American Art & Pennsylvania Impressionists by Freeman's

American Art & Pennsylvania Impressionists December 8, 2019

Lot 45 (detail)

American Art & Pennsylvania Impressionists AUCT ION Sale 1649 Sunday, December 8 at 2pm 2400 Market St Philadelphia PA 19103 freemansauction.com

VIE WING T IME S Wednesday, December 4 through Friday, December 6: 10am - 5pm Saturday, December 7: 12pm - 5pm Sunday, December 8: by appointment only

DE PART ME NT 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 rchatroux@freemansauction.com, 267.414.1253

Front Cover: Lot 138 (detail); Inside Front Cover: Lot 25 (detail), Left: Lot 88, ÂŠ 2019 Romare Bearden Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY; Inside Back Cover: Lot 95 (detail)

Lot 116 (detail)

L ot 7 4 ( detail)

AM E R I C AN Lots 1 -93

AR T

1 Benton Murdoch Spruance (American, 1904-1967) Arrangement for Drums

1941. Edition of 30. Pencil signed ‘Spruance’ bottom right; also titled bottom center and inscribed ‘ed. 30’ bottom left, color lithog raph printed in tan and b lack on cream w ov e paper I mag e siz e: 9 1/2 x 1 4 5/8 in. (24.1 x 37.1cm) Sheet siz e: 1 2 5/8 x 1 9 in. (32.1 x 48.3cm) [Fine/Looney 191] provenance

Private Collection, Bucks County, Pennsylvania. $10,000-15,000

2 Martin Lewis (American, 1881-1962) Stoops in the Snow

1930. Edition of 115. Pencil signed ‘Martin Lewis/P.L.’ (Patricia Lewis) bottom right; also titled verso and with publisher’s blindstamp bottom right, McCarron’s second (and final) state, dry point and sandpaper g round on creamy w ov e paper I mag e siz e: 9 7/8 x 1 4 3/4 in. (25.1 x 37.5cm) Sheet siz e: 1 4 x 1 8 1/4 in. (35.6 x 46.4cm) [McCarron 89] provenance

Newman Galleries, Philadelphia, Pennsylvania. Private Collection, Philadelphia, Pennsylvania. $12,000-18,000

3 Thomas Hart Benton (American, 1889-1975) Prodigal Son

1939. Edition of 250. Pencil signed ‘Benton’ bottom right; also titled in the margin bottom right, lithograph on paper I mag e siz e: 1 0 1/8 x 1 3 1/8 in. (25.7 x 33.3cm) Sheet siz e: 1 2 1/2 x 1 8 1/2 in. (31.8 x 47 cm) Pub lished b y Associated American Artists, New York. [Fath 29] provenance

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

4 Thomas Hart Benton (American, 1889-1975) Discussion

1969. Edition of 250. Pencil signed ‘Benton’ bottom right, lithograph on paper I mag e siz e: 9 7/8 x 1 2 in. (25.1 x 30.5cm) Sheet siz e: 1 3 x 1 7 7/8 in. (3 3 x 45.4cm) Pub lished b y Associated American Artists, New York. [Fath 82] provenance

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

K A R L B O D MER Lots 5-10 Although Europeans had scarcely studied America’s Native population, the latter increasingly became a focus of scientific study by the early 19th century, as it appeared to embody man in his “natural state,” true to Rousseau’s philosophical beliefs. Prince Maximilian of Wied-Neuwied, who devoted his entire life to the study of the Natural Sciences sought to record and document America’s Native population. A self-taught scholar, he supplemented his readings of scientific publications through on-site observations, later making important contacts with leading mineralogists, geographers and botanists while in the Army. Deeply influenced by the ideals of the Enlightenment, Prince Maximilian also grew fascinated by the New World, and following the research of the great Prussian scholar and scientist Alexander von Humboldt, who had explored South America for five years, he planned an expedition to North America, in order to carefully document and record a declining culture. Maximilian had already traveled to Brazil to record the local fauna and flora, and while there, executed his own paintings and sketches in the field. This time however, he looked for a trained artist who would document the American expedition for him. Ultimately, he chose the young Karl Bodmer, a twenty-three-year-old landscapist from Zurich, who had already made a name for himself by publishing numerous engravings of scenes along the Rhine. Accompanied by Bodmer, his taxidermist and plant preparator, Maximilian embarked on a twenty-eight-month journey to America on May 7, 1832. The group first arrived in New York, and later followed the course of the Ohio, Mississippi and Missouri Rivers before finally reaching Fort Mackenzie, the westernmost point of their journey. Along the way, they met several indigenous tribes such as the Crees and Assiniboins. It was not until their return trip in the fall of 1833 that they reached Fort Clark, where they spent the winter and developed friendly relationships with the Mandan tribe. Upon their return to Europe in mid-July 1834, Bodmer worked hard to turn all of his paintings and sketches into aquatints. Ultimately, the artist spent four years travelling between Paris, Zurich, and London to supervise the production of fifty-two prints, all published between 1839 and 1841 in the two-volume Travels in the Interior of North America, which still ranks among the most complete and faithful surveys of Native American culture. The four present drawings were executed as preparatory sketches for two of the most important aquatint compositions Bodmer created, Fort Mackenzie and Bison-Dance of the Mandan Indians. While all the pencil and graphite sketches were drafted in-situ, Bodmer reworked most of them in his Parisian studio, dressing up French models as Indians, with a view to exhibit the finished products at the Royal Academy. In depicting the bloody battle of August 28, 1833 between the Blackfeet and the Assiniboin, and the joyous celebratory dance of December 1833 that Bodmer witnessed along the Missouri River, the drawings demonstrate a level of expressiveness that had never been seen before. All the figures are shown in motion, with a delicacy that echoes their inherent grace. In doing so, the artist remains true to the Prince’s vision of depicting Native tribes with the greatest possible accuracy and respect, devoid of any cultural prejudice.

5 Karl Bodmer (Swiss, 1809-1893)

The Archer (Sketch for ‘Fort Mackenzie’) Pencil signed ‘Bodmer’ bottom left, pencil on paper Sheet size: 5 3/4 x 4 1/2 in. (14.6 x 11.4cm) Executed circa 1832-1841. provenance

Arader Galleries, Philadelphia, Pennsylvania. Acquired directly from the above in 1987. Property from a Private Collection, Main Line, Philadelphia. $20,000-30,000

6 Karl Bodmer (Swiss, 1809-1893) Two Figures, One Leaning; One Lying (Sketch for ‘Fort Mackenzie’)

Pencil signed ‘Bodmer’ bottom left, pencil on paper Sheet siz e: 5 1/4 x 3 7/8 in. (13.3 x 9.8cm) Executed circa 1832-1841. provenance

Arader G alleries, Philadelphia, Pennsylvania. Acquired directly from the above in 1987. Property from a Private Collection, Main Line, Philadelphia. $20,000-30,000

7 Karl Bodmer (Swiss, 1809-1893)

Man and Shield (Sketch for ‘Bison Dance of the Mandan Indians’) Pencil signed ‘Bodmer’ bottom left, pencil on paper Sheet siz e: 5 15/16 x 3 5/8 in. (15.1 x 9.2cm) Executed circa 1832-1841. provenance

Arader Galleries, Philadelphia, Pennsylvania. Acquired directly from the above in 1987. Property from a Private Collection, Main Line, Philadelphia. $20,000-30,000

8 Karl Bodmer (Swiss, 1809-1893)

Warrior with Horned Warbonnet (Sketch for ‘Bison Dance of the Mandan Indians’) Pencil signed ‘Bodmer’ bottom center right; also pencil inscribed bottom center Sheet siz e: 6 x 4 1/8 in. (15.2 x 10.5cm) Executed circa 1832-1841. provenance

Arader Galleries, Philadelphia, Pennsylvania. Acquired directly from the above in 1987. Property from a Private Collection, Main Line, Philadelphia. $20,000-30,000

9 Karl Bodmer (Swiss, 1809-1893) Fort Mackenzie August 28th 1833

Ackermann & Co. Publisher, London, May 1842. Hand-colored aquatint and engraving from Travels in the Interior of North America, London, 1843. Tableau 42. With Bodmer’s blind stamp b elow the Ackermann imprint at center bottom. First English edition with an addition to the Ackermann imprint at center bottom the Coblenz J. Holscher imprint at bottom left and the Paris Arthus Bertrand imprint at bottom right; and with trilingual captions in English, French and German. First issue of the plate with ‘Imp. de Bougeard’ below the image at center. Image size: 11 3/4 x 17 1/8 in. (29.8 x 43.5cm) Sheet size: 17 3/4 x 23 3/16 in. (45.1 x 58.9cm) [Joslyn Art Museum, fourth state] provenance

Arader Galleries, Philadelphia, Pennsylvania. Acquired directly from the above in 1987. Property from a Private Collection, Main Line, Philadelphia. $2,000-3,000

1 0 Karl Bodmer (Swiss, 1809-1893)

Bison Dance of the Mandan Indians in front of their Medicine Lodge in Mih-Tuta-Hankush Ackermann & Co. Publisher, London, July 1842. Hand-colored aquatint and engraving from Travels in the Interior of North America, London, 1843. Tableau 18. With Bodmer’s blind stamp b elow the Ackermann imprint at center bottom. First English edition with an addition to the Ackermann imprint at center bottom the Coblenz J. Holscher imprint at bottom left and the Paris Arthus Bertrand imprint at bottom right; and with trilingual captions in English, French and German. First issue of the plate with ‘Imp. de Bougeard’ below the image at center. Image size: 12 1/8 x 17 1/4 in. (30.8 x 43. 8cm) Sheet size: 16 7/8 x 23 9/16 in. (42.9 x 59.8cm) [Joslyn Art Museum, fourth state] provenance

Arader Galleries, Philadelphia, Pennsylvania. Acquired directly from the above in 1987. Property from a Private Collection, Main Line, Philadelphia. $2,500-4,000

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William Trost Richards (American, 1833-1905)

Loc ated v erso, oil on panel 5 1/2 x 9 1/4 in. (14 x 23.5cm)

Signed ‘Wm.T. Richards’ bottom left; also located verso, oil on paper laid dow n to card 5 3/8 x 8 7/8 in. (13.7 x 22.5cm)

Passing Storm, Isle of Skye, Scotland

provenance

The Artist. By descent in the family. William Vareika Fine Arts, Newport, Rhode Island. Private Collection, Virginia. exhibited

“ Masterpieces of the L and and Sea: T he T imeless Art of Wi lliam T rost Ri chards,” W illiam V areika F ine Arts, Newport, Rhode Island. $3,000-5,000

Near Salisbury, England

provenance

The Artist. By descent in the family. William Vareika Fine Arts, Newport, Rhode Island. Private Collection, Virginia. exhibited

“ Masterpieces of the L and and Sea: T he T imeless Art of W illiam T rost Ri chards,” W illiam V areika F ine Arts, Newport, Rhode Island. $3,000-5,000

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William Trost Richards (American, 1833-1905)

Signed ‘Wm. T. Richards’ bottom left; also inscribed with title verso, and on the frame verso, oil on board 5 1/4 x 9 1/8 in. (13.3 x 23.2cm)

O il on b oard 5 3/8 x 9 1/8 in. (13.7 x 23.2cm)

provenance

The Artist. By descent in the family. William Vareika Fine Arts, Newport, Rhode Island. Private Collection, Virginia.

