
Box at the Metropolitan.

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Lot 174
DON FREEMAN
Art Curb Market.

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Lot 175
DON FREEMAN
On the Fly Rail.

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Lot 176
GIFFORD BEAL
Circus (Dog and Pony Show).

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Lot 177
JOHN MARIN
From the Brooklyn Bridge, New York.

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Lot 178
CLARENCE CARTER
Railroad Avenue (Cleveland).

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Lot 179
BERENICE ABBOTT
Statuary Shop, Water Street, New York.

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Lot 180
WALKER EVANS
Group of 5 vintage silver prints of different residential houses in Massachusetts.

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Lot 181
STOW WENGENROTH
Roof Garden.

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Lot 182
BERENICE ABBOTT
Henry Street, Lower East Side, New York.

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Lot 183
HOWARD COOK
Looking Up Broadway.

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Lot 184
HOWARD COOK
Queensboro Bridge.

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Lot 185
LOUIS LOZOWICK
Under the Bridge.

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Lot 186
LOUIS LOZOWICK
Dusk.

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Lot 187
HOWARD COOK
The New Yorker.

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Lot 188
HOWARD COOK
New York Night.

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Lot 189
ARMIN LANDECK
Two drypoints.

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Lot 190
ELLISON HOOVER
Washington Arch.

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Lot 191
ARMIN LANDECK
Three etchings.

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Lot 192
MORTIMER BORNE
Two drypoints.

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Lot 193
ERNEST FIENE
City Lights (Madison Square Park, New York).

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Lot 194
ARMIN LANDECK
Manhattan Vista.

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Lot 195
LOUIS LOZOWICK
Roofs and Sky.

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Lot 196
BERENICE ABBOTT
Yuban Warehouse, Water and Dock Streets, Brooklyn.

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Lot 197
BERENICE ABBOTT
Penn Station, Interior.

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Lot 198
H. F. DUTCHER
Under the El, 38th Street.

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Lot 199
REGINALD MARSH
Erie R. R. Locos Watering.

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Lot 200
LOUIS LOZOWICK
Train and Factory.

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Lot 201
MARTIN LEWIS
Veterans.

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Lot 202
MARTIN LEWIS
The Passing Freight, Danbury.

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Lot 203
MARTIN LEWIS
American Nocturne.

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Lot 204
GORDON H. COSTER
Pittsburgh.

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Lot 205
LOUIS LOZOWICK
Jersey Landscape.

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Lot 206
STUART DAVIS
Anchor.

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Lot 207
BENTON SPRUANCE
The Homecoming.

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Lot 208
JOSEPH STELLA
Mountain Landscape.

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Lot 209
WALT KUHN
Buffalo Hunt.

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Lot 210
WILLIAM SOMMER
Landscape with Power Lines.

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Lot 211
MARTIN LEWIS
Subway Steps.

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Lot 212
MABEL DWIGHT
In the Crowd (Faces in the Crowd).

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Lot 213
ISABEL BISHOP
Spectators.

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Lot 214
PEGGY BACON
Two crayon drawings.

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Lot 215
ISABEL BISHOP
Studies of a Woman * Seated Man.

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Lot 216
ISABEL BISHOP
Three ink drawings.

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Lot 217
KYRA MARKHAM
The Fit Yourself Shop.

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Lot 218
MINNA CITRON
Subway Technique.

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Lot 219
FRITZ EICHENBERG
Subway.

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Lot 220
KYRA MARKHAM
Sailors in Penn Station.

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Lot 221
KYRA MARKHAM
Mature Vision.

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Lot 222
JACK MARKOW
Automat.

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Lot 223
RAPHAEL SOYER
Men Eating.

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Lot 224
KYRA MARKHAM
Lockout.

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Lot 225
THOMAS HART BENTON
Strike.

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Lot 226
CLARE LEIGHTON
Bread Line, New York.

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Lot 227
REGINALD MARSH
Bread Line.

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Lot 228
REGINALD MARSH
Bowery—Upright.

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Lot 229
REGINALD MARSH
U. S. Marine.

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Lot 230
REGINALD MARSH
Courtship.

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Lot 231
KYRA MARKHAM
Night Club.

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Lot 232
ROCKWELL KENT
And Now Where?

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Lot 233
STOW WENGENROTH
Excursion.

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Lot 234
MABEL DWIGHT
Staten Island Shore (Bathers II).

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Lot 235
YASUO KUNIYOSHI
From the Boardwalk.

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Lot 236
MABEL DWIGHT
Life Class.

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Lot 237
JOHN SLOAN
Robert Henri, Painter.

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Lot 238
MILTON AVERY
Self Portrait.

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Lot 239
GUY PÈNE DU BOIS
Portrait of a Woman.

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Lot 240
CHARLES BURCHFIELD
Mary Alice (Preliminary Study).

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Lot 241
MAX WEBER
Beautification.

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Lot 242
JOHN SLOAN
Nude Standing on a Stairway.

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Lot 243
ROCKWELL KENT
Charlotte.

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Lot 244
PAUL CADMUS
Standing Nude (DN 1).

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Lot 245
GRANT WOOD
Sultry Night.

