American Art & Pennsylvania Impressionists

american art & pennsylvania impressionists december 3, 2017

AMERICAN ART & PENNSYLVANIA IMPRESSIONISTS

AUCTION Sale 1592 Sunday, December 3, 2017 at 2:00pm 1808 Chestnut Street, Philadelphia PA 19103 Cover Image: Lot 86, Inside Front Cover: Lot 28 (detail), Inside Back Cover: Lot 110 (detail)

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AMERICAN ART & PENNSYLVANIA IMPRESSIONISTS DEPARTMENT Alasdair Nichol Chairman | Head of Department anichol@freemansauction.com 267.414.1211

David Weiss Senior Vice President | Specialist dweiss@freemansauction.com 267.414.1214

Raphaël Chatroux Junior Cataloguer | Fine Art rchatroux@freemansauction.com 267.414.1253

EXHIBITIONS Wednesday, November 29

10:00am-5:00pm

Thursday, November 30

10:00am-5:00pm

Friday, December 1

10:00am-5:00pm

Saturday, December 2

12:00pm-5:00pm

By appointment only on the morning of the sale

CLIENT SERVICES Mary Maguire Director | Client Services mmaguire@freemansauction.com 267.414.1236

Joslyn Moore Bidding Registration jmoore@freemansauction.com 267.414.1207

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Melissa Arundel Post-Sale Administrator marundel@freemansauction.com 267.414.1226

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AMERICAN ART lots 1-95

Lot 29 (detail) 5

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1 CHILDE HASSAM (american 1859-1935) RAINY DAY, COLUMBUS AVENUE, BOSTON Signed and dated ‘Childe/Hassam/86’ bottom left; also dedicated ‘A mon Ami Ventura’ bottom left, watercolor heightened with white gouache on paper laid down to board Sheet size: 9 7/8 x 7 3/4 in. (25.1 x 19.7cm) provenance: William H. Thompson Galleries, New York, New York.

Hirschl & Adler Galleries, New York, New York.

Milch Galleries, New York, New York.

Acquired directly from the above in 1953.

Collection of Mr. John Fox, Boston, Massachusetts.

Hirschl & Adler Galleries, New York, New York.

Acquired directly from the above in 1960.

Collection of Mr. Fleishman, New York, New York.

Hirschl & Adler Galleries, New York, New York.

Acquired directly from the above in 1962.

Private Collection, Massachusetts.

By descent in the family.

Private Collection, Massachusetts.

exhibited: Hirschl & Adler Galleries, New York, New York, 1964, no. 1 (exhibited as “Old Chelsea, London, England”). literature: Apollo, no. 79, May 1964 (illustrated as “Old Chelsea, London, England”). note: Previously entitled “Old Chelsea,” and described as a London scene, this watercolor is now identified as a scene depicting a view of Columbus Avenue in Boston. In 1885-1886, Hassam embraced the street life of Boston, painting many views of the cityscape. Both in rain and snow, he experimented with the tonal and luminous effects of precipitation. The present work shows a view of Columbus Avenue, looking northeast from a vantage point not far from Hassam’s home in the Albermarle Hotel at 282 Columbus Avenue, near the intersection of Clarendon. The visible landmark in the distance is the tower of the Boston and Providence Railroad station built in 1871, located at Park Square. This watercolor is related to other Boston subjects including the painting “Columbus Avenue, Rainy Day,” now in the collection of the Worcester Art Museum, Massachusetts.

This lot will be included in Stuart P. Feld and Kathleen M. Burnside’s forthcoming Catalogue Raisonné of the artist’s work. We would like to thank Kathleen M. Burnside for her kind assistance in cataloguing this lot. $10,000-15,000

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2 RUSSELL SMITH (american 1812-1896) “ROMAN PRISONERS SOLD AS SLAVES IN CARTHAGE” Signed with initials ‘R.S.’ bottom left, oil on canvas 36 1/8 x 54 1/8 in. (91.8 x 137.5cm) provenance: David David Gallery, Philadelphia, Pennsylvania.

The Estate of Walter McDaniel, Pennsylvania. $8,000-12,000

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3 THOMAS HILL (american 1829–1908) YOSEMITE FALLS Signed ‘T. Hill’ bottom right, oil on canvas 23 1/2 x 15 3/4 in. (59.7 x 40cm) provenance: Private Collection, Georgia.

note: Thomas Hill held a lifelong fascination for Yosemite, the sprawling National Park in Northern California. He made his first trip out West in 1865, at the age of 36, and would go on to make annual trips to sketch and paint the landscape and mountain ranges. Hill eventually established his family in San Francisco in 1873, within close proximity to his Yosemite studio at a historic hotel nestled in the park itself. The majestic vistas of the park provided an endless source of inspiration for Hill, who frequently worked outdoors, painting directly in the landscape.

“Yosemite Falls” captures the park’s highest waterfall, with a drop of 2,425 feet (739 meters), in a rich composition of warm earth tones and subtle golden light. The natural landmark was a favorite subject for the artist, who painted it from various perspectives and in the ever-changing light of different seasons. $10,000-15,000

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4 ANDREW MELROSE (american 1836-1901) “SUMMER MORNING, LOON LAKE” Signed ‘A. Melrose’ bottom left; also inscribed with title on bottom stretcher verso, oil on canvas painted in the arch 20 x 16 in. (50.8 x 40.6cm) provenance: Weschler’s, Rockville, sale of September 16, 1995, lot 110.

Acquired directly from the above sale.

Private Collection, Pennsylvania. $3,000-5,000

5 WILLIAM M. HART (american 1823–1894) WOODLAND SCENE Signed ‘W.M. Hart.’ bottom right; also inscribed multiple times with artist on stretcher verso, oil on canvas 18 7/8 x 14 7/8 in. (47.9 x 37.8cm) provenance: Private Collection, Broken Arrow, Oklahoma.

The Cooley Gallery, Old Lyme, Connecticut.

Acquired directly from the above in 2013.

Private Collection, Pennsylvania. $4,000-6,000

6 JERVIS MCENTEE (american 1828-1891) TWILIGHT Signed ‘J.Mc. Entee’ bottom right, oil on canvas 10 1/8 x 8 1/8 in. (25.7 x 20.6cm) provenance: Private Collection, New York.

Taylor & Graham Gallery, New York, New York. $3,000-5,000

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7 JOHN WILLIAM CASILEAR (american 1811–1893) “NEAR TAMWORTH, NEW HAMPSHIRE” Signed with initials ‘J.W.C.” bottom left, oil on canvas 11 5/8 x 21 in. (29.5 x 53.3cm) provenance: Patrick Orbe Fine Art, Teaneck, New Jersey.

Acquired directly from the above in 1997.

Private Collection, Pennsylvania. $3,000-5,000

8 CHARLES WILSON KNAPP (american 1823–1900) “A ROCKY COAST” (SAILING OFF COHASSET, MASSACHUSETTS) Signed ‘C W Knapp’ bottom left, oil on canvas 14 1/8 x 22 1/8 in. (35.9 x 56.2cm) provenance: The Greenwich Gallery, Greenwich, Connecticut.

Acquired directly from the above in 1999.

Private Collection, Pennsylvania. exhibited: National Academy of Design, New York, New York, 1859-1961 (exhibited as “Sailing Off Cohasset, Massachusetts”).

Philadelphia Academy of the Fine Arts, Philadelphia, Pennsylvania, 1877-1887 (exhibited as “Sailing Off Cohasset, Massachusetts”). $3,000-5,000

9 PAUL WEBER (american/german 1823–1916) “ON THE SUSQUEHANNA RIVER” Signed and dated ‘P. Weber/1852’ bottom left, oil on canvas 14 x 19 7/8 in. (35.6 x 50.5cm) provenance: Kenneth Lux Gallery, New York, New York.

Brock & Co., Concord, Massachusetts.

Acquired directly from the above in 2005.

Private Collection, Pennsylvania. $2,000-3,000

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10 CARDUCIUS PLANTAGENET REAM (american 1837-1917) STILL LIFE WITH APPLES Signed ‘C.P. Ream’ bottom right, oil on canvas 14 x 18 in. (35.6 x 45.8cm) provenance: Hrefna Jonsdottir Gallery, Lambertville, New Jersey.

Freeman’s, Philadelphia, sale of December 4, 2005, lot 88.

Acquired directly from the above sale.

Private Collection, Pennsylvania. $1,500-2,500

11 DAVID JOHNSON (american 1827–1908) LANDSCAPE WITH MANSION IN THE DISTANCE Signed with initials and dated ‘D.J./1863’ bottom left; also signed and dated verso, oil on canvas 18 1/8 x 27 7/8 in. (46 x 70.8cm) provenance: Private Collection, New York.

By descent in the family.

Spanierman Gallery LLC, New York, New York.

Doyle, New York, sale of November 19, 2012, lot 27.

Acquired directly from the above sale.

Private Collection, Pennsylvania. note: In 1851, David Johnson visited the White Mountains of New Hampshire for the first time. He is particularly known to have spent some time in the mountainous town of Tamworth in 1863, the year of this work. Both the landscape and the white mansion here suggest that the scene takes place in Tamworth. $8,000-12,000

12 ANDREW MELROSE (american 1836-1901) SALMON FISHING ALONG THE DELAWARE RIVER GAP Signed with artist’s cipher bottom left; also inscribed ‘Derwent Water/ Gap’ bottom right, oil on canvas laid down to board 20 x 16 in. (50.2 x 39.4cm) provenance: Scott Alessio Art & Antiques, New Lebanon, New York.

Acquired directly from the above in 2001.

Private Collection, Pennsylvania. note: Andrew Melrose painted many scenes along the Delaware River.

“The Derwent Water Gap is what the German settlers who lived around the area would call the river gap. It is more than likely that the people featured in the present painting are German immigrants. $4,000-6,000

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13 DEWITT CLINTON BOUTELLE (american 1820–1884) “LOCK AT NEW HOPE PENNSYLVANIA” Signed and dated ‘Boutelle 1963’ bottom right, oil on canvas 17 7/8 x 15 5 /8 in. (45.4 x 39.7cm) Unframed. provenance: Kennedy Galleries, New York, New York.

Private Collection, Georgia.

Eldred’s, sale of November 17, 2007, lot 1048.

Acquired directly from the above sale.

Private Collection, Pennsylvania. exhibited: “The Hudson River School: American Landscape Paintings from 1821 to 1907,” The R.W. Norton Art Gallery, Shreveport, Louisiana, October 14-November 25, 1973.

“This Land Is Your Land,” New Jersey State Museum, Trenton, New Jersey, April 17-September 6, 1976. note: A native of Troy, New York, Boutelle spent most of his young years painting in the Hudson River Valley. Built in 1825-1828, the Delaware-Hudson canal was, for many years, one of the busiest and most prosperous of the American canals. $6,000-10,000

14 EASTMAN JOHNSON (american 1824-1906) “PORTRAIT OF MRS. W.H. BRIDGMAN” Signed and dated ‘E. Johnson/1852’ bottom left, also inscribed with artist on upper stretcher verso, oil on canvas 27 1/8 x 22 1/8 in. (68.9 x 56.2cm) provenance: Collection of the Sitter.

By descent in the family.

Private Collection, Iowa. $3,000-5,000

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15 THOMAS EAKINS (american 1844-1916) “MISS ELEANOR S.F. PUE” According to records, originally inscribed in sitter’s brother’s hand ‘Elanor S.F. Pue by Thomas Eakins, 1908’ verso, oil on canvas 20 x 16 in. (50.8 x 40.6cm) In a Wilner frame. provenance: Mrs. E. Farnum Lavell (née Eleanor Pue), Philadelphia, Pennsylvania.

Acquired from the above in 1933.

Stephen C. Clark, New York.

Macbeth Gallery, New York, New York.

Acquired from the above in 1945.

The Virginia Museum of Fine Arts, Richmond, Virginia. exhibited: “One Hundred-Third Annual Exhibition of the Pennsylvania Academy of Fine Arts,” Philadelphia, January 20-February 29, 1908 (exhibited as “Head of a Lady”).

“Special Loan Exhibition,” The Wednesday Club, Danville, Virginia, April 1-18, 1953; and Mary Washington College, Fredericksburg, Virginia, May 6-20, 1953 (traveling exhibition).

“The Human Figure in Art,” Artmobile, Virginia Museum of Fine Arts, Richmond, Virginia, February 1967-January 1968.

“Arts Festival Exhibition,” Madison College, Harrisonburg, Virginia, March 21-April 2, 1976.

“Portraits,” Peninsula Arts Association, Newport News, Virginia, May 2-31, 1984; and Washington & Lee University, Lexington, Virginia, June 4-29, 1984 (traveling exhibition). literature: Catalogue of the One Hundred-Third Exhibition of the Pennsylvania Academy of Fine Arts, Pennsylvania Academy of the Fine Arts, Philadelphia, 1908, p. 23, no. 165.

The Pennsylvania Museum Bulletin 25, no. 133, March 1930, p. 32.

Lloyd Goodrich, Thomas Eakins, His Life and Works, Whitney Museum of American Art, New York, 1933, no. 455.

Gordon Hendricks, “The Belle with Beautiful Bones,” Art in Virginia 9, no. 1, Fall 1968, p. 34-39.

Fairfield Porter, Thomas Eakins, George Braziller Inc., New York, 1959, p. 78 (illustrated).

“Goddess Is Guest, Eakins Art Viewed by Old Friends,” Philadelphia Inquirer, June 25, 1969.

Gordon Hendricks, The Life and Works of Thomas Eakins, Grossman Publishers, New York, 1974, p. 349, no. 323.

Lloyd Goodrich, Thomas Eakins, Volume II, Published for the National Gallery of Art by Harvard University Press, Cambridge, Massachusetts, 1982, p. 236-238 (illustrated).

Denys Sutton, “Editorial: A Question of Roots,” Apollo, May 1985, fig. 7, p. 290-293 (illustrated).

Henry Adams, Eakins Revealed: The Secret Life of an American Artist, Oxford University Press, New York, 2005, p. 373-374 (illustrated).

Sidney Kirkpatrick, The Revenge of Thomas Eakins, Yale University Press, New Haven, 2006, p. 450, 481-482. $50,000-80,000

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B

orn in Philadelphia in 1844, Thomas Eakins started his career in a very traditional way, first enrolling at the Pennsylvania Academy of the Fine Arts in 1862, and then training at the École des Beaux-Arts in Paris. Although he is now regarded as

one of the greatest realist painters of the late 19th and early 20th century, his talent was not widely acknowledged until his death in 1916. Many critics of his time disapproved of his modern subjects and of his style, which they considered crude. In 1894, the artist himself bitterly noted he was honored by “misunderstanding, persecution and neglect.” Eakins first began his career painting historical and genre subjects, including rowers and wrestlers. By the early 20th century, he turned to portraiture instead, fulfilling his interest in capturing the human figure. Eakins’ portraits are deeply rooted in reality. Instead of depicting his sitters idealistically, he chose to work meticulously from life, emphasizing the realistic flesh and blood qualities of the individuals who posed for him. Eakins particularly enjoyed painting young ladies and was considered the “interpreter of women”

by Lloyd Goodrich, his first biographer. He painted them objectively and was interested in accentuating their inner-life, and most importantly their inner-thoughts. With their melancholic air and dreamy, unfocused gaze, each model appears self-assured, with a unique personality.

Dated 1907, the Portrait of Miss Eleanor Pue is among the last portraits of young women Thomas Eakins painted in his career.

Eakins met Miss Pue at a party when she was twenty years old. Taken with Eleanor’s striking appearance, he stared at her the entire night and followed her throughout the room. He later sent her a letter asking if he could “make a little painting of [her] head.” Pue was hesitant at first as she knew Eakins’ scandalous reputation with women all too well, and was afraid he would make advances. She eventually accepted and posed for Eakins three or four mornings a week. Eakins had her wear a very lownecked gown, a trend that can be observed in other portraits of women he made after 1900. While she posed, he complimented her features, admired the bones of her shoulders and chest, and would poke at them with the handle of his brush and say “beautiful bones.” Pue’s mother is said to have cried when she discovered the finished portrait. Pue herself loathed it. When it was exhibited at the Pennsylvania Academy in 1908, her friends mocked her and nicknamed the portrait “The Goddess of Murder.”