Looking Westward, Norway (Lake Scene)

The Artist. By descent in the family. William Vareika Fine Arts, Newport, Rhode Island. Private Collection, Virginia. exhibited

“ Masterpieces of the L and and Sea: T he T imeless Art of Wi lliam T rost Ri chards,” Wi lliam V areika F ine Arts, Newport, Rhode Island. $3,000-5,000

Norway

provenance

$3,000-5,000

15 Jasper Francis Cropsey (American, 1823-1900)

An Autumn Landscape with Cattle Watering at a River Signed and dated ‘J.F. Cropsey 1881’ bottom left, oil on canvas 12 x 20 in. (30.5 x 50.8cm) provenance

James Maroney Inc., New York, New York. Bonhams, New York, sale of May 24, 2006, lot 1017. Acquired directly from the above sale. Private Collection, Virginia. literature

Anthony Speiser et al., Jasper Francis Cropsey: Catalogue Raisonné: Works in Oil, Hastings-onHudson, New York; and Newington-Cropsey Foundation, New York, 2013, volume II, p. 288, no. 1652 (not illustrated). $60,000-100,000

A foremost painter of the first generation of the Hudson River School, Jasper Cropsey was formally trained as an architect, but is best known for his expansive, realistic, and detailed autumnal landscape paintings of the Northeastern United States. Cropsey spent most of his life living in and painting scenes of the Hudson Valley, but lived abroad from 1856-1863. While living and working in Europe, Cropsey exhibited one of his largest and most ambitious paintings, Autumn on the Hudson (1860), at the 1862 London International Exhibition, and was thence dubbed “America’s Painter of Autumn.” The present work, completed in 1881, is another quintessential example of Cropsey’s autumnal canvases and shows his continued affinity for depictions of the season. The fall is a particularly majestic time in the Catskill Mountains, and Cropsey here captures the splendor of the changing leaves, the colorful sky reflecting in the water below it, and the watering cattle which lend a sense of idyllic countryside living. Warmly lit and quite inviting, the reds, oranges, and yellows are particularly emphasized, drawing the viewer into the scene. Inspired greatly by his time spent living in England, the scene is also reminiscent of the English landscape that he captured many times during his stay.

1 6 John Frederick Peto (American, 1854-1907) Crumbs of Comfort

Titled, signed and dated ‘J.F. Peto/6.87’ verso; also sig ned on upper stretcher v erso, oil on canv as 1 0 x 1 2 in. (25.4 x 30.5cm) provenance

Private Collection, Pennsylvania. $7,000-10,000

1 7 Emil Carlsen (American, 1853-1932) Still Life with Fish

Signed and dated ‘Emil. Carlsen. 93’’ upper left, oil on canvas 1 5 x 3 0 in. (38.1 x 76.2cm) provenance

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

1 8 Milne Ramsey (American, 1847-1915) Still Life with Peaches, Brass Pot, Green Jug and Wine Bottle on Commode Top Signed and dated ‘Milne Ramsey/5.08.’ bottom right, oil on canvas 25 1/2 x 3 5 1/4 in. (64.8 x 89.5cm) provenance

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

1 9 Samuel S. Carr (American, 1837-1908) School Days

Signed ‘S.S. CARR’ bottom right; also titled on lab el v erso, oil on canv as 24 x 1 8 in. (61 x 45.7cm) provenance

Private Collection, Philadelphia, Pennsylvania. $6,000-10,000

Ella Sophonisba Hergesheimer (American, 1873-1943)

Lydia Field Emmet (American, 1866-1952)

Signed and dated ‘E. S. Hergesheimer/1911’ bottom left, oil on canv as 5 0 x 3 6 in. (127 x 91.4cm)

Signed ‘Lydia Field Emmet’ upper right, oil on canvas 5 0 1/4 x 3 7 1/2 in. (127.6 x 95.3cm)

provenance

Collection of Mr. Henriques C. Hamilton, the sitter. By descent in the Hamilton Family. Private Collection, Florida.

Social Graces

Property sold for the benefit of the Delaware Art Museum. $2,000-3,000

Portrait of Henriques C. Hamilton

provenance

note

T he present lot w ill b e accompanied b y a preparatory sketch of the portrait. $3,000-5,000

22 Sarah Paxton Ball Dodson (American, 1847-1906)

L’Amour Ménétrier (also titled Pupils of Love or Cupid, the Fiddler) Signed with artist’s initials and dated ‘SPBD-/1877’ bottom left; also signed ‘Sarah Paxton Ball Dodson’ verso, with French preparer’s stencil verso, oil on canvas 41 x 43 in. (104.1 x 109.2cm) provenance

Private Collection, Virginia. exhibited

Paris Salon, 1877, no. 724 (exhibited as L’Amour Ménétrier). Philadelphia Society of Artists, Philadelphia, Pennsylvania, 1881. “Autumn Exhibition,” Walker Art Gallery, Liverpool, United Kingdom, 1891 (per label verso). Corporation Gallery, Brighton, United Kingdom, 1910. Goupil Gallery, London, United Kingdom, January 1911. “Catalogue of Paintings by Sarah B. Dodson,” The Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, April 16-May 14, 1911. “Catalogue of the Exhibition of Paintings by Sarah Ball Dodson,” American Art Galleries, New York, New York, December 16-29, 1911, no. 43. literature

Sylvester R. Koehler, “The Exhibitions: Second Annual Exhibition of the Philadelphia Society of Artists,” in The American Art Review 1881, vol. 2, p. 108 (illustrated as Pupils of Love). Russell Sturgis, “The Work of Miss Sarah Dodson,” in Scribner’s Magazine, April 1908, vol. XLIII, pp. 509-512, referenced p. 509 (illustrated as L’Amour Ménétrier). Catalogue of the Exhibition of Paintings by Sarah Ball Dodson, December 16-29, 1911, American Art Association, Managers, New York, 1911, no. 43. John E. D. Trask, The Work of Sarah Ball Dodson: An Appreciation, Dolphin Press, Brighton, between 1911 and 1928, p. 17, no. 84. Barbara Gallati, “The Paintings of Sarah Paxton Ball Dodson 1847-1906,” in American Art Journal, vol. 15, no. 1, Winter, 1983, pp. 67-82. note

We wish to thank Dr. Barbara Gallati for her kind assistance in cataloguing the present lot. $20,000-30,000

Although Sarah Paxton Ball Dodson was regarded as one of the most technically accomplished artists of her generation, most parts of her career and œuvre remain unknown today. According to scholar Barbara Gallati, this is in part due to her poor health, which prevented her from standing too long at her easel, thus limiting her production, but also a result of her unique style and taste for grandeur, which in the eyes of the critics perpetuated the common, albeit false notion that women artists only excelled at painting “the tame and the pretty.” Dodson is known for her monumental paintings of either mythological or religious subjects, which she executed in the most academic manner, thus removing herself from the more modern movements at play. A Philadelphia native, she entered the Pennsylvania Academy of the Fine Arts in 1872 and chose to study under Christian Schussele, who also taught Thomas Eakins and Cecilia Beaux. Like many women artists in the late 19th century, she eventually decided to leave the United States, and by 1873 settled in Paris, where she trained under distinguished masters (Évariste Vital Luminais, Jules Joseph Lefebvre and Louis Maurice Boutet de Movel, respectively) and competed against local artists by exhibiting at the Salon. The present work, L’Amour Ménétrier, is one of the artist’s finest early works. Dated 1877, it follows La Danse, the first painting Dodson ever exhibited, which appeared at the 1878 Paris Exposition Universelle. Both works exemplify Dodson’s affinity for large compositions, as well as her fierce attention to detail. They also reveal her strong desire to make a mark in the art world and stand out amongst her female peers. When the two works were shown at the Second Annual Exhibition of the Philadelphia Society of Artists, Sylvester R. Koehler wrote in a review: “A new name to most visitors will be that of Sarah P.B. Dodson, a Philadelphian of French training, who exhibits two pictures of a vein entirely different from everything else to be seen in the collection. Her Pupils of Love and her frieze, The Dance but more especially the former seem inspired by French art of the last century, in the pale delicacy of colour [sic] as well as in connection. There is perhaps a little overstraining in the drawing, to ensure the expression of motion but the power of invention and the spirited execution are worthy of all recognition.” As Barbara Gallati has pointed out, the complex composition of L’Amour Ménétrier is reminiscent of Titian’s Bacchus and Ariadne (1520-23, National

Gallery of London), which further illustrates Dodson’s wish to affiliate herself with the Grande Tradition of painting. With its chain of semi-nude bacchantes seemingly entranced by Cupid’s melody, the work also carries a charming French rococo flavor, reminiscent of François Boucher’s seductive mythological scenes, usually tinted with pink and white harmonies. Dodson slowly turned away from the Rococo manner after completing L’Amour Ménétrier. Instead, she started to adopt a style both reminiscent of the Great Italian masters, especially Michelangelo, but also strongly influenced by the English PreRaphaelites, with whom the artist shared a certain affinity for poetic landscapes and love themes. True to her aesthetic choices, Dodson left Paris by 1891 and settled in Brighton, England, where she painted until her last days. After her death, her brother, Richard Ball Dodson “attempted to achieve a measure of posthumous recognition for her” and battled to have his sister’s paintings included in the collections of some of America’s best museums, including the Museum of Fine Arts, Boston and the Philadelphia Museum of Art. In 1910-1911, he also curated an impressive series of exhibitions and sales between Brighton, London, Philadelphia and New York, featuring eighty-eight of his sister’s works. Deeply representative of Dodson’s early, enchanting style, L’Amour Ménétrier was prominently featured in each of the viewings; it also served as the visual reminder of Dodson’s unlimited ambition and taste for aesthetic challenges, which she set for herself throughout her intense, yet abbreviated, career.

Photog raph of orig inal lab el from the Autumn Exhibition at W alker Art G allery , L iv erpool, U nited K ing dom, 1 8 9 1

23 William Aiken Walker (American, 1838-1921) A Cotton Picker

Signed with conjoined letters ‘WAWalker’ bottom left, oil on b oard 8 1/8 x 4 1/16 in. (20.6 x 10.3cm) provenance

Private Collection, Virginia. note

We wish to thank John Fowler for kindly confirming the authenticity of the present lot, based on photographs. The painting will be included in the forthcoming C atalog ue Ra isonné of the Artist’s work being compiled by Mr. Fowler. $3,000-5,000

24 John George Brown (American, 1831-1913) Hoisting the Sail

Signed ‘J.G. Brown N.A.’ bottom center left (on the boat’s hull) , oil on canv as 23 x 1 5 in. (58.4 x 38.1cm) provenance

(Possibly) John G. Brown studio sale, 1892, no. 6 (as Hoisting the Sail). Private Collection, Pennsylvania. literature

Martha H oppin, The World of J.G. Brown, C hameleon Books, Chesterfield, Massachusetts, 2010, Chapter 5 “Grand Manan Island,” note 7. note

We wish to thank Dr. Martha Hoppin for confirming the authenticity of the present work, and for her kind assistance in cataloguing it. $15,000-25,000

In the summers of 1877 and 1878, John George Brown traveled to the remote island of Grand Manan, just off the coast of Maine in the Bay of Fundy, New Brunswick, Canada. There, he executed about twenty-five recorded paintings, all consistent in size, execution and subject, which deeply impressed the critics for their freshness and “absence of affection.” During Brown’s time, the island was already a popular site for artists, including Frederic Church who was amongst the first painters to discover and record its abrupt shoreline and treacherous tides. But instead of marveling at its unusual landscapes, Brown preferred to concentrate on the local fishermen, recording their harsh and dangerous labor, either at sea or in the harbor. As he simply explained to an interviewer, “I desired to paint some Grand Manan fishermen, and I went to Grand Manan and painted them from the life - their fish, their clothes, their boats.” The present work is an excellent example from the artist’s sojourn on Grand Manan island and perfectly transcribes the hardiness Brown sought to capture in his models. Depicted here is a lone sailor standing in his dory. Simply dressed, yet with an elegant hat on his head, he smokes his pipe, while carefully pulling the sail in order to change the boat’s direction. His fierce gaze, either focused on the technical procedure or worryingly set on the ominous clouds above his head, reflects his imposing stature. Brown here presents a certain vision of manhood to the viewer. The sailor’s rugged, yet impressionable, appearance is echoed by the vigorous brushwork and palette of fierce blues and oranges the artist employed - a novelty in Brown’s œuvre that still contributes to its timeless appeal today.

