American Art & Pennsylvania Impressionists by Freeman's

american art & pennsylvania impressionists december 09, 2018

american art & pennsylvania impressionists

auction Sale 1619 Sunday, December 09 at 2pm 1808 Chestnut Street, Philadelphia PA 19103 Cover Image: Lot 94 (detail), Inside Front Cover: Lot 65 (detail), Inside Back Cover: Lot 119 (detail)

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

RaphaĂŤl Chatroux Associate Specialist | Fine Art rchatroux@freemansauction.com 267.414.1253

exhibitions Wednesday, December 05

10:00 am - 5:00 pm

Thursday, December 06

10:00 am - 5:00 pm

Friday, December 07

10:00 am - 5:00 pm

Saturday, December 08

12:00 pm - 5:00 pm

By appointment only on the morning of the sale

client services Mary Maguire Director | Client Services mmaguire@freemansauction.com 267.414.1236

Lot 46 (detail)

Joslyn Moore Bidding Registration jmoore@freemansauction.com 267.414.1207

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

Lot 2 (detail) 4

A M E R IC A N A R T lots 1-112

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life in black & white

he allure and appeal of the iconic and world famous city of New York is arguably unrivaled. For over a century it has been the hub of the American Art world, inspiring countless musicians, writers, architects and especially fine artists. The present sale boasts an impressive collection of works on paper, many of which were made by artists deeply impacted by an affinity for New York City and its innumerable attractive qualities. Martin Lewis, an Australian born artist, moved to the United States in 1900, settling first in San Francisco and later in New York. His oeuvre, and certainly is most quintessential work, is based almost entirely on New York, its inhabitants, and their daily lives. A true master of intaglio, Lewis’s prints are defined by his adept use of light and dark and the distinct contrast of brightness and shadow. Although Australian born, Martin Lewis became a symbol of America’s printmaking through his compelling depictions of New York City in the 1920s and 1930s. His renderings of the modern cityscape were part of an aesthetic, which came to be known as “The American Scene”. As Paul McCarron states, these views were so popular that they now “have become documents of New York City’s architectural and social history”. His style seems to evoke a film noir, and emits the unique synergy of New York and its residents. For instance, Lewis’s “Stoops in Snow” (Lot 2) shows strong contrasts of black and white, demonstrating the artist’s command of tonal range, while “Yorkville Night” (Lot 1) is a perfect example of a vignette that could be seen almost as a film still or a cinematic scene, replete with intriguing character groupings. During his time spent in New York, Howard Cook was captivated by the many tall buildings and structures throughout the city. Using the printmaking skills he learned under Joseph Pennell at the Arts Students League, Cook depicted the construction around him in his etchings and woodcuts. Focusing on the jagged lines, blocky shapes, and the light and shadow interplay between facades, edifices, and streets, Cook dramatically portrayed New York’s urban landscape. Exemplifying this practice, “East River” (Lot 4) shows a wide angled view of the city from the river, as boats and buildings jut up from the water and concrete. Some structures seem to shine with luminosity, while others are darkened and silhouetted against the sky.

It has been said that Reginald Marsh was to New York what Daumier was to Paris and Hogarth was to London. He was born in Paris to American parents, both of whom were artists, and exhibited an innate gift for the arts early in his life. His paintings, drawings, and prints capture the aura and pace of the ever-changing city at a particularly exhilarating time in its history. Marsh is one of the best known recorders of the 1930s and 1940s in New York, and favored depicting primarily the lower classes, laborers, and those on the fringes of society. He concentrated on the characters he observed in places like subways, burlesque halls, and in the streets. His fascination with the city’s industry and labor is prominent in the lots featured here; railroads, trains, and the men who worked on them are shown in various views. The bustling environment, particularly in “Erie R.R. Locos Watering” (Lot 14), is brought to life with steam billowing from the trains and the railroad employees busy with their respective jobs. For these three and so many others, New York City was a fertile ground for innovation and creation. Their work is a testament to this, and can be seen in the subsequent lots.

1 MARTIN LEWIS (american 1881-1962) “YORKVILLE NIGHT” 1947. Edition of 18, including 1 trial proof. Pencil signed ‘Martin Lewis’ bottom right, drypoint on wove paper Plate size: 8 1/2 x 11 1/2 in. (21.6 x 29.2cm) Sheet size: 10 7/8 x 14 1/2 in. (27.6 x 36.8cm) [McCarron 140] provenance: Christie’s, New York, sale of November 13, 1996, lot 42. Acquired directly from the above sale. Private Collection. $20,000-30,000

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2 MARTIN LEWIS (american 1881-1962) “STOOPS IN THE SNOW” 1930. Edition of 115. Pencil signed ‘Martin Lewis’ bottom right, McCarron’s second (and final) state, drypoint and sandpaper ground on wove paper Plate size: 9 3/4 x 14 3/4 in. (24.8 x 37.5cm) Sheet size: 13 7/16 x 18 7/16 in. (34.1 x 46.8cm) [McCarron 89] provenance: Collection of Jeffrey M. Kaplan, Washington, D.C.

note: The present lot is an important print from Lewis’s œuvre, which garnered considerable acclaim when released. A nostalgic look into New York’s lively past, the work depicts some of the city’s historical town houses blanketed in the snow, as well as a vignette of its inhabitants battling the elements. Originally entitled “Stoops in the Snow - West Forties“, the scene appears to take place in Midtown Manhattan. The composition of the street stretching through the center of the image directs the viewer’s eye into the scene. Flurries of snow are clearly visible through the delicate use of burnishing and sand-ground, complementary to the heavy mounds of white snow on the pavement, stairs and bodies of the hunched figures walking by. The stark contrasts of black and white demonstrate the artist’s masterful representation of light and shadow, and add to the ephemeral and dramatic depiction of the moment. $15,000-20,000

3 MARTIN LEWIS (american 1881-1962) “THE PASSING FREIGHT, DANBURY” 1938. Edition of 47, including 6 trial proofs. Pencil signed ‘Martin Lewis’ bottom right, drypoint and sandpaper ground on wove paper Plate size: 8 7/8 x 14 3/8 in. (22.5 x 36.5cm) Sheet size: 12 1/4 x 17 1/2 in. (31.1 x 44.5cm) [McCarron 108] provenance: Sotheby’s, New York, sale of May 11, 1986, lot 124. Acquired directly from the above sale. Private Collection. $12,000-18,000

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4 HOWARD NORTON COOK (american 1901-1980) “EAST RIVER” 1928. Edition of 50 (only 15 printed). Pencil signed ‘Howard Cook Imp.’ bottom right, etching on paper Plate size: 5 x 6 7/8 in. (12.7 x 17.5cm) Sheet size: 5 7/8 x 8 11/16 in. (14.9 x 22.1cm) [Duffy 81] provenance: Aaron Payne Fine Art, New York, New York. Acquired directly from the above. Private Collection. $3,000-5,000

5 HOWARD NORTON COOK (american 1901-1980) “THE STATION” 1928. Edition of 50 (only 30 printed). Pencil signed and dated ‘Howard Cook imp. 28’ bottom right; also inscribed ‘50’ and titled bottom left, etching on paper Plate size: 6 7/8 x 8 7/8 in. (17.5 x 22.5cm) Sheet size: 8 3/16 x 9 9/16 in. (20.8 x 24.3cm) [Duffy 99] provenance: Aaron Payne Fine Art, New York, New York. Acquired directly from the above. Private Collection. note: The present work depicts the railroad station in Greenfield, Massachusetts. $1,500-2,500

6 HOWARD NORTON COOK (american 1901-1980) “CHRYSLER BUILDING” 1930. Edition of 75 (only 50 printed). Pencil signed ‘Howard Cook Imp’ bottom right, woodcut on paper Plate size: 10 x 6 9/16 in. (25.4 x 16.7cm) Sheet size: 11 7/8 x 9 in. (30.2 x 22.9cm) [Duffy 122] provenance: Owings-Dewey Fine Art, Santa Fe, New Mexico. Acquired directly from the above. Private Collection. $8,000-12,000

orn in Springfield, Massachusetts, Cook studied printmaking under Joseph Pennell at the Art Students League beginning in the early 1920s. Living in New York City during the late 1920s and early 1930s, Cook often depicted his environs, focusing on new constructions in the city as his most favored subject matter. The present lot depicts the famous Art Deco-style Chrysler Building, which is located on Manhattan’s East side of Midtown, and whose construction began in 1928. Upon completion it was the world’s tallest building before it was surpassed by the Empire State Building. Cook’s rendering emphasizes the structure’s imposing height, using strongly contrasting lights and darks to accentuate its presence amongst the other urban buildings.

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7 HOWARD NORTON COOK (american 1901-1980) “RAILROAD SLEEPING” 1926. Edition of 50 (only 25 printed). Pencil signed and dated ‘Howard N. Cook/1926’ bottom right; also dedicated ‘To Ms. Hitmore’ bottom left, and titled bottom center, woodcut on paper Plate size: 15 3/16 x 9 1/8 in. (40.2 x 23.2cm) Sheet size: 16 1/2 x 10 3/4 in. (41.9 x 27.3cm) [Duffy 29] provenance: Private Collection. $1,000-1,500

8 HOWARD NORTON COOK (american 1901-1980) “CHRISTOPHER STREET” 1928. Edition of 50 (only 25 printed). Pencil signed ‘Howard Cook Imp.’ bottom right, woodcut on paper Plate size: 12 7/8 x 9 1/2 in. (32.7 x 24.1cm) Sheet size: 13 11/16 x 10 5/8 in. (34.8 x 27cm) [Duffy 77] provenance: The Artist. Private Collection. Owings-Dewey, Santa Fe, New Mexico. Acquired directly from the above. Private Collection. $1,500-2,500

9 LOUIS LOZOWICK (american/russian 1892-1973) “ELEVATED RAILWAY” 1931. Edition of 20. Pencil signed ‘Louis Lozowick’ bottom right; also titled bottom left, lithograph on paper Image size: 12 7/16 x 8 7/16 in. (31.6 x 21.4cm) Sheet size: 15 15/16 x 11 3/16 in. (40.5 x 33.5cm) [Flint 82] provenance: Collection of Sylvan Cole, New York, New York. Swann Galleries, New York, sale of March 6, 2006, lot 166. Acquired directly from the above sale. Private Collection. $2,500-4,000

10 LOUIS LOZOWICK (american/russian 1892-1973) “HOBOKEN” (WATERFRONT II, GRAIN ELEVATOR, HOBOKEN) 1927-1928. Edition of approximately 15-25. Pencil signed and dated ‘Louis Lozowick ‘28’ bottom right; also inscribed ‘A.P.’ [artist’s proof] bottom left, lithograph on Chine-collé Image size: 8 x 10 9/16 in. (20.3 x 26.8cm) Sheet size: 8 13/16 x 11 1/16 in. (22.4 x 28.1cm) [Flint 9] provenance: Susan Sheehan Inc., New York, New York. Acquired directly from the above in 1989. Private Collection. note: According to Flint, “The adjacent ports of Hoboken and Weehawken on the Hudson River were important terminals for the extensive railroad lines and waterfront facilities that had made New Jersey one of the largest shipping centers in the country by the late twenties. This particular scene, although viewed from Hoboken, is actually of the railroad yards of Weehawken on the narrow strip of river front that borders Hoboken.” [Flint, p. 57] $1,000-1,500

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11 THOMAS HART BENTON (american 1889-1975) “EDGE OF TOWN” 1938. Edition of 250. Pencil signed ‘Benton’ bottom right, lithograph on paper Image size: 8 3/4 x 10 5/8 in. (22.2 x 27cm) Sheet size: 11 7/8 x 16 in. (30.2 x 40.6cm) Associated American Artists, publisher. [Fath 15] provenance: Swann Galleries, New York, sale of April 29, 2014, lot 321. Acquired directly from the above sale. Private Collection. $3,000-5,000

12 ARMIN LANDECK (american 1905-1984) “MANHATTAN VISTA” 1934. Edition of 100. Pencil signed and dated ‘Landeck 1934’bottom right; also inscribed ‘Ed 100’ bottom left, drypoint on wove paper Plate size: 9 7/8 x 8 1/2 in. (25.1 x 21.6cm) Sheet size: 14 7/8 x 14 in. (37.8 x 35.6cm) [Kraeft 47] provenance: Christie’s, New York, sale of November 13, 1996, lot 36. Acquired directly from the above sale. Private Collection. note: The present work serves as a detail from another work by the artist, a lithograph entitled “View of New York.” $2,000-3,000

13 ALLAN RANDALL FREELON (american 1895–1960) “NUMBER 1 BROAD STREET” 1934. Edition of 50. Pencil signed ‘Allan Freelon/Imp’ bottom right; also titled bottom center, and numbered ‘50’ bottom left, etching and aquatint on paper Plate size: 11 7/8 x 9 7/8 in. (30.2 x 25.1cm) Sheet size: 15 1/4 x 11 7/8 in. (38.7 x 30.2cm) provenance: Warwick Galleries, Pennsylvania. Vineland Historical and Antiquarian Society, New Jersey. $2,000-3,000

14 REGINALD MARSH (american 1898-1954) “ERIE R.R. LOCOS WATERING” 1934. Edition of 18, seventh and final state. Pencil signed ‘Reginald Marsh’ bottom right; also numbered ‘12’ bottom left, etching on paper Plate size: 8 13/16 x 11 13/16 in. (22.4 x 30cm) Sheet size: 10 5/8 x 13 3/8 in. (27 x 34cm) [Sasowsky 155] provenance: Christie’s, New York, sale of March 24, 1982, lot 239A. Acquired directly from the above sale. Private Collection. $1,000-1,500

15 REGINALD MARSH (american 1898-1954) “TANK CAR RAIL” 1929. Edition of approximately 18, fifth and final state. Pencil signed ‘Reginald Marsh’ bottom right; also numbered ‘#7’ bottom left, etching and engraving on paper Plate size: 5 7/8 x 8 13/16 in. (14.9x 22.4cm) Sheet size: 8 1/4 x 11 1/8 in. (21 x 28.3cm) [Sasowsky 86] provenance: Swann Galleries, New York, sale of September 21, 2010, lot 235. Acquired directly from the above sale. Private Collection. $1,500-2,500

16 REGINALD MARSH (american 1898-1954) “LOCO-ERIE WATERING” 1929. Edition of approximately 50, fourth and final state. Pencil signed ‘Reginald Marsh’ bottom right; also numbered ‘12’ bottom left, etching on paper Plate size: 6 7/8 x 9 3/4 in. (17.5 x 24.8cm) Sheet size: 8 1/4 x 10 7/8 in. (21 x 27.6cm) [Sasowsky 85] provenance: Denenberg Fine Arts Inc., West Hollywood, California. Swann Galleries, New York, sale of September 22, 2016, lot 191. Acquired directly from the above sale. Private Collection. $1,000-1,500

Lot 29 (detail) 16

Richard Mellon Scaife (1932-2014), owner of the Trib Total Media publishing company and other media properties, was a dedicated philanthropist and preservationist. Collecting fine art was his other passion. Scaife began to amass a major collection of largely American paintings with the influence of his mother, Sarah, ultimately leading to the creation of the Sarah Scaife Galleries in 1974, a part of the Carnegie Museums of Pittsburgh. He later donated a commissioned Andy Warhol portrait of Andrew Carnegie to the Carnegie Museum and a rare John James Audubon painting to the National Gallery of Art. Scaife donated more art to Pennsylvania’s Westmoreland Museum of American Art in Greensburg and to the Brandywine River Museum of Art in Chadds Ford than to any other institutions, because for him, they had “great collections and excellent staffs.”

works from the collection of

Richard M. Scaife lots 17-42

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he undisputed beauty and endless variety of North America’s landscapes inspired Jasper Cropsey to closely observe, explore and make sketches of sites and locales. The present painting, which Jasper Cropsey painted in 1852, captures all of the hallmarks of the artist’s best work. Here, the artist depicts a glowing sailboat gently approaching a pavilion set among an impressive forest, in which trees are rendered in a great symphony of colors. The clouded sky is tinted with a soft pink, indicating the warm glow of the setting sun. As the title indicates, the building pictured in the background of the composition is “Waverly,” the Remsen and Strong family homestead located at Newtown, Long Island. The home, which was originally purchased in 1718 by Daniel Rapalje of New Amsterdam, overlooked what is now Flushing Bay, near LaGuardia Airport in Queens, New York. At the time Cropsey recorded this house portrait, the home belonged to Aletta Remsen, granddaughter of Daniel Rapalje, and wife to James Strong, uncle of American composer George Templeton Strong. In a letter to his wife dated December 15, 1852, Jasper Cropsey records his close relationship with Aletta’s son, Peter Remsen Strong. The present work is not Cropsey’s first attempt to paint the house of his friend, as an early preparatory sketch for the painting, entitled “House and Trees Seen from the Water” (now at the Museum of Fine Arts in Boston) carefully records the house and the surrounding landscape (although it does not show the sailing vessel in the foreground). The Frick Library also owns a photograph of another painting of this same subject, “Waverly,” this time captured on a calm day. It shows the same house and wharf, as well as the sailing vessel at its mooring, with the artist’s signature placed on a plank floating in the water in the lower center. That version was probably the painting Cropsey recorded in his Account Book as sold to Peter Remsen Strong on May 17, 1853, “for a view of his residence” as there is no entry for our canvas. According to the Cropsey Foundation, it is possible that the artist gave our (early) work to Aletta Remsen Strong, and painted a replica upon Peter Remsen Strong’s request, who might have wished to gift it to his newly-wedded bride, Mary Emeline Stevens.