According to 19th century standards of beauty, the portrait is not the least bit flattering. Eakins seemed to have fully recreated all of Miss Pue’s physical imperfections, namely her small head, long nose and low forehead. While the sitter appears somewhat forlorn, the portrait simultaneously conveys a striking sense of vitality. The darkish tones of Pue’s face contrast with the pallor of her neck and chest. This makes her stand out in a surreal way, almost like an apparition. Eakins specifically draws attention to the energy of her body beneath the clothes. The shoulders and the bosom are painted with a vigor and a gravity characteristic of Eakins’ portraits at the turn of the century. Eakins’ portraits were not intended to please the sitter; they were more important than artistic flattery. It was mainly an occasion for him to satisfy artistic needs and experiments. The strength and rawness of Miss Pue’s portrait ultimately exemplifies the depth and revealing nature with which Eakins painted.

The present lot will be accompanied by three letters from the artist regarding arrangements for the painting of Miss Pue’s portrait. Two of them are dated June 30, 1907 and August 3, 1907. The third letter (undated) reads: “My dear Miss Pue/On the 8th I meet the/National Academicians at their/annual banquet in New York./I want to make a/little painting of your head.

Could/you come up tomorrow Tuesday/morning about 9 o’clock?/You might bring a dress/or two or short waist, that we may/ fix a pose. I will give you the/study but you must lend it to me/if I want it for exhibition purposes./Yours truly/Thomas Eakins.”

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16 JAMES ABBOTT MCNEILL WHISTLER (american 1834-1903) “READING BY LAMPLIGHT” 1858. The second (final) state. Pencil inscribed with title in the margin bottom center left, etching and drypoint on laid paper Plate size: 6 3/16 x 4 9/16 in. (15.7 x 11.6cm) Sheet size: 10 3/16 x 7 1/4 in. (25.9 x 18.4cm) [Kennedy 32] provenance: Private Collection, The United Kingdom. $1,000-1,500

Part lot 17 FRANK WESTON BENSON (american 1862–1951) “THE VISITOR” 1918. Edition of 150. Pencil signed in the margin bottom left; also numbered ‘28’ in the margin bottom right, etching on paper Plate size: 3 x 4 7/8 in. (7.5 x 12.3cm) Sheet size: 8 1/4 x 11 in. (21 x 28cm) [Paff 145] provenance: Robert Scott & Son, Dundee, The United Kingdom.

together with: “THE DUCK HUNTER” 1914. Edition of 50. Pencil signed in the margin bottom left; also numbered ‘48’ in the margin bottom right, etching on paper Plate size: 6 x 7 3/4 in (15.2 x 19.7cm) Sheet size: 11 3/8 x 13 11/16 in. (28.9 x 34.8cm) [Paff 27] (2) provenance: Private Collection, The United Kingdom. $2,000-2,500

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18 ROBERT HENRI (american 1865-1929) “NUDE STUDY” Signed ‘Robert Henri’ bottom center, ink, brown chalk and pencil heightened with white chalk on cream wove paper Sheet size: 19 x 12 1/8 in. (48.3 x 30.8cm) provenance: Newman Galleries, Philadelphia, Pennsylvania.

Private Collection, Delaware. $1,500-2,000

19 GEORGE LUKS (american 1867-1933) “LITTLE TOMMY” Signed ‘George Luks’ bottom left, oil on cradled panel 28 1/4 x 22 1/4 in. (71.8 x 56.5cm) provenance: Private Collection.

The Milch Galleries, New York, New York.

Coe Kerr Gallery, New York, New York.

Gifted from the above in 1979.

The Virginia Museum of Fine Arts, Richmond, Virginia. $6,000-10,000

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20 ALDRO THOMPSON HIBBARD (american 1886-1972) STREAM IN WINTER Signed ‘A.T. Hibbard N.A.’ bottom left, oil on canvas laid down to board 17 5/8 x 24 3/4 in. (44.8 x 62.9cm) provenance: Private Collection, Virginia. $3,000-5,000

21 EDWARD K. WILLIAMS (american 1870-1950) WINTER SCENE Signed ‘Edward K. Williams’ bottom left, oil on canvas 28 1/4 x 36 in. (71.8 x 91.4cm) provenance: Private Collection, Colorado. $5,000-8,000

22 WILLIAM SAMUEL HORTON (american 1865-1936) GSTAAD Oil on canvas 27 3/4 x 31 5/8 in. (70.5 x 80.3cm) provenance: The Estate of William S. Horton.

Galerie André, Paris (per label verso).

Hammer Galleries, New York.

Private Collection, Texas.

Taylor & Graham Gallery, New York, New York. note: Horton’s broad, thick and rich brushstrokes link him directly to French Impressionism. Like Claude Monet, who happened to be one of his close friends, Horton painted Gstaad several times throughout his career, and often multiple times a day in order to capture the changing light. $3,000-5,000

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23 ARTHUR CLIFTON GOODWIN (american 1866-1929) PARK STREET CHURCH, BOSTON Signed ‘A C Goodwin’ bottom left, oil on canvas 20 1/8 x 26 1/8 in. (51.1 x 66.4cm) provenance: Private Collection, Massachusetts. note: Arthur Clifton Goodwin was born in 1866 and lived in his native Boston until 1920, when he moved to New York to spend the last years of his life. An Impressionist painter, Goodwin is best known for his landscapes and city scenes, generally depicting the New England capital in all seasons.

The present piece captures the promenade of Park Street, at the entrance to Boston Common, the expansive public park in the center of the city and a frequent subject for the artist. The bell tower of historic Park Street Church bisects the background, the skyline lit by a golden pink glow. In Goodwin’s quick, fluid brushstrokes, the park is at its loveliest, awash with soft, romantic hues of blue, green, and pale pink. $8,000-12,000

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24 ANTONIO JACOBSEN (american/danish 1850–1921) “LA BOURGOGNE” Signed, dated and inscribed ‘A. Jacobsen 1888/705 Palisade Av. West Hoboken/N.J.’ bottom right, oil on canvas 22 1/8 x 36 1/8 in. (56.2 x 91.8cm) provenance: Private Collection, The United Kingdom. literature: Harold S. Sniffen, Antonio Jacobsen - The Checklist, New York, 1984, p. 177, no. 3 and 4. note: The steamer ‘La Bourgogne’ was put into service in 1886.

It was one of four liners of the Transatlantic General Company that connected Le Havre and New York. On July 2, 1898, ‘La Bourgogne’ left New York with more than 500 passengers and 200 crew members on board. Two days later, at 5:00am, it collided with a sailboat and sank.

More than 500 people perished at sea that day, making it the deadliest collision in the history of the Transatlantic General Company during peacetime. $5,000-8,000

25 ANTONIO JACOBSEN (american/danish 1850–1921) “LA BOURGOGNE” Signed, dated and inscribed ‘A. Jacobsen 1888/705 Palisade Av. West Hoboken/N.J.’ bottom right, oil on canvas 22 1/8 x 36 1/8 in. (56.2 x 91.8cm) provenance: Private Collection, The United Kingdom. literature: Harold S. Sniffen, Antonio Jacobsen - The Checklist, New York, 1984, p. 177, no. 3 and 4. $4,000-6,000

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26 ANTONIO JACOBSEN (american/danish 1850–1921) “GALILEO” Oil on canvas 22 x 36 in. (55.9 x 91.4cm) provenance: Private Collection, The United Kingdom. literature: Harold S. Sniffen, Antonio Jacobsen - The Checklist, New York, 1984, p. 129, no. 10-12. note: Launched on April 26, 1881, ‘Galileo’ was ordered by the Hull-based Wilson Line to connect New York via Boston. Although the ship was conceived as a cargo carrier, it also acommoded passengers, including Eastern European refugees who were seeking a new life in the United States. After twenty years of reliable service, Galileo was offered for sale in 1901. It was eventually scrapped at Genoa.

Harold Sniffen lists three oil portraits of this vessel.

Two of them measure 22 x 36 inches. Both unsigned, one is dated 1892 and the other 1895. $5,000-8,000

27 RICHARD HAYLEY LEVER (american 1876–1958) ‘ST. IVES” Signed and titled ‘Hayler Lever/St. Ives’ bottom right, oil on canvas laid down to board 13 1/2 x 14 in. (34.3 x 35.6cm) provenance: Private Collection, The United Kingdom. $2,000-3,000

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28 REGINALD MARSH (american 1898-1954) “BOWERY SCENE” Signed and dated ‘Reginald Marsh 45’ bottom center right, oil on Masonite 24 1/8 x 29 15/16 in. (61.3 x 76cm) provenance: Maxwell Galleries Ltd., San Francisco, California.

Frank K.M. Rehn Galleries, New York, New York.

Sid Deutsch Gallery Inc., New York, New York.

ACA Galleries, New York, New York.

Eaton Fine Art Inc., West Palm Beach, Florida.

Acquired directly from the above.

Private Collection, Florida.

note: The Bowery is a neighborhood located in a section of Lower Manhattan. Originally a group of Dutch farms, the area developed a rough reputation at the turn of the century, soon becoming a symbol of America’s Great Depression. By the 1940’s, when Reginald Marsh painted this scene, the neighborhood was New York City’s ‘Skid Row,’ the turf of several street gangs, and the home of prostitutes, immigrants and other blue-collar workers. It is no surprise that Marsh chose the Bowery as his subject because of his link with the Ashchan School, which promoted a journalistic approach to depicting daily life in New York’s poor neighborhoods. Marsh was particularly concerned with the exploitation of the millions of unemployed women in the nation, and enjoyed portraying them as independent figures.

Painted in 1945, ‘Bowery Scene’ depicts a solitary woman among a crowd of men, along what seems to be the Third Avenue El. This elevated railway ran above the Bowery from 1878 to 1955. The men, all dressed in black and cloaked in shadows, stare at the red-haired woman, who is at the center of the composition. As is often the case with Marsh, this scene depicts an attractive and confident woman. Dressed in an elegant red coat which subtly accentuates the curves of her body, she walks through the crowd with natural ease, a smile on her face and hands in her pockets. Carol Troyen, who authored Edward Hopper’s biography (Edward Hopper being Marsh’s close friend), said Marsh usually portrayed women, and especially women of the streets, “as goddesses, frequently in poses derived from classical statuary.” This statement is supported by our heroine’s elegant ‘contrapposto’ and the mythologically inspired nude studies on the reverse side of the Masonite. In comparison, the woman‘s admirers look pitiful. All seem tired, and lack energy and vibrancy. This contrast is Marsh’s way to illustrate, and maybe temper, the highly misogynist and male-dominated sexual culture of New York in the 1940’s. While men are seen as leering and lusty creatures, women are depicted as empowered figures who stand out in spite of their male counterparts. $70,000-100,000

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29 GUY CARLETON WIGGINS (american 1883-1962) “THE OLD AND NEW NEW YORK” Signed ‘Guy Wiggins. N.A.’ bottom left; also titled, signed and dated ‘Mar. 1956.’ verso, oil on canvas 24 1/4 x 36 1/8 in. (61.6 x 91.8cm) provenance: Grand Central Art Galleries, New York, New York.

Private Collection, New York, New York.

note: The son of an accomplished landscape painter, Impressionist Guy Carleton Wiggins was born in Brooklyn in 1883 and spent his early childhood in Cornwall, England. He first studied with his father, Carleton Wiggins, and later at the National Academy of Design under the tutelage of famed American painters Robert Henri and William Merritt Chase, both alumni of the Pennsylvania Academy of the Fine Arts. In 1903, at the early age of 20, Wiggins became the youngest American artist to have a work of his accepted into the Metropolitan Museum of Art’s permanent collection. He was also one of the youngest members of the Old Lyme art colony in Connecticut, named for the small town approximately 100 miles northeast of Manhattan, where Wiggins spent his summers. There, he painted alongside his father, as well as Childe Hassam, whose wholly American interpretation of classic French Impressionism closely resembled Wiggins’ own.

“The Old And New New York,” painted in 1956, just six years before the artist’s death, depicts the Plaza Hotel from the intersection of West 59th Street and 5th Avenue, looking south. The iconic landmark, dusted in snow, was a favorite subject for the artist, whose wintry New York scenes define his oeuvre. A line of horse-drawn carriages waits patiently, while the cars leave trails through the accumulating drift on the slick streets. Pedestrians move through the blustery blizzard that seems to permanently envelop the city in all of Wiggins’ representations of it. Their coats lift in the winter wind, mimicked in the movement of the flags flying above the Plaza’s entrance. The snow appears like delicate lace over the city skyline, at once blanketing the spires of churches and roofs of skyscrapers and swirling across the canvas. Despite the storm’s haze, “The Old and New New York” maintains a subtle lightness characteristic of Wiggins’ Impressionist style, which garnered him national acclaim throughout the first half of the 20th century. $50,000-80,000

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30 REGINALD MARSH (american 1898-1954) “LONG ISLAND CITY” Signed and dated ‘Reginald Marsh/1929’ bottom right; also titled bottom right, watercolor with traces of graphite on heavy paper Sheet size: 14 x 20 in. (35.6 x 50.8cm) provenance: Private Collection, State College, Pennsylvania. $1,000-1,500

32 MARTIN LEWIS (american 1881-1962) “UNDER THE STREETLAMP” 1928. Edition of 83 recorded impressions, pencil signed in the margin bottom right, etching on laid paper Image size: 14 7/8 x 9 7/8 in. (37.8 x 25.1cm) Sheet size: 18 1/2 x 11 1/2 in. (47 x 29.2cm) [McCarron 70] provenance: Private Collection, Maryland. exhibited: “Exhibition By Living American Etchers,” The National Arts Club, New York, New York, February 13-March 8, 1929. $5,000-8,000

31 BENTON MURDOCH SPRUANCE (american, 1904-1967) “THE PEOPLE WORK-NIGHT” 1937. Edition of 40. Pencil signed and dated ‘Spruance ‘35’ in the margin bottom right; also numbered ‘22/40’ in the margin bottom left and titled in the margin bottom center, lithograph on paper Image size: 15 5/8 x 18 15/16 in. (39.7 x 48.1cm) Sheet size: 16 x 22 7/8 in. (40.6 x 58.1cm) [Fine/Loofey 144] provenance: Private Collection, New Jersey. $2,000-3,000

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33 MILTON AVERY (american 1885-1965) “HEAD” 1955. Edition of 25. Pencil signed and dated ‘Milton Avery’ in the margin bottom right; also numbered ‘13/25’ bottom left and inscribed with title on bottom left of sheet, color woodcut on Japan paper Image size: 12 x 9 9/16 in. (30.5 x 24.3cm) Sheet size (uneven): 18 x 12 1/8 in. (45.7 x 30.8cm) [Lunn 59] provenance: Collection of Richard Price (per label verso).

Private Collection, Pennsylvania. $1,500-2,500

34 MILTON AVERY (american 1885–1965) NUDE KNEELING ON A CHAIR Pencil signed ‘Milton Avery’ bottom right; also signed with artist’s cipher upper right, ink on paper Sheet size: 16 5/8 x 13 15/16 in. (42.2 x 35.4cm) provenance: The Wright Gallery.

Private Collection, New Jersey. $2,000-3,000

35 MILTON AVERY (american 1885–1965) THREE NUDES Pencil signed ‘Milton Avery’ bottom left, ink on paper Sheet size: 14 x 16 5/8 in. (35.6 x 42.2cm) provenance: The Wright Gallery.

Private Collection, New Jersey. $2,000-3,000

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36 ALFRED HENRY MAURER (american 1868-1932) “PORTRAIT OF A GIRL” Pencil signed ‘A.H. Maurer’ upper right, watercolor, gouache and charcoal on laid paper Executed circa 1920.