25 Louis Rémy Mignot (American, 1831-1870) Incense Breathing Morn. - Gray’s Elegy (On the Guayaquil River)

Signed with artist’s initial and dated ‘M.|68’ bottom right; also with London preparer’s stencil verso and titled on label verso, oil on canvas 16 x 22 in. (40.6 x 55.9cm) provenance

Private Collection, United Kingdom. By descent in the family. Private Collection, Rome, Italy. literature

Katherine E. Manthorne and John W. Coffey, The Landscapes of Louis Rémy Mignot: A Southern Painter Abroad, Washington, D.C., 1996, Appendix, “Catalogue of 1868 Sale,” no. 43, p. 220 and (possibly) “Catalogue of the 1876 Memorial Exhibition,” no. 46, p. 220 (not illustrated). $40,000-60,000

Long overshadowed by his fellow contemporaries of the Hudson River School, Louis Rémy Mignot now stands as one of the most skilled landscapists of his generation, a young talent who gained fame by infusing serenity and sensitivity into his beautifully rendered tropical views. The son of French Catholics who fled to the United States in order to escape the 1830 French Revolution, Mignot was born and raised in Charleston, South Carolina. At 17, after the passing of his father who had never approved of his career choice, he departed for the Netherlands, and trained under famed landscapist Andreas Schelfout. He later returned to the United States and settled in New York, where he joined the competitive circle of the Hudson River School painters. There, Mignot was quickly recognized as a promising figure and became close friends with Eastman Johnson and Frederic Edwin Church, who deeply encouraged him and with whom he shared a taste for travels and expeditions. Mignot’s career took a decisive turn in 1857, when he embarked on a five-month journey to Central and South America with Church. From May to September, the artists explored exotic landscapes, recorded the local flora, met with the inhabitants, and captured tropical subjects with astonishing detail. While Church had already been to the Andes, Mignot was discovering the region for the first time and became so obsessed with certain motifs and images that he continued painting similar scenes until his death in the United Kingdom in 1870. As Katharine Munford explains: “South America offered Mignot a spiritual haven. From the time he set foot on the soil of Ecuador, he painted its contours more than any other single theme.”

tends to be less detailed and more evocative of the artist’s melancholic feeling, thus resembling a study of tone and mood. Here, the artist depicts a quiet morning scene along the tropical river. Each bank is marked by an abundant, tangled, vegetation which conveys a sense of wildness to the entire scene. The willowy palm trees, surrounding flowers and verdant bushes seem to grow to infinity, expanding beyond the limits of the composition. The only human presence is a figure on the right, who calmly navigates his balsa on the calm waters while an exotic bird, probably a parrot, is shown nosediving. As opposed to Mignot’s earlier compositions, in which a glorious sunset sky was the main focus, here the river occupies the main portion of the canvas, stretching from the foreground to the horizon where it blends with the soft glow of the awakening dawn. At a time when his contemporaries saw national conquests, industrialism, and capitalist commerce as signs of modernity, Mignot seems to transport us back in time, to a glorified moment before settlement, where man and nature seem to be in symbiosis. Although he did sometimes refer to human activities such as the gathering of the plantains, his compositions always suggest a sense of calm, tranquility and peacefulness that echoes the artist’s romantic views of the South. Here, the human figure is minuscule compared to the lush vegetation surrounding him, as if Mignot was implying that Nature would always triumph over civilization.

After crossing Panama, Mignot arrived in Ecuador and started his journey in Guayaquil, the second largest city in the country, two hundred miles south of Quito. Instead of staying in town, the artist chose to explore the interior of the continent by boat—then the most dependable means of transportation. Among all the landscapes that he discovered in Ecuador, the Guayas River became Mignot’s most important source of inspiration. Unlike the rest of the continent, which was said to be dry and inhospitable, the region was famous for its lush vegetation, steamy weather and rich fauna, which may have reminded Mignot of his native South Carolina. With its painterly touch, blurred edges and softened hues, Incense Morn. Gray’s Elegy is typical of the late South American pictures which Mignot completed in Britain, about ten years after his first trip to Ecuador. In comparison to Frederic Church’s sharply delineated compositions, Mignot’s painting

U nderw ood and U nderw ood, How the Equatorial Sun Goes Down in Glory, Outlook from Floating Inn, Babahoyo, Ecuador, 1 9 07 , stereog raph on card mount, 9 x 1 8 cm, L ib rary of C ong ress Prints and Photographs Division, Washington, DC, US Copyright Office ( half show n)

Richard Hayley Lever (American, 1876-1958)

Signed ‘Hayley Lever’ bottom left; also titled and dated ‘1913’ verso, oil on canvas 6 1/4 x 9 in. (15.9 x 22.9cm)

Signed ‘Hayley LEVER’ bottom left; also signed and titled (t w ice) v erso, oil on panel 6 1/8 x 9 1/2 in. (15.6 x 24.1cm) Executed in 1906.

Thames River Front

provenance

Private Collection, Bronxville, New York. $2,500-4,000

St. Ives Harbor

provenance

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

28 Emile Albert Gruppe (American, 1896-1978) Gloucester Morning

Signed ‘Emile A Gruppé’ [sic] bottom right; also inscribed with title on upper stretcher verso, oil on canv as 20 x 24 in. (50.8 x 6 1 cm) provenance

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

29 Emile Albert Gruppe (American, 1896-1978) Winter on the River

Signed ‘Emile A Gruppe’ bottom left, oil on canvas 24 1/4 x 20 1/8 in. (61.6 x 51.1cm) provenance

Christie’s, New York, sale of June 1, 1984, lot 150. Acquired directly from the above sale. Private Collection, Virginia. $4,000-6,000

3 0 Theodore Earl Butler (American, 1861-1936) Spring in Giverny

Signed ‘T.E. Butler’ bottom right, oil on canvas 23 1/2 x 29 in. (59.7 x 73.7cm) provenance

(Possibly) Charles E. Slatkin, Inc. Galleries, New York, New York. Private Collection, New York. $12,000-18,000

The son of a prominent businessman, Columbus-born Theodore Earl Butler attended the Art Students League of New York after college, studying under William Merritt Chase. While there, he became a close friend of the Impressionist painters Theodore Robinson and his fellow student at the League, Philip Leslie Hale, with whom he set off for Paris in late 1886. There, Butler studied at the academies Julian and Colarossi and quickly received recognition from the Paris salon, garnering an honorable mention in 1888 for his painting La Veuve. That same year, Butler visited Giverny for the first time. He eventually settled in the quiet village in 1892, thus becoming an integral part of a vital art community. While at Giverny, Butler was increasingly influenced by Claude Monet, and learned how to capture the transient beauty and changing effects of light on the French countryside, as exemplified in the present works. In 1892, Butler eventually married Suzanne Hoschedé, Monet’s stepdaughter, and therefore officially integrated into the Monet family despite the older artist’s initial objections.

3 1 Theodore Earl Butler (American, 1861-1936) The Artist’s Garden (The Green Chair)

Signed ‘T.E. Butler’ bottom right, oil on canvas 28 3/4 x 23 1/2 in. (73 x 59.7cm) Executed circa 1926. Unframed. provenance

The Artist. B y descent in the B utler family to his g randson, then to present owner. $15,000-25,000

3 2 Theodore Earl Butler (American, 1861-1936) Old Farm, Toulgouat House

Signed and dated ‘T.E. Butler/26’ bottom right, oil on canv as 1 9 1/4 x 28 1/4 in. (48.9 x 71.8cm) provenance

The Artist. B y descent in the B utler family to his g randson, then to present owner. $12,000-18,000

3 3 The present painting loosely follows the composition of Back of Nude, a late work by the artist now in the collection of the Fort Lauderdale Museum of Art. The subject, along with the tight crop, and deliberate pastel-like brushwork is highly reminescent of Glackens’s admiration for the French Impressionists, especially Edgar Degas who depicted countless nudes à leur toilette, sometimes next to a tub or as shown here, drying their hair.

William Glackens (American, 1870-1938) Nude Drying Hair

O il on canv asb oard 1 1 7/8 x 1 3 7/8 in. (30.2 x 35.2cm) Executed circa 1930. provenance

Kraushaar Galleries, New York, New York. Private Collection, New York, New York. $15,000-25,000

3 4 Emile Albert Gruppe (American, 1896-1978) In the Harbor

Signed ‘Emile A. Gruppé’ [sic] bottom right, oil on canv as 3 0 x 3 6 in. (76.2 x 91.4cm) provenance

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

3 5

3 6

Richard Hayley Lever (American, 1876-1958)

Signed ‘HAYLEY LEVER’ bottom left; also signed and titled verso, oil on panel 6 1/8 x 9 1/4 in. (15.6 x 23.5cm)

Signed ‘HAYLEY LEVER’ bottom right, oil on canvas 6 5/8 x 9 5/8 in. (16.8 x 24.4cm)

provenance

Private Collection, Bronxville, New York.

St. Ives Beach

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

Sunset on the Rocks

provenance

$3,000-5,000

37 Mary Cassatt (American, 1844-1926) Mother Combing Sara’s Hair (No. 2)

Signed in reverse bottom right, pastel counterproof on Japan paper laid down to board Sheet size: 18 1/4 x 23 7/8 in. (46.4 x 60.6cm) Executed circa 1905-1915. provenance

The Artist. Acquired directly from the above as part of her “Studio Collection.” Ambroise Vollard, Paris. Acquired from the Estate of the above. Henri M. Petiet, Paris. Private European Collection. Adelson Galleries, New York, New York. MK Fine Art Inc., Palm Beach, Florida. Acquired directly from the above. Private Collection, Florida. exhibited

“Art in a Mirror: The Counterproofs of Mary Cassatt,” Adelson Galleries, New York, New York, November 1, 2004-January 14, 2005. literature

Adelyn Dohme Breeskin, Mary Cassatt: A Catalogue Raisonné of the Oils, Pastels, Watercolors, and Drawings, Smithsonian Institution Press, Washington D.C., 1970, no. 348 (pastel from which our counterproof is made). Warren Adelson, et. al., Art in a Mirror: The Counterproofs of Mary Cassatt, Adelson Galleries, New York, 2004, no. 1, p. 37 (illustrated). note

The present work will be included in the Cassatt Committee’s revision of Adelyn Dohme Breeskin’s Catalogue Raisonné of the works of Mary Cassatt in the section dealing with the artist’s pastel counterproofs. $80,000-120,000