1818

Works from The Collection of Richard M. Scaife

17 JASPER FRANCIS CROPSEY (american 1823-1900) “WAVERLY NEWTON, LONG ISLAND” Signed and dated ‘J.F. Cropsey/1852’ bottom center, oil on board 11 7/8 x 18 7/8 in. (30.2 x 47.9cm) provenance: Collection of the Remsen-Strong family (possibly Alletta Remsen or Peter Remsen Strong, “for a view of his residence“ [quoted in Artist’s Account Book], May 17, 1853). Collection of George P. Guerry. Collection of Ferdinand H. Davis, New York, by 1964. Vose Galleries, Boston, Massachusetts. Acquired directly from the above in 1966. Collection of Mr. and Mrs. W. John Driscoll, St. Paul, Minnesota. Vose Galleries, Boston, Massachusetts. Acquired directly from the above in 1978. Collection of Richard M. Scaife, Pittsburgh, Pennsylvania. literature: (Possibly) “The Strong Divorce Case,” in New York Herald, December 2, 1865, p. 10. William S. Talbot, “Jasper F. Cropsey, Child of the Hudson River School,” in Antiques 92, November 1967, pp. 714-15, illustrated as “Waverly, the Strong-Remsen Homestead at Newton, Long Island.” William S. Talbot, Jasper F. Cropsey 1823-1900, Garland Publishing, New York, 1977, no. 68, p. 99 and illustrated pp. 370-371 as “Waverly, Newton, Long Island.” $50,000-80,000

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18 WENDELL FERDINAND MACY (american 1845-1913) “SANKATY LIGHT” Signed and dated ‘W Ferdinand Macy/83-4’ bottom left, oil on canvas 38 1/4 x 72 3/8 in. (97.2 x 183.8cm) provenance: Vose Galleries, Boston, Massachusetts. Collection of Richard M. Scaife, Pittsburgh, Pennsylvania. $8,000-12,000

Works from The Collection of Richard M. Scaife

19 GEORGE LAFAYETTE CLOUGH (american 1824–1901) “COAL MINES ON THE SUSQUEHANNA” Signed ‘G.L. Clough’ bottom left, oil on canvas 20 x 30 in. (50.8 x 76.2cm) provenance: Covington Fine Arts Gallery, Tucson, Arizona. Collection of Richard M. Scaife, Pittsburgh, Pennsylvania. $4,000-6,000

20 GEORGE T. HETZEL (american 1846-1912) STONE BRIDGE IN AN EXTENSIVE LANDSCAPE Signed and dated ‘Geo. T. Hetzel/1879’ bottom left, oil on canvas laid down to board 12 x 16 1/4 in. (30.5 x 41.3cm) provenance: Collection of Richard M. Scaife, Pittsburgh, Pennsylvania. $1,000-1,500

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Works from The Collection of Richard M. Scaife

erman born artist Albert Bierstadt moved at a very young age to the United States with his family, settling in Massachusetts, but returned to his homeland in 1853 to study and paint the Alpine mountains and landscape. Upon his return to America he traveled to the West, photographing and sketching the mountains and rock formations, making countless studies for the massive paintings he would create later in his New York Studio. Possessing a longstanding affinity for nature and wilderness, he is wellknown for his affiliation with the Hudson River Valley, where he found most of his subjects. The artist’s romanticized landscapes of this region, such as the one seen here, were carefully painted with painstaking detail and spectacular lighting. The present lot exhibits his attraction to the fall season and autumnal colors. The distant mountain range, ablaze with orange, yellow, and red hues, subtly juxtaposes the meadow in the foreground, creating a scene of simple, natural majesty.

21 ALBERT BIERSTADT (american 1830-1902) “AUTUMN LANDSCAPE” Signed with conjoined letters ‘ABierstadt’ bottom left, oil on paper laid down to Masonite 14 x 18 7/8 in. (35.6 x 47.9cm) provenance: Kennedy Galleries, New York, New York. Parke Bernet, New York, New York, 1975, n.d. Acquired directly from the above sale. Collection of Richard M. Scaife, Pittsburgh, Pennsylvania. note: We wish to thank Melissa W. Speidel from the Bierstadt Project for confirming the authenticity of the present lot. $40,000-60,000

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22 LESLIE PRINCE THOMPSON (american 1880-1963) “STORM CLOUDS” Signed and dated ‘Leslie P. Thompson 1902’ bottom right, oil on canvas 30 x 24 in. (76.2 x 61cm) provenance: Vose Galleries, Boston, Massachusetts. Collection of Richard M. Scaife, Pittsburgh, Pennsylvania. exhibited: “Seventy-third Annual Exhibition,” Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, 1904, no. 525. $2,500-4,000

23 REGINALD MARSH (american 1898-1954) “SAKONNET POINT” (RHODE ISLAND) Signed and dated ‘Reginald Marsh 1929’ bottom right; also titled bottom right, watercolor on paper Sheet size: 13 7/8 x 19 7/8 in. (35.2 x 50.5cm) provenance: Collection of Richard M. Scaife, Pittsburgh, Pennsylvania. $3,000-5,000

Works from The Collection of Richard M. Scaife

24 ERNEST LAWSON (american/canadian 1873-1939) “PINK HOUSE BY A POND” Oil on canvas 16 1/8 x 20 1/8 in. (41 x 51.1cm) provenance: Vose Galleries, Boston, Massachusetts. Collection of Richard M. Scaife, Pittsburgh, Pennsylvania. $15,000-25,000

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25 HAMILTON HAMILTON (american 1847-1928) “MOTHER AND CHILDREN PICKING WILDFLOWERS” Signed ‘Hamilton Hamilton N.A.’ bottom right, oil on canvas 20 x 30 in. (50.8 x 76.2cm) provenance: R.H. Love Galleries, Chicago, Illinois. Collection of Richard M. Scaife, Pittsburgh, Pennsylvania. $3,000-5,000

26 HOMER FRANKLIN BAIR (american 1896-1963) GEORGE WESTINGHOUSE BRIDGE, PITTSBURGH Signed ‘H.F. Bair’ bottom right, oil on canvas 30 x 36 1/8 in. (76.2 x 91.8cm) provenance: Collection of Richard M. Scaife, Pittsburgh, Pennsylvania. exhibited: “The First Biennial Exhibition of Contemporary American Paintings,” Virginia Museum of Fine Arts, Richmond, Virginia, March 12-April 24, 1938. $2,000-3,000

Works from The Collection of Richard M. Scaife

27 THEODORE WENDEL (american 1859-1932) “HOUSE BY A POND” Signed ‘Th. Wendel’ bottom left, oil on canvas 24 1/4 x 20 1/4 in. (61.6 x 51.4cm) provenance: Vose Galleries, Boston, Massachusetts. Collection of Richard M. Scaife, Pittsburgh, Pennsylvania. $1,000-1,500

28 GEORGE GARDNER SYMONS (american 1863-1930) WOODLAND PATH Signed ‘Gardner Symons’ bottom right, oil on canvas 16 x 20 in. (40.6 x 50.8cm) provenance: J.J. Gillespie, Pittsburgh, Pennsylvania. Collection of Richard M. Scaife, Pittsburgh, Pennsylvania. $3,000-5,000

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lthough initially associated with the Hudson River School painters, George Inness rapidly distinguished himself from the group by pursuing a more modern aesthetic. Unlike his contemporaries who believed in creating realistic canvases representing America’s vastness, Inness sought to go beyond a mere transcription of nature to convey both a personal experience and to capture the underlying spirit of a place. As the 1880s began, George Inness, along with a group of young artists who had returned to New York from study in Paris, developed a new style, combining subtle figure painting, and sublime outdoor lighting. According to Michael Quick “Inness achieved some of his finest results while painting from nature during the early 1880s.” While Inness’s figure paintings are generally associated with his views of Milton, New York, where the artist summered from 1880 to 1883, he also painted figure subjects on Nantucket Island, during part of the summer of 1883. With its simple, yet powerful composition and masterful rendering of light effects, “Siasconset Beach” is an important work from this transitional phase in the artist’s career. Here, Inness presents an expansive view of Siasconset beach, located on the south shore of Nantucket Island. Large scattered rocks mark the sandy beach in the foreground while low vegetation grows in a narrow band at the bottom and at the right of the picture, coinciding with the low horizon. On the left is a large expanse of sea. On the beach, an anonymous figure is shown starting up a bonfire. Over him, summer clouds fill the sky, dappling the canvas with soft streaks of pink intermingled with bursts of purple, which rake across the horizon. The painting is typical of Inness’s body of work produced in the early 1880s. Yet, his style seems to soften further, approaching the tonal, and spiritual harmonies that prevailed in his later work. His use of light and atmosphere convey a sense of serenity, concord and eternity. The forms are soft, almost dissolved in the permeating sunset color. Contrary to William Trost Richards and Eastman Johnson, who also vacationed on the island, Inness fully reinvents what he sees. The motif, the lighting, the composition, the color: all are arbitrary and subject to manipulation. Through the figure of the man on the beach, Inness seems to embark on a spiritual journey consisting of solitude, and contemplation. By doing so, Inness reconnects with 18th and early 19th century European painters, who used the landscape as a gateway to the human’s soul, in search of the sublime; i.e. the feeling that arises from the grandiose spectacle of nature or the moral force of man. As Inness explained himself, in an almost romantic manner “paintings were not necessarily pictures, and it was the artist’s function, even his obligation, by an aesthetic and expressive reorganization, to interpret nature and not merely depict it.” (M. Quick’s Catalogue Raisonné of the artist’s work). This sentimental, almost passionate attitude towards the landscape frequently caused Inness to paint an entirely different composition over a finished canvas, so as to evoke a different feeling and do better. This constant urge to improve his work seems to have prevailed in our painting since it includes elements that Inness had originally painted out: namely the figure on the beach and the hillside at bottom right. The reason why Inness eventually decided to erase those elements is unknown. What is clear is that he originally intended a minimal, almost bare subject matter, where the sole atmospheric climate and light effects were supposed to bring the spiritual meaning into his composition. The landscape, and the landscape only, was meant to awaken emotion with the spectator.

Works from The Collection of Richard M. Scaife

29 GEORGE INNESS (american 1825-1894) “SIASCONSET BEACH” (NANTUCKET ISLAND) Signed and dated ‘G. Inness 1883’ bottom right, oil on canvas 18 x 26 in. (45.7 x 66cm) provenance: The Artist. The Estate of the Artist. Fifth Avenue Art Galleries, New York, New York, sale of February 12-14, 1895, no. 39 (as “Siasconset”). Acquired directly from the above sale. Collection of Edward Thaw, Pittsburgh, Pennsylvania. His wife, Mrs. Edward Thaw, Dublin, New Hampshire. The Old Print Shop Inc., New York, New York, 1947. Collection of Mrs. Lucius D. Potter, Greenfield, Massachusetts. Collection of Mr. and Mrs. Walter Beinecke, Jr., Port Clyde, Maine. Joseph Murphy Auction, Kennebunkport, Maine, sale of October 1994, no. 62. Acquired directly from the above sale. Richardson-Clarke Gallery, Boston, Massachusetts; jointly with Vose Galleries, Boston, Massachusetts. Acquired directly from the above. Collection of Richard M. Scaife, Pittsburgh, Pennsylvania. exhibited: “Exhibition of the Paintings Left by the Late George Inness,” American Fine Art Society, New York, New York, December 27, 1894, no. 197. literature: LeRoy Ireland, The Works of George Inness, Austin, Texas: University of Texas Press, 1965, p. 274, no. 1105 (illustrated as “Shore at Siasconset, Nantucket Island, Mass.”). Robert A. diCurio, Art on Nantucket, Nantucket: Nantucket Historical Association, 1982, p. 187 (illustrated p. 188 as ‘Siasconset Beach”). Vose Art Notes 4, Vose Galleries, Boston, Winter 1995, no. 3 (illustrated). Michael Quick, George Inness: A Catalogue Raisonné, New Brunswick, New Jersey and London, United Kingdom: Rutgers University Press, volume II, no. 798, (illustrated as “Siasconset” p. 129). $20,000-30,000

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30 GERTRUDE FISKE (american 1879–1961) HOLLYHOCKS Oil on canvas 17 x 21 in. (43.2 x 53.3cm) provenance: Colwill McGehee, Baltimore, Maryland. Collection of Richard M. Scaife, Pittsburgh, Pennsylvania. $6,000-10,000

Works from The Collection of Richard M. Scaife

31 CHARLES HENRY GIFFORD (american 1839–1904) “ROCKS OFF WEST ISLAND, SAKONNET POINT, LITTLE COMPTON, RHODE ISLAND” Oil on canvas 8 x 13 in. (20.3 x 33cm) provenance: William Vareika Fine Arts, Newport, Rhode Island. Collection of Richard M. Scaife, Pittsburgh, Pennsylvania. $1,500-2,500

32 JEAN MANNHEIM (american/german 1863–1945) “GOLDEN EUCALYPTUS” Signed ‘J. Mannheim’ bottom left; also signed on label verso, oil on canvas laid down to board 24 x 20 in. (61 x 50.8cm) provenance: The Artist. The Artist’s daughter. Trotter Galleries, Pacific Grove, California. Collection of Richard M. Scaife, Pittsburgh, Pennsylvania. $2,500-4,000

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33 DAVID BAREFORD (american b. 1947) “SUMMER SAIL, BRANT POINT” Signed ‘David Bareford’ bottom right, oil on canvas 24 x 40 in. (61 x 101.6cm) provenance: The Main Street Gallery, Nantucket, Massachusetts. Collection of Richard M. Scaife, Pittsburgh, Pennsylvania. $1,500-2,500

34 ANNE MILLAY BREMER (american 1868–1923) “DUNES” (CARMEL-BY-THE-SEA) Signed and dated ‘Anne M. Bremer/94’ bottom left, oil on canvas 12 1/4 x 17 3/8 in. (31.1 x 44.1cm) provenance: Trotter Gallery, Pacific Grove, California. Collection of Richard M. Scaife, Pittsburgh, Pennsylvania. $1,000-1,500

35 FERDINAND KAUFMANN (american 1864-1942) “LAGUNA BEACH” Signed and dated ‘F. Kaufmann. 39.’ bottom right, oil on board 12 7/8 x 15 7/8 in. (32.7 x 40.3cm) provenance: Collection of Richard M. Scaife, Pittsburgh, Pennsylvania. $3,000-5,000

Works from The Collection of Richard M. Scaife

36 DAVID BAREFORD (american B.1947) “GARDEN PARTY” Signed ‘David Bareford’ bottom left, oil on board 11 x 14 in. (27.9 x 35.6cm) provenance: The Main Street Gallery, Nantucket, Massachusetts. Collection of Richard M. Scaife, Pittsburgh, Pennsylvania. $1,200-1,800

37 AIDEN LASSELL RIPLEY (american 1896-1969) “THE SUNSHINE MARKET” Watercolor on paper Sheet size: 9 15/16 x 13 7/8 in. (25.2 x 35.2cm) provenance: Collection of Richard M. Scaife, Pittsburgh, Pennsylvania. $1,000-1,500

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38 AIDEN LASSELL RIPLEY (american 1896-1969) “BRIGHT SUNSHINE, BOSTON PUBLIC GARDENS” With artist’s Estate stamp verso, oil on canvas 17 1/2 x 22 1/8 in. (44.5 x 56.2cm) provenance: Collection of Richard M. Scaife, Pittsburgh, Pennsylvania. $5,000-8,000

39 AIDEN LASSELL RIPLEY (american 1896-1969) “THE GREENHOUSE” Watercolor on paper Sheet size: 14 x 20 in. (35.6 x 50.8cm) provenance: Collection of Richard M. Scaife, Pittsburgh, Pennsylvania. $3,000-5,000

Works from The Collection of Richard M. Scaife

illiam McGregor Paxton studied painting at various academies in Paris, including École des Beaux Arts, where he worked under famed Orientalist painting Jean-Léon Gérôme. Through his career he became an integral part of the Boston School, which included artists such as Edmund Tarbell and Frank Weston Benson. Pictured in the present lot is a charmingly quotidian scene of shoppers and pedestrians in the streets of Provincetown, a part of Cape Cod, Massachusetts. This lovely town, replete with shops and markets to this day, is not far from the city Boston itself, to which Paxton had strong ties.