Sheet size: 21 5/8 x 18 1/8 in. (54.9 x 46cm)

provenance: Collection of Ione & Hudson Walker.

Extended loan to The University Gallery, University of Minnesota, Minneapolis, Minnesota.

Babcock Galleries, New York, New York.

Kraushaar Galleries, New York, New York.

Collection of James A. McGirr & Dr. Charles Lothridge, Bucks County, Pennsylvania. exhibited: “To Be Modern: American Encounters with Cézanne & Co.,” Pennsylvania Academy of the Fine Arts, Philadelphia, June 15-September 29, 1996.

“The Stieglitz Circle and Beyond: Early American Modernists,” The Gerald Peters Gallery, Santa Fe, New Mexico, July 11-August 18, 1997. $6,000-10,000

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37 WALT KUHN (american 1877-1949) “THE TUMBLER” Signed and dated ‘Walt Kuhn/1927’ bottom left; also inscribed with title in the margin bottom center left, watercolor and gouache over traces of pencil Image size: 18 1/2 x 12 9/16 in. (47 x 31.9cm) Sheet size: 22 x 15 1/8 in. (55.9 x 38.4cm) provenance: Kennedy Galleries, New York, New York.

Salander-O’Reilly Galleries Inc., New York, New York.

Barridoff Galleries, Portland, Maine, sale of August 7, 1996, lot 173.

Sotheby’s, New York, sale of September 24, 2008, lot 12.

Acquired directly from the above sale.

Private Collection, Massachusetts. exhibited: “Arts of the Circus,” San Francisco Museum of Art, Spring 1942.

“Walt Kuhn,” Kennedy Galleries, New York, New York, December 3-31, 1968, no. 9. note: While a prolific painter, cartoonist, and printmaker, Kuhn is perhaps most widely recognized for his intimate, evocative portraits of circus performers. A devoted attendee to the Ringling Brothers, Barnun and Bailey Circus, Kuhn used real circus and vaudeville performers as his models. Removed from their normal performance environment and painted against dark-hued backgrounds, the figures take on a haunting and solitary air, stripped of the joyful pretense each would have adopted to entertain crowds. The subjects are painted wearing their costumes, as well as solemn, penetrating expressions, the normally cheerful ruffled collars and stage makeup appear somewhat sinister in Kuhn’s hand.

Executed in 1927, “The Tumbler” depicts the young performer dressed in a pale blue leotard with an ochre sash tied around his waist. Like most of Kuhn’s male subjects, the present acrobat stands with his arms crossed, a pose at once casual and defensive. The painting and the larger series to which it belongs, while representative of Kuhn’s bold, modernist style, includes a certain historical nod to the commedia dell’arte portraits by classic French artists centuries before.

Proceeds from the sale of this lot will be donated to Groton School in Groton, Massachusetts. $20,000-30,000

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38 JOSEPH STELLA (american 1877–1946) “SYREN” Signed ‘J. Stella’ bottom right; also inscribed with artist and title verso, oil on canvas 16 x 20 1/8 in. (40.6 x 51.1cm) provenance: The Artist.

The Artist’s nephew.

By descent in the family. note: Modern interpretations have transformed mythological sirens from birds to mermaids, and finally to nude, ethereal women with long hair.

Stripped of their traditional chimerical characteristics such as wings and fins that would have once been an obvious sign of danger, the sirens of 19th and 20th century paintings are perhaps more dangerous for their entirely human appearance.

It is this version of the siren that Stella has chosen for the present piece, stylizing both the spelling and visual representation in his own unique hand. Women and flowers in the water was a theme the artist returned to with some regularity over his career. Cradled in an open seashell, the “Syren” has long, flowing hair which obscures the rest of her body, revealing only the white flesh of her arched neck. Her skin is given a diaphanous pallor, her face matched in shape and color by the petals of the water lily arcing over the scene. Stella uses three wide, flattened bands of color in varying shades of blue to define the sky and the depths of the water. The thin smile on the face of the “Syren” face is both alluring and foreboding in its implied softness, and the position the artist chose for her head was no doubt intended to lure the viewer closer to the canvas, an enticement by brushstroke rather than song. $12,000-18,000

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39 JOSEPH STELLA (american 1877–1946) WHITE ROSE AND PINK GLADIOLI Oil on canvas 14 3/16 x 8 1/2 in. (36 x 21.6cm) Unframed. provenance: The Artist.

The Artist’s nephew.

By descent in the family. $2,000-3,000

40 JOSEPH STELLA (american 1877–1946) THE RED ROOF - ITALIAN VALLEY Signed ‘Joseph Stella’ bottom center, oil on canvas 7 13/16 x 14 3/4 in. (19.8 x 37.5cm) Unframed. provenance: The Artist.

The Artist’s nephew.

By descent in the family. $2,000-3,000

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41 JOSEPH STELLA (american 1877–1946) FRUITS IN A BASKET Signed ‘Joseph Stella’ bottom center right, color crayon and pencil on paper Sheet size: 8 3/4 x 12 in. (22.2 x 30.5cm) Unframed. provenance: The Artist.

The Artist’s nephew.

By descent in the family. $1,500-2,500

42 JOSEPH STELLA (american 1877–1946) STILL LIFE WITH LIMES Watercolor heightened with gouache on paper laid down to board Sheet size: 9 1/8 x 12 7/8 in. (23.2 x 32.7cm) Unframed. provenance: The Artist.

The Artist’s nephew.

By descent in the family. $2,000-3,000

43 JOSEPH STELLA (american 1877–1946) THE ROSE Signed ‘Joseph Stella’ bottom center right, color crayon over traces of pencil on card Sheet size: 10 3/4 x 12 in. (27.3 x 30.5cm) Unframed. provenance: The Artist.

The Artist’s nephew.

By descent in the family. $1,500-2,500

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44 JOSEPH STELLA (american 1877–1946) “TREE FORM” Signed (twice) ‘Joseph Stella’ bottom right, watercolor and gouache over traces of pencil on paper laid down to board Sheet size: 40 7/8 x 27 7/8 in. (103.8 x 70.8cm) provenance: Richard York Gallery, New York, New York.

William Vareika Fine Arts Ltd., Newport, Rhode Island.

Hirschl & Adler Galleries, Inc., New York, New York.

Private Collection, Delaware. note: Though Italian-born, Joseph Stella is considered one of the great American Modernists, and is widely credited with bringing Futurism to the United States. Best known for his depictions of the Brooklyn Bridge, Stella rose to prominence following the 1913 Armory Show. Upon his arrival to New York in 1896, he studied as a draftsman at the Art Students League under William Merritt Chase. Stella traveled extensively throughout his career, returning often to his native Muro Lucano in southern Italy, and incorporating into his work inspiration gathered at each new - or familiar locale before filtering it through his own distinct perspective. In the late 1920’s, after his travels to the West Indies and Africa, Stella embarked on a series of works on paper featuring colorful flowers, birds, and still-lifes, a departure from the solidly linear man-made structures with which his work had become synonymous to that point.

While continuing his foray into the natural landscape, “Tree Form” retains the sense of geometry present in the Precisionist and Futurist cityscapes Stella produced of Lower Manhattan.

His dynamic use of scale renders the winding tree trunk an imposing force. He employs a dramatically darkened color palate, making the present piece a skillful combination of his earlier work and the more experimental, exotic nature themes developed through his Caribbean voyages.

The landscape is sliced through with fragmented earth tones, the shapes of each demarcated region drawing the eye in at every turn. “Tree Form” is as alive as its subject, with an urgency and power that highlights Stella’s background as a draftsman and his capacity as a colorist. $30,000-50,000

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45 CHARLES EPHRAIM BURCHFIELD (american 1893-1967) “GRAY SKY” Pencil signed ‘Chas Burchfield’ bottom right, watercolor over traces of graphite heightened with white gouache on heavy paper Executed circa 1920.

Sheet size: 19 1/8 x 26 7/8 in. (48.6 x 68.3cm) provenance: Kennedy Galleries, New York, New York.

Collection of Joan O. Stern (per label verso).

ACA Galleries, New York, New York.

Kraushaar Galleries, New York, New York.

Private Collection, Maryland. exhibited: “Charles E. Burchfield at Kennedy Galleries: The Early Years, 1915-1929,” Kennedy Galleries, New York, New York, October 13-November 12, 1977, no. 33 (illustrated in the exhibition catalogue).

“The Early Works of Charles E. Burchfield 1915-1921,” The Columbus Museum of Art, Columbus, Ohio, December 13, 1987-February 7, 1988, no. 76 (illustrated in the exhibition catalogue). $10,000-15,000

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46 CHARLES EPHRAIM BURCHFIELD (american 1893-1967) “THE YELLOW BANK” Signed with artist’s monogram and dated ‘1939’ bottom right; also inscribed ‘April 17, 1939/(North of Otto-Springville-Otto RD)’ verso, watercolor on board Sheet size: 18 x 25 in. (45.7 x 63.5cm) provenance: The Artist.

Gifted from the above.

Mr. and Mrs. Norris Rahming, Gambier, Ohio.

By descent in the family.

Private Collection.

Sotheby’s, New York, sale of December 4, 2002, lot 92.

Acquired directly from the above sale.

Jeffrey M. Kaplan, Washington, D.C. literature: Joseph S. Trovato, Charles Burchfield: Catalogue of Paintings in Public and Private Collections, Utica: Munson-Williams-Proctor Institute, 1970, no. 921. $7,000-10,000

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47 THOMAS HART BENTON (american 1889-1975) “GENERAL CUSTER’S LAST STAND” Pencil signed ‘Benton’ bottom right, graphite on paper Executed circa 1943.

Sheet size: 8 3/8 x 11 in. (21.3 x 27.9cm) provenance: Collection of Richard A. Russell, Pennsylvania.

Private Collection, Pennsylvania.

exhibited: “Under the influence: the students of Thomas Hart Benton,” The Albrecht-Kemper Museum of Art, Saint Joseph, Missouri, 1993.

note: This drawing serves as the original compositional sketch for Thomas Benton’s “Custer’s Last Stand,” a painting originally owned by Richard A. Russell and now located in the AlbrechtKemper Museum of Art in Saint Joseph, Missouri. As a young boy living in Neosho, Missouri, Benton became fascinated with a popular lithograph of General Custer’s last battle in 1876, originally published by Anheuser-Busch. The print stuck with Benton, who decided to produce a large composition based on the subject in 1943. In this sketch, the figures form a compact and agitated group. Benton is able to convey the tension of Custer’s final combat against the Sioux and the Northern Cheyenne warriors through his spirited pencil strokes. The General is alone in the middle, surrounded on all sides he throws up his hands as a last-ditch effort before his death.

The present drawing will be accompanied by a letter from the artist dated January 14, 1948. $5,000-8,000

48 THOMAS HART BENTON (american 1889-1975) “JESSIE AND JAKE” 1942. Edition of 250. Pencil signed in the margin bottom right, lithograph on paper Image size: 9 7/8 x 13 3/8 in. (25.1 x 34cm) Sheet size: 13 5/16 x 9 15/16 in. (33.8 x 25.2cm) Associated American Artists, publisher.

[Fath 55] provenance: Private Collection, Philadelphia, Pennsylvania. note: The present lot is based on a painting originally completed by the artist in 1941, which featured his three-year-old daughter Jessie, and the family dog, Jake.

Jessie portrayed the classic fairy tale character of Little Red Riding Hood, and her dog impersonated the wooded wolf. The area depicted in the scene was Benton’s wood lot in Martha’s Vineyard. It shows a path leading to his mother’s house. $1,500-2,500

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49 KENNETH HAYES MILLER (american 1876-1952) “PLAY” Signed and dated ‘Hayes Miller ‘18’ bottom center left, oil on canvas 26 1/4 x 30 1/2 in. (66.7 x 77.5cm) provenance: Collection of Mrs. Thelma Cudlipp Whitman.

Gifted from the above in 1937.

The Virginia Museum of Fine Arts, Richmond, Virginia. exhibited: “Kenneth Hayes Miller: A Memorial Exhibition,” The National Academy of Design, New York, September 23-October 11, 1953, no. 17. literature: Lincoln Rothschild, To Keep Art Alive: The Effort of Kenneth Hayes Miller, American Painter (1876-1952), The Art Alliance Press, Philadelphia, 1964, fig. 19 (illustrated). $4,000-6,000

51 LEON KROLL (american 1884–1975) THE ROAD TO THE CASTLE Signed and dated illegibly ‘Kroll 190*’ bottom right, oil on canvas 32 x 26 in. (81.3 x 66cm) provenance: Private Collection, Florida. $3,000-5,000

50 JACK LEVINE (american 1915-2010) “THE JUDGEMENT OF PARIS” Signed ‘J. Levine’ bottom right; oil on canvas laid down to board 8 x 9 7/18 in. (20.3 x 23.8cm) provenance: Downtown Gallery, New York, New York.

Private Collection, Massachusetts. $1,000-1,500

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52 HENRY MERWIN SHRADY (american 1871-1922) STANDING HORSE Signed ‘H.M. SHRADY’ on base; also with ‘Roman Bronze Works N.Y.’ foundry mark, bronze with brown patina Height (including base): 18 1/4 in. (46.4cm) provenance: Private Collection, Pennsylvania. $5,000-8,000

53 ROBERT TAIT MCKENZIE (canadian 1867–1938) THE BOY SCOUT Signed and dated ‘©/R. Tait Mckenzie/1915’ on base; also numbered ‘6’ and inscribed ‘Orlando Crease, Jr.’ along the base; also with “Roman Bronze Works N.Y.’ foundry mark, bronze with greenish-brown patina Height (including base): 17 in. (43.1cm) provenance: Private Collection, Georgia. note: In 1915, Dr. Robert Tait McKenzie, then a member of the executive board of the Boy Scouts organization in Philadelphia, presented the council with a small bronze figure of a boy scout. In 1937, he created a life-size version titled “The Ideal Scout,” which stood in front of the Cradle of Liberty Council in Philadelphia until 2013. $3,000-5,000

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54 ALEXANDER PHIMISTER PROCTOR (american 1860-1950) BUFFALO With artist ‘Alexander Phimister Proctor’ on plaque on back of base, bronze with greenish-brown patina Height (including base): 12 in. (30.5cm) provenance: Private Collection, Wyoming. note: By the end of the 1800’s, because natural resources and native wildlife namely, the American buffalo - had become heavily depleted, the United States government declared the Western frontier closed. Nevertheless, the buffalo had already become a popular emblem and visual representation of the nostalgic American West. Around the same time, at the opposite end of the country, Washington, D.C.’s Fine Art Commission selected Alexander Phimister Proctor to create a large scale sculpture of a buffalo for a planned bridge in the city’s downtown area. The present lot is very likely an early working model of the final sculpture. That monumental work, along with three other Buffalo sculptures by Proctor, adorn the bridge, now known as Dumbarton Bridge. $30,000-50,000

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55 ELLING WILLIAM GOLLINGS (american 1878-1932) “THE FEAR OF THE GREAT SPIRIT” Signed and dated ‘Gollings 1912’ with artist’s cipher bottom center right; also inscribed with title verso, oil on canvas 24 1/8 x 34 1/8 in. (61.3 x 86.7cm) provenance: The Artist.

Acquired directly from the above.

By descent in the family.

Private Collection, New Jersey.

note: Elling William Gollings spent the beginning of his adult life traveling through the Midwestern United States. He immersed himself in the expansive landscapes of South Dakota, Montana, and Wyoming, capturing the waning years of the storied Old West in his numerous depictions of Native Americans and cowboys. Gollings arrived in South Dakota in 1896. Much like the artist Charles M. Russell, who was also enchanted by the disappearing saga of the wild American west, Gollings’ work harkens back to the folkloric narrative of the heyday of the Old West: bucking broncos and the fabled cowboys and Native Americans who indeed lived amidst the scrubby, unchartered mountainous terrain. “The Fear of the Great Spirit” was completed in 1912, and demonstrates the artist’s intimate knowledge of the techniques and quotidian livelihoods of the actual inhabitants in the remote, sprawling reaches of the country.