In Mother Combing Sara’s Hair (No. 2), Cassatt captures a special moment of intimacy between a young girl and her mother. One of the artist’s most celebrated motifs—which she explored through the pastel medium in 1879 (Mother Combing Child’s Hair, Brooklyn Museum) and in 1901 (Mother Combing Sara’s Hair No. 1, Private Collection)—the work conveys a sense of serenity and coziness. As a counterproof, it also offers a new insight into Cassatt’s modern creative process in the 1900s, as exemplified by the broader, somehow simplified forms of the composition and its overall tonal colors. A pastel counterproof is made by placing a dampened sheet of blank paper on top of a preexisting pastel, and applying pressure on it, either by rubbing it or by running the joined papers through a printing press, so as to transfer some of the pastel’s surface powder onto the new sheet. As Jay E. Cantor puts it, “the technique can be remarkably successful in creating a second work, which is in mirror image and is somewhat softer looking.” The process itself dates back to the 18th century, a time when artists such as Rosalba Carriera, Maurice Quentin De la Tour and Jean-Baptiste Perronneau made a triumphant use of the pastel, especially through portraiture. In the 19th century, the freshness of the pastel still appealed to many artists, but the counterproof process offered them a new range of possibilities. Through the delicate, flattened surfaces and subtle colors they obtained, they were able to suggest an ethereal mood, into which many Symbolists were looking to immerse themselves and were trying to recreate. Cassatt was introduced to the art of the counterproof by her friend and mentor, Edgar Degas, who had already produced a great number of counterproofs of his charcoal drawings and pastels. Although Cassatt always had a certain taste for experimentation in her work, it was Degas who repeatedly pushed her limits; in 1880 for example, she joined the artist in a project of making original prints, which soon became her medium of choice. Years later, Cassatt recalled the decisive influence of Degas on her work, “I used to go and flatten my nose against the window and absorb all I could of his art. It changed my life. I saw art then as I wanted to see it.” Until the early 2000s, fewer than twenty pastels by Cassatt were known to have counterproofs. The unexpected rediscovery of nearly one hundred of her counterproofs in 2005 deeply reshaped our perception of her working method. Today, more than one hundred thirty impressions have been catalogued, including some counterproofs made after pastels that are still unrecorded to this date. Cassatt’s motivations behind the making of counterproofs remain unclear. Scholars suggest that Ambroise Vollard, in whose collection the counterproofs were all recently rediscovered, was the one encouraging their production

Most women paint as though they are trimming hats. . .

as a preparatory step toward a series of planned lithographs. Although there is no concrete evidence to support this theory, Vollard may very well have dictated Cassatt’s counterproofs, just as he advised Pierre Bonnard, Paul Cézanne, Paul Gauguin and Édouard Vuillard to work in multiple images and explore printmaking at the same time. Either way, whatever the artist and her dealer had in mind for them, the counterproofs became a way for Cassatt to make her art available to a broader audience. They also offered her the occasion to create a completely different and original work from an already existing model.

. . . Not you. Letter from Edgar Degas to Mary Cassatt, 1877

The present work fits within the numerous portraits of blonde, angelic girls that Mary Cassatt repeatedly produced in the early years of the twentieth century. After centering her compositions around a dark-haired girl with intriguing black eyes called Margot, Cassatt met with Sara, who lived near her Beaufresne Estate in Oise. Her golden hair, fine features, and overall good nature quickly caught the artist’s attention, and she became her favored model during these years. Unlike Margot whom Cassatt mostly depicted alone, the artist chose to portray Sara either with small dogs or in the company of an adult woman, as shown here. In Mother Combing Sara’s Hair (No. 2), Cassatt depicts young Sara being tenderly groomed by her mother, whose face is completely obscured, her back turned to the viewer. The way Sara’s intense blue eyes gaze at her mother suggest the deep connection between the sitters and their respective love for each other. In capturing this connection, Cassatt transposes into a modern language, into a contemporary setting, the traditional imagery of the Madonna and Child, which she de-spiritualizes in order to solely glorify the strength of the mother-child bond. Cassatt here places the two figures within an intimate domestic setting, directly inspired by 17th century Dutch and Flemish pictures of mothers and daughters in their interiors. The grooming aspect of the composition is also a clear reference to this art of the past, which Cassatt revered and had already revived through her pastels of children with pet birds, or little girls wearing fanciful hats and ribbons. Despite the iconographic reference, the work presents a modern aspect visible through the flat blocks of bright color on the figures and the abstract background. Cassatt has captured the essence of the scene (Sara’s luminous presence, the mother’s softness, the interior’s warmth) with just a few broad planes which add up in layers of vibrating hues, thus expressing the vitality of Cassatt’s creative process. Specifically, the counterproof adds an overall layer of transparency to the scene, and brilliantly transcribes the tenderness of the moment in a ghostly, almost otherworldly fashion. Like Odilon Redon, who channeled emotions through colors and shapes, Cassatt here invites her viewer to absorb every detail of the counterproof in order to be carried away in a quiet, soothing reverie.

3 8 George L. Noyes (American/Canadian, 1864-1954) Venetian Twilight

Signed ‘G.L. Noyes’ bottom left; also [erroneously] inscribed with title ‘Florentine Twilight’ on stretcher verso, oil on canv as 25 x 3 0 in. (63.5 x 76.2cm) Executed circa 1910. provenance

Private Collection, Maine. $15,000-20,000

George Loftus Noyes was originally a native of Ontario, born to American citizens living in Canada in search of oil. After the untimely death of his father, he moved to East Cambridge, Massachusetts, and worked for the New England Glass Company, applying floral and fruit motifs onto glass. He later sailed for Paris, where he learned to paint en plein air, and then journeyed to Italy and Algeria, whose exotic environments served as inspiration. Featured in the present sale are two excellent examples of works from his time spent in Italy, including a quintessential Venetian canal scene at twilight, imbued with soft greens and blues, as well as a waterscape of the Bay of Naples, replete with beacons of light reflecting in the serene water. Noyes returned to Boston in 1893, establishing a studio and traveling all over New England, painting landscapes as he went. Two American scenes are also featured in the sale (Lots 40 & 41), including a local scene of a Mill Stream in Fort Washington, Pennsylvania depicting a charming brick mill amid colorful trees, and a striking view of Mount Washington in autumn, showcasing a bold, blue sky full of clouds and the mountainside dappled with fall foliage.

3 9 George L. Noyes (American/Canadian, 1864-1954) Bay of Naples

Signed ‘-G.L. Noyes-’ bottom left, oil on canvas laid down to panel 1 4 x 1 6 in. (35.6 x 40.6cm) provenance

Private Collection, Maine. exhibited

Irish Exhibition of Living Art, 1948, Dublin, Ireland (per label verso). $5,000-8,000

40 George L. Noyes (American/Canadian, 1864-1954) Mill Stream, Fort Washington

Signed ‘G.L. Noyes-’ bottom right, oil on canv as 22 x 28 in. (55.9 x 71.1cm) provenance

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

41 George L. Noyes (American/Canadian, 1864-1954) Mount Washington

Signed ‘G.L. Noyes’ bottom right, oil on panel 1 1 3/4 x 1 4 1/8 in. (29.8 x 35.9cm) provenance

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

42 Richard Blossom Farley (American, 1875-1951) At the Seashore

Signed and dated ‘Farley/1921’ bottom right, oil on panel 1 6 x 1 1 3/4 in. (40.6 x 29.8cm) provenance

Schwarz Gallery, Philadelphia, Pennsylvania. literature

New Jersey Remembered, Philadelphia Collection LXXV, Schw arz G allery , Philadelphia, Pennsy lv ania, O ctob er 2005, plate 58. $1,500-2,500

Vance H. Swope (American, 1879-1926) Crashing Surf

Signed ‘H. Vance Swope’ bottom right, oil on canv as 25 3/4 x 28 3/4 in. (65.4 x 7 3 cm) provenance

Matthews Galleries, Lake Oswego, Oregon. Acq uired directly from the ab ov e in 2004. Private Collection, Virginia. $3,000-5,000

exhibited

Signed ‘C.H. Davis’ bottom left, oil on canvas 3 0 1/4 x 25 1/4 in. (76.8 x 64.1cm) Executed circa 1893.

(Possibly) World’s Columbian Exposition, Chicago, Illinois, May 1-October 30, 1893, no. 327. (Possibly) Boston Arts Club, Boston, Massachusetts, 1895, no. 138. (Possibly) “Seventieth Annual Exhibition,” Pennsy lv ania Academy of the F ine Arts, Philadelphia, Pennsylvania, 1895, no. 88.

provenance

note

Charles Harold Davis (American, 1856-1933) Summer Morning

Private Collection, Pennsylvania.

We wish to thank Dr. Valerie Ann Leeds for her kind assistance in researching and catalog uing the present lot. $6,000-10,000

45 Edward Potthast is one of the most important 19th century American painters from Cincinnati. Like his fellow Cincinnati artists Robert Blum, John Henry Twachtman, and Frank Duveneck, Potthast was influenced by the Munich School, initially incorporating the dark tones, strong contrasts and painterly techniques associated with that school of painting into his work. Following studies in Europe, Potthast returned to America, his palette now reflecting the style of Grez-sur-Loing colony painters whom he had met in France. Thereafter, Potthast’s paintings became characterized by their impressionist style featuring bright colors. He is best known for depicting people at leisure along sunny beaches and rocky harbors - as typified by the present painting in which figures are seen atop a rock extending into an inlet with boats in the distance.

Edward Henry Potthast (American, 1857-1927) The Inlet

Signed 'E. Potthast' bottom left; also signed and titled (t w ice) v erso, oil on b oard 12 x 16 in. (30.5 x 40.6cm) provenance

The Artist. Acquired directly from the above. Private Collection, Pittsburgh, Pennsylvania. By descent in the family. Private Collection, Main Line, Pennsylvania. note : We wish to thank Mary Leonhard Ran for confirming the authenticity of the present lot, which will be included in her forthcoming C atalog ue Ra isonné of Edward H. Potthast’s work.

$30,000-50,000

46 Edmund Henry Osthaus (American, 1858-1928) On the Scent

Signed ‘Edm. H. Osthaus’ bottom right, oil on canvas 26 3/8 x 40 1/8 in. (67 x 101.9cm) provenance

Property of an Estate, Pennsylvania. $15,000-20,000

47 Charles Warren Eaton (American, 1857-1937) Pine Tree Landscape

Signed ‘Chas. WARREN Eaton’ bottom right; also sig ned v erso, oil on canv as 1 6 x 1 2 in. (40.6 x 30.5cm) provenance

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

48 Charles Warren Eaton (American, 1857-1937) Autumn Hillside, New Jersey

Signed ‘CHAS WARREN EATON’ bottom left, oil on canv as 1 6 x 1 8 in. (40.6 x 45.7cm) provenance

Jim’s of Lambertville, Lambertville, New Jersey. Private Collection, Philadelphia, Pennsylvania. $2,000-3,000

49 Anthony Thieme (American, 1888-1954) Rainy Day (Rockport)

Signed ‘A. Thieme’ bottom left; also titled verso, oil on canvas 20 x 24 in. (50.8 x 6 1 cm) provenance

J.J. Gillepsie Co., Pittsburgh, Pennsylvania. Glen Roy Plantation, Virginia. $3,000-5,000

5 0 Jane Peterson (American, 1876-1965) Waterfront

Signed ‘Jane Peterson’ bottom right, oil on boar d 1 0 3/4 x 1 3 3/4 in. (27.3 x 34.9cm) provenance

Chapellier Galleries, New York, New York. Sid Deutsch Gallery, New York, New York. G alleries Maurice Sternb erg , Chicago, Illinois. Private Collection, New Jersey. exhibited