40 WILLIAM MCGREGOR PAXTON (american 1869-1941) “PROVINCETOWN STREET - THE CORNER GROCERY” Signed ‘PAXTON’ bottom right, oil on canvas 22 x 27 1/4 in. (55.9 x 69.2cm) provenance: Vose Galleries, Boston, Massachusetts. Collection of Richard M. Scaife, Pittsburgh, Pennsylvania. $20,000-30,000

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41 GEORGE LOFTUS NOYES (american/canadian 1864-1954) BOUQUET OF PEONIES Signed and dated ‘G.L. Noyes/86’ bottom left, oil on canvas 26 x 18 in. (66 x 45.7cm) provenance: Vose Galleries, Boston, Massachusetts. Collection of Richard M. Scaife, Pittsburgh, Pennsylvania. $3,000-5,000

42 ANDREW JOHN HENRY WAY (american 1826–1888) “STILL LIFE WITH HANGING GRAPES” Signed with artist’s monogram bottom left, oil on panel 22 x 10 5/8 in. (55.9 x 27cm) provenance: Colwill McGehee, Baltimore, Maryland. Collection of Richard M. Scaife, Pittsburgh, Pennsylvania. $2,000-3,000

end of collection

Lot 63 (detail) 37

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other properties 43 EDWARD MORAN (american 1829–1901) CAST NET FISHING AT SUNSET Signed ‘Ed Moran’ bottom left, oil on canvas 14 1/8 x 22 1/8 in. (35.9 x 56.2cm) provenance: Private Collection, Pennsylvania. $5,000-8,000

44 THOMAS BIRCH (american 1779-1851) FISHING BOATS OFF A FRENCH HARBOR AT SUNSET Signed with artist’s initials ‘TB’ bottom right, oil on canvas 20 x 30 in. (50.8 x 76.2cm) provenance: The Artist. By descent in the family. Private Collection, New York, New York. Christie’s, New York, sale of June 16, 2009, lot 50. Acquired directly from the above sale. Private Collection, Pennsylvania. note: The present lot is an early work by the artist. Its composition is directly inspired by the dramatic views of French artist Claude Joseph Vernet (1714-1789). $3,000-5,000

45 ADDISON THOMAS MILLAR (american 1860-1913) “TESTING THE SWORD” Signed ‘Addison T. Millar’ bottom left, oil on board 7 x 9 in. (17.8 x 22.9cm) provenance: Private Collection, New York. exhibited: Salmagundi Club, Thumb-Box Exhibition, n.d. $2,000-3,000

46 EDWIN LORD WEEKS (american 1849-1903) “ISFAHAN BAZAAR” Signed ‘E.L. Weeks’ bottom left, oil on canvas 39 3/4 x 32 1/4 in. (101 x 81.9cm) provenance: Collection of José Antonio Torres, Barcelona, Spain. Acquired directly from the above in 1965. Collection of James Khoury, Amarillo, Texas. Acquired directly from the above. By descent in the family. Sotheby’s, New York, sale of April 21, 1991, lot 52 (illustrated as “Entrance to the Grand Bazaar at Ispahan.”) Acquired directly from the above sale. Private Collection, Virginia. note: We wish to thank Dr. Ellen K. Morris for confirming the authenticity of the present lot. The painting will be included in the forthcoming Catalogue Raisonné of the artist’s work, and accompanied by a Certificate of Authenticity. $30,000-50,000

ike many of his fellow American artists, Weeks’s fascination for the Eastern world started with his apprenticeship with French master Jean-Léon Gérôme in Paris, where he familiarized himself with powerful images of exotic lands and people. The artist traveled extensively in the Far East between 1872 and 1892, venturing further than most, even exploring India on multiple occasions. He visited Persia only once, discovering Isfahan in the fall of 1892. He arrived in the city with the English travel writer and art critic Theodore Child, whom Harper’s Magazine had commissioned to write a series of articles about the Eastern world. Of all his eastern expeditions, Weeks considered his visit to the “Half-Of-The-World” city as the true highlight of his trip. Painted between 1901 and 1903, the present work is directly related to “Ispahan,” which the artist exhibited at the Paris Salon in 1901 – just two years before his death. Similar to Week’s other compositions, “Isfahan Bazaar” features an above eye-level view of the city’s densely packed market. To the left, the artist captures the alluring beauty of an anonymous walker. Elegantly dressed, she is the true focus of the painting. Behind her, in the sunlight, is a turbaned man holding a wicker sack – he is most likely the woman’s shopping assistant. To the right, on the opposite side of the sunlit canal, sits the city’s mosque. Week’s rendering of the detailed, colorful and ornamented architecture of the building is mesmerizing. The artist, especially skillful at capturing light and shadows, masterfully depicts the beauty of the city bathed in sunlight. Although certain details of the present painting relate to Week’s general observations in the Persian Empire, the main building in the background is directly inspired by the artist’s real-life studies of the Imperial Bazaar at Isfahan and its historic mosque. Surprisingly enough however, this skillfully rendered piece was in fact executed in the artist’s studio in Paris. Indeed, Weeks often used photographs and sketches, as well as his own notes and memoirs to recreate a scene, a true tour de force for this ambitious young artist who sought to capture the essence of the East “from memory”. 39

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47 DAVID JOHNSON (american 1827-1908) “STUDY - RAMAPO” Signed with artist’s monogram and dated ‘73’ bottom right; also titled, signed and dated ‘D. Johnson/1873’ verso, oil on canvas 7 5/8 x 12 1/4 in. (19.4 x 31.1cm) provenance: Doyle, New York, sale of May 21, 2002, lot 10. Acquired directly from the above sale. Private Collection, Virginia. $8,000-12,000

48 ARTHUR PARTON (american 1842–1914) DEER IN AN EXTENSIVE LANDSCAPE Signed and dated ‘A. Parton 1860’ bottom left, oil on canvas 23 x 34 1/4 in. (58.4 x 87cm) provenance: Property of a Maryland Estate. $2,000-3,000

hile his fellow contemporaries of the Hudson River School only specialized in one genre, Heade was unique in devoting equal attention to both landscape and still life painting throughout his long career. He first started painting floral still lifes during his stay in New York City in 1858. Although he was mostly known for his landscapes at the time, his floral subjects received high praise from critics, the Boston Transcript reporting: “At Williams and Everett’s may be seen floral pieces by Heade [that] are remarkably truthful, and betray a most careful and earnest study of nature. They are the best specimen of flower painting ever seen.” Heade painted several types of flowers. Although critics are still unsure of the artist’s original intentions through his choices of specimens and vases, Heade seems to have favored roses. Similarly to George Lambin, “the other great rose specialist,” Heade enjoyed depicting the flower’s subtle hues of red and delicate petals. In the 1870s, he started to simplify his work, and focused on the very dramatic Général Jacqueminot rose, a wild flower characteristic for its brilliant quality. The present work highlights the artist’s departure from earlier sophisticated themes, and yearning for simpler compositions. Here, Heade depicts six beautiful red rose stems on a bare table top, which is delicately covered by luxurious gold velvet. The flowers, all isolated from their natural environment, shine against an austere black background. The true subject of the painting is therefore not the branches themselves, but rather the effect of the warm light on the surfaces and textures of the leaves, blossoms and shiny drapery, thanks to careful and deliberate composition. Heade used this floral composition as a prototype which he would then use over and over in a series of rose paintings, similar to what he did with his scenes of marshes and orchids.

49 MARTIN JOHNSON HEADE (american, 1819-1904) “ROSES LYING ON GOLD VELVET” Signed ‘M.J. Heade’ bottom center right, oil on canvas 12 x 20 in. (30.5 x 50.8cm) provenance: Victor Spark Fine Arts, New York, New York. Collection of Mr. & Mrs. Avery W. Gordon, Detroit, Michigan. Christie’s, New York, sale of December 3, 1982, lot 72. Acquired directly from the above sale. Collection of Mrs. T.R. Ratrie, Malden, West Virginia. Collection of Nancy B. Nix, New York, New York. Private Collection, Greenwich, Connecticut. Shannon’s Fine Art Auctioneers, Milford, sale of April 30, 2009, lot 39. Acquired directly from the above sale. Private Collection, Virginia. literature: Theodore E. Stebbins, Jr., The Life and Work of Martin Johnson Heade: A Critical Analysis and Catalogue Raisonné, New Haven, Connecticut: Yale University Press, 2000, p. 333, no. 535 (illustrated). $40,000-60,000

50 MARY CASSATT (american 1844–1926) “SARAH WEARING HER BONNET AND COAT” Circa 1904. Lithograph on laid MBM Ingres d’Arches paper Image size: 20 x 16 1/2 in. (50.8 x 41.9cm) Sheet size: 24 3/4 x 18 3/4 in. (62.9 x 47.6cm) [Breeskin 198] provenance: Yamet Arts, New York. Private Collection, Pennsylvania. $2,000-3,000

51 FREDERICK WILLIAM MACMONNIES (american 1863-1937) “BACCHANTE AND INFANT FAUN” Signed and dated ‘F. MacMonnies/1893’ on base; also inscribed with ‘H. Rouard Fondeur’ on base, bronze with brown-green patina Height (including base): 16 1/4 in. (41.2cm) Width: 5 1/8 in. (13cm) provenance: Private Collection, Virginia. $3,000-5,000

52 SUSAN CATHERINE WATERS (american 1823–1900) GATHERING IN THE BARN Signed ‘Mrs. Susan C. Waters’ bottom right; also signed and located ‘Bordentown’ verso, oil on canvas 28 1/8 x 36 1/8 in. (71.4 x 91.8cm) provenance: Newman Galleries, Philadelphia, Pennsylvania. $2,000-3,000

53 LEVI WELLS PRENTICE (american 1851–1935) STILL LIFE WITH STRAWBERRIES AND CAKE Signed ‘L.W. Prentice’ bottom right, oil on canvas 10 1/4 x 16 1/4 in. (26 x 41.3cm) provenance: Property of a Virginia Estate. Acquired directly from the above. Private Collection, Washington D.C. $6,000-10,000

54 LEVI WELLS PRENTICE (american 1851–1935) APPLES IN A BASKET Signed ‘L.W. Prentice’ on the rim of the basket center right, oil on canvas 11 7/8 x 18 in. (30.2 x 45.7cm) provenance: Private Collection, Alabama. By descent in the family. Private Collection, Alabama. $7,000-10,000

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55 LOUIS ASTON KNIGHT (american 1873-1948) COTTAGE BY THE RIVER Signed and located ‘Aston Knight/ Paris’ bottom right, oil on canvas 35 x 45 7/8 in. (88.9 x 116.5cm) provenance: Grogan & Company, Boston, sale of May 21, 2011, lot 250. Acquired directly from the above sale. Private Collection, Philadelphia, Pennsylvania. $8,000-12,000

56 JONAS LIE (american/norwegian 1880–1940) MELTING SNOW Signed ‘Jonas Lie’ bottom left, oil on canvas 26 x 34 7/8 in. (66 x 88.6cm) provenance: Collection of Walter Martin Bucher, Cleveland, Ohio. By descent in the family. Private Collection, Oklahoma. $10,000-15,000

57 WILLIAM TROST RICHARDS (american 1833-1905) “CRASHING SURF” Signed and dated illegibly ‘Wm T. Richards/**’ bottom right, oil on panel 10 x 20 in. (25.4 x 50.8cm) provenance: Christie’s, New York, sale of September 27, 2004, Lot 75. Acquired directly from the above sale. Private Collection, Virginia. $10,000-15,000

58 WILLIAM TROST RICHARDS (american 1833–1905) SURF CRASHING Signed and dated ‘W. Trost Richards 1880’ bottom left, watercolor on paper Sheet size: 9 1/2 x 14 3/8 in. (24.1 x 36.5cm) provenance: Sotheby’s, New York, n.d. Private Collection, New Jersey. $3,000-5,000

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59 BRUCE CRANE (american 1857-1937) “AWAKENING HILLS” Signed and dated ‘Bruce Crane NA./1911’ bottom left, oil on canvas 45 1/8 x 46 1/8 in. (114.6 x 117.2cm) provenance: Private Collection, New Haven, Connecticut. Garzoli Gallery, San Rafael, California. exhibited: “Annual Exhibition,” The Art Institute of Chicago, Chicago, Illinois, 1911. literature: David A. Cleveland, A History of American Tonalism: 1880-1920, Manchester & New York: Hudson Hills Press, 2010, p. 497, fig. 8.65 (illustrated). $30,000-50,000

imilar to William Thoreau’s reflection upon simple living in natural surroundings, tonalist painter Bruce Crane set out to harness a pure, vanishing rural world through his paintings, which he tinted with a poetic, lyrical and mysterious atmosphere. Crane worked on “Awakening Hills’ after he won the Carnegie Prize for “November Hills” in 1909 (now at the Carnegie Museum of Art). According to David Cleveland, the present work “demonstrates Crane’s development of a broader decorative style, combining realism and a sense of time, place and mood with a fundamentally conceptualist strategy that emphasizes shapes, patterns, and delicate paint work-all within a harmonized color field.” Despite its simple composition, the painting conveys a strong sense of harmony through the artist’s use of muted colors and soft-edge forms. Through its square format, the painting translates the artist’s yearning for simpler, more decorative patterns capable of “[revealing] the pulsing, glistening energies beneath the surface of things.”

60 HUGH BOLTON JONES (american 1848-1927) “A SUMMER AFTERNOON” Signed ‘H. BOLTON JONES’ bottom left, oil on canvas 20 1/8 x 24 1/4 in. (51.1 x 61.6cm) provenance: Garzoli Gallery, San Rafael, California. $6,000-10,000

61 CHARLES HERBERT WOODBURY (american 1864-1940) “SWIMMER, NARROW COVE” Oil on canvas 25 1/2 x 28 3/4 in. (64.8 x 73cm) provenance: Vose Galleries, Boston, Massachusetts. Acquired directly from the above in 1987. Private Collection, Philadelphia, Pennsylvania. $4,000-6,000

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62 WILLIAM GLACKENS (american 1870–1938) “GLOUCESTER BATH HOUSE” Inscribed ‘W.G./By E.G.’ verso, oil on panel 6 1/4 x 8 in. (15.9 x 20.3cm) provenance: The Artist. The Estate of the Artist. Surovek Gallery, Palm Beach, California. Gerald Peters Gallery, New York, New York. Private Collection, New Jersey. exhibited: “William Glackens, American Impressionist,” Gerald Peters Gallery, New York, New York, November 20, 2003-January 3, 2004. $20,000-30,000

mages of summer leisure were a predominant theme in the work of many American Impressionists, including Maurice Prendergast. From the summers of 1911 through the 1916, Glackens and his family spent their time in a number of resort towns along the East coast. The generosity of the family of Edith, the wife of the artist, eased the financial situation of the young couple, allowing them to rent cottages by the sea in Cape Cod, Bellport, Rhode Island, and Gloucester. The series of paintings that Glackens executed during these summers are considered among his finest, as they reveal his joyful exploration of new painting techniques and the development of his own style of Impressionism.