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Lot 246
ROBERT RIGGS
The Pool.

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Lot 247
ROBERT RIGGS
Clown Alley.

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Lot 248
ARMIN LANDECK
Two drypoints.

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Lot 249
GEORGE C. AULT
Tulips.

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Lot 250
LUIGI LUCIONI
Calla Lily.

1940 - 1950

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Lot 251
EDWARD HOPPER
Figure Studies (Pennsylvania Coal Town).

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Lot 252
ISABEL BISHOP
Figural Studies.

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Lot 253
ISABEL BISHOP
Group of 4 etchings.

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Lot 254
ISABEL BISHOP
Three etchings.

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Lot 255
ISABEL BISHOP
Two watercolors.

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Lot 256
ISABEL BISHOP
Three drawings.

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Lot 257
ISABEL BISHOP
People Walking.

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Lot 258
REGINALD MARSH
Woman Walking.

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Lot 259
REGINALD MARSH
Woman Seated in a Train Car.

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Lot 260
RAPHAEL SOYER
Farewell.

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Lot 261
LOUIS LOZOWICK
Spring on Fifth Avenue.

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Lot 262
MARTIN LEWIS
Chance Meeting.

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Lot 263
LEONARD PYTLAK
Standees (Garbo and Gilbert).

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Lot 264
JOSEPH DELANEY
Third Avenue Movie.

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Lot 265
WANDA GÁG
Macy's Stairway.

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Lot 266
THOMAS HART BENTON
The Farmer's Daughter.

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Lot 267
ABRAHAM WALKOWITZ
Landscape with a Red Barn, Woodstock.

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Lot 268
DOUGLAS GORSLINE
Railroad Scene, Plano, Illinois.

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Lot 269
RALSTON CRAWFORD
Grey Street.

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Lot 270
LEONARD PYTLAK
Under the Overpass.

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Lot 271
MARTIN LEWIS
Yorkville Night.

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Lot 272
GERSHON BENJAMIN
Man Sitting by the Dock.

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Lot 273
GERSHON BENJAMIN
Cityscape.

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Lot 274
HOWARD COOK
Brooklyn Bridge.

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Lot 275
ADOLF DEHN
Manhattan Night.

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Lot 276
MARK FREEMAN
The City Sleeps.

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Lot 277
RAPHAEL SOYER
Young Model.

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Lot 278
RAPHAEL SOYER
Seated Nude.

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Lot 279
REGINALD MARSH
Sheet of Figure Studies.

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Lot 280
REGINALD MARSH
Bathers at Coney Island.

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Lot 281
MILTON AVERY
Standing Nude.

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Lot 282
MILTON AVERY
Nude Combing Hair.

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Lot 283
EVERETT SHINN
Another Clown.

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Lot 284
THOMAS HART BENTON
The Race.

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Lot 285
REGINALD MARSH
Switch Engines, Erie Yards, Jersey City, Stone No. 3.

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Lot 286
STOW WENGENROTH
Greenport, 8 p.m.

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Lot 287
JOHN MARIN
The Circus I.

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Lot 288
EMIL J. BISTTRAM
Atonement.

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Lot 289
EMIL J. BISTTRAM
Creation.

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Lot 290
MILTON AVERY
Stars, Moon and Sea.

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Lot 291
MILTON AVERY
Trees by the Sea.

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Lot 292
MILTON AVERY
Three Birds.

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Lot 293
MILTON AVERY
Fish.

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Lot 294
JOHN MARIN
The Lobster Fisherman.

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Lot 295
STUART DAVIS
Landscape, Bass Rocks.

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Lot 296
STUART DAVIS (AFTER)
Report from Rockport.

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Lot 297
STUART DAVIS (AFTER)
Pad #4.

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Lot 298
STUART DAVIS
Ivy League.

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Lot 299
STUART DAVIS
Composition.

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Lot 300
CHARLES SHEELER
Architectural Cadences #4.

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Lot 301
RALSTON CRAWFORD
Cologne Landscape #4.

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Lot 302
RALSTON CRAWFORD
Building Facade, New York City.

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Lot 303
RALSTON CRAWFORD
Third Avenue Elevated #1A.

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Lot 304
RALSTON CRAWFORD
Third Avenue Elevated #4.

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Lot 305
RALSTON CRAWFORD
The Windows.

Edward Hopper & His Contemporaries: Making a Modern Art

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1900 - 1910

At the turn of the twentieth century, artists began to confront the dominance of European academic influences within the American art sphere. In search of a new status quo, leading American artists began to challenge these systems—such as the National Academy of Design and the American Impressionists—in hopes to create and define an American artistic identity. As artists became aligned with the Ashcan School and began depicting New York in a Realist style, they found themselves not only transforming the status quo, but leading an emergent avant-garde movement.

A group of artists known as The Eight were the most definitive pushback against the traditional academic system. They included Robert Henri (the leader), as well as Everett Shinn, John Sloan, Arthur B. Davies, Ernest Lawson, Maurice Prendergast, George Luks and William J. Glackens. Together they exhibited their work at the Macbeth Galleries in 1908 in an exhibition outside the system that was meant to challenge it. They wanted to create an American aesthetic and while they painted in different styles, most — including Henri and Sloan — embraced a Realist manner showing the struggles of life for the working class in New York City.