“ Spring Loan Show ,” We atherspoon Art G allery , U niv ersity of N orth Car olina, G reensbor o, N orth Carolina, April 1979. $3,000-5,000

5 1 Jonas Lie (American/ Norwegian, 1880-1940) Rockport, Winter

Signed ‘JONAS LIE’ bottom right, oil on canv asb oard 1 7 3/4 x 23 3/4 in. (45.1 x 60.3cm) provenance

Private Collection, North Carolina, Acquired directly from the above. Private Collection, Minneapolis, Minnesota. $3,000-5,000

5 2 Gertrude Fiske (American, 1879-1961) Sibley House, Weston (Massachusetts)

Titled verso; also with the ‘Estate of the Artist’ stamp verso, oil on canv as laid dow n to b oard 1 1 7/8 x 1 5 7/8 in. (30.2 x 40.3cm) provenance

V ose G alleries, B oston, Massachusetts. Mitchell Brown & Co., Tucson, Arizona. Acquired directly from the above. Private Collection, Arizona. $3,000-5,000

5 3 Ernest Lawson (American/Canadian, 1873-1939) Rocky Coast, Nova Scotia

Signed ‘E. Lawson’ bottom right, oil on canvas laid dow n to panel 1 6 x 20 in. (40.6 x 50.8cm) Executed in 1919. provenance

Hirschl & Adler Galleries Inc., New York, New York. Chapellier Galleries Inc., New York, New York. ACA Galleries, New York, New York. John H. Surovek, Palm Beach, Florida. Private Collection, Pennsylvania. Hammer Galleries, New York, New York. Private Collection, Washington, D.C., since 1993. $12,000-18,000

Although he spent most of his career in the United States, Ernest Lawson was born in Canada and regularly returned to his home in Nova Scotia. The present work was executed in June 1919, while the artist was visiting Halifax, where the Nova Scotia Museum of Fine Arts offered to curate an exhibition of his work. It is typical of Lawson’s landscape vision, and shares many characteristics with his other Canadian subjects. Here, the artist renders Nova Scotia’s rocky terrain through vigorous brushtrokes and a generous impasto, while he delineates the region’s famous boulders in solid blacks, where other Impressionists may have chosen a lighter palette. His forms are solidly outlined, confirming Frank Goodyear’s statement: “Lawson never lost sight of form and structure.” Lawson’s Canadian subjects denote a more personal feeling, which appealed to collectors and museums alike, such as the Pennsylvania Academy of the Fine Arts, which chose Peggy Cove, Nova Scotia as the first of Lawson’s works to enter their collection.

In 1916, Ernest Lawson won a purchase prize of $1,500 from the Corcoran Gallery that allowed him to take his family to Spain. The Lawsons toured the country before settling in Segovia, a medieval town northeast of Madrid. There, the artist painted countless studies and finished oils en plein air, all replete with dazzling hues dictated by the bright light that forced Lawson to lighten his palette. The present work shows the architectural silhouette of Segovia at a distance, which acts as a counterpoint to the rugged landscape in the foreground. The tall spire in the upper right corner might represent the Alcázar, a 12th century fortress built on top of a rock. Upon his return to America, Lawson exhibited twenty-two of his Spanish oils at the Daniel Gallery, where a critic for The New York Times observed: “It is not for their historical quality that they will be treasured (…) It is for the color of place that permeates them (…) These walls and city squares and green slopes eat up the sunshine with avidity (…) [Lawson’s] Spain is heavy on the vision, but it is impossible not to believe in it. The pictures are saturated with aesthetic truth.”

5 4 Ernest Lawson (American/Canadian, 1873-1939) A Bright Day, Spain (Segovia)

Signed ‘E. Lawson’ bottom left, oil on canvas 1 8 x 21 1/2 in. (45.7 x 54.6cm) Executed in 1916. provenance

Daniel Gallery, New York, New York. Collection of Mr. Albert E. McVitty, Bryn Mawr, Pennsylvania. Coe Kerr Gallery, New York, New York. Hirschl & Adler Galleries, Inc., New York, New York. Adelson Galleries, Inc., New York, New York. Private Collection, Washington, D.C. $12,000-18,000

5 5 Bernhard Gutmann (American, 1869-1936) Winter, Silvermine

Signed ‘Bernhard Gutmann’ and with Artist’s Estate stamp to the tacking edg e upper rig ht, oil on canv as 1 8 1/2 x 22 in. (47 x 55.9cm) provenance

Collection of Theodore Lehmann II (per label verso). Dav id Dav id G allery , Philadelphia, Pennsylvania. Debra Force Fine Art, New York, New York. Private Collection, Philadelphia, Pennsylvania. $2,000-3,000

5 6 Frederick Carl Frieseke (American, 1874-1939) Leading the Sheep

Signed ‘C.F. FRIESEKE’ bottom right, w atercolor, pastel and pencil on paper Sheet siz e: 1 0 3/4 x 1 6 11/16 in. (27.3 x 42.4cm) provenance

Private Estate, Maryland. $2,000-3,000

5 7 John W. McCoy (American, 1910-1989) Inland Fisherman

Signed ‘John W. McCoy’ bottom right; also titled and sig ned v erso, w atercolor and pencil on paper Sheet siz e: 1 4 x 20 in. (35.6 x 50.8cm) provenance

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

5 8 John Whorf (American, 1903-1959) Log Dam

Signed ‘John Whorf’ bottom right; also titled v erso, w atercolor on paper Sheet siz e: 1 5 7/8 x 22 3/4 in. (40.3 x 57.8cm) provenance

Dav id Dav id G allery , Philadelphia, Pennsylvania. Private Collection, Philadelphia, Pennsylvania. $2,000-3,000

5 9 William A. Slaughter (American, 1923-2003)

Bluebonnets in Hill Country Signed and dated ‘W.A. Slaughter ‘75’ bottom right, oil on canv as 24 x 36 in. (61 x 91.4cm) provenance

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

6 0 Guy Carleton Wiggins (American, 1883-1962) Lexington Ave. Winter

Signed ‘Guy Wiggins’ bottom left; also titled and signed verso, oil on canv asbo ard 1 2 x 9 in. (30.5 x 22.9cm) provenance

Joseph Sartor Galleries, Dallas, Texas. Collection of Mrs. Sharpe. Parke-Bernet Galleries, New York sale of January 27, 1971, lot 74 (illustrated and featured on cover). Acquired directly from the above sale. Private Collection, Connecticut. note

The present lot will be accompanied by a Letter of Authenticity from Guy A. Wiggins, the son of the artist, dated October 17, 2019. According to Mr. Wiggins, the painting was executed prior to World War II and is an excellent example of the artist’s work. $12,000-18,000

6 1 George Gardner Symons (American, 1863-1930) Sleigh Ride in the Hills

Signed ‘Gardner Symons’ bottom left, oil on canvas 20 x 25 in. (50.8 x 63.5cm) provenance

Shannon’s, Milford, sale of October 20, 2005, lot 33. Acquired directly from the above sale. Private Collection, New York. $8,000-12,000

Considered one of America’s greatest illustrators of the 20th century, N. C. 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. Rebel Jerry and Yankee Jake was executed in 1931, some 20 years after the artist’s first commission for the publishing company’s popular series of classical stories. The painting served as an illustration for John Fox, Jr.’s The Little Shepherd of Kingdom Come, another successful Scribner book published in 1903. Set during the years of the Civil War, the best-selling novel follows the adventures of Chad Buford, an orphan from Kentucky who escapes his fate as an indentured servant by seeking refuge in the mountains with his faithful dog Jack. There, he is adopted by a family of modest means who gradually welcomes him as a valuable member of their clan. While Wyeth’s other illustrations focus on the hero of the story, the present work depicts a dramatic knife fight between Jerry and Jake Dillon, two “giant brothers” from a neighboring family. Presented as rivals from the story’s onset, the twin brothers harbor a profound hatred towards each other, further encouraged by Kingdom Come’s entire community. Indeed, the simple mention of their names is followed by the promise of an epic battle, bound to determine the ultimate victor: “‘Some o’ these days,’ said the old Squire, ‘that fool Jake’s a-goin’ to pick up somethin’ an’ knock that mean Jerry’s head off. I wonder he hain’t done it afore. Hit’s funny how brothers can hate when

62 N. C. Wyeth (American, 1882-1945) Rebel Jerry and Yankee Jake

Signed ‘N. C. WYETH’ bottom left, oil on canvas 34 x 25 in. (86.4 x 63.5cm) Executed circa 1930-1931. provenance

The Artist. The Artist’s widow, Mrs. N. C. Wyeth, until 1950. Collection of Wallace and Rena Bostwick. By descent in the family. Private Collection, Florida. literature

John Fox, Jr., The Little Shepherd of Kingdom Come, Charles Scribner’s Sons, New York, 1931, “Brother Against Brother,” p. 26 (illustrated). Richard Layton, “Inventory of Paintings in the Wyeth Studio,” [unpublished], 1950, in Wyeth Family Archives, p. 33. Douglas Allen, Jr., N. C. Wyeth, The Collected Paintings, Illustrations and Murals, Crown Publishers, Inc., New York, 1972, p. 205. Christine B. Podmaniczky, N. C. Wyeth, A Catalogue Raisonné of Paintings, Scala, London, 2008, I.1164, p. 535 (illustrated). $200,000-300,000

they do git to hatin’.’” First described as a family feud caused by personal resentment, the brothers’ rivalry quickly evolves into a quarrel fueled by irreconcilable political beliefs as one brother embraces the Union’s side while the other chooses to remain a Rebel. Their battle thus encapsulates the larger tragedy that befell the American Nation, whose citizens—formerly unified brothers—turned against each other. In this painting, N. C. Wyeth presents us with the most highly anticipated moment when Jake and Jerry, who had been endlessly looking for each other, finally meet in the Kentucky mountains: “‘I been lookin’ fer ye a long while,’ said Jake, simply, and he smiled strangely as he moved slowly forward and looked down at his enemy—his heavy head wagging from side to side. Jerry was fumbling at his belt. The big knife flashed, but Jake’s hand was as quick as its gleam, and he had the wrist that held it. His great fingers crushed together, the blade dropped on the ground, and again the big twins looked at each other. Slowly, Yankee Jake picked up the knife. The other moved not a muscle and in his fierce eyes was no plea for mercy. The point of the blade moved slowly down—down over the rebel’s heart and was thrust into its sheath again. Then Jake let go the wrist.” Against all odds, and although he had the upper hand, Yankee Jake finally decides to spare his brother’s life. The two eventually reconcile on the battlefield and present a unified front when the time comes to say goodbye to the hero, Chad, who leaves Kingdom Come with his fiancée—a happy ending true to the author’s romantic and pacifist views.

6 3 Dean Cornwell (American, 1892-1960) On the Doorstep

Signed and dated ‘DEAN/CORN/WELL 19’ bottom right, oil on canvas 3 0 1/8 x 28 1/4 in. (76.5 x 71.8cm) provenance

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

6 4 Gustave Baumann (American/German, 1881-1971)

In the Hills of Brown (f rom In the Hills o’ Brown) 1914. Pencil signed and dated ‘Gustave Baumann 1914’ bottom right; also numbered ‘62’ bottom center, and titled bottom left. With artist’s hand-inheart brown stamp bottom right, color w oodcut on cream paper I mag e siz e: 9 1/8 x 1 3 1/8 in. (23.2 x 33.3cm) Sheet siz e: 1 0 3/16 x 1 3 13/16 in. (25.9 x 35.1cm) provenance

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

The present work served as the study for the Saturday Evening Post’s cover of March 21, 1942. Reportedly, the artist’s middle son Tommy had to be bribed for this project, where he acts as the mischiefmaker going through his sister’s diary, hidden among all the frills overflowing from the vanity. The artist did not have a daughter and most likely used a neighbor’s home for the setting of this painting, possibly that of former Rockwell model Ann Morgan Baker, who contributed to the famed Missing Tooth and later candidly recalled in an interview that the artist used to call her mother early in the morning, and command: “Don’t make the beds. I want to come and look at some messy rooms.” The final version of this oil (now in a Private Collection) is among Norman Rockwell’s most important successes, a welcome humorous scene at a time when most of the 1942 Post covers were war-related.