In 1930, Gollings took an inventory of all his studio paintings and decided, foolhardily, to destroy those he was not fond of, with the intention of redoing them based upon his improved painting skills from years of practice. After his death, many of the remaining paintings were stored in Gollings’ studio before being inventoried by his estate’s executors. The present lot was designated #47 of this inventory and was originally sold at an estate auction for $60.00. “The Fear of the Great Spirit” has been kept in the same family since its initial purchase, and is fresh to market after quite some time.

We wish to thank Mr. Gary L. Temple for his kind assistance in cataloguing this lot. Mr. Temple owns and operates The Meadowlark Gallery in Joliet, Montana. $50,000-80,000

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56 ELLING WILLIAM GOLLINGS (american 1878-1932) “A GO GETTER” Pencil signed ‘Gollings’ with artist’s cipher in the margin bottom right; also inscribed with title in the margin bottom left, etching on wove paper Image size: 13 7/8 x 9 7/8 in. (35.2 x 25.1cm) Sheet size: 17 7/8 x 12 1/8 in. (45.4 x 31cm) provenance: The Artist.

Acquired directly from the above.

By descent in the family.

Private Collection, New Jersey. $2,000-3,000

Part lot

57 ELLING WILLIAM GOLLINGS (american 1878-1932) “THE REMUDA” 1929. Pencil signed ‘Gollings’ with artist’s cipher in the margin bottom right; also inscribed with title in the margin bottom left, etching on laid paper Image size: 8 3/4 x 5 7/8 in. (22.2 x 14.9cm) Sheet size: 11 3/8 x 9 1/8 in. (28.9 x 23.2cm) provenance: The Artist.

Acquired directly from the above.

By descent in the family.

Private Collection, New Jersey. $1,000-1,500

58 ELLING WILLIAM GOLLINGS (american 1878-1932) “FLY TIME” 1928. Pencil signed and dated ‘E.W Gollings’ with artist’s cipher in the margin bottom right; also inscribed with title in the margin bottom left, etching on laid paper Image size: 6 7/8 x 10 11/16 in. (17.5 x 27.1cm) Sheet size: 9 1/16 x 13 7/16 in. (23 x 34.1cm) together with: “DRIFTING” 1927. Pencil signed and dated ‘E.W. Gollings’ in the margin bottom right; also inscribed with title in the margin bottom left, etching on wove paper Image size: 8 1/4 x 12 11/16 in. (30 x 32.2cm) Sheet size: 11 11/16 x 16 5/16 in. (29.7 x 41.4cm)

41

together with: “PACKING” 1927. Pencil signed and dated ‘E.W. Gollings’ with artist’s cipher in the margin bottom right; also inscribed with title in the margin bottom left, etching on laid paper Image size: 7 7/8 x 10 13/16 in. (20 x 35.1cm) Sheet size: 12 x 15 in. (30.5 x 38.1cm) together with: COWBOY ON THE RANGE Pencil signed ‘Gollings’ with artist’s cipher in the margin bottom right, etching on laid paper Image size: 4 7/8 x 3 7/8 in. (12.4 x 9.8cm) Sheet size: 8 3/4 x 7 1/8 in. (22.2 x 18.1cm) (4) provenance: The Artist.

Acquired directly from the above.

By descent in the family.

Private Collection, New Jersey. $2,000-3,000

59 WILLIAM HENRY DETHLEF KOERNER (american 1878–1938) “THE RIDER FROM RIMROCK RIDGE” Signed ‘W.H.D.K’ bottom center right; also inscribed with title verso, oil on board 34 1/8 x 27 1/8 in. (86.7 x 68.9cm)

provenance: The Estate of the Artist.

Fenn Galleries Ltd., Santa Fe, New Mexico.

Private Collection, Rhode Island. literature: Edmund Ware, “On the Road to Jericho’s,” American Magazine, no. 107, January 1929, p. 37 (illustrated). $7,000-10,000

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60 JONAS LIE (american/norwegian 1880-1940) THE QUIET COVE Signed ‘Jonas Lie’ bottom right, oil on canvas 26 1/16 x 35 15/16 in. (66.2 x 91.3cm) provenance: Private Collection, Minnesota. note: Though embraced as a thoroughly American Impressionist, Jonas Lie was born in 1880 in Moss, Norway, just south of Oslo. Upon his father’s death in 1892, Lie was sent to Paris where he attended a private art school. He joined his mother in New York City the next year, eventually settling in Plainfield, New Jersey. After attending the National Academy of Design, and studying at both the Art Students League of New York and Cooper Union, Lie traveled abroad, making stops in his native Norway as well as Paris. It was there, in 1906, that Lie embraced Impressionism, inspired by Monet’s signature faculty with light and color, which helped define the movement.

His profound influence can be seen in Lie’s sparkling seascapes, painted along the New England coast and the harbors around New York. $7,000-10,000

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61 JONAS LIE (american/norwegian 1880-1940) “FAGERNES JULI 1910” Signed ‘Jonas Lie’ bottom right; also titled bottom right, il on panel 10 5/16 x 13 3/4 in. (26.2 x 34.9cm) provenance: The Paris American Art Company, Paris, France.

Private Collection, Norway.

Christiania Auksjoner, Oslo, sale of April 27, 2017, lot 730.

Acquired directly from the above sale.

Private Collection, Minnesota. $1,500-2,500

62 JONAS LIE (american/norwegian 1880-1940) RAPIDS Signed ‘Jonas Lie’ bottom left, oil on canvas 31 1/2 x 37 1/2 in. (80 x 95.3cm) provenance: Private Collection, Minnesota. $2,500-4,000

63 SAM HYDE HARRIS (american 1889-1977) “DESERT SOLITUDE” Signed ‘Sam Hyde Harris’ bottom right; also signed and inscribed with title on stretcher verso, oil on canvas 22 x 28 1/8 in. (55.8 x 71.4cm) provenance: Private Collection, Washington D.C. exhibited: “Annual Exhibition,” Santa Paula Chamber of Commerce, Santa Paula, California, n.d.

The Laguna Beach Art Association, Laguna Beach, California, October-November 1953. literature: Desert Magazine Art Gallery, Palm Desert, California, no. 311. $4,000-6,000

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64 EDMUND WILLIAM GREACEN (american 1876-1949) “FLOWER STUDY” Signed ‘Edmund Greacen’ bottom right, oil on canvas laid down to board 10 x 8 in. (25.7 x 20.6cm) provenance: Private Collection, New Jersey. exhibited: “Salmagundi Club New York Thumb Box Exhibition & Sale,” Salmagundi Club, New York, New York, 1939. $2,000-3,000

65 EDMUND WILLIAM GREACEN (american 1876-1949) “VOSGES” Signed, dated and titled ‘Edmund Greacen/1918’ bottom right, oil on canvas 9 x 11 in. (22.9 x 27.9cm) provenance: Private Collection, New Jersey. $1,000-1,500

66 LAURA COOMBS HILLS (american 1859-1952) “PRIMROSES” Signed ‘Laura Hills’ upper left; also inscribed with title verso, pastel on board 11 x 9 1/2 in. (27.9 x 24.1cm) provenance: Private Collection, Pennsylvania. $2,000-3,000

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67 ADOLPH ROBERT SCHUTZ (american 1869-1963) “AUTUMN TAPESTRY” Signed ‘Adolph Robert Schutz’ bottom left; also inscribed with artist and title on upper stretcher verso, oil on canvas 30 x 36 in. (76.2 x 91.4cm) provenance: Private Collection, Pennsylvania. $3,000-5,000

68 CHARLES MORRIS YOUNG (american 1869–1964) “MIDSUMMER” Signed and dated ‘C. Morris Young/1897’ bottom right; also inscribed with title on label verso, oil on canvas 22 1/8 x 36 in. (56.2 x 91.4cm) provenance: Private Collection, Pennsylvania.

Freeman’s, Philadelphia, sale of December 5, 2004, Lot 141.

Acquired directly from the above sale.

Private Collection, Rhode Island. $2,000-3,000

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69 CARL WUERMER (american 1900-1981) “VALLEY IN WINTER” Signed ‘ Carl Wuermer’ bottom right, oil on canvas 20 1/8 x 24 1/4 in. (51.1 x 61.6cm) provenance: Grand Central Art Galleries, New York, New York.

Private Collection, New York, New York. $3,000-5,000

70 FRANCIS LEE JAQUES (american 1887-1969) GEESE IN FLIGHT Signed ‘F.L. Jaques’ bottom right, oil on canvas 30 x 42 in. (76.2 x 106.7cm) provenance: Private Collection, Nebraska. $5,000-8,000

71 ROBERT WOOD (american 1889-1979 “OCEAN BREEZE” Signed ‘Robert Wood’ bottom right; also titled and with the ‘Reproduction Rights’ rubber stamp verso, oil on canvas 23 7/8 x 48 1/8 in. (69.5 x 122.2cm) provenance: Newman Galleries, Philadelphia, Pennsylvania. $4,000-6,000

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72 JOSEPH MCGURL (american b. 1958) VINALHAVEN, MAINE Signed ‘Joseph McGurl’ bottom right, oil on panel 24 x 24 in. (61 x 61cm) provenance: Private Collection, Massachusetts. $4,000-6,000

73 LEONARD OCHTMAN (american 1854–1935) “THE UPLAND TRAIL” Signed ‘Leonard Ochtman’ bottom left; also countersigned ‘Leonard Ochtman Jr.’ bottom left, oil on panel Executed in 1924.

15 7/8 x 11 3/8 in. (40.3 x 28.9cm) provenance: Florence Lewison Gallery, New York, New York.

Private Collection, Connecticut. exhibited: “Leonard Ochtman,” Florence Lewison Gallery, New York, New York, 1963 and 1964, no. 17. and no. 23. $1,500-2,500

74 SIGURD SKOU (american 1875-1929) ROCKY SHORE Signed ‘Sigurd Skou’ bottom left, oil on board 30 x 35 3/4 in. (76.2 x 90.8cm) provenance: Private Collection, New Jersey. $2,000-3,000

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75 DAVID WU JECT-KEY (american/chinese 1890-1968) “GLOUCESTER WHARF” Signed ‘D. Wu Ject-Key’ and again in Mandarin bottom left; also titled verso, including in Mandarin, oil on canvas 20 1/8 x 30 1/4 in. (51.1 x 76.8cm) provenance: Grand Central Art Galleries, New York, New York.

Private Collection, New York, New York. $8,000-12,000

76 EMILE ALBERT GRUPPE (american 1896-1978) AT THE DOCK Signed ‘Emile A. Gruppe’ bottom right, oil on canvas 20 x 24 in. (50.8 x 61cm) provenance: Private Collection, Virginia. $5,000-8,000

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77 DAVID DAVIDOVICH BURLIUK (american/ukrainian 1882-1967) THE ARTIST AT HIS EASEL Signed and dated ‘Burliuk/1966’ bottom right; also inscribed ‘PA/1965 Stroudsburg.’ bottom right, oil on canvas 23 15/16 x 18 3/4 in. (60.8 x 47.6cm) provenance: Private Collection, New York, New York. $3,000-5,000

78 DONG KINGMAN (american 1911-2000) “PICCADILLY CIRCUS” Signed ‘Kingman’ bottom right; also dated ‘Sept 12. Sunday. 54’ bottom left, watercolor and ink on wove paper Sheet size: 15 5/8 x 22 11/16 in. (39.7 x 57.6cm) provenance: Midtown Galleries, New York, New York.

Collection of James A. McGirr & Dr. Charles Lothridge, Bucks County, Pennsylvania. $1,000-1,500

79 PAUL RESIKA (american b. 1928) “HOUSE IN CLIFF” Signed ‘Resika’ bottom right, oil on canvas 23 1/2 x 31 7/8 in. (59.7 x 81cm) Executed in 1982. provenance: Graham Gallery, New York, New York.

Private Collection, Connecticut. $2,000-3,000

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80 FRANK EARLE SCHOONOVER (american 1877-1972) “MONROE HELLER HOME” Signed and inscribed ‘Frank E. Schoonover/B. Sep. 1947’ bottom right and dated ‘’47’ bottom right corner; also inscribed with title, located ‘Pike Co./Bushkill, PA’ and dated ‘September 1947’ verso, oil on canvas 21 1/4 x 28 in. (54 x 71.1cm) provenance: The Artist.

Acquired directly from the above (per copy of page of Artist’s Daybook attached verso).

Private Collection, Delaware. literature: John R. Schoonover, Louise Schoonover Smith, and LeeAnn Dean, Frank E. Schoonover: Catalogue Raisonné, Newcastle, Oak Knoll Books & Press: 2009, no. 2416. $5,000-8,000

81 ANDREW WYETH (american 1917–2009) “LETTER TO RICHARD CARR” Dated ‘Oct 14, 1983’ upper left; also signed ‘Andrew’ bottom right verso and dedicated: ‘Dear Dick/Came back to the Lighthouse/on Southern Island the other day/and found this: full moose in/our front yard!! What a/sight. I was able to make/a couple of pencil drawings/which might be useful/for some future painting./He swam onto the island while/we were away and a fisherman/friend of mine saw him/late in the morning, swimming/off to another island. This/place is certainly wild./It was good to hear from/you, and to hear you are/well./We will be coming back/to Chadds Ford about November/first./Look forward to/ seeing you./Warmest wishes to your/lady and yourself.’, watercolor on paper Sheet size: 11 x 8 1/2 in. (27.9 x 21.6cm) provenance: The Artist.

Collection of Richard Carr, Pennsylvania.

Private Collection, Pennsylvania. note: The present work was executed in 1983, while the artist was on Southern Island, Maine. The letter describes the artist’s encounter with a moose, which appeared unexpectedly on an island off the coast of Tenans Harbor. The artist felt the occasion worthy of capturing it in a letter to his friend Richard (Dick) Carr, who helped him in his Chadds Ford studio as an assistant. Wyeth’s wife, Betsy, purchased Southern Island in 1978. It quickly became the subject of many paintings. In the early 1990’s, the island was transferred to the artist’s son, Jamie.

The present painting is to be included in the forthcoming catalogue raisonné of the artist’s work. $3,000-5,000

Detail

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82 DAVID A. LEFFEL (american b. 1931) “SELF-PORTRAIT” Signed and dated ‘Dal/68’ bottom right, oil on canvas 42 1/8 x 33 3/16 in. (107 x 84.3cm) provenance: The Estate of Walter McDaniel, Pennsylvania. exhibited: “Rendezvous,” The Gilcrease Museum, Tulsa, Oklahoma, April 28-July 9, 1995. literature: David A. Leffel, Self-Portraits: A Visual Journey of Insight, Bright Light Publishing, El Prado N.M., 2009, p. 82 (illustrated).

note: This self-portrait was completed at a time when David Leffel had difficulty finishing paintings and was considering giving up. The artist vividly recalls the genesis of this painting: “One day my eye, casting around the studio in desperation seeking any kind of succor, happened on this painting. I had started it some time before and had abandoned it, when, once again, my interest in painting had waned. Regarding it almost as a swan song, I thought to go out in a blaze of desperation - I would put as much paint on the canvas as I could: gobs and slathers of it. Almost before I had time to take in what was happening, I was having great fun. I was using paint in a new way with more paint than even before, and it had triggered a breakthrough. I could not get enough paint on the canvas. The joy had returned -I didn’t have to get a job! I was manipulating paint and making it stand for skin and hair and scarf; it was as though I had a magic brush in my hand. I felt I reached a new plateau.” $6,000-10,000

52

83 DAVID A. LEFFEL (american b. 1931) “ORANGES, PECANS AND COPPER” Signed ‘Dal’ upper right; also signed and inscribed with title on bottom stretcher verso, oil on canvas 18 1/4 x 24 1/4 in. (46.4 x 61.6cm) provenance: Kenmore Galleries Inc., Philadelphia, Pennsylvania.