Five of the members of The Eight became associated with The Aschan School, a loose group of artists that followed Henri’s mantra of “art for life’s sake”. They strove to depict a New York City that included working class people and immigrants. Immigration surged in the late nineteenth century and first decade of the twentieth century. A second generation consisted of Robert Henri’s New York students, of whom George Bellows was the most devoted.

Around this time, Edward Hopper was living in New York. As a student, his parents pushed him to study illustration and pursue classes at both the Correspondence School of Illustrating and at the New York School of Art. He studied with Kenneth Hayes Miller and Robert Henri (John Sloan was also an early influence). Hopper worked in illustration for about 20 years, starting in 1906 as a part-time illustrator for various advertising agencies in New York. He illustrated for magazines such as Scribner’s Magazine, Everybody’s and Country Gentleman as well as for specialty magazines, including Hotel Management, The Morse Dial and Wells Fargo Messenger. Illustration was an important way for artists to support themselves, and Henri, Sloan, Luks and other significant artists of the time worked as illustrators to provide secure earnings. Towards the end of the decade, Hopper traveled to Europe, and spent two long sojourns in Paris, where he overlapped with many of his contemporaries, and admired the work of the Old Masters as well as, Manet and Degas for their depictions of modern life.

The Ashcan artists were seen as the avant-garde in American art, but the European modernists were on the cusp of being introduced. An early supporter of European modern art in New York was Alfred Stieglitz who opened a gallery in 1905 called the 291 Gallery. He began to exhibit cutting-edge European art in 1908. Stieglitz also despised the gatekeeping incited by The National Academy of the Arts. In response, he showcased European contemporaries with drawings by Auguste Rodin, and artists less known in America, including Cézanne, Matisse and Picasso. The first exhibition of Matisse’s work ever held in the United States, which included Nude in the Forest (1906), exhibited at 291 Gallery. These exhibitions set the stage for a defining moment in art of the twentieth century: the 1913 Armory Show, which opened in its first iteration at the 69th Regiment Armory on Park Avenue and 25th Street, New York, across the street from Swann Auction Galleries’ current location.

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1

Edward hopper
Landscape with Farm Houses.

Watercolor and pencil on tan wove paper mounted on card stock, circa 1895. 263x330 mm; 10½x13¼ inches.

Provenance: Estate of the artist, New York; Josephine N. Hopper, the artist’s widow, New York; Reverend and Mrs. Arthayer R. Sanborn, Nyack; Alexander Gallery, New York; Kennedy Galleries, Inc., New York, with the label; private collection, Pennsylvania.

Exhibited: Kennedy Galleries, Inc., New York, 2005.

Early watercolors like this work by Hopper (1882-1967), made during his mid-teens and as he aspired to become an artist, are exceedingly scarce. There are only several contemporaneous early watercolors, mostly studies of ships and figures, now in the collection of the Whitney Museum of American Art (Josephine N. Hopper Bequest), and not another landscape watercolor from this early period with as complete a composition as the current work.

Estimate

$10,000 – $15,000

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2

Edward hopper
The Creek at Hogencamps.

Pen and ink on card stock, 1900. 265x196 mm; 10½x8 inches. Signed, titled and dated “June 1900” in ink, lower recto.

Provenance: Estate of the artist, New York; Josephine N. Hopper, the artist’s widow, New York; Reverend and Mrs. Arthayer R. Sanborn, Nyack; Alexander Gallery, New York; Kennedy Galleries, Inc., New York, with the label; private collection, Pennsylvania.

Hogencamp Mountain, now within Harriman State Park, is twenty miles northwest of Hopper’s boyhood home in Nyack, New York. This is among the largest, most developed ink landscape drawing by Hopper (1882-1967) from the early decades of his career and likely drawn from nature that we have located. There is another, Study of a Forest with Stream, pen and ink, circa 1899-1906, now in the Whitney Museum of American Art (Josephine N. Hopper Bequest), New York, as well as Camp Nyack, Greenwood Lake (a location slightly southwest of Hogencamp Mountain), pen and ink, 1900, that sold at Christie’s, New York, September 28, 2010, lot 45.

In a letter he wrote to an editor in 1935, recalling his early artistic pursuit, Hopper noted, “In every artist’s development the germ of the later work is always found in the earlier. The nucleus around which the artist’s intellect builds his work is himself; the central ego, personality, or whatever it may be called, and this changes little from birth to death. What he was once, he always is, with slight modification. Changing fashions in methods or subject matter alter him little or not at all,” (Levin, Edward Hopper as Illustrator, New York, 1979, page 1).

Estimate

$15,000 – $20,000

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Oscar bluemner
Landscape, Staten Island.

Watercolor, gouache and pencil on wove paper, 1902. 256x360 mm; 10x14 inches. Initialed and dated in ink, lower center recto, and indistinctly titled in pencil, lower right recto.

Provenance: Graham Gallery, New York; Athena Fine Arts Corporation, New York; Mark Borghi Fine Art, Inc., New York; private collection, Chicago.