6 5 Norman Rockwell (American, 1894-1978)

Study for Boy Reading His Sister’s Diary; also titled Secrets Pencil signed ‘Norman/Rockwell’ bottom right, oil on paper laid down to heav y paper I mag e siz e: 1 3 7/8 x 1 0 3/4 in. (35.2 x 27.3cm) Sheet siz e: 1 5 x 1 1 5/8 in. (38.1 x 29.5cm) provenance

Sotheby’s, New York, sale of November 29, 2006, lot 188. Acquired directly from the above sale. Private Collection, Virginia. $30,000-50,000

6 6 Paul Cornoyer (American, 1864-1923) Third Avenue, New York

Signed ‘Paul Cornoyer’ bottom left, oil on canvas 24 x 1 8 in. (61 x 45.7cm) provenance

Private Collection, Bronxville, New York. $5,000-8,000

6 7 Herman Maril (American, 1908-1986) Farm/Farm in the Hills

Signed and dated ‘Herman Maril ‘36’ bottom left; also titled, signed and dated v erso, oil on canv asbo ard 1 7 3/4 x 24 in. (45.1 x 6 1 cm) provenance

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

6 8 Herman Maril (American, 1908-1986) No Trespassing

Signed and dated ‘Herman Maril. 1941’ bottom left; also signed and dated ‘1940’ v erso, oil on canv asb oard 1 8 x 1 4 in. (45.7 x 35.6cm) Unframed. provenance

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

6 9 Arnold Friedman (American, 1874-1946) Highway Scene

Signed ‘FRIEDMAN’ bottom left, oil on canv as 20 x 24 in. (50.8 x 6 1 cm) Executed circa 1935-1940. provenance

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

7 0 Louis Aston Knight (American, 1873-1948) Garden on the Riviera

Signed and located ‘Aston Knight/Paris’ bottom right, oil on canvas 23 3/4 x 1 8 1/8 in. (60.3 x 46 cm) provenance

Northeast Auctions, Portsmouth, sale of March 2, 2003, lot 770. Acquired directly from the above sale. Private Collection, Virginia. $3,000-5,000

7 1 Abbott Fuller Graves (American, 1859-1936) Still Life with Roses

Signed ‘-Abbott Graves-’ bottom right, oil on canv as 1 4 x 20 in. (35.6 x 50.8cm) provenance

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

7 2 Alfred Henry Maurer (American, 1868-1932) Landscape (Marlboro)

Signed ‘A.H. Maurer’ bottom center left, oil on g essoed b oard 1 8 x 21 5/8 in. (45.7 x 54.9cm) Executed circa 1915-1920. provenance

The Artist. A gift from the above. Erhard Weyhe, Weyhe Gallery, New York, New York. Private Collection. exhibited

“Alfred H. Maurer: Modernist Expressions,” The Demuth Foundation, Lancaster, Pennsylvania, October 2-November 28, 2004. literature

Alfred H. Maurer, Modernist Expressions, T he D emuth Foundation, Lancaster, Pennsylvania, October 2-November 28, 2004 (illustrated). $20,000-30,000

For almost sixty years, Phillip Bruno has been a cosmopolitan and conspicuous presence on the New York and international art scene. Born in Paris, a city that would shape and influence his artistic sensibilities, he was raised in the United States, where it quickly became apparent that his life was destined to be driven by creativity. Bruno first worked with Weyhe Gallery and then as an associate director for Grace Borgenicht. Through his travels in Mexico, he got to know the great muralist David Siqueiros and his pupil Jose Luis Cuevas, organizing a joint exhibition for them in Paris. He also worked for World House Galleries whose clients included major collectors such as Roy Neuberger, Joseph Hirshhorn and Duncan Phillips. This was followed by thirty years as co-director of Staempfli Gallery, culminating with the final phase of his career at the prestigious Marlborough Gallery in New York from 1989-2007. An enthusiastic and discerning collector, Bruno has helped innumerable artists by carefully acquiring their works, and placing them with museums around the world. Among the American Modernist works that he assembled over the years, those by Charles Demuth held a special place in his collection, as exemplified by the two following watercolor still lifes. Both executed in 1918, at the height of Demuth’s exploration of the medium, the works masterfully capture the grace and fragility of each flower. Demuth first experimented with the medium of watercolor while in France and further explored it upon his return to the United States in 1914, mainly through floral and figural compositions. While Demuth’s earlier pieces denote a certain flat, almost primitive expression, Cyclamen and Zinnias are striking in their crisp, minimalist execution. In each work, the artist leaves much of the paper untouched; the background is half defined and each flower is only lightly outlined. Yet both compositions are enlivened by the subtle, almost transparent washes that glow with jewel-like colors. Some fade into one another, while others strike by their intensity, misting up on the paper, thus creating a surface which is both rich and varied. At the time of these two compositions, Demuth was heavily influenced by Paul Cézanne. Like the French Master, Demuth developed a keen attention to line and color, and pushed the boundaries of the picture plane, inventing new perspectives and suggesting unseen forms and spaces. Through their translucent coloring, subtle linear effects and soft modeling, Cyclamen and Zinnias are presented in all their delicacy and mystery, each flower subject to its own sensual, organic rhythm, as if Demuth’s mission was to witness the true essence of the nature surrounding us, and reveal its underlying structure on the surface of his paper. opposite :

Phillip Bruno, 1955, outside the Loeb Gallery, Paris. Image Courtesy of the Hunterian Art Gallery

Charles Demuth (American, 1883-1935)

Pencil signed and dated ‘C. Demuth -1918-’ bottom left, watercolor and pencil on paper Sheet size: 14 x 10 in. (35.6 x 25.4cm)

Watercolor and pencil on paper Sheet size: 18 x 12 in. (45.7 x 30.5cm) Executed in 1918.

provenance

Cyclamen

Knoedler & Co., New York, New York. Acquired directly from the above in 1952. Collection of Phillip A. Bruno, New York, New York. exhibited

“The Josephine and Phillip A. Bruno Collection,” Finch College Museum of Art, New York, New York, November 23, 1965-January 9, 1966; and The Saint Paul Art Center, Saint Paul, Minnesota, March 3-May 15, 1966 (traveling exhibition). “Painters of the Humble Truth: Masterpieces of American Still Life, 1801-1939,” Tulsa, Oklahoma, Philbrook Art Center, September 27, 1981-July 4, 1982, no. 24. literature

E.E. Norton, et al., Homage to Charles Demuth: Still Life Painter of Lancaster, Ephrata, Pennsylvania, 1978, p. 86 (illustrated). W.H. Gerdts, Painters of the Humble Truth: Masterpieces of American Still Life 1801-1939, Philbrook Art Center, Tulsa, Oklahoma; University of Missouri Press, Columbia, Missouri, 1981, fig. 11.9, pp. 261-62, (illustrated). Harry Lowe, et al., The Josephine and Phillip A. Bruno Collection, an exhibition catalogue, Finch College Museum of Art, New York, New York, 1965, fig. 41. pp. 8 and 27 (illustrated). $70,000-100,000 Illustrated next page

Zinnias

The Downtown Gallery, New York, New York. Private Collection, New York. Acquired directly from the above. Collection of Phillip A. Bruno, New York, New York. exhibited

Harry Lowe, et al., The Josephine and Phillip A. Bruno Collection, an exhibition catalogue, Finch College Museum of Art, New York, New York, 1965, fig. 42, pp. 8 (illustrated). $60,000-80,000 Illustrated next page

7 6

7 7

Martha Walter (American, 1875-1976)

Au Coin de la Rue

The Old Market, Brittany; with ‘Ellis Island’ study verso

Signed ‘Martha Walter’ bottom right; also titled verso and with French preparer’s stencil verso, oil on boa rd 1 0 1/2 x 8 5/8 in. (26.7 x 21.9cm)

Signed ‘Martha Walter’ bottom right, oil on bo ard 8 1/4 x 1 0 5/8 in. (21 x 27 cm)

provenance

7 5

David David Gallery, Philadelphia, Pennsylvania. Private Collection, New Jersey. $3,000-5,000

The Estate of the Artist. D av id D av id G allery , Philadelphia, Pennsylvania. Private Collection, New Jersey. $3,000-5,000

On the Quay, River Seine

Signed ‘Martha Walter’ bottom right; also inscribed with title verso, oil on panel 1 2 3/4 x 1 6 in. (32.4 x 40.6cm) provenance

Hammer Galleries, New York, New York. Private Collection, California. $3,000-5,000

7 8 Martha Walter (American, 1875-1976) After the Bath

With ‘Estate of the Artist’ stamp on stretcher v erso, oil on canv as 40 x 3 2 in. (101.6 x 81.3cm) provenance

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

7 9 Hugh Henry Breckenridge (American, 1870-1937) The Return of the Fishing Boat

Signed ‘Hugh Breckenridge’ verso, oil on canvas 23 3/4 x 21 3/4 in. (60.3 x 55.2cm) provenance

Private Collection, Philadelphia, Pennsylvania. Private Collection, San Francisco, California. $12,000-18,000

8 0 Theresa Ferber Bernstein (American/Polish, 1890-2002) Gloucester Harbor

Signed (twice) ‘Bernstein’ bottom center and bottom right; also inscribed illegibly bottom right, oil on canvas 1 2 1/4 x 1 7 1/4 in. (31.1 x 43.8cm) provenance

Private Collection, New Jersey. $2,500-4,000

8 1

8 2

Martha Walter (American, 1875-1976)

Signed ‘Martha Walter’ bottom right, oil on panel 1 7 3/4 x 1 3 7/8 in. (45.1 x 35.2cm)

Signed ‘Martha Walter’ bottom center right, w atercolor on paper Sheet siz e: 3 1/4 x 4 1/8 in. (8.3 x 10.5cm)

Boy Eating Watermelon

provenance

The Estate of the Artist (no. 264). David David Gallery, Philadelphia, Pennsylvania. Private Collection, Philadelphia, Pennsylvania. $2,000-3,000

Beach Scene

provenance

The Estate of the Artist. David David Gallery, Philadelphia, Pennsylvania. Private Collection, Philadelphia, Pennsylvania. $1,500-2,500

83 Hans Hofmann (American/German, 1880-1966) Jeannette Carles (Mrs. Herbert Matter)

Signed and dated 'hans hofmann/34' bottom center right; also inscribed with title and artist verso, oil on panel 54 1/2 x 40 1/2 in. (138.4 x 102.9cm) provenance

Estate of Hans Hofmann (no. M-0160). André Emmerich Gallery, New York, New York. Acquired directly from the above in 1987. Collection of Mr. and Mrs. Jeffrey Glick, until 1995. André Emmerich Gallery, New York. Arij Gasiunasen Gallery, Palm Beach, Florida. Acquired directly from the above. Collection of Mr. Stephen E. Myers. Private Collection, New York, New York. exhibited