The Estate of Walter McDaniel, Pennsylvania. $2,000-3,000

84 DAVID A. LEFFEL (american b. 1931) “ARRANGEMENT WITH BROWN EGGS” Signed ‘Dal’ bottom right; also signed and titled verso, oil on panel 13 x 11 1/8 in. (33 x 28.3cm) provenance: Kenmore Galleries Inc., Philadelphia, Pennsylvania.

The Estate of Walter McDaniel, Pennsylvania. $2,000-3,000

85 DAVID A. LEFFEL (american b. 1931) “TEXTURES” (STUDIO DEBRIS) Signed and dated ‘Dal/66’ bottom left; also signed, titled (twice) and dated verso, oil on panel 13 x 20 in. (33 x 50.8cm) provenance: Kenmore Galleries Inc., Philadelphia, Pennsylvania.

The Estate of Walter McDaniel, Pennsylvania. exhibited: “Rendezvous,” The Gilcrease Museum, Tulsa, Oklahoma, April 28-July 9, 1995 (exhibited as “Studio Debris”). literature: Linda Cateura and David A. Leffel, Oil Painting Secrets From a Master, Watson-Guptill Publications, New York, 1995, p. 24-25 (illustrated). $2,000-3,000

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U

NESCO proclaimed 1979 the ‘International Year of the Child’, to raise global awareness about the problems faced by children worldwide, including a lack of access to food and education. In January of

that year, then-First Lady Rosalynn Carter held the first National ‘Reading is Fun’ Day in conjunction with Reading is Fundamental, Inc., whose mission still today is to foster a culture of literacy for children and families nationwide. Sendak was commissioned to create an original illustration to mark the occasion, a natural extension of the artist and author’s “passion for books and bookmaking.” “Reading is Fun!” was incorporated into a large poster celebrating the joy of reading, with the title of both the illustration and cause at the bottom.

This watercolor depicts the characters of “Where the Wild Things Are,” all well-known and easily recognizable, even sixteen years after the book’s publication. The young boy, Max, reads a copy of the of the book in which he appears, while two of the titular “wild things,” Moishe and Bernard, are ready to devour a stack of tomes, including Randolph Caldecott’s Picture Books (the nineteenth-century illustrator for whom the award is named), Grimm’s Fairy Tales, and a book of nursery rhymes, all celebrated and iconic children’s books. There is marked tone of whimsy in the work. Each subject, including the smiling crescent moon, delights in a book, echoing and inspiring the sentiments of the piece’s title.

86 MAURICE SENDAK (american 1928–2012) “READING IS FUN!” Signed and dated ‘Maurice Sendak/’79’ bottom right, watercolor and gouache on paper Image size: 20 3/4 x 17 13/16 in. (52.7 x 45.2cm) Sheet size: 24 5/8 x 21 3/8 in. (62.5 x 54.3cm) provenance: Private Collection, Maryland. literature: Maurice Sendak, Posters by Maurice Sendak, New York, 1986, p. 5 (illustrated, on back cover as well). $40,000-60,000

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87 HENRY MARTIN GASSER (american 1909–1981) “MONTPARNASSE CORNER SHOP” Signed and located ‘H. Gasser/Paris’ bottom left; also inscribed with title and artist verso, watercolor on paper laid down to board Sheet size: 20 7/8 x 10 3/8 in. (53 x 26.4cm) together with: “THE SPANISH ORGAN GRINDER” Signed and located ‘H. Gasser/Spain’ bottom right; also inscribed with title and artist verso, watercolor on paper laid down to board Sheet size: 20 7/8 x 10 3/4 in. (53 x 27.3cm) (2) provenance: Private Collection, New York, New York. $1,500-2,500

89 LEE GATCH (american 1902-1968) “THE GREENHOUSE” Signed ‘Gatch’ center right; also inscribed with title on label verso, oil on canvas laid down to board 7 7/16 x 32 in. (18.9 x 81.3cm) provenance: Private Collection, Arizona. $1,500-2,500

88 ANN WYETH MCCOY (american 1915-2005) “FALL ASTERS” Signed ‘Ann Wyeth McCoy’ bottom center; also inscribed with title on label verso, watercolor over traces of pencil heightened with white gouache on heavy paper Sheet size: 20 x 14 1/8 in. (50.8 x 35.9cm) provenance: Chadds Ford Gallery, Chadds Ford, Pennsylvania.

Private Collection, Pennsylvania. $1,500-2,500

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90 FRANKLIN CHENAULT WATKINS (american 1894–1972) “FRUIT STILL LIFE ON WHITE AND BLUE PLATE” Signed ‘Watkins’ upper left, oil on canvas 24 1/4 x 29 3/4 in. (61.6 x 75.6cm) provenance: Kennedy Galleries, New York, New York.

Private Collection, Pennsylvania. $2,500-4,000

91 HOBSON PITTMAN (american 1900-1972) “WARM SUMMER” Signed ‘Hobson Pittman’ upper left; also titled upper left, oil on board 29 1/2 x 19 1/4 in. (74.9 x 48.9cm) provenance: Private Collection, Pennsylvania. $4,000-6,000

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92 HOBSON PITTMAN (american 1900-1972) “STILL LIFE WITH GRAPES AND FADING ROSE” Signed and inscribed illegibly ‘Hobson Pittman/***’ upper center right, oil on panel 13 11/16 x 20 1/8 in. (34.8 x 51.1cm) provenance: Private Collection, Pennsylvania. $3,000-5,000

93 HOBSON PITTMAN (american 1900-1972) LILIES OF THE VALLEY Signed ‘Hobson Pittman’ upper right, oil on board 29 1/2 x 19 1/4 in. (74.9 x 48.9cm) provenance: Newman Galleries, Philadelphia, Pennsylvania.

Private Collection, Pennsylvania. $3,000-5,000

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94 HOBSON PITTMAN (american 1900-1972) “AVALON BEACH” Signed ‘Hobson Pittman’ upper right, titled and dated ‘July ‘69’ upper left; also inscribed with location verso, watercolor on paper Sheet size: 8 7/8 x 11 7/8 in.

(22.5 x 30.2cm) provenance: Private Collection, Pennsylvania. $1,000-1,500

95 HOBSON PITTMAN (american 1900-1972) THE 30TH ANNIVERSARY CARD Signed ‘Hobson’ center right and dated ‘Sept. 7’-70’ bottom right; also dedicated ‘To my great friends/Nancy ‘Beatrice’ Jr. and/Charles. With another/thirty years/ of health, “laughter”/and joy. Much love’, watercolor on paper Sheet size: 8 3/16 x 11 in. (20.8 x 27.9cm) provenance: Private Collection, Pennsylvania. $1,000-1,500

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PENNSYLVANIA IMPRESSIONISTS lots 96-149

Lot 127 (detail) 61

96 JOHN FULTON FOLINSBEE (american 1892-1972) “LOCK-NEW HOPE” Signed ‘John Folinsbee’ bottom right, oil on panel 8 1/16 x 10 3/8 in. (20.5 x 26.4cm) provenance: Gratz Gallery, Doylestown, Pennsylvania.

Private Collection, Pennsylvania. literature: Appraisal of Pictures, Estate of John F. Folinsbee, June 20, 1972. Boston: Vose Galleries, 1972. note: The present painting is number 318 in the John F. Folinsbee Catalogue Raisonné prepared by Dr. Kirsten Jensen and is dated 1925-1928. $4,000-6,000

97 WALTER EMERSON BAUM (american 1884-1956) “POINT PLEASANT” Signed ‘Baum’ bottom right; also signed, titled and dated ‘1940’ verso, oil on canvas 25 x 30 in. (63.5 x 76.2cm) provenance: The Artist.

Acquired from the above in 1941 (per inscription verso).

Collection of Blanche Wisler Hunsberger, Pennsylvania.

James D. Julia Auctioneer, Fairfield, sale of February 3, 2016, lot 1087.

Acquired directly from the above sale.

Private Collection, Wisconsin. $3,000-5,000

98 HENRY BAYLEY SNELL (american 1858-1943) “BRANCHES AND BOATS” Signed ‘Henry B. Snell’ bottom left, oil on board 11 1/4 x 13 5/8 in. (28.6 x 34.6cm) provenance: Gratz Gallery, Doylestown, Pennsylvania.

Private Collection, Pennsylvania. $3,000-5,000

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99 WALTER ELMER SCHOFIELD (american 1867-1944) “GODOLPHIN FARM” Signed ‘Schofield’ bottom left; also inscribed with title and date ‘Oct. 9-1939’ verso, oil on canvas 30 x 36 in. (76.2 x 91.4cm) provenance: Private Collection, Pennsylvania. note: This work represents a part of the Godolphin Estate in Cornwall, the manor where the artist took shelter during World War II. In this rural scene, the straight, rigid lines of the blue-grey stone buildings directly contrast the elegant curves of the surrounding vegetation. The whole painting conveys a sense of stillness and quietude, yet by depicting trees in the seasonal process of losing their leaves, Schofield still manages to show that nature is constantly changing. $25,000-40,000

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100 WILLIAM LANGSON LATHROP (american 1859–1938) “ROAD BY THE CANAL” Signed and dated ‘W.L. Lathrop /’07’ bottom left, oil on canvas 25 1/8 x 30 1/8 in. (63.8 x 76.5cm) provenance: Private Collection, Dallas, Texas.

Private Collection, Connecticut. exhibited: The National Academy of Design, New York, New York, 1907, no. 272. $12,000-18,000

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101 PAULETTE VICTORINE J. VAN ROEKENS (american 1896-1988) “ON THE TERRACE” Signed ‘P. Van Roekens’ bottom right; also inscribed with title, artist and date ‘1975’ on upper stretcher verso, oil on canvas 12 x 14 in. (30.5 x 35.6cm) provenance: The Artist.

Acquired directly from the above.

Collection of Robert N. and Jean Reeves, Jr., Pennsylvania. $4,000-6,000

102 WALTER EMERSON BAUM (american 1884-1956) “VIEW OF MANAYUNK, SAINT DAVID’S CATHEDRAL” Signed ‘W.E. Baum’ bottom right; also titled and inscribed illegibly verso, oil on Masonite 24 x 30 in. (61 x 76.2cm) provenance: Newman Galleries, Philadelphia, Pennsylvania.

Private Collection, Philadelphia, Pennsylvania. $4,000-6,000

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103 ARTHUR MELTZER (american 1893-1989) “BRIDGE AT TREXLERS” Signed ‘Arthur Meltzer’ bottom center left; also inscribed twice with title verso, oil on canvas 16 x 20 1/8 in. (40.6 x 51.1cm) provenance: The Artist.

Acquired directly from the above.

Collection of Robert N. and Jean Reeves, Jr., Pennsylvania. $2,500-4,000

104 ROSCOE CLARENCE MAGILL (american 1881-1950) “GUEST HOUSE” Signed ‘R.C. Magill’ bottom left; also inscribed with artist verso, oil on canvasboard 7 7/8 x 9 15/16 in. (20 x 25.2cm) provenance: Alderfer’s, Hatfield, sale of December 7, 2005, lot 883.

Private Collection, Pennsylvania. $2,000-3,000

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105 ANTONIO PIETRO MARTINO (american 1902–1989) “FALLING STREAM” Signed and dated ‘A.P. Martino/1929’ bottom left; also inscribed with title, artist and date on upper stretcher verso, oil on canvas 25 1/4 x 31 1/8 in. (64.1 x 79.2cm) provenance: Private Collection, Massachusetts. $4,000-6,000

106 JOHN WELLS JAMES (american 1873-1951) SPRING Signed ‘John Wells James’ bottom right, oil on canvasboard 10 1/2 x 12 1/2 in. (26.7 x 31.8cm) provenance: Private Collection, New York, New York. exhibited: “Salmagundi Club New York Thumb Box Exhibition & Sale,” Salmagundi Club, New York, New York, 1944. $1,000-1,500

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107 SAMUEL GEORGE PHILLIPS (american 1890-1965) “SPRING, DELAWARE RIVER” Signed ‘S. George Phillips’ bottom right, oil on canvas 20 x 24 in. (50.8 x 61cm) provenance: Alderfer’s, Hatfield, sale of March 20, 2014, lot 3299.

Acquired directly from the above sale.

Private Collection, Pennsylvania. $5,000-8,000

108 WALTER ELMER SCHOFIELD (american 1867-1944) “THE CARSE” Signed and dated ‘Schofield/’14’ bottom right; also inscribed with title on stretcher verso, oil on canvas 15 x 18 in. (38.1 x 45.7cm) provenance: Gratz Gallery, Doylestown, Pennsylvania.

Private Collection, Pennsylvania. $8,000-12,000

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109 ROY CLEVELAND NUSE (american 1885-1975) “FIGURES IN THE GLEN” Signed with conjoined initials ‘RN.’ bottom left, oil on canvas 22 x 20 in. (55.9 x 50.8cm) provenance: The Artist.

By descent in the family.

Private Collection, Pennsylvania. exhibited: “Roy C. Nuse: Figures And Landscapes,” James A. Michener Art Museum, Doylestown, Pennsylvania, February 9-May 12, 2002, no. 34 (illustrated in the exhibition catalogue).

note: The present work belongs to a series of figurative paintings Nuse referred to as ‘boys in the glen,’ which he considered to be among his most important work. Nuse often used his six children as figure models for his paintings, and the landscape surrounding his Bucks County home as backdrops. In “Figures in the Glen,” Nuse places three of his sons along a verdant creek bank, wading in the shallow, light-dappled water. The painting adheres to a long academy tradition, placing unclothed figures in woodland tableaux, walking or sitting near a shimmering pool of water. Nuse treatment of sunlight-golden flecks on the surface of the creek, the trees, and the downy forest floor lends a fairy-tale air to the scene, almost transforming the innocent boys into mythological creatures. $20,000-30,000

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E

dward Willis Redfield built his reputation through powerful landscape paintings, which he almost exclusively executed en plein air.

Well-versed in large-scale winter scenes, he often revisited this subject throughout his career, always paying great attention to light

and color in order to best capture the beauty and the subtleties of the snow-covered Pennsylvania countryside. In 1898, the Redfield family purchased a farm in Center Bridge, Pennsylvania, which allowed Edward to study unique viewpoints.

The present work was painted near the artist’s home in 1915, and its style is typical for Redfield. The winding, snow-covered road, upon which villagers pull a sled, stretches into the distance, conveying a sense of winter’s immenseness. The palette is sparse. The artist only uses dove grays and blue grays with touches of lavender to render the quietness of the moment. However, Redfield manages to animate the scene with carefully arranged splashes of colors - on the hats of the villagers and barn façades - proving his ability to enliven a village muted by snow.

This painting will be accompanied by a Certificate of Authenticity from the ‘Associated Dealers in American Paintings,’ as certified and signed by the artist, dated December 24, 1927. It will also be accompanied by the original bill of sale from J.J. Gillespie Company dated January, 1927, and by a letter from the artist dated November 28, 1944.

The painting will also be included in Dr. Thomas Folk’s forthcoming Catalogue Raisonné of the artist’s work.

110 EDWARD WILLIS REDFIELD (american 1869-1965) “THE SNOW STORM” Signed ‘E.W. Redfield’ bottom right, oil on canvas Executed in 1915.

27 7/8 x 32 1/4 in. (78.8 x 81.9cm) provenance: The Artist.

J.J. Gillespie Company, Pittsburgh, Pennsylvania.

Acquired directly from the above in 1927.

Private Collection, Pennsylvania.

By descent in the family.

Private Collection, Connecticut.

exhibited: “Special Exhibition of Work by Edward Redfield and Others,” Art Institute of Chicago, December 12, 1916-January 2, 1917,” no. 138.