Exhibited: Snite Museum of Art, University of Notre Dame, Indiana, 1993.

Bluemner (1867-1938), one of America’s most accomplished Modern colorists, was largely overlooked for the majority of his career. Now, however, his place alongside Georgia O’Keeffe, John Marin, Marsden Hartley and Max Weber—all fellow exhibitors at Alfred Stieglitz’s gallery, 291, in New York—is recognized, and he ranks among the group of the most modern and influential artists in America during the early 20th century.

After developing a friendship with Stieglitz around 1911, and after a drawn-out litigation to rightfully claim his recognition and compensation for designing the Bronx, New York courthouse, Bluemner decided to turn completely to painting in 1912 and embarked on a seven month European voyage. Upon his return, after exposure to works by Paul Cézanne, Vincent van Gogh, as well as the Fauves and Cubists, Bluemner’s work reflected a dramatic shift toward the bright, streamlined style that would define his work and parallel the avant-garde developments made by other American modern artists during the early 20th century. Like Edward Hopper, Bluemner traveled widely along the east coast, mostly in the countryside surrounding New York, and made numerous watercolor studies of landscapes and buildings, many of which are devoid of human presence.

Estimate

$2,000 – $3,000

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Oscar bluemner
Group of 6 drawings.

Morris Hill, color crayons on cream wove paper, 1910. Signed with artist’s monogram, dated and inscribed in ink, lower recto * Mt. Vernon, pencil on cream wove paper, 1895. Signed with artist’s monogram, titled and dated in pencil, lower recto * Oak Point, pencil on cream wove paper, 1895. Signed with artist’s monogram in ink and titled and dated in pencil, lower left recto * Watchogue Road, crayon on cream wove paper, 1909. Signed with artist’s monogram, titled and dated in crayon, lower right recto * Boonton, pencil on cream wove paper, 1908. Signed with artist’s monogram, titled and dated in pencil, lower left recto * Sawmill at Fairfield, pencil on cream laid paper, 1909. Signed with artist’s monogram, dated, titled and annotated in pencil, lower recto. Various sizes and conditions.

Provenance: Private collection, New Hampshire.

Estimate

$1,500 – $2,500

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Edward hopper
Fisher Boy.

Pen and ink and pencil on wove paper, circa 1900. 205x127 mm; 8¼x5¼ inches.

Provenance: Estate of the artist, New York; Josephine N. Hopper, the artist’s widow, New York; Reverend and Mrs. Arthayer R. Sanborn, Nyack; Alexander Gallery, New York; Kennedy Galleries, Inc., New York, with the label; private collection, New York; private collection, Pennsylvania.

According to Levin, “In 1899, after graduating from high school in his hometown of Nyack, New York, Hopper commuted to New York City daily to study illustration at the Correspondence School of Illustrating at 114 West Thirty-fourth Street. His parents had not objected to his becoming an artist, but they encouraged him to study commercial illustration which offered a more secure income. This must have seemed more practical to his father, who owned a drygoods store in Nyack and would have been familiar with advertising illustrations,” (Levin, Edward Hopper as Illustrator, New York, 1979, page 9).

Estimate

$10,000 – $15,000

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Edward hopper
Galleon in a Storm.

Pen and ink and pencil on wove paper, circa 1900-05. 153x125 mm; 6¼x5 inches.

Provenance: Estate of the artist, New York; Josephine N. Hopper, the artist’s widow, New York; Reverend and Mrs. Arthayer R. Sanborn, Nyack; Alexander Gallery, New York; Kennedy Galleries, Inc., New York, with the label; private collection, Pennsylvania.

Hopper (1882-1967) made numerous similar nautical studies as an aspiring young art student and in his early years as an illustrator. Many of these drawings are now in the collection of the Whitney Museum of American Art, New York (Josephine N. Hopper Bequest). Growing up on the Hudson River, in Nyack, New York, Hopper had a frequent glimpse of the ship building yards in and around Nyack as well as the busy shipping traffic on the river itself, in addition to what appears to have been an insatiable interest in ships and the sea from the multitude of early drawings he made of these subjects. His first signed oil painting, from 1895, depicts a Rowboat in a Rocky Cove, and among his most accomplished early oils is Ships, circa 1898, now in the collection of the Foosaner Art Museum, Melbourne, Florida, which he copied from a painting by the American artist Edward Moran (1829-1901).

Estimate

$7,000 – $10,000

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Edward hopper
The Storm.

Pencil on wove paper, circa 1895-1900. 130x100 mm; 5¼x4 inches. Signed and titled in pencil, lower recto.

Provenance: Estate of the artist, New York; Josephine N. Hopper, the artist’s widow, New York; Reverend and Mrs. Arthayer R. Sanborn, Nyack; Alexander Gallery, New York; Kennedy Galleries, Inc., New York, with the label; private collection, Pennsylvania.

Exhibited: “Edward Hopper Drawings: The Poetry of Solitude,” Hunter Museum of Art, Chattanooga, September 9-October 15, 1995; “The Early Drawings of Edward Hopper,” Kennedy Galleries, Inc., New York, November 4-25, 1995, number 11.