In “Gloucester Bath House,” Glackens employs the brilliant colors and feathery brushwork characteristic of his fully developed sketch-like style. Through the dramatic, yet harmonious, sun-drenched colors, the painting conveys a sense of plenitude and happiness, which the artist evidently felt when he painted this colorful view. True to his Impressionist roots, Glackens seems to have painted the work en plein-air. He defines the contrasting shapes of the bathhouse via energetic brushstrokes, which reveal his intention to focus on the essential immediacy of the scene.

hile a student and throughout the course of his career (often at the request of noted patron Albert Barnes), William Glackens visited Paris to find inspiration in the art of the French Impressionists. The first-hand exposure to the work of Pierre-Auguste Renoir had a profound effect on Glackens’ approach to color, and the artist soon adopted a vivid palette with contrasting harmonies. The present works is exemplary in demonstrating Glackens’ use of joyful jewel-like colors and sensual, spontaneous, brushstrokes. Although the work is not dated and the locale is unknown, its style is very close to that of the paintings the artist completed in France after the mid-1910s, a time when his palette considerably brightened and he abandoned urban scenes to focus on portraiture and landscape painting. Regarding Glackens’ new color palette in those years, Arthur Hoeber noted, “If Mr. Glackens thus sees his nature, he must enjoy life far more than the ordinarily equipped human, for there is a riot of tone to his vision.”

63 WILLIAM GLACKENS (american 1870-1935) HILLTOP VIEW Oil on panel 8 x 10 in. (20.3 x 25.4cm) provenance: Collection of Roger Powell (per inscription verso). David David Gallery, Philadelphia, Pennsylvania (as “Landscape”). R.H. Love Galleries, Inc., Chicago, Illinois. Private Collection, Alabama. $8,000-12,000

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THE CITY IN

WINTER

Guy Carleton Wiggins (1883-1962) B

orn in Brooklyn in 1883, Guy Carleton Wiggins spent much of his childhood in Cornwall, England. He studied with his father, the skilled landscapist Carleton Wiggins, before enrolling at the National Academy of Design in New York. There, he worked under the tutelage of prominent American painters Robert Henri and William Merritt Chase, both graduates of the Pennsylvania Academy of the Fine Arts. In 1903, at the age of 20, Wiggins became the youngest American artist to have a work 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, where Wiggins, along with Childe Hassam, fused French and American Impressionist techniques and conventions, creating a hybrid style which became uniquely his own. He deeply emphasized color, using it to achieve beautiful effects of luminosity through his palette and his brushstrokes. In the 1920s and thereafter, Wiggins became best known for his quintessential wintry scenes of New York dusted in snow. In an interview published in the Detroit News in 1924, he said: “One cold, blustering, snowy winter day (1912) I was in my New York studio trying to paint a summer landscape. Things wouldn’t go right, and I sat idly looking out of a window at nothing. Suddenly I saw what was before me - an elevated railroad track, with a train dashing madly through the whirling blizzard-like snow that made hazy and indistinct the row of buildings on the far side of the street” (“Metropolitan Tower, 1912” Metropolitan Museum, New York). Often, Wiggins would paint these views from the windows of office buildings in Manhattan, and he was adept at depicting the hustle and bustle of the city softened and slowed by blizzards of snow and ice. His oeuvre has been defined by these works and they have become some of his most highly sought after.

64 GUY CARLETON WIGGINS (american 1883-1962) “CITY HALL PARK” Signed ‘Guy Wiggins NA’ bottom right; also titled and signed verso, oil on canvas 25 x 30 in. (63.5 x 76.2cm) provenance: Private Collection, New York, New York. note: The present lot will be accompanied by a letter of authenticity from Guy A. Wiggins, the son of the artist, dated September 17, 2018. According to Mr. Wiggins, the painting “was painted in the 1940s, after Guy Carleton Wiggins was made a National Academician in 1936. It is an excellent example of the larger paintings that he did in that period.” $80,000-120,000

ew York’s City Hall has been an important part of the city’s civic life for centuries. Located in downtown Manhattan, and depicted here in the lower left of the painting, the building currently functions as a governmental office for city representatives. The building itself was designed by Joseph Mangin and John McComb, and the cornerstone was laid in 1803. The triangular park surrounding the building was used throughout the 19th and 20th century for countless important gatherings and events. Now, it is home to many monuments as well as the famous Jacob Wrey Mould fountain, which was originally constructed in 1871. In 1966, the City Hall building was designated a city and national landmark, and in 1999 the park was fully restored, in what former Mayor Giuliani called “a final gift from the 20th century to New Yorkers of the 21st”. City Hall Park and its surrounding streets and buildings are depicted here in quintessential Wiggins’ fashion. A snowy winter’s afternoon creates a gray sky as trees, grass, and concrete becomes covered in the blizzard’s fall.

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65 GUY CARLETON WIGGINS (american 1883-1962) “THE LIBRARY IN WINTER” Signed ‘Guy Carleton Wiggins NA’ bottom right; also titled and signed verso, oil on canvas 24 x 20 in. (61 x 50.8cm) provenance: Private Collection, New Jersey. Roughton Galleries, Dallas, Texas. Acquired directly from the above in 2003. Private Collection, Los Angeles, California. $30,000-50,000

he present lot will be accompanied by a letter of authenticity from Guy A. Wiggins, the son of the artist, dated April 17, 2003. As stated in the letter, “The painting is a snow scene depicting, as the title indicates, the New York Public Library on Fifth Avenue. The view is seen from above at about the second floor level with the library on the right and with Fifth Avenue angling up from right to left. In front of the building are the Stars and Stripes, the State Flag of New York and the two Library Lions. In the extreme left corner are three yellow cabs headed uptown towards the viewer. Beyond them headed downtown is the back of a double-decker bus, which indicates that this picture was painted when Fifth Avenue was still a two-way street. There are pedestrians on the sidewalk in front of the library and a tall reddish brown building, which no longer exists, behind it . [...] I believe [Guy Carleton Wiggins] painted it between 1935 and World War II.”

66 GUY CARLETON WIGGINS (american 1883-1962) “AT THE LIBRARY NEW YORK” Signed ‘Guy Carleton Wiggins NA’ bottom right; also titled and signed verso, oil on canvas 30 1/4 x 25 1/4 in. (76.8 x 64.1cm) provenance: Private Collection, Midland, Texas. Roughton Galleries, Dallas, Texas. Acquired directly from the above in 2003. Private Collection, Los Angeles, California. note: The present lot has been authenticated by Guy A. Wiggins, the son of the artist, in a letter dated 2003. $80,000-120,000

“A

t the Library New York” depicts a blizzard on Manhattan’s 5th Avenue, which runs north through the heart of the city. To the left, once can notice the main branch of the New York Public Library founded in 1895 on 42nd Street. Prominently displayed, the iconic lion statues flank the stairway which leads into the building. The sharp corners and pointy spires of nearby structures are softened and blurred by heavily falling snow. A line of pedestrians walk toward the viewer in front of the library, and away from the viewer on the opposite side of the street, giving the feeling of a push and pull as cars and people alike make their way through the storm. Soothing yellow lights can be seen shining from windows surrounding the scene, adding a sense of warm and calm to an otherwise turbulent vignette.

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67 GUY CARLETON WIGGINS (american 1883-1962) “ON 5TH AVENUE ON A WINTER’S AFTERNOON” Signed ‘Guy Wiggins NA’ bottom left; also titled, signed and dated ‘1961’ verso, oil on canvas 25 x 30 in. (63.5 x 76.2cm) provenance: W.R. Fine Galleries, Dallas, Texas. Acquired from the above circa 1970. Collection of Dr. Carl and Mrs. Cherry Rainone, Arlington, Texas. Rainone Galleries, Arlington, Texas. Acquired directly from the above in 2006. Private Collection, Los Angeles, California. note The present lot will be accompanied by a letter of authenticity from Guy A. Wiggins, the son of the artist, written on the back of a photograph of the painting and dated March 27, 2006. $80,000-120,000

ainted in 1961, one year prior to the artist’s death, “On 5th Avenue” is a perfect example of Wiggins’ classic wintry scenes. The composition depicts 5th Avenue at 59th Street, near the bottom East side of Central Park, and features the distinguished Pulitzer Fountain which is situated in Manhattan’s Grand Army Plaza and was donated by famed publisher Joseph Pulitzer (1847-1911) in 1916. The basin of the fountain as well as the surrounding ground has been covered by snowfall, as people trudge through the streets. Wiggins shows that city life continues on regardless of weather, as a horse-drawn carriage takes passengers to their destination, and a woman walks her two dogs. The blustry weather skews any distinguishable facial features of the pedestrians depicted here, lending and element of anonymity to the vignette. Nevertheless, the artist is able to relay a sense of relatability and camaraderie as well, as most of the subjects featured here walk in pairs and closely together.

68 GUY CARLETON WIGGINS (american 1883-1962) “WALL STREET” (TRINITY CHURCH) Signed ‘Guy Wiggins NA’ bottom right; also titled and signed verso, oil on canvas laid down to board 12 x 16 in. (30.5 x 40.6cm) provenance: Questroyal Fine Art, LLC, New York, New York. Private Collection, Los Angeles, California. note: The present lot will be accompanied by a letter of authenticity from Guy A. Wiggins, the son of the artist, dated September 17, 2018. According to Mr. Wiggins, the painting appears to have been painted “in the 1930s or 1940s, after Guy Carleton Wiggins was made a National Academician in 1936.” $20,000-30,000

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69 GUY CARLETON WIGGINS (american 1883–1962) “MYSTIC HARBOR” (CONNECTICUT) Signed ‘Guy C. Wiggins’ bottom left, oil on board 8 1/4 x 10 1/4 in. (21 x 26cm) provenance: Private Collection, New York, New York. note: The present lot will be accompanied by a letter of authenticity from Guy A. Wiggins, the son of the artist, dated June 15, 2018. According to Mr. Wiggins, the scene was painted between 1912 and 1913, before the artist went to England to paint scenes along the Cornish coast. $6,000-10,000

70 CLARENCE K. CHATTERTON (american 1880-1973) “NUBBLE LIGHTHOUSE” (YORK CLIFFS, MAINE) Signed ‘C.K. Chatterton’ bottom right; also titled, located, signed and inscribed ‘Vassar College’ on bottom stretcher verso, oil on canvas 28 1/8 x 36 in. (71.4 x 91.4cm) Executed circa 1921. provenance: A.C.A. Galleries, New York, New York. Acquired directly from the above in 1987. Private Collection, Philadelphia, Pennsylvania. $2,500-4,000

71 FRANK VIRGIL DUDLEY (american 1868–1957) “A STRANGER IN DUNELAND” Signed ‘Frank V. Dudley.’ bottom right, oil on canvas 18 1/4 x 24 in. (46.4 x 61cm) provenance: Private Collection, Indiana. By descent in the family. Private Collection, Philadelphia, Pennsylvania. exhibited: Chicago Galleries Association, Chicago, Illinois, 1954, no. 18 (per label verso). $2,500-4,000

72 ERNEST LAWSON (american/canadian 1873–1939) “CONNECTICUT LANDSCAPE” Signed ‘E. Lawson’ bottom left; also signed, titled and dated ‘1918’ verso, oil on canvas 17 1/8 x 17 1/8 in. (43.5 x 43.5cm) provenance: Richard York Gallery, New York, New York. Robert Schoelkopf Gallery, New York, New York. American Masters Gallery, Los Angeles, California. Private Collection, New Jersey. $20,000-30,000

founding member of the Ashcan School, also known as “The Eight,” Ernest Lawson is best known for his richly impastoed landscapes and a style that adroitly fuses Impressionism and Realism. Lawson studied at the Art Students League in New York as well as a summer school in Connecticut under John Twachtman, and was influenced by his style of Impressionism. After living and studying in Paris, where he became deeply inspired by the work of Alfred Sisley, he moved back to the United States and exhibited with the Ashcan School. Drawing on these Impressionist influences, Lawson was less focused on portraying social realism than the rest of his peers and more interested in color and light. In the present painting, Lawson depicts a Connecticut landscape replete with tall trees and grasses. Using a vibrant and varied color palette and numerous, thickly pigmented brushstrokes, the artist draws the viewer through the sun dappled meadow in the foreground up and over the hill towards a pleasant blue sky.

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73 HENRY MARTIN GASSER (american 1909-1981) “ROAD TO BLACK MOUNTAIN” Signed ‘H. Gasser’ bottom right; also inscribed with title and artist on upper stretcher verso, oil on canvas 30 1/8 x 36 in. (76.5 x 91.4cm) provenance: Private Collection, Virginia. $10,000-15,000

74 HENRY MARTIN GASSER (american 1909–1981) GLOUCESTER HARBOR Signed ‘H. Gasser’ bottom right, oil on canvas 20 x 24 in. (50.8 x 61cm) provenance: Private Collection, California. $3,000-5,000

75 AARON BOHROD (american 1907-1992) MARCHING IN THE SNOW Signed and dated ‘Aaron Bohrod 39’ bottom center, oil on Masonite 30 x 40 1/2 in. (76.2 x 102.9cm) provenance: Private Collection, Massachusetts. $3,000-5,000

76 AIDEN LASSELL RIPLEY (american 1896–1969) “OLD ARCHWAY, SEGOVIA” Signed and dated ‘A.L. Ripley 1925’ bottom right; also dedicated ‘to Ed and Laura Loye’ verso, watercolor on paper laid down to card Sheet size: 14 x 17 3/4 in. (35.6 x 45.1cm) provenance: Private Collection, Virginia. exhibited: “Sesqui-Centennial International Exposition,” Philadelphia, Pennsylvania, 1926. $2,000-3,000

77 REGINALD MARSH (american 1898-1954) “RAILROAD YARD” Signed and dated ‘Reginald Marsh 1930’ bottom right, watercolor on paper Sheet size: 13 7/8 x 19 7/8 in. (35.2 x 50.5cm) provenance: The Artist. The Estate of the Artist. The Artist’s wife, Felicia Meyer Marsh. The Estate of Felicia Meyer Marsh. Everson Museum of Art, Syracuse, New York. Christie’s, New York, sale of September 28, 1983, lot 140. Acquired directly from the above sale. Private Collection. $2,000-3,000 78 OSCAR FLORIANUS BLUEMNER (american 1867-1938) “AT OLD MILL LANDING, NEW LOTS BROOKLYN” Pencil signed with conjoined letters ‘OB’ bottom right; also titled and dated ‘Aug. 25 05’ bottom right, watercolor on paper Sheet size: 5 11/16 x 9 1/4 in. (14.4 x 23.5cm) provenance: Collection of Jeffrey M. Kaplan, Washington, D.C. $6,000-8,000

79 OSCAR FLORIANUS BLUEMNER (american 1867–1938) “MYSTIC MOOD” Watercolor and gouache on paper Sheet size: 5 x 4 1/8 in. (12.7 x 10.5cm) provenance: The Artist. The Estate of the Artist. The Artist’s daughter, Vera Bluemner. Menconi + Schoelkopf Fine Art LLC, New York, New York. Debra Force Fine Art Inc., New York, New York. Private Collection, New Jersey. exhibited: “Oscar Bluemner: Visions of the Modern Landscape,” Debra Force Fine Art Inc., New York, New York, May 12-June 30, 2004. $25,000-40,000

n the present lot, the viewer can see strong influences of Cubism and Fauvism, both through the bright, expressive palette as well as the blocky, jagged forms which make up the composition. In a fairly abstracted and futuristic landscape, a vivid orange structure takes center stage, complimented by the greens, blues, and browns surrounding it. Color was the life force behind Bluemner’s landscapes, and each color represented a particular sentiment or mood. In 1939 the artist wrote about the philosophy behind his work, saying “landscape painting speaks to the soul like a poem or music, more intimately than any other kind of painting. I present a surprising vision of landscape by [a] daring new use of colors.” Bluemner depicted his local environs in his landscapes, operating under the notion that the beauty and uniqueness of color were expressed most fully in the familiar. His landscapes accentuated the link between nature, humanity, and industry, manifesting what he referred to as the “universal modern vision.”

fter a few months spent at the Art Students League in the fall of 1898, Stella decided to leave because the school would not allow him to draw flowers, his favorite subject matter. Consequently, the artist enrolled in the New York Art School (now Parsons School of Design), where William Merritt Chase became his teacher between 1899 and 1902. Chase confirmed Stella’s anti-conformist attitudes, and most importantly considered Stella’s floral still lifes a worthy subject, which he himself painted enthusiastically. While in New York, Italian-born Stella often missed his native country, with its sunny climate and rich vegetation. In 1909, a homesick Stella decided to return to Italy, where he studied the blooms of plants. Their bright colors and year-round availability enabled the artist to use them as ever-lasting subjects. Upon his return to New York three years later, Stella desperately searched for this sacred contact with nature in the harsh environment of the city. He eventually regained energy through “the luxuriant garden of the Bronx,” [New York Botanical Garden] which provided him with strong visual resources, and enabled him to retain his connection to his Neapolitan roots. The brief period from 1919-1920 is one of incredible experiment in Stella’s career, especially through his still life paintings. Stylistically speaking, Stella’s still lifes are quite different from his other body of work of the same period. Largely done on paper, sometimes in wax crayon, sometimes in gouache, they are brilliant in color and incredibly realistic in detail. At first sight, they appear similar to 18th century botanical studies. Yet, Stella goes beyond this historical reference, to dive into a realm of fantasy, which lingers on the surrealist. With its vibrant, even hot, coloration and bold contours of form, “Sunflower” appears to writhe like an exotic snake. According to Baur, the present work “has something of the flat, asymmetrical design of an Arthur Dove (…) for the ragged, concentric circles of the flower’s head seem to take on symbolic significance, suggesting an expanding, strangely warped sun.” Violent contrasts of texture on the paper add to the dramatic effect of the sunflower, which Stella shows fantastically erupting against the solid blue background. The large size of the gouache also enhances its overall power, as the viewer is immediately swept into the artist’s colorful universe. To an extent, with its free distortions and arbitrary, almost strident colors, “Sunflower” truly marks Stella’s closest approach to Expressionism.