“Catalogue of an Exhibition of Paintings by Edward W. Redfield,” The Buffalo Fine Arts Academy, January 11-31, 1917, no. 17.

“Exhibition of Paintings by Edward Redfield,” Worcester Museum of Art, March 4-April 1, 1917, no. 13. $100,000-150,000

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111 WALTER ELMER SCHOFIELD (american 1867-1944) “WOODLAND STREAM” Signed ‘Schofield’ bottom right; also inscribed with title verso, oil on canvas 26 1/8 x 29 7/8 in. (66.4 x 75.9cm) provenance: Private Collection, Pennsylvania. $12,000-18,000

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112 DANIEL GARBER (american 1880-1958) “OLD BARNEY” 1949-1950. Edition of 32. Pencil signed ‘Daniel Garber’ in the margin bottom right; also titled in the margin bottom center and inscribed ‘Da Imp’ in the margin bottom left; also numbered ‘#17’ on bottom left of sheet, etching and drypoint on laid paper Plate size: 6 x 10 in. (15.2 x 25.4cm) Sheet size (uneven): 8 1/4 x 12 1/16 in. (21 x 30.6cm) provenance: The Artist.

Collection of John Franklin Garber, son of Daniel Garber.

Collection of Madeleine B. Garber, wife of John Franklin Garber, and the Estate of John Franklin Garber (in 1993).

Gifted from the above in 1994.

James A. Michener Art Museum, Doylestown, Pennsylvania.

Private Collection, New York, New York. literature: Artist’s Etching Register, p. 19.

Kathleen A. Foster, Daniel Garber: 1880-1958, Philadelphia: Pennsylvania Academy of the Fine Arts, 1980, p. 78.

Lance Humphries, Daniel Garber: Catalogue Raisonné, Volume II, Hollis Taggart Galleries, 2006, p. 431, cat. E 55 (illustrated). $1,500-2,500

113 DANIEL GARBER (american 1880-1958) “EDGE OF THE WORLD” (SYCAMORES) 1928. Edition of 50. Pencil signed ‘Daniel Garber’ in the margin bottom right; also titled in the margin bottom center and inscribed ‘Da Imp’ in the margin bottom left; also numbered ‘#24/50’ on bottom left of sheet, etching and drypoint on laid paper Plate size: 8 x 9 3/8 in. (20.3 x 23.8cm) Sheet size: 11 1/4 x 12 in. (28.6 x 30.5cm) provenance: The Artist.

Collection of John Franklin Garber, son of Daniel Garber.

Collection of Madeleine B. Garber, wife of John Franklin Garber, and the Estate of John Franklin Garber (in 1993).

Gifted from the above in 1994.

James A. Michener Art Museum, Doylestown, Pennsylvania.

Private Collection, Massachusetts. literature: Artist’s Etching Register, p. 8 (entry marked plate destroyed).

Kathleen A. Foster, Daniel Garber: 1880-1958, Philadelphia: Pennsylvania Academy of the Fine Arts, 1980, p. 74.

Lance Humphries, Daniel Garber: Catalogue Raisonné, Volume II, Hollis Taggart Galleries, 2006, p. 414, cat. E 19 (illustrated). $1,500-2,500

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114 DANIEL GARBER (american 1880-1958) “THE LIMEPORT QUARRY” (THE QUARRY) 1947. Edition of 50. Pencil signed ‘Daniel Garber’ in the margin bottom right; also titled in the margin bottom center and inscribed ‘Da Imp’ in the margin bottom left; also numbered ‘#11 of 50’ on bottom left of sheet, etching and drypoint on paper Plate size: 9 x 12 in. (22.9 x 30.5cm) Sheet size: 10 3/4 x 14 5/16 in. (27.3 x 36.4cm) provenance: The Artist.

Collection of John Franklin Garber, son of Daniel Garber.

Collection of Madeleine B. Garber, wife of John Franklin Garber, and the Estate of John Franklin Garber (in 1993).

Gifted from the above in 1994.

James A. Michener Art Museum, Doylestown, Pennsylvania.

Private Collection, New York, New York. literature: Artist’s Etching Register, p. 19.

Kathleen A. Foster, Daniel Garber: 1880-1958, Philadelphia: Pennsylvania Academy of the Fine Arts, 1980, p. 78 (illustrated).

Lance Humphries, Daniel Garber: Catalogue Raisonné, Volume II, Hollis Taggart Galleries, 2006, p. 430, cat. E 52 (illustrated). $1,500-2,500

115 PAULETTE VICTORINE J. VAN ROEKENS (american 1896-1988) “COUNTRY CIRCUS” Signed ‘P. Van Roekens’ bottom right; also inscribed with artist, title and date ‘81’ verso, oil on canvas laid down to panel 8 x 10 1/4 in. (20.3 x 26cm) provenance: The Artist.

Acquired directly from the above.

Collection of Mr. and Mrs. Norman Reeves, Pennsylvania.

Collection of Robert N. and Jean Reeves, Jr., Pennsylvania. $3,000-5,000

116 ANTONIO PIETRO MARTINO (american 1902–1989) MANAYUNK STREET IN WINTER Signed ‘Antonio P. Martino’ bottom left, oil on Masonite 15 x 20 in. (38.1 x 50.8cm) provenance: Private Collection, Pennsylvania. exhibited: “The Seventh Annual Exhibition of Painting and Sculpture,” The Pyramid Club Inc., Philadelphia, Pennsylvania, February 21-March 23, 1947. $2,000-3,000

117 ARTHUR MELTZER (american 1893-1989) THE CHERRY TREE Signed and dated ‘Arthur Meltzer ‘73’ bottom left, oil on canvas 20 x 24 in. (50.8 x 61cm) provenance: The Artist.

Acquired directly from the above.

Collection of Mr. and Mrs. Norman Reeves, Pennsylvania.

Collection of Robert N. and Jean Reeves, Jr., Pennsylvania. $4,000-6,000

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118 JOHN FABIAN CARLSON (american/swedish 1875–1947) “SHADOWY HAUNTS” Signed ‘John F. Carlson’ bottom center left; also titled and signed on, respectively, upper and bottom stretcher verso 40 1/8 x 52 1/8 in. (101.9 x 132.4cm) provenance: The Artist.

The Artist’s son.

Vose Galleries, Boston.

Private Collection, New Jersey. $20,000-30,000

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119 PAULETTE VICTORINE J. VAN ROEKENS (american 1896–1988) “INCOMING TIDE” (THRU THE PILINGS) Signed ‘P. Van Roekens’ bottom left; also inscribed with title verso; also inscribed ‘Thru the Pilings’ on label on bottom stretcher verso, oil on Masonite 12 x 14 in. (30.5 x 35.6cm) provenance: Collection of Mary Clarence Hartman (per label verso).

Private Collection, California. $3,000-5,000

120 ARTHUR MELTZER (american 1893-1989) “THE INTERRUPTED STREAM” Signed ‘Arthur Meltzer’ bottom center left, oil on panel 12 x 14 in. (30.5 x 35.6cm) provenance: The Artist.

Acquired directly from the above in May 1969 (per label verso).

Collection of Mr. and Mrs. R. Norman Reeves, Pennsylvania.

Collection of Robert N. and Jean Reeves, Jr., Pennsylvania. $2,000-3,000

121 ROY CLEVELAND NUSE (american 1885–1975) WINTER SCENE Signed with conjoined letters ‘RN’ bottom right, oil on canvas laid down to board 12 x 15 7/8 in. (30.5 x 40.3cm) In a Badura Frame. provenance: The Artist.

Collection of Amelia Deputy, the Artist’s student.

By descent in the family.

Private Collection, Pennsylvania. $2,500-4,000

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122 EDWARD WILLIS REDFIELD (american 1869-1965) “COAST OF FRANCE” Signed ‘E.W. Redfield’ bottom left; also inscribed with title and artist on upper stretcher verso, oil on canvas 38 1/4 x 50 3/8 in. (97.2 x 128cm) provenance: The Artist.

The Estate of the Artist.

To the Artist’s daughter, Louise R. Stephens.

To the Artist’s granddaughter, Charlotte McKeown.

Private Collection, New Jersey. exhibited: “One Hundred and Fourth Annual Exhibition,” Pennsylvania Academy of the Fine Arts, Philadelphia, January 31-March 14, 1909, no. 9.

“Exhibition of Paintings by Edward W. Redfield,” The Pennsylvania Academy of the Fine Arts, Philadelphia, April 17-May 16, 1909, no. 9.

“Exhibition of Oil Paintings by Edward W. Redfield,” Buffalo Fine Art Academy, Albright Art Gallery, Buffalo, New York, October 10-November 8, 1909; and The City Art Museum of St. Louis, Saint Louis, Missouri, November 14, 1909, no. 6 (traveling exhibition).

“An Exhibition of Paintings by Edward W. Redfield,” The Corcoran Gallery of Art, Washington D.C., January 3-23, 1910, no. 2.

“Exhibition of Paintings by Edward W. Redfield and a Collection of Works by European Masters,” The Memorial Art Gallery, Rochester, New York, May 9-June 7, 1914, no. 27.

“An Exhibition of Paintings by Edward W. Redfield,” The Corcoran Gallery, Washington D.C., March 14-April 9, 1916, no. 12.

“Edward Redfield, A Retrospective of His Work,” Newman Galleries, Philadelphia, October 23-November 30, 1968.

“A Retrospective Exhibition of the Work of the Great American Impressionist, Edward Willis Redfield of Pennsylvania,” William Penn Memorial Museum, Harrisburg, Pennsylvania, March 31-May 13, 1973, no 48.

Memorial Exhibition, Bucks County Conservancy, June 19-July 6, 1975.

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literature: Dorothy Redfield (the Artist’s daughter-in-law), “Paintings Distributed to Heirs, After the Bucks County Conservancy Exhibition,” The Edward Willis Redfield Estate Journal, June 19-July 6, 1975. note: After graduating from the Pennsylvania Academy of Fine Arts in 1889, Redfield traveled to Europe to continue his studies in Paris, at both the École des Beaux-Arts and Académie Julian. Redfield’s time in France deepened his appreciation for Impressionism, and he frequently painted en plein air, even upon his return to America.

“The Coast of France” possibly depicts the rocky shore of Boulogne, which had been painted earlier by Édouard Manet, one of Redfield’s artistic heroes. The craggy hillside rises away from the surf and cradles the scene. A solitary woman disrupts the landscape as she is walking along a narrow, curving path; the dark folds of her skirt repeated in the shadows and crevices of the rocks clustered in the foreground. Redfield’s signature thick, broad brushstrokes spread across the hazy sky and wild, overgrown grass blanketing the hills. But for a thin line of blue, the horizon has disappeared, the calm water of the English channel rising to meet the expanse of sky. The overall scene is punctuated with an almost melancholic air, a moody departure from Redfield’s light-suffused landscapes - luminous even - when depicting winter. From 1898, and into the early years of the 20th century, Redfield visited France often, with his French wife Élise Deligant. These trips are undocumented after 1898. According to Dr. Thomas Folk, the signature, with capital letters is a 20th century Redfield signature, rather than a late 19th century one. This painting must have been a favorite of the artist, as he exhibited it several times, especially in his early career. It may have had some sentimental value to him, as he never sold it, and later, was part of his Estate.

We wish to thank Dr. Thomas Folk for his kind assistance in cataloguing this lot.

The present painting will be accompanied by a letter of authenticity from Dr. Folk and is to be included in his forthcoming Catalogue Raisonné of the artist’s work. $30,000-50,000

O

ne of the most influential Pennsylvania Impressionists, Daniel Garber usually set his landscape scenes along the Delaware River, in the idyllic New Hope area. According to the

Catalogue Raisonné, the artist painted this particular scene in September 1929 from the top of a hill in Lambertville, New Jersey. New Hope, the artist’s refuge, can be seen across the Delaware River, the peaked roofs of a church and buildings dotting the hillside. Characteristic of Garber’s style, the painting employs a screen of trees and falling shadows to frame the rolling landscape beyond. The warm-hued color palette captures the golden greens and yellows of the season, as late summer transitions to fall. “A Jersey Road” garnered acclaim when it was exhibited two years after completion, giving the viewer a postcard glimpse of the scene that provided a lifetime of inspiration for Garber and his fellow artists in the New Hope Colony.

123 DANIEL GARBER (american 1880-1958) “A JERSEY ROAD” Signed ‘Daniel Garber’ bottom center left; also inscribed with title on upper stretcher verso, oil on canvas 30 x 28 in. (76.2 x 71.1cm) In a Harer frame. provenance: The Artist.

Acquired from the above in 1933.

Collection of Dr. H.M. Ullmann, Bethlehem, Pennsylvania.

By descent in the family.

Private Collection, Massachusetts.

exhibited: “Recent Paintings of Daniel Garber,” The Macbeth Gallery, New York, New York, March 9-28, 1931, no. 12 (illustrated in the exhibition catalogue).

“Exhibition of Paintings by American Artists,” The Union League Club of New York, January 14-24, 1932, cat. no. 3. literature: The Artist’s Record Book, I, p. 42, lines 13-16.

The New York American, March 15, 1931.

Carlyle Burrows, New York Herald Tribune, March 15, 1931.

Lance Humphries, Daniel Garber: Catalogue Raisonné, Volume II, Hollis Taggart Galleries, 2006, p. 206, cat. P 560 (illustrated). $200,000-300,000

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79

124 ARTHUR MELTZER (american 1893-1989) “WOODCHOPPER’S HOME” (BOHL’S MILL) Signed ‘Arthur Meltzer’ bottom right; also inscribed with title and ‘Bohl’s Mill’ on upper stretcher verso, oil on canvas 20 x 24 in. (50.8 x 61cm) provenance: The Artist.

Acquired directly from the above.

Collection of Robert N. and Jean Reeves, Jr., Pennsylvania. $3,000-5,000

125 LAURENCE A. CAMPBELL (american b. 1939) “BOATHOUSE ROW-PHILA” Signed ‘L A Campbell’ bottom right; also signed and titled verso, oil on board 7 7/8 x 10 in. (20 x 25.4cm) provenance: Private Collection, Florida.

Freeman’s, Philadelphia, sale of June 13, 2010, lot 153.

Acquired directly from the above sale.

Private Collection, Pennsylvania. $3,000-5,000

126 WALTER EMERSON BAUM (american 1884-1956) WINTER TOWN Signed ‘Baum’ bottom center left; also inscribed ‘Exhibited-Art Church Phila/New Hope/Penn Charter’ verso, oil on canvas 32 x 40 in. (81.3 x 101.6cm) provenance: Private Collection, Virginia. $5,000-8,000

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127 JOHN FULTON FOLINSBEE (american 1892-1972) “THE RIVER” (CORYELL’S FERRY) Signed ‘John F. Folinsbee’ bottom left; also inscribed with title on upper stretcher verso, oil on canvas 16 x 20 in. (40.6 x 50.8cm) provenance: The Artist.

Estate of Chouteau Chapin.

John F. Folinsbee Art Trust.

Private Collection, New York. exhibited: “Paintings by John Folinsbee,” Feragil Gallery, New York, New York, March, 1923, no. 15.

“Eleventh Annual Exhibition,” Allied Artists of America, New York, New York, April 25-May 14, 1924, no. 119. note: The present painting is number 293 in the John F. Folinsbee Catalogue Raisonné prepared by Dr. Kirsten Jensen and is dated 1922-1923. $60,000-80,000

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128 WALTER ELMER SCHOFIELD (american 1867–1944) “FIRST SNOW FALL” (WINTER ON THE WISSAHICKON) Inscribed with title, artist and date ‘Jany [sic]-11t [sic]-’39’ verso, oil on canvas 20 x 24 in. (50.8 x 70cm) provenance: The Artist.

Collection of Ms. Sarah Schofield Phillips, the Artist’s niece.

Gifted from the above.

By descent to the present owner.