Published: The Early Drawings of Edward Hopper, New York, 1995, catalogue number 11 (illustrated).

Hopper (1882-1967) made numerous similar ship studies, very early on as an aspiring young artist, before his training as an illustrator. Many of these early nautical drawings are now in the collection of the Whitney Museum of American Art, New York (Josephine N. Hopper Bequest). As a student (he graduated from Nyack High School in 1899), Hopper dreamed of being a naval architect, and this desire is evidenced by the numerous nautical drawings he made during these years.

Estimate

$5,000 – $8,000

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8

Edward hopper
The Sloop.

Pen and ink on wove paper, circa 1899-1900. 137x130 mm; 5½x5¼ inches. Dated or numbered “99” in pencil, lower right recto.

Provenance: Estate of the artist, New York; Josephine N. Hopper, the artist’s widow, New York; Reverend and Mrs. Arthayer R. Sanborn, Nyack; Alexander Gallery, New York; Kennedy Galleries, Inc., New York, with the label; private collection, Pennsylvania.

Hopper (1882-1967) made numerous similar ship studies, very early on as an aspiring young artist, before his training as an illustrator. Many of these early nautical drawings are now in the collection of the Whitney Museum of American Art, New York (Josephine N. Hopper Bequest). As a student (he graduated from Nyack High School in 1899), Hopper dreamed of being a naval architect, and this desire is evidenced by the numerous nautical drawings he made during these years.

Estimate

$4,000 – $6,000

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9

Abraham walkowitz
Two watercolors of Cape Cod.

Both circa 1900. Both approximately 397x460 mm; 15⅝x18 inches. One signed in ink, lower center recto, the other signed twice in ink, lower left recto.

Provenance: Estate of the artist; Zabriskie Gallery, New York; Estate of Virginia M. Zabriskie.

Walkowitz (1878-1965) was born in Tyumen, Siberia to Jewish parents and immigrated to the Lower East Side of New York with his mother in 1889. He was trained in the academic style at the National Academy of Design, New York, and also at the Académie Julian in Paris, though his style was most influenced by his experiences outside of the studio. Walkowitz’s studies in Paris intersected with Edward’s Hopper’s sojourns there at the same time, while Hopper was primarily studying the works of the Old Master artists. During his time in Paris from 1906-07, Walkowitz saw Isadora Duncan (1877-1927) dance at Auguste Rodin’s (1840-1917) Paris studio and made his first drawings of her. He later recalled, “She was a Muse. She had no laws. She didn’t dance according to rules. She created. Her body was music. It was a body electric, like Walt Whitman.” Like Duncan’s dancing, Walkowitz’s drawings and watercolors were created by quick and spontaneous lines and washes of color. In Paris, Walkowitz was also impressed by the landmark 1907 Paul Cézanne (1839-1906) retrospective exhibit at the Salon d’Automne and by his introduction to the work of Henri Matisse (1869-1954) and Henri Rousseau (1844-1910). By the time Walkowitz returned to New York, his style was heavily influenced by European Modernism, with emphasis on gestures, simplified forms and flat planes of bold color. His first solo exhibition was held at Haas Gallery, the back of a modest frame shop, in New York in 1908.

In 1912, Walkowitz met Albert Stieglitz (1864-1946) through Marsden Hartley (1877-1943) and became involved with 291, Steiglitz’s New York gallery, which served as a hub of American modernism. Stieglitz was so impressed by the young artist, that he sent him to study art in Greece, Italy and North Africa in 1914. His style became more abstract; its reduced linear forms lent themselves to the city’s rush skyward, prematurely anticipating the New York School and the Abstract Expressionists.

In 1913, Walkowitz was represented at the Armory Show and in the 1916 Forum exhibition. Walkowitz was concerned with politics and artists’ rights and was active in various artist’s groups, founding the People’s Art Guild and the Society of Independent Artists (he became director of the latter from 1918 to 1938). In 1920, he exhibited at the Société Anonyme alongside Hartley and Joseph Stella (1877-1946). Despite local and international recognition, Walkowitz was not nearly as well-known as his contemporaries. Walkowitz painted into the 1940s, when his eyesight began to fail.

Estimate

$2,000 – $3,000

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Abraham walkowitz
Two watercolors of Cape Cod.

Both circa 1900. One 390x565 mm; 15¾x22¼ inches, the other 360x565 mm; 14¼x22¼ inches. One signed and dated in ink, lower right recto, the other signed in ink, lower left recto.

Provenance: Estate of the artist; Zabriskie Gallery, New York; Estate of Virginia M. Zabriskie.