80 JOSEPH STELLA (american 1877–1946) “SUNFLOWER” Gouache on paper Sheet size: 27 3/4 x 30 1/2 in. (70.5 x 77.5cm) Executed circa 1929. provenance: The Estate of the Artist’s nephew. By descent in the family. Richard York Gallery, New York, New York. Menconi + Schoelkopf Fine Art LLC, New York, New York. Private Collection, New Jersey. exhibited: John Berggruen Gallery, San Francisco, California, n.d. “Walter Anderson & His Peers,” Vanderwoude Tananbaum Gallery, New York, New York, September 14-October 29, 1988. “Joseph Stella’s Nature,” Richard York Gallery, New York, New York, March 31-May 27, 1994. “Joseph Stella: Flora,” Eaton Fine Art Inc., West Palm Beach, Florida, January 9-March 6, 1998. “American on Paper: Perspectives on People and Places by American Masters,” James Graham & Sons, New York, New York, November 2-December 2, 2000. $25,000-40,000

81 FRANZ ARTHUR BISCHOFF (american 1864–1929) BOUQUET OF ROSES Signed ‘Franz A Bischoff’ bottom right, hand-painted porcelain plaque 11 1/4 x 14 3/4 in. (28.6 x 37.5cm) provenance: Private Collection, Pennsylvania. $3,000-5,000

82 WILLIAM LOUIS OTTE (american 1871–1957) “POPPY TIME, ANTELOPE VALLEY, CALIFORNIA” Signed ‘William Louis Otte’ bottom right; also titled and dated ‘1930’ verso, oil on board 16 x 20 in. (40.6 x 50.8cm) provenance: Private Collection, Maryland. $3,000-5,000

83 ANTHONY THIEME (american 1888–1954) “A QUIET SPOT” Signed ‘A. Thieme’ bottom right; also titled and with ‘Copyright Reserved’ stamp verso, oil on canvas 25 1/4 x 30 1/4 in. (64.1 x 76.8cm) provenance: J.J. Gillespie Galleries, Pittsburgh, Pennsylvania. Acquired directly from the above. Private Collection, Pennsylvania. By descent in the family. Private Collection, Pennsylvania. $6,000-9,000

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84 EMILE ALBERT GRUPPE (american 1896–1978) “PIER AT 13 AVE SOUTH” Signed ‘Emile A. Gruppé’ bottom right; also inscribed with title and artist on upper stretcher verso, oil on canvas 20 x 21 in. (50.8 x 53.3cm) provenance: Private Collection, Pennsylvania. By descent in the family. Private Collection, Pennsylvania. $5,000-8,000

85 RICHARD HAYLEY LEVER (american 1876–1958) “FISHING BOATS RETURNING TO GLOUCESTER, MASS. 1914” Signed ‘Hayley Lever’ bottom left; also inscribed with artist and title on paper attached to upper stretcher verso, oil on canvas 6 1/4 x 9 1/8 in. (15.9 x 23.2cm) provenance: Clayton-Liberatore Art Gallery, Bridgehampton, New York. Chapellier Galleries, New York, New York. Private Collection, New York. $2,500-4,000

86 EMILE ALBERT GRUPPE (american 1896–1978) “SMELT FISHING” Signed ‘Emile A. Gruppé’ bottom right; also inscribed with title and artist on upper stretcher verso, oil on canvas 24 x 20 in. (61 x 50.8cm) provenance: Private Collection, Pennsylvania. literature: Emile A. Gruppe, Gruppé on Painting: Direct Techniques in Oil, New York, New York: Watson-Guptill, 1976, p. 151, plate 82 (illustrated as “Smelt Fishermen.”) $5,000-8,000

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milton avery (1885-1965)

orn in Altmar, New York, a young Milton Avery worked multiple jobs to support himself and his family in Hartford, Connecticut from 1901 to 1924. During this period he also took evening classes at the Connecticut League of Art Students studying life-drawing. In 1925 he moved to New York City and in 1926 he married fellow artist Sally Michel. From this time forward, he was able to devote himself to painting full-time and continued to do so despite periods of ill health throughout his prolific career. Known to many as the “American Fauvist,” Avery essentially painted the world around him – his family and, most importantly, the landscapes by which he was surrounded. Avery carefully observed nature in the countryside surrounding Hartford, Connecticut, which was pivotal in the development of his early landscapes and consistently throughout his life. At the beginning of his career, Avery painted in oils on canvas immediately from nature, only later beginning to paint from sketches. His unique, mature style manifested itself in broad swaths of bold color and large, chunky shapes rather than detailed renderings. Avery’s work deftly falls somewhere between extreme abstraction and academic, representational realism, making his oeuvre distinctive and highly recognizable. He was influenced heavily by the New York art scene, specifically European Modernism. Pablo Picasso (especially his Rose period), Henri Matisse, and these masters’ use of color and hue, strongly affected Avery. As stated by artist Hans Hoffman, “Avery was one of the first to understand color as a creative means.” He introduced new formal possibilities to American painting of his time and, in doing so, inspired a younger group of artists including Barnett Newman, Adolph Gottlieb, and Mark Rothko. “The Country Road” and “Cow in the Meadow“ are quintessential examples of the type of landscapes for which Avery is so well admired. The colorful, semi-abstract compositions exhibit bold yet nuanced hues of blues, blacks, pinks and greens. The deep, dark silhouettes of the trees stand out on the backdrop of a moody sky, and the road draws the viewer inward and upward as it undulates its way through the scene. A master of color, his use of brighter pink contrasts with the darker tones, as the entire scene vibrates with energy and light. Although he largely painted in oil, Milton Avery is also renowned for his works on paper, having created a myriad of watercolors, drawingst and oils on paper throughout his career. Many of the artist’s oils on paper, such as “Lone Pine”, recall the esteemed tradition of the pastoral landscape in the art historical canon, while still maintaining distinct modernism. Deeply imbued with sentiment, it depicts a serene expression of Avery’s real life observations intertwined with his own simplified and abstracted style. Often recognized for his colorful compositions, this particular landscape has been rendered in blacks, grays, and whites. The title creates a sense of quiet isolation, and the subdued color palette makes for a contemplative and introspective piece.

87 MILTON AVERY (american 1885-1965) THE COUNTRY ROAD Signed ‘Milton Avery’ bottom left, oil on canvasboard 17 3/4 x 23 7/8 in. (45.1 x 60.6cm) Executed circa 1940. provenance: Private Collection, Massachusetts. A gift from the above. Private Collection, Massachusetts. note: We wish to thank the Milton and Sally Avery Arts Foundation for confirming the authenticity of the present lot. $50,000-80,000 ©2018 Milton Avery Trust / Artists Rights Society (ARS), New York

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88 MILTON AVERY (american 1885-1965) COW IN THE MEADOW Signed ‘Milton/Avery’ bottom left, oil on canvasboard 18 x 24 in. (45.7 x 61cm) provenance: Private Collection, Massachusetts. A gift from the above. Private Collection, Massachusetts. note: We wish to thank the Milton and Sally Avery Arts Foundation for confirming the authenticity of the present lot. $40,000-60,000 ©2018 Milton Avery Trust / Artists Rights Society (ARS), New York

89 MILTON AVERY (american 1885–1965) “LONE PINE” Signed and dated ‘Milton Avery *962’ bottom right, oil over traces of pencil on paper Sheet size: 23 x 35 in. (58.4 x 88.9cm) provenance: Private Collection, Pennsylvania. note: We wish to thank the Milton and Sally Avery Arts Foundation for confirming the authenticity of the present lot. $25,000-40,000 ©2018 Milton Avery Trust / Artists Rights Society (ARS), New York

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90 EMILE ALBERT GRUPPE (american 1896–1978) HARBOR SCENE, MAINE Signed ‘Emile A. Gruppé’ bottom left, oil on canvas 30 1/4 x 32 1/4 in. (76.8 x 81.9cm) provenance: The Artist. Acquired directly from the above circa 1940. Collection of Frederick B. Schell Jr., Connecticut. The Estate of the Bruchal Family. Private Collection, New Jersey. $4,000-6,000

91 JOSEPH ELIOT ENNEKING (american 1881–1942) “THE BLUE DOLPHIN” Signed ‘J. Eliot Enneking’ bottom right; also titled verso, oil on canvasboard 18 x 13 7/8 in. (45.7 x 35.2cm) provenance: The Cooley Gallery, Old Lyme, Connecticut. Private Collection, Philadelphia, Pennsylvania. exhibited: “Exhibition of Paintings by J. Eliot Enneking,” The Twentieth Century Club, Boston, Massachusetts, January 27-March 1934 (illustrated as the cover of the exhibition brochure.) “Thirty-third Annual Exhibition,” Connecticut Academy of Fine Arts, Mystic, Connecticut, March 13-April 4, 1943 (posthumous). $2,000-3,000

92 AARON HARRY GORSON (american 1872–1933) ‘THE FOURTH OF JULY” (PITTSBURGH) Signed ‘A.H. Gorson’ bottom right, oil on canvas 24 1/4 x 35 5/8 in. (61.6 x 90.5cm) provenance: Private Collection, Connecticut. Private Collection, New York. Shannon’s Fine Art Auctioneers, Milford, sale of October 29, 2015, lot 152. Acquired directly from the above sale. Private Collection, Pennsylvania. $7,000-10,000

93 JOHN C. TERELAK (american b. 1942) OCEAN SURF Signed and dated ‘JC Terelak © ‘91’ bottom right, oil on canvas 24 x 30 in. (61 x 76.2cm) provenance: Private Collection, Pennsylvania. $2,000-3,000

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onsidered one of America’s greatest illustrators, Newell Convers Wyeth garnered considerable acclaim for his work with the publishing company Charles Scribner’s Sons, particularly for his compelling illustrations of Robert Louis Stevenson’s Treasure Island in 1911. “Back and Forth Across It We Went, Twisting, Straining, Holding Our Strength, Each Striving To Break the Grip of the Other’s Fingers On His Wrist. I Felt His Breath Upon My Face, Saw His Cold Eyes Like Blue Fire Burning Me,” is a quintessential work which the artist executed in 1914, at the height of the period known today as the Golden Age of Illustration. The present work brilliantly demonstrates N.C. Wyeth’s talent for narrative and composition. Here, the artist captures a dramatic knife fight as two men are vigorously trying to stab each other. Both figures are represented as two straining bodies, full of tension and anger, both incapable of garnering the advantage. Together, they form a distinct mass which occupies the center of the composition. Yet, each figure acts as a unique character, with the body position and facial features carefully thought out and incredibly presented. In the background, two female figures act as a silent, yet horrified, audience. Their expressions, both very well detailed, create a thoroughly engaging scene that fuels the viewer’s imagination. Here, Wyeth employs a low-keyed palette of muted whites, blues and greys, which gives a timeless appeal to the painting. His specific use of light, highlighting some areas and shadowing others, ultimately heightens the drama and contributes to the theatrical nature of the scene.

The painting is an illustration for Vingie E. Roe’s The Virtue of Neils Hansen, a short-story published in Colliers Weekly in May 1915. The story relates the rivalry between Neils Hansen, “trapper from the lower post of De Brisac on the Saskatchewan” and Jean Le Blanc, “best trapper in the North Woods, from the lower forts of civilization to the Qu’Appelle.” After discovering Hansen’s infidelity, Le Blanc confronts him in front of his wife, Elsa Braun, and his mistress, Fawn Eyes. The confrontation leads to a fight for the women’s honor. As the narrator recalls: “That struggle should have had a ring of witnesses deep as the forest about. I [had] seen men fight for love and for gold and for all the things that men fight for, but never [had] I seen its like.” After an endless combat, Neils Hansen eventually loses his grip on the snow and Jean Le Blanc gets the upper hand. As he is about to strike the final blow, the trapper is miraculously stopped by Fawn Eyes, who begs him to spare her blond “idol,” becoming the true heroin of the story - the symbol of pure love over war.

94 NEWELL CONVERS WYETH (american 1882-1945) “BACK AND FORTH ACROSS IT WE WENT, TWISTING, STRAINING, HOLDING OUR STRENGTH, EACH STRIVING TO BREAK THE GRIP OF THE OTHER’S FINGERS ON HIS WRIST. I FELT HIS BREATH UPON MY FACE, SAW HIS COLD EYES LIKE BLUE FIRE BURNING ME” Signed ‘N.C. Wyeth’ upper left, oil on canvas 30 1/4 x 40 1/4 in. (76.8 x 102.2cm) Executed in 1914. provenance: The Artist. The Artist’s wife, Mrs. N.C. Wyeth. By descent in the family. Private Collection, North Carolina, since 1991. literature: Vingie E. Roe, “The Virtue of Neils Hansen,” in Colliers Weekly, vol. 55, no. 10, May 22, 1915 (illustrated p. 10.) Richard Layton, Inventory of Paintings in the Wyeth Studio, 1950,” unpublished, Wyeth Family Archives, p. 49. Douglas Allen and Douglas Allen, Jr., N. C. Wyeth, The Collected Paintings, Illustrations and Murals, New York: Crown Publishers, Inc., 1972, p. 255. Christine B. Podmaniczky, N.C. Wyeth, A Catalogue Raisonné of Paintings, London: Scala, 2008, I.548, p. 299 (illustrated). $400,000-600,000

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“I was young then with all the world ahead and my heart as red as my cheeks” - Jean Le Blanc Vingie E. Roe, The Virtue of Neils Hansen

95 NEWELL CONVERS WYETH (american 1882–1945) “SAILOR LEANING AGAINST A WALL” Signed ‘NC Wyeth’ bottom right, charcoal on laid paper Sheet size: 23 7/8 x 18 1/4 in. (60.6 x 46.4cm) provenance: The Artist. The Artist’s wife, Mrs. N.C. Wyeth. By descent in the family. The Artist’s grandson, Nicholas Wyeth. Acquired directly from the above in July 1972. Aldis Brown, New York, New York. Parke Bernet, New York, sale of March 21, 1974, lot 15. Bucholz Gallery, Philadelphia, Pennsylvania. Collection of Samuel Nowak. Collection of Donald C. Strain. Collection of Mr. Robert Coates, New Jersey. $8,000-12,000

orn in Needham, Massachusetts in 1882, N.C. Wyeth showed an early passion for drawing. While his mother encouraged this temperament, his dad instead proved more reluctant and wanted him to learn a trade and stay in regular school. Ultimately, the parents of the artist came to an agreement, and enrolled him in the Massachusetts Normal Arts School with further study at the Eric Pape School of Art in 1900. By 1901, Wyeth was in Annisquam, Massachusetts, attending private classes instructed by George L. Noyes, a noted landscape artist. The year after, he was to meet Howard Pyle, one of the country’s most renowned illustrators, and Wyeth’s favorite teacher. The present drawing is very much representative of the type of work N.C. Wyeth did as a student before joining the Howard Pyle School in 1902.According to Christine B. Podmaniczky, “it could have been done during Wyeth’s spring semester at Massachusetts Normal Art School for a class described as ‘Model, charcoal’”. It could also have been done at the Eric Pape School in Boston, during the fall term of 1900. Indeed, Pape’s school brochure for 1901-1902, which included photographs of the student exhibition held in June 1901, featured drawings that look like they were done in the same modeling session.