"Hans Hofmann: Painter and Teacher," Addison Gallery of American Art, Andover, Massachusetts, January 2-February 22, 1948. "Hans Hofmann: The Pre-War Years in America," André Emmerich Gallery, New York, New York, January 9-February 7, 1987. "Hans Hofmann," Whitney Museum of American Art, New York, New York, June 20-September 16, 1990; and Center for the Fine Arts, Miami, Florida, November 23, 1990-January 20, 1991; and The Chrysler Museum, Norfolk, Virginia, February 17-April 14, 1991 (traveling exhibition, only shown in New York as Jeanette [sic] Carles). literature

Hans Hofmann et al., Search for the Real, and Other Essays, Addison Gallery of American Art at Phillips Academy, Andover, Massachusetts, 1948, p. 82 (illustrated as installation view); and the M.I.T. Press for revised edition of March 15, 1967, p. 76 (also illustrated as installation view). Hans Hofmann et al., Hans Hofmann, The Pre-War Years in America, an exhibition catalogue, The Gallery, New York, New York, 1986, no. 5 (illustrated). Cynthia Goodman et al., Hans Hofmann, an exhibition catalogue, Prestel, Munich, 1990, no. 38, p. 36 (illustrated as Jeanette [sic] Carles (Mercedes Matter)). Cynthia Goodman, [Hans Hofmann] Portraits: The Lives and Works of Eminent Artists, unknown publisher, 1991, vol. 1, no. 4 (illustrated on the cover as Jennette [sic] Carles (Mercedes Carles Matter)). Ellen Landau et al., Mercedes Matter, MB Art Publishing, New York, New York, 2009, no. 36 (illustrated p. 30 as Jeanne (Mercedes) Carles and commented p. 31). Suzy Villiger, Hans Hoffmann Catalogue Raisonné of Paintings, vol. II: Catalogue Entries P1-P846 (1901-1951), Lund Humphries, Burlington, 2014, no. P14, p. 16 (illustrated as Jeannette Carles (Mrs. Herbert Matter)). Lucinda Barnes et al., Hans Hofmann: The Nature of Abstraction, University of California Press, Berkeley, 2019, no. 24, commented p. 68 and illustrated p. 69 as Jeannette Carles (Mrs. Herbert Matter). $50,000-80,000

After a hiatus of two years during which he only drew in black and white, Hans Hofmann returned to the easel in 1934, starting an innovative series of flamboyant landscapes, which announced his most experimental period. In the eyes of scholars, this rejuvenation was favored by his student Mercedes Carles (later Mercedes Matter), with whom Hofmann had just spent an idyllic summer in Gloucester, Massachusetts. Mercedes, the daughter of Philadelphia artist Arthur B. Carles and actress Mercedes de Cordoba (who used to model for Edward Steichen as well as other members of the Photo Secession Group), began painting at an early age, working alongside her father in the French countryside. Following her parents’ divorce, the teen lived with her mother and received a privileged education in Europe. Upon her return to the States, she reconnected with her father and studied in New York, where she met Alexander Archipenko in 1932, the same year she joined Hofmann’s classes at the Art Students League. Despite Hofmann’s gender-biased teaching methods, Mercedes grew to be one of the artist’s favorite students, and the two eventually developed a complicated mentor/father/lover relationship, which proved to be a formative and impressionable experience for both of them. During the summer of 1934, Mercedes joined Hofmann and her own father in “The Little Studio,” a house in Gloucester where both had received an invitation to lecture at the Thun School of Art. Mercedes had not seen her father for several years, and as Joan Marter points, “the sojourn was an occasion to present herself to him as a young woman and aspiring modernist painter.” The present portrait of Mercedes, shown seated at her desk next to a stack of canvases, eyes locked on the viewer, evidently shows the special bond between the teacher and his student, whose nickname and confirmation name, Jeannette, is affectionately used as the title of the work. While the quick brushwork and disorganized room reflect the creative mind of the sitter, the striking blue and green hues create a moody feeling. It is carefully counterbalanced by the subtle hint of green underlining her left eye, which betrays the fiery temperament of beautiful, dark-haired Mercedes.

With permission of the Renate, Hans & Maria Hofmann Trust / Artists Rights Society (ARS), New York. Arthur B. Carles with his daughter Mercedes and Hans Hofmann in Gloucester, Massachusetts, 1934. Photograph courtesy of Mercedes Matter, reproduced from Barbara A. Wolanin, Arthur B. Carles, Painting with Color, an exhibition catalogue, Pennsylvania Academy of the Fine Arts, 1983, fig. 32, p. 134. opposite :

8 4

8 5

Francis Speight (American, 1896-1989)

Vernon Kiehl Newswanger (American, 1900-1980)

Signed and dated ‘Francis Speight/c.1935’ bottom right, oil on canv as 49 3/4 x 3 9 1/2 in. (126.4 x 100.3cm)

Signed ‘Newswanger’ and titled bottom center left, oil on linen 3 2 x 24 in. (81.3 x 6 1 cm)

provenance

exhibited

$2,000-3,000

Two Streets

Private Collection, South Carolina. “Francis Speight, A Retrospective,” Taggart, Jorgenson and Putnam Gallery, Washington D.C., November 7-December 6, 1986, no. 7 (illustrated in the exhibition catalogue). $6,000-10,000

Paris, 1928

Private Collection, New Jersey.

8 6 Jonathan Green (American, B. 1955) Laundry Basket

Signed and dated ‘Jonathan Green 93’ bottom left; also titled on upper stretcher verso, oil on canv as 1 6 x 20 in. (40.6 x 50.8cm) provenance

Collection of Tra Holloway Boxer, California. Morris & Whiteside Galleries, South Carolina. Private Collection, Philadelphia, Pennsylvania. $6,000-10,000

Upon his death at the age of eighty-six, Peter Blume was hailed as a “painter of dreamlike narratives” whose “obsessively detailed images made him one of this country’s best-known painters in the 1930s and 40s” by the New York Times. An ardent admirer of Renaissance technique, Blume’s highly detailed paintings have been described as combinations of various art movements, including Surrealism, Cubism, Precisionism, and Purism, the latter being associated with a style of painting which emphasizes contours and simple shapes. This amalgamation of styles in Blume’s work has sometimes been labelled as magic realism, in which familiar objects are rendered in meticulous detail—sometimes heavily shadowed, as with the harvested vegetables in the foreground of the present work—and placed in surreal or fantasized spatial relationships. In many of Blume’s figurative works, objects have been visibly altered in scale. Even before fully developing his quirky, iconic style, Blume was somewhat of a prodigy, studying with famed American realist painters Isaac Soyer and Raphael Soyer, patronized by the Rockefeller family, and exhibiting with the art dealer Charles Daniel by the age of nineteen. Blume’s painting South of Scranton won first prize at the Carnegie International Exhibition, Pittsburgh, while two of Blume’s best known paintings are in major public collections: Eternal City, originally shown at the Julian Levy Galleries, New York, and now in the Metropolitan Museum of Modern Art, and The Rock, in the Art Institute of Chicago.

87 Peter Blume (American, 1906-1992) Autumn

Signed and dated ‘PETER BLUME/1984’ bottom right; also signed, dated, titled, and copyrighted verso, oil on canvas 45 1/4 x 50 in. (114.9 x 127cm) provenance

Private Collection, Pennsylvania. $60,000-100,000

R O MA R E

B E AR D E N

Lo ts 88- 93 Infused with jazz and bursting with life, Romare Bearden’s art encompasses a rich admiration for art history, a deeply personal portrayal of the African-American experience, and a unique fluency with materials and techniques all his own. Bearden began experimenting with collage in the 1960s at the same time he struggled with whether to work, as he put it, within the “African idiom,” or in a more mainstream aesthetic. Unhappy with Abstract Expressionism’s lack of an underlying philosophy, Bearden moved toward incorporating images from everyday life into his painting, drawing and printmaking techniques. The selection of works on offer here span the artist’s career and exemplify his varied and interesting style, illuminating Bearden’s stated intention “to reveal through pictorial complexities the life I know.” The pieces incorporate the various mediums he continually experimented with and interweaved as his style evolved, and address his fundamental themes of black family life, music, the female form and storytelling. The Empress of the Blues in particular references the enduring influence of music on Bearden’s work, in its visual cadence and rhythmic swirling movement, but also with its strong female singer captivating her audience. Reflecting the time Bearden and his wife spent in St. Martin, At Low Tide was painted a few days before the artist’s death in 1988, bringing the colors and clear waters of the Carribbean back to his New York studio. The work represents one of his last artistic endeavors, a sensuous composition of bending branches and body, surrounded by sea and sky. all images : below :

8 8

Romare Bearden (American, 1911-1988) New York Scenes

A set of tw enty -t hree (2 3 ) w atercolors on paper, including some w ith pencil, collag e and mixe d-me dia, all pencil sig ned L arg est [ Church]: 11 1/8 x 9 1/4 in. (28.3 x 23.5cm) Smallest [ Fountain in Central Park]: 6 x 6 1/4 in. (15.2 x 15.8cm) Executed in 1979.

Romare Bearden was commissioned to paint New York Scenes by director John Cassavetes for the opening credits of the 1980 movie Gloria, a mafia crime story set in New York. The series of twenty-three watercolors incorporates different perspectives and experiences of the city, from looming skyscrapers to fountains in the park, to laundry hanging on lines between public housing apartment buildings, to a stained glass church window. While Bearden’s city teems with life, only two scenes include figures, African-American faces that seem bound by the city itself, held within its structures, while also holding a place integral to its rhythm and dynamism. Within the New York Scenes, day turns to night and the seasons change, revealing a vibrant city filled with color and action, caught in the immediacy of Bearden’s watercolor brush.

Abstract Colors, Autumn in the Park Black Face, Profile in Round Church Fountain in Central Park Gloria Graffiti Guitar Collage Lawn at Central Park Little Girl Through Black Fence Manhattan Island Moon Over Central Park Skyline at Night with Black Sky Skyline with Blue Sky and Dark Buildings Skyline with Brooklyn Bridge Skyline with Dark Blue Sky Skyline with Red Dots Skyline with Red Sky Skyline with Subway Skyline with Very Dark Blue Sky Skyline with White Sky Skyline with Yellow Sky Tenements with Laundry Water in Central Park (2 3 ) provenance

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

8 9 Romare Bearden (American, 1911-1988) Untitled (The Iliad)

Signed ‘Bearden’ bottom right, watercolor, pencil, br ush and ink on cream w ov e paper Sheet siz e: 1 9 5/8 x 25 5/8 in. (49.8 x 65.1cm) provenance

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

9 0 Romare Bearden (American, 1911-1988) The Family, Reverse State

Pencil signed ‘Romare Bearden’ bottom right; also numbered ‘1/1’ and titled bottom left, aquatint, photoengraving and rainbow roller on Arches paper I mag e: 20 3/4 x 26 1/4 in. (52.7 x 66.7cm) Sheet siz e: 22 1/4 x 29 3/4 in. (56.5 x 75.6cm) Executed in 1975. provenance

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

9 1 Romare Bearden (American, 1911-1988) Empress of the Blues

Signed ‘Rom/are/Bear/den’ bottom right, oil, watercolor, pencil, monoty pe and collag e on paper Sheet siz e: 41 1/2 x 27 1/4 in. (105.4 x 69.2cm) provenance

Cordier & Ekstrom Inc., New York, New York. Private Collection, West Redding, Connecticut, since 1981. $20,000-30,000