Walkowitz (1878-1965) was born in Tyumen, Siberia to Jewish parents and immigrated to the Lower East Side of New York with his mother in 1889. He was trained in the academic style at the National Academy of Design, New York, and also at the Académie Julian in Paris, though his style was most influenced by his experiences outside of the studio. Walkowitz’s studies in Paris intersected with Edward’s Hopper’s sojourns there at the same time, while Hopper was primarily studying the works of the Old Master artists. During his time in Paris from 1906-07, Walkowitz saw Isadora Duncan (1877-1927) dance at Auguste Rodin’s (1840-1917) Paris studio and made his first drawings of her. He later recalled, “She was a Muse. She had no laws. She didn’t dance according to rules. She created. Her body was music. It was a body electric, like Walt Whitman.” Like Duncan’s dancing, Walkowitz’s drawings and watercolors were created by quick and spontaneous lines and washes of color. In Paris, Walkowitz was also impressed by the landmark 1907 Paul Cézanne (1839-1906) retrospective exhibit at the Salon d’Automne and by his introduction to the work of Henri Matisse (1869-1954) and Henri Rousseau (1844-1910). By the time Walkowitz returned to New York, his style was heavily influenced by European Modernism, with emphasis on gestures, simplified forms and flat planes of bold color. His first solo exhibition was held at Haas Gallery, the back of a modest frame shop, in New York in 1908.

In 1912, Walkowitz met Albert Stieglitz (1864-1946) through Marsden Hartley (1877-1943) and became involved with 291, Steiglitz’s New York gallery, which served as a hub of American modernism. Stieglitz was so impressed by the young artist, that he sent him to study art in Greece, Italy and North Africa in 1914. His style became more abstract; its reduced linear forms lent themselves to the city’s rush skyward, prematurely anticipating the New York School and the Abstract Expressionists.

In 1913, Walkowitz was represented at the Armory Show and in the 1916 Forum exhibition. Walkowitz was concerned with politics and artists’ rights and was active in various artist’s groups, founding the People’s Art Guild and the Society of Independent Artists (he became director of the latter from 1918 to 1938). In 1920, he exhibited at the Société Anonyme alongside Hartley and Joseph Stella (1877-1946). Despite local and international recognition, Walkowitz was not nearly as well-known as his contemporaries. Walkowitz painted into the 1940s, when his eyesight began to fail.

Estimate

$2,000 – $3,000

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Edward hopper
A Work Horse * Studies of Kneeling Figures.

Pen and ink on card stock, double-sided, 1900. 113x146 mm; 4½x5½ inches. Initialed and dated “Sept. 1900” in ink, lower right recto.

Provenance: Estate of the artist, New York; Josephine N. Hopper, the artist’s widow, New York; Reverend and Mrs. Arthayer R. Sanborn, Nyack; Alexander Gallery, New York; Kennedy Galleries, Inc., New York, with the label; private collection, Pennsylvania.

According to Levin, “In 1899, after graduating from high school in his hometown of Nyack, New York, Hopper commuted to New York City daily to study illustration at the Correspondence School of Illustrating at 114 West Thirty-fourth Street. His parents had not objected to his becoming an artist, but they encouraged him to study commercial illustration which offered a more secure income. This must have seemed more practical to his father, who owned a drygoods store in Nyack and would have been familiar with advertising illustrations,” (Levin, Edward Hopper as Illustrator, New York, 1979, page 9).

Estimate

$7,000 – $10,000

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Edward hopper
Study of a Horse (An Old Favorite).

Pencil on stiff wove paper, circa 1895-1900. 55x76 mm; 2¼x3¼ inches. Signed and inscribed “An Old Favorite” in pencil, lower recto.

Provenance: Estate of the artist, New York; Josephine N. Hopper, the artist’s widow, New York; Reverend and Mrs. Arthayer R. Sanborn, Nyack; Alexander Gallery, New York; Kennedy Galleries, Inc., New York, with the label; private collection, Pennsylvania.

Exhibited: “The Early Drawings of Edward Hopper,” Kennedy Galleries, Inc., New York, November 4-25, 1995, number 20.

Published: The Early Drawings of Edward Hopper, New York, 1995, catalogue number 20 (illustrated).

There is a similar, early study of a horse by Hopper (1882-1967), Bronco, pencil, 1892-95, now in the collection of the Whitney Museum of American Art (Josephine N. Hopper Bequest).

Estimate

$5,000 – $8,000

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Edward hopper
The Eagle or The Eagle and Dead Red Deer (after Sir Edwin Landseer).

Pen and ink on wove paper, circa 1900. 135x180 mm; 5¼x7 inches. Initialed and inscribed “Sir Edwin Landseer” in ink, lower recto.

Provenance: Estate of the artist, New York; Josephine N. Hopper, the artist’s widow, New York; Reverend and Mrs. Arthayer R. Sanborn, Nyack; Alexander Gallery, New York; Kennedy Galleries, Inc., New York, with the label; private collection, Pennsylvania.

Exhibited: “Edward Hopper Drawings: The Poetry of Solitude,” Hunter Museum of Art, Chattanooga, September 9-October 15, 1995; “The Early Drawings of Edward Hopper,” Kennedy Galleries, Inc., New York, November 4-25, 1995, number 4.

Published: The Early Drawings of Edward Hopper, New York, 1995, catalogue number 4 (illustrated).

As a young artist, Hopper (1882-1967) frequently made drawings based on illustrations he found in books, magazines, newspapers and elsewhere, practicing and perfecting his technique through the study of works by Renaissance and Victorian masters alike. He copied the current drawing from an etching made by the Victorian painter and sculptor Sir Edwin Landseer (1802-1873), who was especially renowned during the 19th century for his depictions of animals. Landseer’s etching, The Eagle (or The Eagle and Dead Red Deer), 1825, was issued in the series Etchings by Edwin Landseer published by E. Gambart & Co., London in 1848.