96 VIOLET OAKLEY (american 1874-1916) “WILLIAM L. LATHROP IN HIS STUDIO AT NEW HOPE” Signed ‘Violet Oakley’ and titled on label verso, oil on board 19 7/8 x 17 7/8 in. (50.5 x 45.4cm) provenance: Gross McCleaf Gallery, Philadelphia, Pennsylvania. Private Collection, Philadelphia, Pennsylvania. Freeman’s, Philadelphia, sale of December 6, 2009, lot 212. Acquired directly from the above sale. Private Collection, New Jersey. $5,000-8,000

97 ARTHUR BEECHER CARLES (american 1882-1952) “STILL LIFE WITH COPPER KETTLE” Signed ‘CARLES’ bottom right; also inscribed and dated ‘A.B. Carles 1904’ verso, oil on canvas 20 3/4 x 28 7/8 in. (52.7 x 73.3cm) provenance: Collection of Sarah F. Swanson, Pennsylvania. Hollis Taggart Galleries, New York, New York. Freeman’s, Philadelphia, sale of December 5, 2004, lot 199. Acquired directly from the above sale. Private Collection, New York, New York. Private Collection, Connecticut. exhibited: “Arthur B. Carles (1882-1952): Painting with Color,” Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, September 23-November 27, 1983; and The Corcoran Gallery of Art, Washington D.C., April 28-June 17, 1984; and The National Academy of Design, New York, New York, September 11-November 4, 1984, no. 3 (traveling exhibition, illustrated in the exhibition catalogue p. 25). $2,500-4,000

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lthough Wyeth’s temperas are greatly renowned, watercolor was actually his central medium and technique of choice. The artist first discovered watercolor while in Maine through his friend Sid Chase, and started to explore its various possibilities in order to further distinguish himself from his father, who rarely painted in this medium. Inspired by the great American watercolorists, he studied Winslow Homer’s works at length, assimilating his delicate technique and impactful subject matter. Homer’s late works profoundly impacted Wyeth, who slowly departed from bold compositions to venture more toward simplicity and abstraction, as is typified in the present work. Despite the fact that he was generally reluctant to receive portrait commissions and preferred to spontaneously paint his friends or neighbors instead, Andrew Wyeth agreed to paint the official portrait of President Dwight D. Eisenhower for the cover of Time Magazine’s September 7, 1959 issue. The present work was painted in the summer of 1959, and gifted to President Eisenhower while Wyeth was working on his portrait in Gettysburg, Pennsylvania – just two hours south of the artist’s studio in Chadds Ford. Set in the vast garden of the President’s weekend retreat, the scene represents a tranquil moment under the shade of an ash tree on the 189-acre farm. Here, Wyeth captures the fleeting feeling of a warm summer day. Through his delicate touch and his mastery of the medium, he is able to capture the effects of the soft, invisible wind on the leaves and hay, which he depicts via rapid, diagonal strokes of paint. This overall “tilting” effect is counterbalanced by the sturdy ash tree in the center of the composition, which provides a strong sense of stability. While Wyeth covers most of the paper with color, he purposefully leaves the white portions untouched, providing a bright source of light which gently illuminates the farm. The artist’s soft greens and browns evoke Pennsylvania’s lush and bucolic landscapes, reinforcing a sense of calm and gentle stillness to the setting. Of Wyeth’s landscapes John Wilmerding writes: “[they] often seem as distilled and abstracted as still lifes, focusing on fragments of nature or objects within the view, or composed with a still-life sensibility.” The scene Wyeth presents here is far from grand. In fact, it offers a touching contrast to the official portrait of the President, and leads to a more honest depiction of a modest house, bespeaking its modest inhabitant. President Eisenhower’s connection to Gettysburg began in 1915, when he visited the area on a West Point class trip. He came back to Camp Colt during World War I, where he trained soldiers for the United States Army’s Tank Corps. President Eisenhower and his wife Mamie purchased the farm in 1950 from Allen Redding, who had owned it since 1921. Modest in size, the home served as the couple’s residence and was visited by many foreign dignitaries during the President’s tenure. On weekends, the Eisenhowers entertained family and friends at the farm. The President enjoyed playing golf and shooting at his skeet range. Eisenhower officially retired to Gettysburg in 1961, where he lived until his death in 1969. Two years before, the Eisenhowers gifted the house to the federal government, which designated it a National Historic Site, which was then authorized by an act of Congress in 1969. The National Park Service opened the site to the public in 1980, one year after the passing of President Eisenhower’s widow. In a letter addressed to the President on October 7, 1959, Wyeth writes from his summer home in Cushing, Maine: “… About the title for the watercolor. Here along the coast of New England, one always knows when the captain is home by the flag flying. That is one of the things I clearly remember as I sat painting your farm – the flapping of the flags as they blew in the wind. Would the title “At Home” be agreeable to you?...” Eisenhower often said he could feel the “forgotten heroisms” that occurred on the grounds of his farm, during the 1863 battle of Gettysburg. Sensitive to Eisenhower’s military statute, and attuned to the history of the land, Wyeth here instills a sense of meditative contemplation. With its simple geometry, the farm stands in the distance like a silent witness to the past, while the flags on the right flap timelessly.

98 ANDREW WYETH (american 1917-2009) “AT HOME” Signed ‘Andrew Wyeth’ bottom right, watercolor on paper laid down to stretcher Sheet size: 21 1/8 x 29 5/8 in. (53.7 x 75.2cm) provenance: The Artist. A gift from the above in 1959. Collection of President Dwight D. Eisenhower, Gettysburg, Pennsylvania. By descent in the family. Private Collection, West Chester, Pennsylvania. note: From 1969 to 1971, the original watercolor hung in the American Embassy in Belgium, when John Eisenhower served as Ambassador to Belgium under President Nixon. A reproduction of the watercolor also hangs in the museum’s recreation of President Eisenhower’s office in Gettysburg. $100,000-150,000

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“… About the title for the watercolor. Here along the coast of New England, one always knows when the captain is home by the flag flying. That is one of the things I clearly remember as I sat painting your farm – the flapping of the flags as they blew in the wind. Would the title “At Home” be agreeable to you?...” - Andrew Wyeth Letter to President Dwight D. Eisenhower, October 7, 1959

hobson pittman (1900-1972)

orn in Epworth, North Carolina, in 1900, Hobson Lafayette Pittman lived and worked for most of his life in Pennsylvania. Beginning in 1918, he studied at Pennsylvania State University, and later at Pittsburgh’s Carnegie Institute. He moved briefly to New York City in the late 1920s, and would spend every summer for more than a decade in Woodstock, at the established artist’s colony there, painting frequently outdoors as the Impressionists did. Pittman also traveled regularly to Europe, to study and paint. Later in life, Pittman became Director of Art at Friends Central School outside of Philadelphia, and taught at both Pennsylvania State University, his alma mater, and the Philadelphia Museum of Art. In 1949 he joined the faculty at the prestigious Pennsylvania Academy of the Fine Arts, where he had previously exhibited; the famed institution would present him with the title of ‘Distinguished Artist’ in 1960. Dubbed the “poet-painter” for his delicate, pastel-hued landscapes and interior scenes, Pittman’s work is defined by its soft, romantic quality and dreamlike color palettes. His quiet, colorful depictions of Victorian homes recall his childhood in Tarboro, North Carolina, and his years of painting en plein air lends itself to the atmospheric still lifes, usually of flowers, he regularly produced. His style was influenced by the artists with whom he worked in Woodstock, notably Eugenie Gershoy, the American watercolorist, and Japanese-born painter and printmaker Yasuo Kuniyoshi. Pittman’s use of light (often from a light source beyond the frame unseen by the viewer) is similar to Gershoy‘s signature style in her paintings and lithographs, while his treatment of figures, primarily female, echoes that of Kuniyoshi’s. Pittman returned to these same themes and subjects repeatedly throughout his career. 84

99 HOBSON PITTMAN (american 1900–1972) TULIPS Signed ‘Hobson Pittman’ bottom right, oil on board 30 x 37 1/4 in. (76.2 x 94.6cm) provenance: The Artist. Bequeathed from the above. North Carolina Museum of Art, Raleigh, North Carolina. $5,000-8,000

100 HOBSON PITTMAN (american 1900–1972) “ROSES AND REFLECTIONS” Oil on cardboard 36 x 48 3/8 in. (91.4 x 122.9cm) provenance: The Artist. Bequeathed from the above. North Carolina Museum of Art, Raleigh, North Carolina. $4,000-6,000

101 HOBSON PITTMAN (american 1900–1972) “LILACS” Signed ‘Hobson Pittman’ upper right, oil on board 30 1/4 x 28 1/2 in. (76.8 x 72.4cm) provenance: The Artist. Bequeathed from the above. North Carolina Museum of Art, Raleigh, North Carolina. $3,000-5,000

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102 HOBSON PITTMAN (american 1900–1972) “STUDIO WITH YELLOW TABLE AND EASEL” Signed ‘Hobson Pittman’ bottom left, pastel on paper Sheet size: 12 1/2 x 19 in. (31.8 x 48.3cm) provenance: Kennedy Galleries, New York, New York. North Carolina Museum of Art, Raleigh, North Carolina. $1,000-1,500

103 HOBSON PITTMAN (american 1900–1972) “STILL LIFE WITH DRIED FLOWERS” Titled, signed ‘Hobson Pittman’ and illegibly dedicated to ‘Elen ***’ upper left, pastel on paper 17 3/8 x 19 in. (44.1 x 48.6cm) provenance: Kennedy Galleries, New York, New York. North Carolina Museum of Art, Raleigh, North Carolina. $1,000-1,500

104 HOBSON PITTMAN (american 1900–1972) “LADIES AT PERFORMANCE” Signed ‘Hobson Pittman’ upper right, oil on board 29 3/4 x 42 in. (75.6 x 106.7cm) provenance: The Artist. Bequeathed from the above. North Carolina Museum of Art, Raleigh, North Carolina. $4,000-6,000

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105 MARTHA WALTER (american 1875–1976) “LUXEMBOURG GARDENS” Signed ‘Martha Walter’ bottom right; also titled and signed along the bottom outer edge of the mat, watercolor on paper Sheet size: 7 3/8 x 7 3/8 in. (18.7 x 18.7cm) provenance: Private Collection, Western Pennsylvania. Freeman’s, Philadelphia, sale of December 6, 2009, lot 219. Acquired directly from the above sale. Private Collection, Pennsylvania. $2,000-3,000

106 ARTHUR BEECHER CARLES (american 1882–1952) “NUDE LEANING” Oil on canvas 26 x 20 3/8 in. (66 x 51.8cm) provenance: The Estate of the Artist. Vendo Nubes Gallery, Germantown, Pennsylvania. Acquired directly from the above. Collection of Mr. Fite, Pennsylvania. By descent in the family. Private Collection, Pennsylvania. note: We wish to thank Dr. Barbara A. Wolanin for confirming the authenticity of the present lot. $6,000-10,000

107 JACK LEVINE (american 1915–2010) “MODERN NAPOLEON” Signed ‘J. Levine’ bottom left, oil on canvas 24 1/8 x 21 in. (61.3 x 53.3cm) Executed in 1971. provenance: Kennedy Galleries, New York, New York. Midtown Payson Galleries, New York, New York. D.C. Moore Gallery, New York, New York. George Krevsky Gallery, San Francisco, California. The Levine Estate. exhibited: “Falk Visiting Artist: Jack Levine,” University of North Carolina, Greensboro, North Carolina, March 10-April 14, 1996. $2,000-3,000

108 JACK LEVINE (american 1915–2010) “ELECTION NIGHT” 1969. Edition of 120. Pencil signed ‘J Levine’ bottom right; also numbered ‘16/120’ bottom left, etching, drypoint, mezzotint and aquatint on paper Plate size: 19 3/8 x 25 in. (49.2 x 63.5m) Sheet size: 25 3/8 x 31 5/8 in. (60 x 80.3cm) Unframed. [Prescott 55] provenance: George Krevsky Gallery, San Francisco, California. The Levine Estate. $1,000-2,000 109 JACK LEVINE (american 1915–2010) “THE FEAST OF PURE REASON” 1970. Edition of 120. Pencil signed ‘J Levine’ bottom right; also numbered ‘50/120’ bottom left, etching, drypoint, mezzotint and aquatint on paper Plate size: 19 3/8 x 25 in. (49.2 x 63.5m) Sheet size: 25 3/8 x 31 5/8 in. (60 x 80.3cm) Unframed. [Prescott 55] provenance: George Krevsky Gallery, San Francisco, California. The Levine Estate. $1,000-2,000 NOT ILLUSTRATED

110 MALVINA HOFFMAN (american 1887–1966) BUST OF A MAN Signed and dated ‘Malvina Hoffman/© 1930’ on the right-hand side; also with ‘Alexis Rudier/Fondeur Paris’ verso, bronze with golden brown patina Height (with base): 16 in. (40.6cm) Height (without base): 14 in. (35.6cm) Width: 10 1/2 in. (26.7cm) provenance: Private Collection, New York. $3,000-5,000

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111 BEN KAMIHIRA (american 1925-2004) “THE PHONE CALL” Signed and dated ‘Kamihira 89’ bottom right, oil on canvas 48 3/4 x 58 7/8 in. (123.8 x 149.5cm) provenance: Private Collection, Philadelphia, Pennsylvania. exhibited: “Contemporary Philadelphia Artists: A Juried Exhibition,” Philadelphia Museum of Art, Philadelphia, Pennsylvania, March 22-July 8, 1990. $3,000-5,000

112 NELSON SHANKS (american 1937-2015) “SAINT CECILIA” Signed ‘Shanks’ upper left, oil on canvas 36 1/8 x 40 in. (91.8 x 101.6cm) Executed in 1983. provenance: Private Collection, Philadelphia, Pennsylvania. $4,000-6,000

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PENNSYLVANIA I M P R E S S I O N I S TS lots 113-157

Lot 123 (detail)

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113 FERN ISABEL COPPEDGE (american 1883-1951) LOOKING UP THE DELAWARE Signed ‘Fern I Coppedge’ bottom center right, oil on canvas 18 1/8 x 20 1/8 in. (46 x 51.1cm) provenance: Private Collection, New York, New York. $30,000-50,000

114 ELIZABETH FISHER WASHINGTON (american 1871-1953) FALL Signed ‘EF Washington’ bottom right, oil on canvas 42 x 43.5 in. (106.7 x 110.5cm) provenance: The Artist. By descent in the family. Private Collection, California. $12,000-18,000

115 GIOVANNI MARTINO (american 1908–1997) THE SNOW PATH Signed and dated ‘M. Giovanni ‘31’ bottom left, oil on canvas 20 x 24 in. (50.8 x 61cm) provenance: Private Collection, Pennsylvania. $2,000-3,000

116 GIOVANNI MARTINO (american 1908–1997) HOUSE BY A SHED Signed and dated ‘M. Giovanni 33’ bottom right, oil on canvas 25 x 30 in. (63.5 x 76.2cm) provenance: Alderfer Auction, Hatfield, sale of March 12, 1998, lot 216. Acquired directly from the above sale. Private Collection, Pennsylvania. $2,000-3,000