Private Collection, Virginia. $12,000-18,000

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129 GEORGE WILLIAM SOTTER (american 1879–1953) GLOUCESTER SCENE Signed and dated ‘G.W. Sotter./1915’ bottom right, oil on board 7 1/4 x 9 1/4 in. (18.4 x 23.5cm) provenance: Christie’s, New York, sale of May 5, 1999, lot 105 (sold as “Road Leading to the Houses”).

Acquired directly from the above sale.

Private Collection, New Jersey. $5,000-8,000

130 GEORGE WILLIAM SOTTER (american 1879–1953) “PROMISED LAND” Signed ‘Geo. W. Sotter’ bottom right; also inscribed with title, located and dated ‘Monterey.

Calif./1915’ verso, oil on board 7 1/2 x 9 1/4 in. (19.1 x 23.5cm) provenance: Bianco Gallery, Buckingham, Pennsylvania.

Private Collection, New Jersey. $5,000-8,000

83

S

usette Inloes Schultz Keast was born in 1892 in Philadelphia. The grandniece of Franz Xavier Winterhalter, court painter to Emperor Napoleon III of France, Keast showed an early aptitude for art, attending the Philadelphia School of Design for

Women (now Moore College of Art & Design) and the Pennsylvania Academy of the Fine Arts. At PAFA, she studied under Thomas Anshutz and William Merritt Chase, and in 1911, at the age of 19, she received the prestigious Cresson European Fellowship, which Daniel Garber received sometime before. Not limited by geography, Keast’s work was influenced by the landscapes of Gloucester, Massachusetts, Montreal, her time in Europe, as well as the Far East, including China, Japan, and Korea. She lived with her husband, the Philadelphia architect W.R. Morton Keast, in a townhouse on Rittenhouse Square, where her home studio was designed to resemble the palace of a Chinese Emperor. Keast was a member of The Philadelphia Ten, a group comprised of students of the Philadelphia School of Design whose efforts were to exhibit their work independently, having been barred from many public institutions based on their gender. Fern Coppedge, one of the most significant female Pennsylvania Impressionists and a fellow student at PAFA, was also a member, and the two would have crossed paths professionally and socially during their involvement with the group. Keast died in 1932 at the age of 40, finalizing what was already an extensive, exemplary oeuvre.

This set of five paintings, all fresh to the market, come from a family collection now belonging to one of the three granddaughters of the artist.

84

131 SUSETTE INLOES SCHULTZ KEAST (american 1892-1932) “THE INNER HARBOR” Signed ‘Susette Keast’ bottom right, oil on canvas 25 1/8 x 30 1/8 in. (63.8 x 76.5cm) provenance: The Artist.

By descent in the family.

The Artist’s granddaughter, New York. exhibited: “One Hundred Twenty-Sixth Annual Exhibition,” The Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, 1931. note: “The Inner Harbor” was exhibited at Keast’s alma mater, the Pennsylvania Academy of the Fine Arts, in 1931. Though visually distinct, Keast’s painting is stylistically aligned with the work of Fern Coppedge. The short brushstrokes and treatment of sunlight on the landscapes of her paintings, most notably the many-hued surface of the water in this present work, are classically emblematic of the Impressionist movement. $10,000-15,000

85

132 SUSETTE INLOES SCHULTZ KEAST (american 1892-1932) HOUSES BY THE RIVER Oil on canvas laid down to board 13 3/4 x 15 15/16 in. (34.9 x 40.5cm) Unframed. provenance: The Artist.

By descent in the family.

The Artist’s granddaughter, New York. $2,500-4,000

133 SUSETTE INLOES SCHULTZ KEAST (american 1892-1932) THE SUMMER CAMP Signed ‘S. Keast bottom right, oil on canvas laid down to board 16 x 14 in. (40.6 x 35.6cm) provenance: The Artist.

By descent in the family.

The Artist’s granddaughter, New York. note: This scene shows the tent line at Singing Eagle Lodge (SEL), a two-month camp for girls on Squam Lake in Center Harbor, New Hampshire. The two figures are Keast’s twin daughters Colette and Laurette, who attended the camp around 1930. $2,500-4,000

86

134 SUSETTE INLOES SCHULTZ KEAST (american 1892-1932) WATER WHEEL Signed ‘S. Keast’ bottom right, oil on canvas laid down to board 13 5/8 x 18 in. (34.6 x 45.7cm) provenance: The Artist.

By descent in the family.

The Artist’s granddaughter, New York. $1,000-1,500

135 SUSETTE INLOES SCHULTZ KEAST (american 1892-1932)

BY THE BRIDGE Signed ‘S. Keast’ bottom right, watercolor over traces of pencil on wove paper Sheet size: 22 5/8 x 25 5/16 in.

(57.5 x 56.7cm) provenance: The Artist.

By descent in the family.

The Artist’s granddaughter, New York. $1,000-1,500

87

136 ROBERT SPENCER (american 1879-1931) “THE GRAY HOUSE” Signed and dated ‘Robert Spencer 1910’ bottom right; also inscribed with date, title and artist on upper stretcher verso, oil on canvas 25 1/8 x 30 1/8 in. (63.8 x 76.5cm) In a Harer frame. provenance: Bianco Gallery, Buckingham, Pennsylvania.

Private Collection, Doylestown, Pennsylvania.

Freeman’s, Philadelphia sale of December 5, 2004, lot 125.

Acquired directly from the above sale.

Private Collection, New Jersey.

exhibited: “Annual Exhibition,” National Academy of Design, New York, New York, 1911.

“International Exhibition,” Carnegie Institute, Pittsburgh, Pennsylvania, 1912.

“Annual Exhibition,” Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, 1912, no. 725.

“The Pennsylvania School of Landscape Painting - An Original American Impressionism,” Allentown Art Museum, Allentown, Pennsylvania, September 16-November 25, 1984 (illustrated p. 67 in the exhibition catalogue); and The Corcoran Gallery of Art, Washington, D.C., December 14, 1984-February, 1985; and The Westmoreland Museum of Art, Greensburg, Pennsylvania, March 2-May 5, 1985 (traveling exhibition). $30,000-50,000

88

137 ROBERT SPENCER (american 1879-1931) “COLLECTORS” Signed ‘Robt Spencer’ bottom left; also inscribed with title and artist on upper stretcher verso, oil on canvas Executed in 1929.

12 1/8 x 14 1/8 in. (30.8 x 35.9cm) provenance: The Artist.

The Estate of the Artist.

David David Inc., Philadelphia, Pennsylvania.

Private Collection, New Jersey. exhibited: “Robert Spencer, The Cities, The Towns, The Crowds,” James A. Michener Art Museum, Doylestown, Pennsylvania, June 5-September 19, no. 64 (illustrated in the exhibition catalogue). $8,000-12,000

89

138 WILLIAM LANGSON LATHROP (american 1859–1938) “OLD HOUSE” Signed ‘W L Lathrop’ bottom right; also inscribed with title on upper stretcher verso, oil on canvas 25 x 22 in. (63.5 x 55.9cm)

provenance: Private Collection, New Jersey. exhibited: Montross Gallery, New York, New York (exhibited as “A Scene in Bucks County, Pennsylvania”).

The Emily Lowe Gallery, Hofstra University, Hampstead, New York. $5,000-8,000

90

139 PAULETTE VICTORINE J. VAN ROEKENS (american 1896-1988) “HAPPY DAYS” Signed ‘P. Van Roekens’ bottom center left; also signed and dated ‘1956’ verso; also inscribed with title and artist verso, oil on canvas 8 x 10 in. (20.3 x 25.4cm) provenance: The Artist.

Acquired directly from the above.

Collection of Mr. and Mrs. R. Norman Reeves, Pennsylvania.

Collection of Robert N. and Jean Reeves, Jr., Pennsylvania. $3,000-5,000

140 ANTONIO PIETRO MARTINO (american 1902–1989) WINTER IN MANAYUNK Signed ‘A.P. Martino’ bottom left, oil on canvas 16 1/8 x 21 1/8 in. (41 x 53.7cm) provenance: Alderfer’s, Hatfield, sale of June 10, 1999, lot 343.

Acquired directly from the above sale.

Private Collection, New Jersey. $3,000-5,000

141 WILLIAM LANGSON LATHROP (american 1859–1938) “MIDSUMMER” Signed and dated ‘W L Lathop/’02’ bottom right, oil on canvas 13 1/8 x 14 1/16 in. (33.3 x 35.7cm) provenance: Christies, New York, sale of May 5, 1999, lot 51.

Acquired directly from the above sale.

Private Collection, New Jersey. $3,000-5,000

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142 FREDERICK R. WAGNER (american 1864-1940) WINTER IN THE PARK Signed ‘F. Wagner’ bottom left, oil on canvas 23 3/4 x 29 7/8 in. (60.3 x 75.9cm) provenance: Newman Galleries, Philadelphia, Pennsylvania. $8,000-12,000

143 ANTONIO PIETRO MARTINO (american 1902–1989) “MANAYUNK” Signed ‘A.P. Martino’ bottom right, oil on canvas 32 1/8 x 40 1/8 in. (81.6 x 101.9cm) provenance: Newman Galleries, Philadelphia, Pennsylvania.

Private Collection, Philadelphia, Pennsylvania. $4,000-6,000

144 ARTHUR MELTZER (american 1893-1989) “SCRIBES OF OLD” Signed ‘Arthur Meltzer’ bottom center right; also inscribed with title on label verso, oil on canvas 20 1/4 x 24 in. (51.4 x 61cm) provenance: The Artist.

Acquired directly from the above.

Collection of Robert N. and Jean Reeves, Jr., Pennsylvania. $1,000-1,500

92

145 FLORENCE TRICKER (american 1892-1979) SUMMER ON THE DELAWARE Signed ‘F. Tricker’ bottom right, oil on board 15 3/4 x 11 3/4 in. (40 x 29.8cm) provenance: Alderfer’s, Hatfield, sale of June 8, 2011, lot 3045.

Acquired directly from the above sale.

Private Collection, Pennsylvania. $2,000-3,000

146 DANIEL GARBER (american 1880-1958) “LAMBERTVILLE CHURCHES” 1944. Edition of 50. Pencil signed ‘Daniel Garber’ in the margin bottom right; also titled in the margin bottom center and inscribed ‘Da Imp’ in the margin bottom left; also numbered ‘#16/50’ on bottom left of sheet, etching and drypoint on paper Plate size: 8 5/16 x 6 7/8 in. (21.1 x 17.5cm) Sheet size: 11 3/16 x 8 7/8 in. (28.4 x 22.5cm)

147 ANTONIO MARTINO (american 1902–1989) WINTER TWILIGHT Signed ‘Antonio P. Martino’ bottom left, oil on canvas 30 x 40 in. (76.2 x 101.6cm) provenance: Private Collection, Philadelphia, Pennsylvania. note: A highly decorated painter, Philadelphian Antonio Martino was the recipient of more than eighty national awards over the course of his career. His distinctive style blends classic impressionist elements and more modernist formwork, exercised on his abundant depictions of Manayunk and the area around the Delaware River.

An atmospheric cityscape of a beloved neighborhood, “Winter Twilight” highlights Martino’s capable use of color and skilled brushwork. Martino’s expert rendering of the snow-draped solid row houses and rising mounds of earth transports the viewer to the blustery city street. The flattened gray sky of the early winter evening is mimicked in the darkened windowpanes of the houses; the shock of white snow illuminates the canvas in the absence of sunlight. $5,000-8,000

93

provenance: The Artist.

Collection of John Franklin Garber, son of Daniel Garber.

Collection of Madeleine B. Garber, wife of John Franklin Garber, and the Estate of John Franklin Garber (in 1993).

Gifted from the above in 1994.

James A. Michener Art Museum, Doylestown, Pennsylvania.

Hollis Taggart Galleries, New York, New York.

Acquired directly from the above in 2001.

Private Collection, Pennsylvania. literature: Artist’s Etching Register, p. 16.

Kathleen A. Foster, Daniel Garber: 1880-1958, Philadelphia: Pennsylvania Academy of the Fine Arts, 1980, p. 77.

Lance Humphries, Daniel Garber: Catalogue Raisonné, Volume II, Hollis Taggart Galleries, 2006, p. 426-427, cat. E 45 (illustrated). $1,500-2,500

148 WALTER ELMER SCHOFIELD (american 1867–1944) “EBB TIDE MORNING” Signed ‘Schofield’ bottom left; also inscribed with title verso, oil on canvas 26 x 30 in. (66 x 76.2cm) provenance: The Artist.

Collection of Ms. Sarah Schofield Phillips, the Artist’s niece.

Acquired directly from the above.

By descent to the present owner.

Private Collection, Virginia. exhibited: Grand Central Art Galleries, New York, New York. $12,000-18,000

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149 FERN ISABEL COPPEDGE (american 1883–1951) “THE GARDEN WALL” Signed ‘Fern I. Coppedge’ bottom center left; also inscribed with artist and title on upper stretcher verso, oil on canvas 20 1/8 x 24 1/8 in. (51.3 x 61.3cm) provenance: Private Collection, Maryland. note: The most prominent female figure associated with the Pennsylvania Impressionists, Fern Isabel Coppedge is most wellknown for her bright, warm-hued wintry scenes, which were usually set in Bucks County, along the Delaware River. Like many other Impressionists of her time, Coppedge was willing to endure rough weather in order to capture the subtle effects of changing light, a technique at which she particularly excelled. In this fine painting, “The Garden Wall,” Coppedge once again demonstrates her love of color. In the foreground, the snowy field is covered with blotches of deep purple, along with various shades of red and orange. The garden wall itself is a mosaic masterpiece well worthy of the title of this painting. $30,000-50,000

95

INDEX AVERY, M.

33-35

JAQUES, F.L.

70

PITTMAN, H.

91-95

BAUM, W.E.

97, 102, 126

JECT-KEY, D.W.

75

PROCTOR, A.P.

54

BENSON, F.W.

17

JOHNSON, D.

11

REAM, C.P.

10

BENTON, T.H.

47, 48

JOHNSON, E.

14

REDFIELD, E.W.

110, 122

BOUTELLE, D.C.

13

KEAST, S.I.S.

131-135

RESIKA, P.

79

BURCHFIELD, C.E.

45, 46

KINGMAN, D.

78

SCHOFIELD, W.E.

99, 108, 111, 128, 148

BURLIUK, D.D.

77

KNAPP, C.W.

8

SCHOONOVER, F.E.

80

CAMPBELL, L.A.

125

KOERNER, W.H.D.

59

SCHUTZ, A.R.

67

CARLSON, J.F.

118

KROLL, L.

51

SENDAK, M.

86

CASILEAR, J.W.

7

KUHN, W.

37

SHRADY, H.M.

52

COPPEDGE, F.I.

149

LATHROP, W.L.

100, 138, 141

SKOU, S.

74

EAKINS, T.

15

LEFFEL, D.A.

82-85

SMITH, R.

2

FOLINSBEE, J.

96, 127

LEVER, R.

27

SNELL, H.B.

98

GARBER, D.

112-114, 123, 146

LEVINE, J.

50

SOTTER, G.W.

129, 130

GASSER, H.M.

87

LEWIS, M.

32

SPENCER, R.

136, 137

GATCH, L.

89

LIE, J.

60-62

SPRUANCE, B.M.

31

GOLLINGS, E.W.

55-58

LUKS, G.

19

STELLA, J.

38-44

GOODWIN, A.C.

23

MAGILL, R.C.

104

TRICKER, F.

145

GREACEN, E.W.

64, 65

MARSH, R.

28, 30

VAN ROEKENS, P.V.J.

101, 115, 119, 139

GRUPPE, E.A.

76

MARTINO, A.P.

105, 116, 140, 143, 147

WAGNER, F.R.

142

HARRIS, S.H.

63

MAURER, A.H.

36

WATKINS, F.C.

90

HART, W.M.

5

MCENTEE, J.

6

WEBER, P.

9

HASSAM, C.

1

MCGURL, J.

72

WHISTLER, J.A.M.