Estimate

$8,000 – $12,000

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Edward hopper
Alone.

Pen and ink on wove paper, 1898. 204x153 mm; 8¼x6¼ inches. Signed, titled and dated in ink, lower right recto.

Provenance: Estate of the artist, New York; Josephine N. Hopper, the artist’s widow, New York; Reverend and Mrs. Arthayer R. Sanborn, Nyack; private collection, New York; private collection, Pennsylvania.

Exhibited: “Edward Hopper: The Early Years,” September 6, 1982-August 31, 1983, various institutions, organized by the Brevard Art Center and Museum for the Southern Arts Federation Visual Arts Touring Program; “Edward Hopper (1882-1967): Early Impressions,” Provincetown Art Association and Museum, Provincetown, Massachusetts, May 21-July 4, 2010, and Berta Walker Gallery, Provincetown, Massachusetts, July 30-September 5, 2010; “A Window into Edward Hopper,” Fenimore Art Museum, Cooperstown, New York, May 28-September 11, 2011.

Published: Edward Hopper: The Early Years, Melbourne, Florida, 1982, catalogue number 15c; Edward Hopper (1882-1967): Early Impressions, Provincetown, 2010, catalogue number 24 (illustrated); Troyen, A Window into Edward Hopper, Cooperstown, 2011, page 20, figure 7 (illustrated).

There is another study of this subject by Hopper (1882-1967), though more loosely drawn and less finished than the current work, in the collection of the Whitney Museum of American Art (Josephine N. Hopper Bequest). From this very early treatment of the subject, at just 16 years old, only a year before he began art studies with a correspondence course in 1899 and soon after transferred to the New York School of Art and Design (the forerunner of Parsons The New School for Design), Hopper frequently returned to the theme of aloneness (and loneliness) in many of his most iconic works, including the oil paintings Automat, 1927, Morning Sun, 1952, and Office in a Small City, 1953, as well as the etching Night Shadows, 1921.

According to Levin, “Hopper brought to his art and to illustration a cool detachment reflecting the reserve with which he dealt with the world around him. His personality, especially his shyness, did not lend itself to illustrating fiction that was either overly sentimental or involved with fantasy. Hopper preferred to depict what he observed in the most matter-of-fact manner. When he had to illustrate to earn a living, he found greater freedom in the illustration of nonfiction topics, particularly for trade publications,” (Levin, Edward Hopper as Illustrator, New York, 1979, page 5).

Estimate

$12,000 – $18,000

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Edward hopper
A Russian Lancer.

Pen and ink on wove paper, circa 1900. 187x110 mm; 7½x4½ inches. Titled in ink, lower recto.

Provenance: Estate of the artist, New York; Josephine N. Hopper, the artist’s widow, New York; Reverend and Mrs. Arthayer R. Sanborn, Nyack; Hirschl & Adler Galleries, Inc., New York, with the label; private collection, New York; private collection, Pennsylvania.

Exhibited: “Edward Hopper: The Early Years,” September 6, 1982-August 31, 1983, various institutions, organized by the Brevard Art Center and Museum for the Southern Arts Federation Visual Arts Touring Program; “Edward Hopper (1882-1967): Early Impressions,” Provincetown Art Association and Museum, Provincetown, Massachusetts, May 21-July 4, 2010, and Berta Walker Gallery, Provincetown, Massachusetts, July 30-September 5, 2010; “A Window into Edward Hopper,” Fenimore Art Museum, Cooperstown, New York, May 28-September 11, 2011.

Published: Edward Hopper: The Early Years, Melbourne, Florida, 1982, catalogue number 15e; Edward Hopper (1882-1967): Early Impressions, Provincetown, 2010, catalogue number 40 (illustrated); Troyen, A Window into Edward Hopper, Cooperstown, 2011, page 22, figure 11 (illustrated).

Estimate

$5,000 – $8,000

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Edward hopper
One of the Preobrajenski Regiment.

Pen and ink on wove paper, circa 1900. 189x113 mm; 7¼x4 inches. Titled in ink, lower recto.

Provenance: Estate of the artist, New York; Josephine N. Hopper, the artist’s widow, New York; Reverend and Mrs. Arthayer R. Sanborn, Nyack; Hirschl & Adler Galleries, Inc., New York, with the label; private collection, New York; private collection, Pennsylvania.

Exhibited: “Edward Hopper: The Early Years,” September 6, 1982-August 31, 1983, various institutions, organized by the Brevard Art Center and Museum for the Southern Arts Federation Visual Arts Touring Program; “Edward Hopper (1882-1967): Early Impressions,” Provincetown Art Association and Museum, Provincetown, Massachusetts, May 21-July 4, 2010, and Berta Walker Gallery, Provincetown, Massachusetts, July 30-September 5, 2010; “A Window into Edward Hopper,” Fenimore Art Museum, Cooperstown, New York, May 28-September 11, 2011.