117 ANTONIO PIETRO MARTINO (american 1902–1989) “EAST MANAYUNK” Signed ‘Antonio P. Martino’ bottom left; also inscribed with title on upper stretcher verso, oil on canvas 27 x 45 in. (68.6 x 114.3cm) provenance: Private Collection, Pennsylvania. exhibited: “Annual Exhibition,” National Academy of Design, New York, New York, 1957. $3,000-5,000

118 WALTER ELMER SCHOFIELD (american 1867-1944) “SPRING LANDSCAPE” Signed ‘Schofield’ bottom right, oil on canvas 30 1/8 x 36 1/4 in. (76.5 x 92.1cm) provenance: Private Collection, Illinois. Freeman’s, Philadelphia, sale of June 27, 2004, lot 199. Acquired directly from the above sale. Private Collection, New York. Sotheby’s, New York, sale of September 24, 2008, lot 180. Acquired directly from the above sale. Private Collection, Virginia. $25,000-40,000

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lthough born in Decatur, Illinois, in 1882, Fern Isabel Coppedge is considered one of the most significant female artists of the Pennsylvania Impressionist movement. First enrolled at the Art Institute of Chicago, she later studied at the Art Students League of New York, before eventually moving to Philadelphia, where she attended the prestigious Pennsylvania Academy of the Fine Arts. The school and its notable alumni such as Henry Snell and Daniel Garber exposed Coppedge to Impressionism and the burgeoning community of artists along the Delaware River in Bucks County, an hour north of Philadelphia. In 1920, Coppedge purchased her first studio in Lumberville. Nine years later, she built a new home and studio on Main Street in the center of New Hope. Today, Fern Isabel Coppedge is most well known 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, she was committed to painting year round en plein-air, and frequently braved the elements in a bearskin coat to capture the subtle effects of changing light, a technique at which she particularly excelled. The present painting depicts Carversville, a village named after its first postmaster, and situated about forty-five miles north of Philadelphia, in Bucks County. A quaint hamlet, Carversville is currently protected by a Historic District Ordinance which prevents its population from growing much larger or being developed with new homes or businesses. Pictured in the present painting is the Brook at Carversville, a site which Fern Coppedge painted numerous times, along with Edward Redfield and Daniel Garber. Here, the artist once again demonstrates her love for bold colors. She captures the gentle turquoise flow of the Delaware River, which borders bright houses on the river’s banks; all are covered with blotches of deep yellow and shimmering reds. In the background, one can spot the Bridge in Solebury Township, an historic stone arch bridge erected in 1854, which Coppedge treats as a mosaic, singling each squared stone with various shades of red and orange.

119 FERN ISABEL COPPEDGE (american 1883–1951) “CREEK BRIDGE SNOW” (CARVERSVILLE) Signed ‘Fern I. Coppedge’ bottom right, oil on canvas 38 1/8 x 40 1/8 in. (96.8 x 101.9cm) provenance: Private Collection, Pennsylvania. exhibited: “Fern I. Coppedge: A Forgotten Woman,” James A. Michener Art Museum, Doylestown, Pennsylvania, September 16-November 25, 1990 (listed in exhibition catalogue p. 42). $100,000-150,000

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120 JOHN FULTON FOLINSBEE (american 1892–1972) TREES ON THE SHORE Signed ‘John Folinsbee’ bottom left, oil on canvas laid down to panel 16 x 24 in. (40.6 x 61cm) provenance: Private Collection, New York. note: We wish to thank Nikki Hayes for confirming the authenticity of the present lot. The painting will be included in the forthcoming Catalogue Raisonné of the artist’s work. $4,000-6,000

121 ANTONIO PIETRO MARTINO (american 1902–1989) “NEAR MANAYUNK” Signed ‘A.P. Martino’ bottom right; also inscribed with artist verso, and with title on upper stretcher verso; also inscribed ‘Purchased from Mr. Martino in 1935’ on bottom stretcher verso, oil on canvas 25 x 30 1/8 in. (63.5 x 76.5cm) provenance: Private Collection, Pennsylvania. $4,000-6,000

122 WALTER EMERSON BAUM (american 1884–1956) “SPRING COMES TO CHAPEL VILLAGE” Signed ‘W E Baum’ bottom right; also titled, dated ‘April 1953’ and signed verso, oil on canvas 16 1/4 x 20 in. (41.3 x 50.8cm) provenance: Private Collection, New Jersey. $3,000-5,000

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123 WALTER EMERSON BAUM (american 1884–1956) “SNOWSTORM” Signed ‘W E Baum’ bottom right; also signed and titled on label verso, oil on canvas 24 7/8 x 30 in. (63.2 x 76.2cm) provenance: Private Collection, Pennsylvania. $10,000-15,000

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“E

arly May - Stockton” is the last representation of the Berean Baptist Church by Daniel Garber. Indeed, although the artist had no known affiliation with the church, the building seemed to have entranced the artist as he painted four other views of it between 1931 and 1939. Dedicated in 1861, the church stood on the edge of Stockton, New Jersey, a small village across the Delaware River and opposite Centre Bridge, Pennsylvania. Here, the building is seen from the top of a hill at the edge of town. Garber was fundamentally attracted to the elegant architecture of the church, especially to its highly decorative multi-tiered steeple. The present work is illustrative of such a fascination, as Garber only depicts the steeple of the church, and purposely omits the last third of the building. As in his other views of Stockton, the church completely dominates the composition. Through his particular arrangement of the trees in the foreground, and the woods in the background, Garber gives the impression of an isolated church in a bucolic setting, similar to the barns he depicted in his Lone Farm series. By doing so, Garber suggests a country church, while in reality the town of Stockton lies directly behind the building. None of Garber’s views directly depict the front of Stockton church, perhaps because its tall arched windows looked too Victorian for the artist, who essentially wanted his viewer to believe that the building was from an earlier, simpler period. As Lance Humphries points out, the church is seen from a direction that allows the full side of the steeple to be depicted, “its weathered and mottled stucco providing interesting texture and the appearance of age, as in many of Garber’s paintings of old mills and houses”. The landscape is completely immersed in sunlight. The contrast between dark and light shades (most notably on the church’s roof) evokes the effects of the direct sunlight as it falls through the trees, while the bright green and orange hues of the hill prefigure the artist’s boldly colored works of the 1940s. Contrary to “Sunday at Stockton” or “Stockton Church”, Garber does not draw the viewer’s eye into the painting via a narrow road. Instead, he creates several layers of colors and shades, from bottom to top, so as to echo the height of the steeple. According to Kathleen Foster, “most frequently, (...) [Garber’s] landscapes divide into horizontal bands, sharply setting off foreground, middle ground (often the Delaware River) and distance. (...) Garber counselled [sic] his students to see the landscape in planes like ‘curtains,’ and this is exactly the ‘decorative’ effect his paintings produced.” The artist’s classic tapestry-like effect is visible in the foreground field and in the background foliage, as he weaves together precise brushstrokes of varied, vibrant colors which all indicate a burst in nature, slowly transitioning from spring to summer. The Berean Baptist Church has since been renamed Wesleyan. Unfortunately, the steeple lost the decorative woodwork, which the artist fondly admired.

124 DANIEL GARBER (american 1880-1958) “EARLY MAY - STOCKTON” Signed ‘Daniel Garber’ bottom center left; also titled and signed verso, oil on composition board 20 1/2 x 18 5/8 in. (52.1 x 47.3cm) In a Harer Frame. Executed in 1949. provenance: The Artist. Acquired directly from the above. Bertha Clark, Newton, Pennsylvania. Bequeathed from the above. Private Collection, Pennsylvania. literature: The Artist’s Record Book, I, p. 74, lines 7-8. Lance Humphries, Daniel Garber: Catalogue Raisonné, Volume II, New York: Hollis Taggart Galleries, 2006, p. 287, cat. P 840 (illustrated). $70,000-100,000

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125 EDWARD WILLIS REDFIELD (american 1869-1965) “WINTER CEDARS” Signed ‘E. W. Redfield’ bottom left, oil on canvas 26 1/2 x 16 1/8 in. (67.3 x 41cm) provenance: Private Collection, New York, New York. literature: David A. Cleveland, A History of American Tonalism: 1880-1920, Manchester & New York: Hudson Hills Press, 2010, p. 511, fig. 8.90. (illustrated). note: We wish to thank Dr. Thomas Folk for confirming the authenticity of the present lot. The painting will be included in Dr. Folk’s forthcoming Catalogue Raisonné of the artist’s work. $25,000-40,000

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126 GEORGE WILLIAM SOTTER (american 1879–1953) NOCTURNAL WINTER LANDSCAPE (BOWMAN’S HILL) Signed ‘GW Sotter’ bottom right, oil on canvas 26 x 32 in. (66 x 81.3cm) provenance: From a Santa Fe Estate. Private Collection, Santa Fe. note: A comparable, smaller, study for the present work was sold at Alderfer Auction, Hatfield on March 3, 2004, lot 426. $15,000-25,000

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edward willis redfield (1869-1965)

n 1903, Edward Redfield and his wife Elise, started summering in Boothbay Harbor, and Monhegan Island, Maine. With its rugged hills and shallow beaches, Maine’s landscape provided Redfield with the liberating opportunity to explore and capture untouched forms of nature unique to the northern seacoast. The seascapes Redfield painted in Maine during this period are considered among his best works, as they reflect his ferocious painterly method and his rapid, spontaneous brushstrokes which echo the artist’s energy and virility. Robert Henri, who often joined the Redfields in Maine, noted the impression the artist had on the local inhabitants: “slinging the paint over big canvases, astounding the natives and astounding the local artists with his rapidity as well as his results...” Painted circa 1927—1928, the present work depicts the rough seas along the shoreline at Monhegan Island, which Redfield immortalized in several canvases. Here, the artist builds up the paint with multiple layers of thick pigment, thus creating a rich impastoed texture reminiscent of his earlier snow scenes set in Bucks County. Through lively and rigorous brushstrokes, Redfield infuses a sense of power to the scene, indicating his ongoing fascination with the elements. The vividly-colored rocks in the foreground provide a strong contrast with the pastel-blue clear sky and the whitecaps of the sea in the background, producing a well-balanced jewel toned work which celebrates Maine’s distinct landscape. Although he returned to Maine every summer, Redfield confessed that painting water was always a challenge for him: “I’ve been trying to get the movement of it; the feel of the wind playing over the harbor, the color; the life. I’ve only been going up there painting water for a few years now. Maybe after seven or eight years of painting water I’ll be able to get it right.” The depiction of the ocean in this present work seems to prove otherwise. Redfield is able to capture the essence of the indomitable body of water through his vigorous, yet scaled brushwork. He counterbalances the roughness of the sea via deep greys and blues, which convey a striking sense of tranquility. Its title serves as a poetic reminder of the artist’s meditative mood and interest in capturing the transient qualities of a deserted scene, when man is in full harmony with nature.

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127 EDWARD WILLIS REDFIELD (american 1869-1965) “SOLITUDE” Signed ‘E.W. Redfield’ bottom left; also titled, dated ‘1927’ and signed ‘E.W. Redfield’ on upper stretcher verso, oil on canvas 38 x 50 in. (96.5 x 127cm) In a Harer frame. provenance: The Artist. The Artist’s son, Mr. Laurent Redfield. By descent in the Redfield family. Private Collection, New York, New York. exhibited: “Painting in the United States, 1948,” Carnegie Institute, Pittsburgh, Pennsylvania, October 14-December 12, 1948. “Exhibition of Paintings and Crafts by Edward W. Redfield,” Woodmere Art Museum, Philadelphia, Pennsylvania, November 1-November 22, 1959, no. 57. Newman Galleries, Philadelphia, Pennsylvania, October 23-November 30, 1968. literature: Constance Kimmerle, Edward W. Redfield, Just Values and Fine Seeing, James A. Michener Art Museum, 2005, p. 98, no. 52 (illustrated in color). note: We wish to thank Dr. Thomas Folk for confirming the authenticity of the present lot. The painting will be included in Dr. Folk’s forthcoming Catalogue Raisonné of the artist’s work. $60,000-100,000

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128 FERN ISABEL COPPEDGE (american 1883-1951) VILLAGE HILLSIDE Signed ‘Fern I Coppedge’ bottom left, oil on canvas 16 x 16 in. (40.6 x 40.6cm) provenance: Private Collection, New York, New York. $25,000-40,000

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129 GEORGE WILLIAM SOTTER (american 1879–1953) APPROACHING STORM Signed ‘G.W. Sotter’ bottom right, oil on Masonite 10 x 12 in. (25.4 x 30.5cm) provenance: Private Collection, Pennsylvania. exhibited: “George Sotter: Light and Shadow,” James A. Michener Art Museum, Doylestown, Pennsylvania, July 29-December 31, 2017. $12,000-18,000

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“S

ee it, seize it, remember it— then get out and paint it.” Edward Willis Redfield

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130 EDWARD WILLIS REDFIELD (american 1869–1965) “ROAD TO NEW HOPE” Signed ‘E.W. Redfield’ bottom right, oil on canvas 26 1/8 x 32 1/8 in. (66.4 x 81.6cm) provenance: Grand Central Galleries, New York, New York. Private Collection, Illinois. note: We wish to thank Dr. Thomas Folk for confirming the authenticity of the present lot. The painting will be included in Dr. Folk’s forthcoming Catalogue Raisonné of the artist’s work. $100,000-150,000

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131 FREDERICK R. WAGNER (american 1864-1940) “SNOW AND ICE, EVENING” Signed illegibly bottom right, oil on canvas 40 1/4 x 50 in. (102.2 x 127cm.) provenance: Newman Galleries, Philadelphia, Pennsylvania. $7,000-10,000

132 JOHN FULTON FOLINSBEE (american 1892–1972) “BATH WATERFRONT” (MAINE) Signed ‘John Folinsbee’ bottom left; also titled and inscribed ‘Gift from Ruth Folinsbee, Mar. 16, 1983’ on stretcher verso, oil on canvas 16 x 20 in. (40.6 x 50.8cm) provenance: The Artist and his wife. A gift from the above. Collection of Morgan Wolfrom. By descent in the family. Private Collection, Pennsylvania. $5,000-8,000

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133 FERN ISABEL COPPEDGE (american 1883–1951) “CANAL LOCK AT LUMBERVILLE” Signed ‘Fern I. Coppedge’ bottom center left, oil on canvas 24 x 24 in. (61 x 61cm) Executed circa 1930. provenance: Private Collection, Pennsylvania. exhibited: “Fern I. Coppedge: A Forgotten Woman,” James A. Michener Art Museum, Doylestown, Pennsylvania, September 16-November 25, 1990 (listed in the exhibition catalogue p. 42). $50,000-80,000

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134 HARRY LEITH-ROSS (american 1886–1973) “DESERTED” Signed ‘Leith-Ross’ bottom right; also titled and signed on upper stretcher verso, oil on canvas 12 x 16 in. (30.5 x 40.6cm) provenance: Salmagundi Club, New York, New York. Acquired directly from the above on January 27, 1937. Collection of Mary Ellen Casper (per label verso). Private Collection, Florida. exhibited: “Annual Exhibition and Auction Sale,” Salmagundi Club, January 11-25, 1937, no. 35. $3,000-5,000

135 ARTHUR MELTZER (american 1893–1989) “MILKWEEDS AND SNOW” Signed ‘Arthur Meltzer’ bottom right; also titled and signed on hand-written note verso, oil on canvas 22 x 32 1/8 in. (55.9 x 81.6cm) provenance: The Artist. Acquired directly from the above. The Milkins Collection, Pennsylvania. $10,000-15,000

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136 ROY CLEVELAND NUSE (american 1885–1975) “SILVERY MORNING” Signed and dated with artist’s monogram ‘RN/33’ bottom left; also titled and signed ‘Roy C. Nuse’ on label verso, oil on canvas laid down to board 12 x 16 in. (30.5 x 40.6cm) provenance: Private Collection, Michigan. note: We wish to thank Ms. Robin Nuse, the artist’s granddaughter, for confirming the authenticity of the present lot. $7,000-10,000