16

HENRI, R.

18

MCKENZIE, R.T.

53

WIGGINS, G.C.

29

HIBBARD, A.T.

20

MELROSE, A.

4, 12

WILLIAMS, E.K.

21

HILL, T.

3

MELTZER, A.

103, 117, 120, 124, 144

WOOD, R.

71

HILLS, L.C.

66

MILLER, K.H.

49

WUERMER, C.

69

HORTON, W.S.

22

NUSE, R.C.

109, 121

WYETH MCCOY, A.

88

JACOBSEN, A.

24-26

OCHTMAN, L.

73

WYETH, A.

81

JAMES, J.W.

106

PHILLIPS, S.G.

107

YOUNG, C.M.

68

GLOSSARY any statement as to authorship, attribution, origin, date, age, provenance and condition is a state of opinion and is not to be taken as a statement or representation of fact. freeman’s reserves that right, in forming their opinion, to consult and rely upon any expert or authority considered by them to be reliable. names

attributed to

school of

Forename(s) and surname of painter is in our

School accompanied by the name of a place or country

opinion a work by that artist; e.g. Charles Willson

and a date means that we believe the picture was

Peale. When an artist’s forename(s) is not known, a

executed at that time and in that location; e.g. Italian

series of asterisks followed by the surname of the

School, 18th Century. After an artist is in our opinion a

artist, wether preceded by an initial or not, indicates

copy of any date after a work by that artist; e.g. After

that in our opinion the work is by the artist named.

Charles Willson Peale. after an artist

Refers to probably a work by the artist; e.g.

Attributed to Charles Willson Peale.

Signed and/or dated and/or inscribed means that we believe the signature and/or date and/or inscription are from the hand of the artist. Bears a signature and/

studio of

circle of

Refers to a work from the studio of the artist which

or a date and/or an inscription means that we believe

may or may not have been executed under his

the artist’s name and/or date and/or inscription have

direction; e.g. Studio of Charles Willson Peale.

been added by another hand.

Circle of..... refers to a work of the period of the

signatures & dates

artist executed under his immediate influence; e.g.

All references to signature, inscriptions and dates refer to the present state of the work.

Circle of Charles Willson Peale. measurements follower of

Follower of..... refers to a work by a painter working in the artist’s style, contemporary or nearly contemporary, but not necessarily his pupil; e.g.

Follower of Charles Willson Peale.

manner of

Manner of..... refers to a work in a style related to that of the artist, but of a later date; e.g. Manner of Charles Willson Peale.

96

Dimensions are given height before width.

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These should be submitted in person, by mail or by fax no later than one hour prior to the scheduled start of the sale. The auctioneer will bid on your behalf up to the limit.

The Packaging Store ‡ Alex Long 2333 Welsh Road Lansdale, PA 19446 215.361.6940 | Fax: 215.361.6941 hello@packandshipnow.com

On the internet A fully-illustrated catalogue is available on-line at www.freemansauction.com. Registered bidders may leave absentee bids through the website and will receive email confirmation of their bid. Freeman’s is not responsible for errors or failure to execute bids.

Payment Payment is due within ten (10) working days of the sale. Lots purchased will not be released until we have received full payment. Payment may be made in cash, by check, money order, or debit card. Payments by check must clear the bank before goods will be released.

UPS Store 3263 ‡ Colin McCarry Philadelphia, PA 19103 auctionpackship@gmail.com 484.879.6678

Removal of Purchases Deliveries will not be made during the time of the sale unless otherwise indicated by the auctioneer. All items must be paid for and removed within ten (10) working days of the sale. Purchases not so removed may be turned over to a licensed warehouse at the expense and risk of the purchaser.

U.S. Art ‡ Jessica Pierce 37-11 48th Avenue Long Island City, NY 11101 800.472.5784 | Fax:718.472.5785 jpierce@usart.com

Shipping and Packing Responsibility for packing, shipping and insurance shall be exclusively that of the purchaser. Upon request, Freeman’s will provide the purchaser with names of professional packers and shippers known to us.

Endangered Species Lots marked * are manufactured in whole or in part of restricted materials that may include tortoiseshell, ivory, mother-of-pearl, coral, rhinoceros horn, whalebone or marine ivory. Such materials may require specific licenses, certificates, or CITES documentation for import, export, moving between states in the U.S., or resale.

Obtaining these documents may require scientific, laboratory or other expert analysis, in order to establish which species or genus the material came from. Freeman’s is unable to provide this information, and the obligation is on the purchaser of a lot containing any of these materials to ensure that they are able to obtain all the necessary or required documents should they need to, prior to bidding on the lot.

If proper documentation or licenses etc. cannot be obtained for a purchased lot, the purchaser will still be required to make an on time payment for the lot as per our standard terms and conditions. Freeman’s cataloguing of the lots marked with this symbol * represents the best of our opinion, and the absence of this symbol from any lot description does not form a warranty that the lot will be free from any licensing or certification restrictions.

FURNITURE & LARGE ITEMS For larger pieces where delivery time is not the primary concern, we suggest getting your items freighted: www.plyconvanlines.com www.freightquote.com ‡ Shippers that can fulfill international deliveries

97 v4.2016

TERMS & CONDITIONS All property offered and sold (“property”) through Samuel T. Freeman & Co, (“Freeman’s”) shall be offered and sold on the terms and conditions set forth below which constitutes the complete statement of the terms and conditions on which all property is offered for sale.

By bidding at the auction, whether present in person or by agent, by written bid, telephone, internet or other means, the buyer agrees to be bound by these terms and conditions.

1 Unless otherwise indicated, all Property will be offered by Freeman’s as agent for the Consignor.

2 Freeman’s reserves the right to vary the terms of sale and any such variance shall become part of these Conditions of Sale.

3 Buyer acknowledges that it had the right to make a full inspection of all Property prior to sale to determine the condition, size, repair or restoration of any Property.

Therefore, all property is sold “ASIS”. Freeman’s is acting solely as an auction broker, and unless otherwise stated, does not own the Property offered for sale and has made no independent investigation of the Property. Freeman’s makes no warranty of title, merchantability or fitness for a particular purpose, or any other warranty or representation regarding the description, genuineness, attribution, provenance or condition to the Property of any kind or nature with respect to the Property.

4 Freeman’s in its sole and exclusive discretion, reserves the right to withdraw any property, at any time, before the fall of the hammer.

5 Unless otherwise announced by the auctioneer at the time of sale, all bids are per lot as numbered in the printed catalogue. Freeman’s reserves the right to determine any and all matters regarding the order, precedence or appropriate increment of bids or the constitution of lots.

6 The highest bidder acknowledged by the auctioneer shall be the buyer.

The auctioneer has the right to reject any bid, to advance the bidding at his absolute discretion and in the event of any dispute between bidders, the auctioneer shall have the sole and final discretion either to determine the successful bidder or to re- offer and resell the article in dispute. If any dispute arises after sale, the Freeman’s sale record shall be conclusive in all respects.

7 If the auctioneer determines that any opening or later bid or any advance bid is not commensurate with the value of the Property offered, he may reject the same and withdraw the Property from sale.

8 Upon the fall of the hammer, title to any offered lot or article will immediately pass to the highest bidder as determined in the exclusive discretion of the auctioneer, subject to compliance by the buyer with these Conditions of Sale. Buyer thereupon assumes full risk and responsibility of the property sold, agrees to sign any requested confirmation of purchase, and agrees to pay the full price, plus Buyer’s Premium, therefore or such part, upon such terms as Freeman’s may require.

9 No lot may be removed from Freeman’s premises until the buyer has paid in full the purchase price therefor including Buyer’s Premium or has satisfied such terms that Freeman’s, in its sole discretion, shall require. Subject to the foregoing, all Property shall be paid for and removed by the buyer at his/her expense within ten (10) days of sale and, if not so removed, may be sold by Freeman’s, or sent

by Freeman’s to a public warehouse, at the sole risk and charge of the buyer(s), and Freeman’s may prohibit the buyer from participating, directly or indirectly, as a bidder or buyer in any future sale or sales. In addition to other remedies available to Freeman’s by law, Freeman’s reserves the right to impose a late charge of 1.5% per month of the total purchase price on any balance remaining ten (10) days after the day of sale. If Property is not removed by the buyer within ten (10) days, a handling charge of 1% of the total purchase price per month from the tenth day after the sale until removal by the buyer shall be payable to Freeman’s by the buyer; Freeman’s shall charge 1.5% of the total purchase price per month for any property not so removed within 60 days after the sale. Freeman’s will not be responsible for any loss, damage, theft, or otherwise responsible for any goods left in Freeman’s possession after ten (10) days. If the foregoing conditions or any applicable provisions of law are not complied with, in addition to other remedies available to Freeman’s and the Consignor (including without limitation the right to hold the buyer(s) liable for the bid price) Freeman’s, at its option, may either cancel the sale, retaining as liquidated damages all payments made by the buyer(s), or resell the property. In such event, the buyer(s) shall remain liable for any deficiency

in the original purchase price and will also be responsible for all costs, including warehousing, the expense of the ultimate sale, and Freeman’s commission at its regular rates together with all related and incidental charges, including legal fees. Payment is a precondition to removal. Payment shall be by cash, certified check or similar bank draft, or any other method approved by Freeman’s. Checks will not be deemed to constitute payment until cleared. Any exceptions must be made upon Freeman’s written approval of credit prior to sale. In addition, a defaulting buyer will be deemed to have granted and assigned to Freeman’s, a continuing security interest of first priority in any property or money of, or owing to such buyer in Freeman’s possession, and Freeman’s may retain and apply such property or money as collateral security for the obligations due to Freeman’s.

Freeman’s shall have all of the rights accorded a secured party under the Pennsylvania Uniform Commercial Code.

10 Unless the sale is advertised and announced as “without reserve”, each lot is offered subject to a reserve and Freeman’s may implement such reserves by bidding through its representatives on behalf of the Consignors. In certain instances, the Consignor may pay less than the standard commission rate where Freeman’s or its representative is a successful bidder on behalf of the Consignor.

Where the Consignor is indebted to Freeman’s, Freeman’s may have an interest in the offered lots and the proceeds therefrom, other than the broker’s Commissions, and all sales are subject to any such interest.

11 No “buy” bids shall be accepted at any time for any purpose.

12 Any pre-sale bids must be submitted in writing to Freeman’s prior to commencement of the offer of the first lot of any sale. Freeman’s copy of any such bid shall conclusively be deemed to be the sole evidence of same, and while Freeman’s accepts these bids for the convenience of bidders not present at the auction, Freeman’s shall not be responsible for the failure to execute, or, to execute properly, any pre-sale bid.

13 A Buyer’s Premium will be added to the successful bid price and is payable by the buyer as part of the total purchase price. The Buyer’s Premium shall be: 25% on the first $200,000 of the hammer price of each lot, 20% on the portion from $200,001 through $3,000,000, and 12% thereafter.

14 Unless exempted by law from the payment thereof, the buyer will be required to pay any and all federal excise tax and any state and/or local sales taxes, including where deliveries are to be made outside the state where a sale is conducted, which may be subject to a corresponding or compensating tax in another state.

15 Freeman’s may, as a service to buyer, arrange to have purchased property posted and shipped at the buyer’s expense. Freeman’s is not responsible for any acts or omissions in packing or shipping of purchased lots whether or not such carrier is recommended by Freeman’s. Packing and handling of purchased lots is at the responsibility of the buyer and is at the entire risk of the buyer.

16 In no event shall any liability of Freeman’s to the buyer exceed the purchase price actually paid.

17 No claimed modification or amendment of this Agreement on the part of any party shall be deemed extant, enforceable or provable unless it is in writing that has been signed by the parties to this Agreement. No course of dealing and no delay or omission on the part of Freeman’s in exercising any right under this Agreement shall operate as a waiver of such right or any other right and waiver on any one or more occasions shall not be construed as a bar to or waiver of any right or remedy of Freeman’s on any future occasion.

18 These Conditions of Sale and the buyer’s, the Consignor’s and Freeman’s rights under these Conditions of Sale shall be governed by, construed and enforced in accordance with the laws of the Commonwealth of Pennsylvania and Consignor and Buyer agree to the exclusive jurisdiction of the Philadelphia, Pennsylvania Court of Common Pleas and the United States District Court for the Eastern District of Pennsylvania.

98 v2.2016

bidding & registration form sale no

bidder no

name

1808 Chestnut Street, Philadelphia PA 19103 Tel-215.563.9275 Fax-215.599.2240 e-mail: bids@freemansauction.com www.freemansauction.com

client no

business name

address city

state

zip code

e-mail

phone (primary)

phone (secondary)

country

fax

resale / tax identification

state

A Buyer’s Premium will be added to the successful bid price and is payable by the buyer as part of the total purchase price. The Buyer’s Premium shall be: 25% on the first $200,000 of hammer price of each lot, 20% on the hammer from $200,001 through $3,000,000, and 12% thereafter. All lots must be paid for and removed within 10 days.

lot no

description

maximum bid

please adhere to the bidding increments $10 until $200 is reached $25 until $500 is reached $50 until $1,000 is reached $100 until $3,000 is reached $250 until $5,000 is reached $500 until $10,000 is reached $1,000 until $30,000 is reached $2,500 until $50,000 is reached $5,000 until $100,000 is reached over $100,000 auctioneer’s discretion

bank reference bank name

account no

contact name

telephone

I hereby confirm thet I have read and am bound by the “Terms of Sale” presented by the auction house and which govern all auction purchases made by me. Although every attempt is made to execute your bid(s), the auctioneer is not responsible for errors and omissions.

signed (signature required to execute your bids)

q id confirmed

99 v2.2016

DIRECTORY Officers

Specialist Departments

Representatives

Alasdair Nichol Chairman

20th Century Design Tim Andreadis tandreadis@freemansauction.com

New England Kelly Wright kwright@freemansauction.com

Margaret D. Freeman Director Emeritus Paul S. Roberts President Hanna Dougher Chief Operating Officer Samuel T. Freeman III Senior Vice President

Departments Appraisals Amy Parenti aparenti@freemansauction.com Business Development Thomas B. McCabe IV tmccabe@freemansauction.com Client Services Mary Maguire Carroll mmaguire@freemansauction.com Finance Whitney Long wlong@freemansauction.com Marketing & Communications Micah Dornfeld mdornfeld@freemansauction.com Museum Services Thomas B. McCabe IV tmccabe@freemansauction.com Photography Thomas Clark tclark@freemansauction.com Shipping & Receiving Stephanie Parker sparker@freemansauction.com Trust & Estates Amy Parenti aparenti@freemansauction.com

Mid-Atlantic Matthew Wilcox mwilcox@freemansauction.com

American Art & Pennsylvania Impressionists Alasdair Nichol anichol@freemansauction.com

Southeast Colin Clarke cclarke@freemansauction.com

American Furniture, Folk & Decorative Arts Lynda Cain lcain@freemansauction.com

West Coast Michael Larsen mlarsen@freemansauction.com

Asian Arts Benjamin Farina bfarina@freemansauction.com

Main Line Thomas McCabe tmccabe@freemansauction.com

Books, Maps & Manuscripts Benjamin Truesdale btruesdale@freemansauction.com British & European Furniture & Decorative Arts Nicholas B. A. Nicholson nnicholson@freemansauction.com European Art & Old Masters David M. Weiss dweiss@freemansauction.com Jewelry & Watches Virginia Salem, GIA GG vsalem@freemansauction.com Modern & Contemporary Art Dunham Townend dtownend@freemansauction.com Musical Instruments Frederick Oster foster@freemansauction.com Oriental Rugs & Carpets Andrew Taggart ataggart@freemansauction.com Prints Anne Henry ahenry@freemansauction.com Silver & Objets de Vertu Nicholas B. A. Nicholson nnicholson@freemansauction.com

100 v3.2016

www.freemansauction.com 1808 Chestnut Street Philadelphia Pennsylvania 19103