Published: Edward Hopper: The Early Years, Melbourne, Florida, 1982, catalogue number 15d; Edward Hopper (1882-1967): Early Impressions, Provincetown, 2010, catalogue number 42 (illustrated); Troyen, A Window into Edward Hopper, Cooperstown, 2011, page 22, figure 12 (illustrated).

The Preobrazhensky (or Preobrajenski) Life-Guards Regiment was one of the oldest and most elite guard units of the Imperial Russian Army.

Estimate

$5,000 – $8,000

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Edward hopper
Even the Worm Will Turn.

Pen and ink on card stock, circa 1900-05. 137x82 mm; 5½x3¼ inches. Titled in ink, lower recto.

Provenance: Estate of the artist, New York; Josephine N. Hopper, the artist’s widow, New York; Reverend and Mrs. Arthayer R. Sanborn, Nyack; Alexander Gallery, New York; Kennedy Galleries, Inc., New York, with the label; private collection, New York; private collection, Pennsylvania.

“Even a worm will turn” is an expression used to convey the message that even the meekest or most docile of creatures will retaliate or seek revenge if pushed too far.

Estimate

$6,000 – $9,000

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18

Edward hopper
A Cossack.

Pen and ink on wove paper, circa 1900. 148x98 mm; 5¾x3¾ inches. Titled in ink, lower recto.

Provenance: Estate of the artist, New York; Josephine N. Hopper, the artist’s widow, New York; Reverend and Mrs. Arthayer R. Sanborn, Nyack; Kennedy Galleries, Inc., New York, with the label; private collection, New York; private collection, Pennsylvania.

Estimate

$5,000 – $8,000

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19

Edward hopper
A Russian Grenadier.

Pen and ink on wove paper, circa 1900. 189x113 mm; 7¼x4 inches. Titled in ink, lower recto.

Provenance: Estate of the artist, New York; Josephine N. Hopper, the artist’s widow, New York; Reverend and Mrs. Arthayer R. Sanborn, Nyack; Kennedy Galleries, Inc., New York, with the label; private collection, New York; private collection, Pennsylvania.

Estimate

$5,000 – $8,000

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20

Edward hopper
A Native American in Cavalry Uniform with a Pistol.

Pen and ink on wove paper, 1899. 123x66 mm; 4½x2b inches. Signed and dated in ink, lower right recto.

Provenance: Estate of the artist, New York; Josephine N. Hopper, the artist’s widow, New York; Reverend and Mrs. Arthayer R. Sanborn, Nyack; Alexander Gallery, New York; Kennedy Galleries, Inc., New York, with the label; private collection, New York; private collection, Pennsylvania.

Exhibited: “The Early Drawings of Edward Hopper,” Kennedy Galleries, Inc., New York, November 4-25, 1995, number 2.

Published: The Early Drawings of Edward Hopper, New York, 1995, catalogue number 2 (illustrated).

Estimate

$5,000 – $8,000

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21

Edward hopper
Standing Man in Khakis, Sketching.

Pen and ink on wove paper, circa 1900-05. 205x130 mm; 8x5 inches. Inscribed “av” in ink, lower recto.

Provenance: Estate of the artist, New York; Josephine N. Hopper, the artist’s widow, New York; Reverend and Mrs. Arthayer R. Sanborn, Nyack; private collection, New York; private collection, Pennsylvania.

Exhibited: “Edward Hopper (1882-1967): Early Impressions,” Provincetown Art Association and Museum, Provincetown, Massachusetts, May 21-July 4, 2010, and Berta Walker Gallery, Provincetown, Massachusetts, July 30-September 5, 2010; “A Window into Edward Hopper,” Fenimore Art Museum, Cooperstown, New York, May 28-September 11, 2011.

Published: Edward Hopper (1882-1967): Early Impressions, Provincetown, 2010, catalogue number 44 (illustrated); Troyen, A Window into Edward Hopper, Cooperstown, 2011, page 29, figure 27 (illustrated).

Estimate

$5,000 – $8,000

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22

John marin
Ponte Ghetto, Venice.

Etching on Japan paper, 1907. 239x189 mm; 9⅜x7½ inches, full margins. Edition of approximately only 30. Signed in pencil, lower right. A superb, richly-inked impression of this extremely scarce, early etching.

Zigrosser cites only 4 impressions in public collections. We have found only 2 other impressions at auction in the past 30 years.

Marin (1870-1953) left New York for Paris in the summer of 1905, overlapping with Edward Hopper’s own visits there at the time, when the city was under the influence of Late Impressionism and the Fauves were dominating the avant-garde scene (Hopper left for Paris in October 1906 and returned to New York in August 1907). Marin exhibited at the Salone d’Automne several times, along with works by Henri Matisse, Édouard Vuillard and Pierre Bonnard, as well as alongside the 1907 Paul Cézanne retrospective. Though surrounded by the excitement of the center of the art world, Marin’s main influence at this time period was the artist James A. M. Whistler (1834-1903). In his European prints, before returning to New York, Marin emulated Whistler’s high career, looser style of etching, which he had honed during his 1879-80 stay in Venice (Marin even selected similar vantage points as those used by Whistler in Venice). Zigrosser 69.

Estimate

$1,000 – $1,500