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137 FERN ISABEL COPPEDGE (american 1883-1951) “GOLDEN SCREEN” Signed ‘Fern I. Coppedge’ bottom left; also inscribed with title on upper stretcher verso, oil on canvas 16 x 16 in. (40.6 x 40.6cm) provenance: Private Collection, Pennsylvania. Pook & Pook, Downingtown, sale of January 17, 2015, lot 6. Acquired directly from the above sale. Private Collection, Connecticut. $10,000-15,000

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138 WALTER EMERSON BAUM (american 1884–1956) WOODLAND CREEK Signed ‘W E Baum’ bottom right, oil on board 11 3/4 x 15 3/4 in. (29.8 x 40cm) provenance: Private Collection, Pennsylvania. exhibited: (Possibly) “Seventh Annual Art Exhibition,” Carnegie Library at Perkiomen School, Pennsburg, Pennsylvania, October 31-November 23, 1953 (per brochure verso). $3,000-5,000

139 FRANK F. ENGLISH (american 1854–1922) BACK FROM THE HARVEST, SUNSET Signed ‘F.F. English’ bottom left, oil on canvas 24 x 36 in. (61 x 91.4cm) provenance: Property of an Estate, California. Private Collection, California. $3,000-5,000

140 WILLIAM LANGSON LATHROP (american 1859–1938) “ALONG THE DELAWARE RIVER” Signed and dated ‘W.L. Lathrop/96’ bottom left, oil on canvas 12 1/8 x 14 in. (30.8 x 35.6cm) provenance: D. Wigmore Fine Art, New York, New York. Private Collection, New York, New York. literature: David A. Cleveland, A History of American Tonalism: 18801920, Manchester & New York: Hudson Hills Press, 2010, p. 508, fig. 8.81 (illustrated). $4,000-6,000

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141 ANTONIO PIETRO MARTINO (american 1902–1989) SNOW IN MANAYUNK Signed ‘A.P. Martino’ bottom left, oil on canvas 32 x 40 in. (81.3 x 101.6cm) provenance: Private Collection, Philadelphia, Pennsylvania. $4,000-6,000

142 MARY ELIZABETH PRICE (american 1877–1965) “CHRISTMAS BLOOM” Titled and signed ‘M. Elizabeth Price’ verso, watercolor on paper laid down to card Sheet size: 22 7/8 x 28 7/8 in. (58.1 x 73.3cm) provenance: The Artist. By descent in the Bredin-Price family. Collection of Ian Saalfield, Pennsylvania. Acquired directly from the above in 2002. Private Collection, Pennsylvania. $3,000-5,000

143 ANTONIO PIETRO MARTINO (american 1902–1989) “ALONG TOWER STREET” Signed ‘Antonio P. Martino’ bottom left, oil on board 12 7/8 x 19 7/8 in. (32.7 x 50.5cm) provenance: Private Collection, Pennsylvania. $2,000-3,000

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144 CHARLES ROSEN (american 1878-1950) “THE DELAWARE - WINTER MORNING” Signed ‘CHARLES ROSEN’ bottom center right; also inscribed with title and artist on upper stretcher verso, oil on canvas 32 x 38 3/4 in. (81.3 x 98.4cm) provenance: Private Collection, Florida. $12,000-18,000

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145 FREDERICK R. WAGNER (american 1864-1940) “ICEBOUND ON THE DELAWARE” Signed and dated illegibly bottom right, oil on canvas 29 x 36 in. (73.7 x 91.4cm) provenance: Newman Galleries, Philadelphia, Pennsylvania. $6,000-10,000

146 ALBERT VAN NESSE GREENE (american 1887–1971) “BROOKLYN BRIDGE” Signed ‘A Van Nesse Greene’ bottom center left, oil on canvas 23 3/4 x 28 5/8 in. (60.3 x 72.7cm) provenance: Private Collection, Pennsylvania. $8,000-12,000

147 LAURENCE A. CAMPBELL (american b. 1939) “NEW HOPE STATION” Signed ‘Laurence A. Campbell’ bottom left; also titled, signed and inscribed ‘#192’ verso, oil on canvas 16 x 20 in. (40.6 x 50.8cm) provenance: Private Collection, Virginia. $6,000-10,000

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148 LAURENCE A. CAMPBELL (american b. 1939) “SNOW STORM, ARCH STREET, PHILADELPHIA” Signed ‘Laurence A. Campbell’ bottom left; also titled and signed verso, oil on board 16 x 20 in. (40.6 x 50.8cm) provenance: Shannon’s Fine Art Auctioneers, Milford, sale of October 20, 2005, lot 104. Acquired directly from the above sale. Private Collection, Virginia. $8,000-12,000

149 FREDERICK R. WAGNER (american 1864-1940) “LOOKING EAST ON SOUTH PENN SQUARE” Oil on canvas 36 x 29 in. (91.4 x 73.7cm) provenance: Newman Galleries, Philadelphia, Pennsylvania. $5,000-8,000

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150 LAURENCE A. CAMPBELL (american b. 1939) “BEN FRANKLIN BRIDGE” Signed and dated ‘Laurence A. Campbell/95’ bottom left; also titled and signed on bottom stretcher verso, oil on canvas 40 x 28 1/8 in. (101.6 x 71.4cm) provenance: Private Collection, Illinois. $20,000-30,000

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151 LAURENCE A. CAMPBELL (american b. 1939) “RIVER LANDSCAPE” Signed ‘Laurence A. Campbell’ bottom left; also titled and signed on bottom stretcher verso, oil on canvas 36 x 48 in. (91.4 x 121.9cm) provenance: Private Collection, Illinois. $15,000-25,000

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152 JOHN E. BERNINGER (american 1897-1981) LOOKING AT THE QUARRIES Signed and dated ‘J E Berninger/1930’ bottom left, oil on canvas 25 1/4 x 30 1/4 in. (64.1 x 76.8cm) provenance: Private Collection, Pennsylvania. $3,000-5,000

153 WALTER EMERSON BAUM (american 1884–1956) WINTER STREAM Signed ‘W.E. Baum’ bottom right, oil on canvas 25 x 30 in. (63.5 x 76.2cm) provenance: Private Collection, Pennsylvania. $3,000-5,000

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154 WALTER EMERSON BAUM (american 1884-1956) “BROOK, LEHIGH COUNTY” Signed ‘W.E. Baum’ bottom right; also inscribed with title on upper stretcher verso, oil on canvas 25 x 30 in. (63.5 x 76.2cm) provenance: Private Collection, Virginia. $5,000-8,000

155 ELIZABETH FISHER WASHINGTON (american 1871-1953) “SUMMER SKY” Signed illegibly bottom right; also inscribed with title and artist verso, oil on canvas laid down to panel 40 7/8 x 43 1/4 in. (103.8 x 109.9cm) provenance: The Artist. By descent in the family. Private Collection, California. exhibited: "Second Annual Exhibition," Philadelphia Week Association, Philadelphia, Pennsylvania, n.d. (per inscription verso). "Third Annual Exhibition," Philadelphia Art Alliance, Philadelphia, Pennsylvania, n.d. (per inscription verso) $8,000-12,000

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156 FERN ISABEL COPPEDGE (american 1883-1951) “AUTUMN, BUCKS COUNTY” Signed ‘Fern I. Coppedge’ bottom left, oil on canvas 12 1/8 x 12 1/8 in. (30.8 x 30.8cm) provenance: Newman Galleries, Philadelphia, Pennsylvania. Private Collection, Philadelphia. $20,000-30,000

126

157 FERN ISABEL COPPEDGE (american 1883–1951) WINTER BY THE DELAWARE Signed ‘Fern I. Coppedge’ bottom right, oil on canvas 12 x 12 in. (30.5 x 30.5cm) provenance: Private Collection, Pennsylvania. $15,000-25,000

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INDEX AVERY, M.

87-89

GLACKENS, W.

62, 63

NOYES, G.L.

BAIR, H.F.

GORSON, A.H.

NUSE, R.C.

136

BAREFORD, D.

33, 36

GRUPPE, E.A.

84, 86, 90

OAKLEY, V.

BAUM, W.E.

122, 123, 138, 153, 154

HAMILTON H.

OTTE, W.L.

BENTON, T.H.

HEADE, M.J.

PARTON, A.

BERNINGER, J.E.

152

HETZEL, G.T.

PAXTON, W.M.

BIERSTADT, A.

HOFFMAN, M.

110

PITTMAN, H.

99-104

BIRCH, T.

INNESS, G.

PRENTICE, L.W.

53, 54

BISCHOFF, F.A.

JBERNINGER,J.E.

152

PRICE, M.E.

142

BLUEMNER, O.F.

78, 79

JOHNSON, D.

REDFIELD, E.W.

125, 127, 130

BOHROD, A.

JONES, H.B.

RIPLEY, A.L.

37-39, 76

BREMER, A.M.

KAMIHIRA, B.

111

ROSEN, C.

144

CAMPBELL, L.A

147, 148, 150, 151

KAUFMANN, F.

SCHOFIELD, W.E.

118

CARLES, A.B

97, 106

KNIGHT, L.A.

SHANKS, N.

112

CASSATT, M.

LANDECK, A.

SOTTER, G.W.

126, 129

CHATTERTON, C.K.

LATHROP, W.L.

140

STELLA, J.

CLOUGH, G.L.

LAWSON, E.

24, 72

TERELAK, J.C.

COOK, H.N.

4-8

LEITH-ROSS,H.

134

THIEME, A.

COPPEDGE, F.I.

113, 119, 128, 133, 137, 156, 157

LEVER, R.H.

THOMPSON, L.P.

LEVINE, J.

107-109

TROST RICHARDS, W.

57, 58

CRANE, B.

LEWIS, M.

1-3

VAN NESSE GREENE, A.

146

CROPSEY, J.F.

LIE, J.

WAGNER, F.R.

131, 145, 149

DUDLEY, F.V.

LOZOWICK, L.

9, 10

WALTER, M.

105

ENGLISH, F.F.

139

MACMONNIES, F.W.

WASHINGTON, E.F.

114, 155

ENNEKING, J.E.

MACY,W.F.

WATERS, S.C.

FISKE, G.

MANNHEIM, J.

WAY, A.J.H

FOLINSBEE, J.F.

120, 132

MARSH, R.

14-16, 23, 77

WEEKS, W.L.

FREELON, A.R.

MARTINO, A.P.

117, 121, 141, 143

WENDEL, T.

GARBER, D.

124

MARTINO, G.

115, 116

WIGGINS, G.C.

64-69

GARDNER SYMONS, G.

MELTZER, A.

135

WOODBURY,C.H.

GASSER, H.M.

73, 74

MILLAR, A.T.

WYETH, A,

GIFFORD, C.H.

MORAN, E.

WYETH, N.C.

94, 95

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 face. 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.

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Dimensions are given height before width.

SIR ALFRED MUNNINGS (british 1878–1959) “TWO OF THEM” Signed and dated ‘A.J. Munnings./1913’ bottom left, oil on canvas 25 x 30 in. (63.5 x 76.2cm) $200,000-300,000

European Art & Old Masters Auction February 27, 2019 inquiries: David Weiss | 267.414.1214 | dweiss@freemansauction.com 129

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PURCHASE REMOVAL, SHIPPING AND OFFSITE STORAGE INFORMATION To ensure the safety of your property Freeman’s requests removal within 10 business days of the sale date. Collection hours are Monday–Friday, 9:30am–4:30pm. For larger items, please email Jake Gravelding at loadingdock@freemansauction.com to schedule a loading dock appointment. For purchase release to persons not listed on your contract or invoice, 3rd party authorization is required. Please mail or fax, 215.599.2240, a signed letter stating receipt/item(s) or sale/lot(s) and name of third party collecting property. Freeman’s does not handle packing or shipping. The shippers listed have worked with Freeman’s clients in the past and will be happy to provide you with quotes for the packing and shipping of your property. Annie Hauls Michael Topley Lambertville, NJ 08530 609.577.5133 annie@anniehauls.com *East Coast deliveries only

Mr. C’s Charles Cohen 1615 North 10th Street Philadelphia, PA 19122 267.977.9567 mrcees61@gmail.com

Art In Transit Nick Clarke 314 North 12th Street Philadelphia, PA 19107 540.550.7080 nclarke@artintransit.net

Malca Amit ‡ Christine Duke 153-66 Rockaway Blvd New York, NY 11434 718.525.6100 | Fax: 718.425.3703 maa.nyc@malca-amit.com

Atelier Art Services ‡ Lynn Smith 1330 North 30th Street Philadelphia, PA 19144 215.842.3500 | Fax: 215.235.0421 estimates@atelierfas.com

A. Mastrocco Jr. Moving & Storage Roseanne Gebler 1060 Louis Drive Warminster, PA 18991 215.491.0346 | Fax: 215.444.9327 mastroccomovers@snip.net

Aiston Fine Art Service ‡ Mark Aiston P.O. Box 3434 Grand Central Station New York, NY 10163 212.715.0629 | Fax: 718.361.8569 info@aistonart.com

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

Cadogan Tate Fine Art ‡ Stacey Ferguson Cadogan House 41-20 39th Street Sunnyside, NY 11104 718.706.7999 | Fax: 718.707.2847 s.ferguson@cadogantate.com Crozier Fine Arts Catherine Erickson New York, NY 10011 212.741.2024 / Fax: 212.741.5513 shipping@crozierarts.com

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

IMPORTANT INFORMATION FOR BUYERS Registration All potential buyers must register for the sale prior to placing a bid. Registration information may be submitted in person at our reception desk, by fax or through our website at www.freemansauction.com. We will require proof of identification and residence and may require a credit card and/or a bank reference. By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted Freeman’s Terms and Conditions of Sale. Buyer’s Premium 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. Sales Tax All items in the catalogue are subject to the 8% Pennsylvania and Philadelphia sales tax. Dealers purchasing for resale must register their tax numbers on current PA forms. Forms should be submitted to our Client Services office on the second floor. Catalogue Descriptions All item descriptions, dimensions and estimates are provided for guidance only. It is the buyer’s responsibility to inspect all lots prior to bidding to ensure that the condition is to their satisfaction. If potential buyers are unable to inspect lots in person, our specialists will be happy to prepare detailed Condition Reports on individual lots as quickly as possible. These are for guidance only, and all lots will be sold “as is” as per our Terms and Conditions of Sale. Bidding At the sale Registered bidders will be assigned a bidder number and given a paddle for use at the sale. Once the first bid has been placed, the auctioneer asks for higher bids in increments determined by the auctioneer. To place your bid, simply raise your paddle until the auctioneer acknowledges you. The auctioneer will not mistake a random gesture for a bid. By phone A limited number of telephone lines are available for bidding by phone through a Freeman’s representative. Phone lines must be reserved in advance. Requests must be submitted no later than 24 hours prior to the scheduled start of the sale. In writing Bid forms are available in the sale room and at the back of the catalogue. 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. 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. 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. 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.

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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.

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.

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

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.

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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.

freemansauction.com v2.2016

DIRECTORY Officers

Specialist Departments

Representatives

Alasdair Nichol Chairman

20th Century Design Tim Andreadis tandreadis@freemansauction.com

New England Darren Winston dwinston@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 Jake Gravelding jgravelding@freemansauction.com Trust & Estates Amy Parenti aparenti@freemansauction.com

American Art & Pennsylvania Impressionists Alasdair Nichol anichol@freemansauction.com American Furniture, Folk & Decorative Arts Lynda Cain lcain@freemansauction.com

Mid-Atlantic Matthew Wilcox mwilcox@freemansauction.com Southeast Colin Clarke cclarke@freemansauction.com West Coast Michael Larsen mlarsen@freemansauction.com

Antiquities & Tribal Art Grace Fitts gfitts@freemansauction.com Asian Arts Benjamin Farina bfarina@freemansauction.com

Main Line Sarah Riley, GG sriley@freemansauction.com

Books, Maps & Manuscripts Darren Winston dwinston@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 Sawyer Thomson sthomson@freemansauction.com Oriental Rugs & Carpets Andrew Taggart ataggart@freemansauction.com Prints Dunham Townend dtownend@freemansauction.com Silver & Objets de Vertu Nicholas B. A. Nicholson nnicholson@freemansauction.com

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