9 2 Romare Bearden (American, 1911-1988) At Low Tide

Signed ‘Rom/are/Bear/den’ bottom right; also titled, dated and signed ‘1988/R. Bearden’ verso, collage and mixed-media on fiberboard 20 x 1 6 in. (50.8 x 40.6cm) provenance

Collection of Laquine Simmons, Florida. exhibited

“Romare Bearden: Revisited,” Jerald Melberg Gallery, Charlotte, North Carolina, September 7-November 2, 2002. $40,000-60,000

9 3 Romare Bearden (American, 1911-1988) Sunset (Mysterious Woman)

Titled, dated and signed ‘1981 Romare Bearden’ on label verso, collage and mixed-media on fiberboard 1 4 x 1 8 in. (35.6 x 45.7cm) provenance

Private Collection, New York, New York. $12,000-18,000

Lot 152 (detail)

P EN NSY LVANI A IMPRE SSIONISTS L ots 9 4-152

S U S ETTE I NLOES SCH ULT Z KEAST Lo ts 94 - 98 Born in Philadelphia in 1892, Susette Inloes Schultz Keast is by repute the grandniece of Franz Xavier Winterhalter, court painter to Emperor Napoleon III and Empress Eugénie of France. She showed an early aptitude for art, attending the Philadelphia School of Design for Women (now Moore College of Art & Design) and the Pennsylvania Academy of the Fine Arts. At PAFA, she studied under Thomas Anshutz and William Merritt Chase, and in 1911, at the age of nineteen, she received the prestigious Cresson European Fellowship, which enabled her to travel to Europe for a year. Not limited by geography, Keast’s work was influenced by the landscapes of Gloucester, Massachusetts, Montreal, her time in Europe, as well as the Far East, including China, Japan, and Korea. She lived with her husband, the Philadelphia architect W.R. Morton Keast, in a townhouse on Rittenhouse Square, where her home studio was designed to resemble the palace of a Chinese Emperor. Keast was a member of The Philadelphia Ten, a group of students of the Philadelphia School of Design who sought to exhibit their work independently, having been barred from many public institutions based on their gender. Fern Coppedge, one of the most significant female Pennsylvania Impressionists and a fellow student at PAFA, was also a member, and the two would have crossed paths professionally and socially during their involvement with the group. Keast died in 1932 at the age of forty, finalizing what was already an extensive, exemplary œuvre. The following set of three paintings are all fresh to the market, directly inherited from one of the artist’s two daughters, Laurette Keast—the charming little blonde girl seated in a green chair in the moving double portrait of the artist’s two daughters, which Keast executed in her home on Rittenhouse Street. The three works’ short brushstrokes and treatment of light, most notably the multi-hued surface of the water in Boats, are classically emblematic of the Impressionist movement.

9 4 Susette Inloes Schultz Keast (American, 1892-1932) Apple Tree, Gloucester

O il on canv as 1 8 x 20 in. (45.7 x 50.8cm) provenance

The Artist. Collection of Laurette Keast, the Artist’s daughter. By descent in the family. Private Collection, Florida. exhibited

Springvale High School Art Association, Inc., Sanford, Maine, n.d. (per label verso). $8,000-12,000

9 5 Susette Inloes Schultz Keast (American, 1892-1932) Boats

Signed ‘S. Keast’ bottom right; also titled on label verso, oil on boar d 1 3 1/2 x 1 5 1/2 in. (34.3 x 39.4cm) In a Harer frame. provenance

The Artist. Collection of Laurette Keast, the Artist’s daughter. By descent in the family. Private Collection, Florida. exhibited

“Exhibition of Oil Sketches by Philadelphia Artists,” The Philadelphia Sketch Cl ub, Philadelphia, Pennsy lv ania, May 1932. $6,000-10,000

9 6 Susette Inloes Schultz Keast (American, 1892-1932) The Artist’s Daughters, Colette and Laurette Keast O il on canv as laid dow n to Masonite 20 x 24 in. (50.8 x 6 1 cm) provenance

The Artist. Collection of Laurette Keast, the Artist’s daughter. By descent in the family. Private Collection, Florida. $5,000-8,000

9 7

9 8

Susette Inloes Schultz Keast (American, 1892-1932)

Signed ‘S. Keast’ bottom left; also signed, titled and dated ‘1916-1917’ verso, oil on canvasboard 1 0 x 8 in. (25.4 x 20.3cm)

Signed ‘Susette S. Keast’ verso; also illegibly inscribed and dedicated in pencil v erso, oil on canv asb oard 9 3/4 x 7 5/8 in. (24.7 x 19.4cm) Executed in 1918.

In the Woods

provenance

Private Collection, Washington D.C. $3,000-5,000

House in Lumberville

provenance

Private Collection, Washington D.C. $4,000-6,000

9 9 Fern Isabel Coppedge (American, 1883-1951) December Sunshine

Signed ‘Fern I. Coppedge’ bottom center; also titled on upper stretcher v erso, oil on canv as 1 8 x 20 in. (45.7 x 50.8cm) provenance

The Artist. Acquired directly from the above circa 1940. Private Collection, New Hope, Pennsylvania. By descent in the family. Private Collection, Philadelphia, Pennsylvania. $30,000-50,000

1 00 Roy Cleveland Nuse (American, 1885-1975) Autumn Glory

Signed with artist’s monogram and dated ‘RN/’57’ bottom left; also titled on label verso, oil on canv as laid dow n to bo ard 1 2 x 1 6 in. (30.5 x 40.6cm) provenance

Private Collection, Memphis, Tennessee. $6,000-10,000

1 01

1 02

Fred Wagner (American, 1861-1940)

George William Sotter (American, 1879-1953)

O il on bo ard 6 x 8 in. (15.2 x 20.3cm)

Signed ‘G.W. Sotter’ bottom center left, oil on Masonite 9 7/8 x 1 1 7/8 in. (25.1 x 30.2cm)

The Dive

provenance

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

Coastal View

provenance

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

1 03 Harry Leith-Ross (American, 1886-1973) Starry Night

O il on canv as 20 x 24 in. (50.8 x 6 1 cm) provenance

Gratz Gallery, Doylestown, Pennsylvania. Acquired directly from the above. Private Collection, Pennsylvania. $3,000-5,000

1 04 Walter Emerson Baum (American, 1884-1956) Stream in Winter

Signed ‘W E Baum’ bottom right, oil on boar d laid dow n to canv as 20 x 24 in. (50.8 x 6 1 cm) provenance

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

1 05 Edward Willis Redfield (American, 1869-1965) The Hill Country

Signed ‘E.W. Redfield’ bottom left, oil on canvas 28 x 3 0 in. (71.1 x 76.2cm) provenance

Private Collection, Westchester, New York. By descent in the family. Private Collection, Philadelphia, Pennsylvania. By descent in the family. Private Collection, Philadelphia, Pennsylvania. Private Collection, New York. Private Collection, Maryland.

exhibited

“Third Biennial Exhibition | Oil Paintings by Contemporary American Artists,” The Corcoran Gallery of Art, Washington, D.C., December 13, 1910-January 22, 1911. literature

J.M.W. Fletcher, Edward Willis Redfield (1869-1965): An American Impressionist, His Paintings and the Man Behind the Palette, Lahaska, Pennsylvania, 1996, pp. 143, 187, no. 829 (not illustrated). note

The present painting will be included in the forthcoming C atalog ue Ra isonné of E dw ard Redfield’s work being compiled by Dr. Thomas C. Folk. $50,000-80,000

1 06 William Langson Lathrop (American, 1859-1938) Breaking Clouds, Delaware Valley

Signed ‘W L LATHROP’ bottom right, oil on canvas 3 0 x 26 in. (76.2 x 6 6 cm) Executed circa 1900. provenance

Private Collection, New Jersey. $15,000-25,000

1 07 George J. Stengel (American, 1872-1937) Shadows in Brook

T itled v erso, oil on canv as 3 2 x 24 in. (81.3 x 6 1 cm) provenance

The Artist. Grace V. Stengel, the Artist’s widow. A gift from the above. Property of a Mid-Atlantic Museum, since 1944. Doyle, New York, sale of April 5, 2017, lot 55. Acquired directly from the above sale. Private Collection, New Jersey. $2,000-3,000

1 08 George J. Stengel (American, 1872-1937) The Voice of Spring

Signed ‘G.J. STENGEL’ bottom right, oil on canvas 20 x 24 in. (50.8 x 6 1 cm) provenance

Sotheby’s, New York, sale of September 28, 2011, lot 316. Acquired directly from the above sale. Private Collection, New York. $4,000-6,000

1 09 John Fabian Carlson (American/Swedish, 1875-1947) Snowbound River

Signed ‘John F. Carlson’ bottom left; also titled and signed v erso, oil on canv asbo ard 1 2 x 1 6 in. (30.5 x 40.6cm) provenance

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

1 1 0 Charles Rosen (American, 1878-1950) Quarry Sunset

Signed ‘CHARLES ROSEN’ bottom right; also inscribed with artist and title verso, oil on board 1 4 3/4 x 1 6 3/4 in. (37.5 x 42.5cm) provenance

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

1 1 1 John Fulton Folinsbee (American, 1892-1972) Shag Rock (Maine Coast)

Signed ‘John Folinsbee’ bottom left; also inscribed with title v erso, oil on canv as laid dow n to Masonite 1 6 x 23 7/8 in. (40.6 x 60.6cm) Executed in 1952. provenance

The Artist. A gift from the above. Collection of Anthony B. Mauger, the Artist’s cousin. By descent in the family. Private Collection, Maryland. note

The present painting is included in the Artist’s online Catalogue Raisonné prepared by Dr. Kirsten Jensen as Maine Coast, under no. JFF.724. $4,000-6,000

1 1 2 Robert Spencer (American, 1879-1931)

Tohickon Valley, Point Pleasant, Pennsylvania Signed and dated ‘Robert Spencer/1910’ bottom center right; also titled, dated and dedicated ‘To my friend/W.W. Gilchrist’ on upper stretcher verso, oil on canv as 25 x 3 0 in. (63.5 x 76.2cm) provenance

W.W. Gilchrist. Christie’s, New York, sale of September 30, 1988, lot 312. Acquired directly from the above sale. Private Collection, New Jersey. Freeman’s, Philadelphia, sale of December 8, 2013, lot 160. Acquired directly from the above sale. Private Collection, New York. exhibited

“Robert Spencer: The Cities, The Towns, The Crowds,” James A. Michener Art Museum, Doylestown, Pennsylvania, June 5-September 19, 2004. literature

Brian H. Peterson, Robert Spencer: The Cities, The Towns, The Crowds, J ames A. Michener Art Museum, Doylestown; and University of Pennsylvania Press, Philadelphia, 2004, plate 4, p. 31 (illustrated). $20,000-30,000

1 1 3 Paulette Victorine J. Van Roekens (American, 1896-1988) The Carousel

Signed ‘P. VAN ROEKENS’ bottom right, oil on canvas 25 x 3 0 in. (63.5 x 76.2cm) In an Arthur Meltzer frame. Executed circa 1938. provenance

Private Collection, California. $6,000-10,000

According to the Artist, The Carousel was among her favorite paintings. She recalls: “I painted it in Willow Grove Park about 1938. All ages enjoy the pleasant memories and gayety of the merry-go-round. I painted while it was in motion to convey the feeling of movement. The operator was very accommodating in stopping the horses at the same spot. I enjoy the interweaving of color from the various toned steeds and trappings.”

1 1 4 Paulette Victorine J. Van Roekens (American, 1896-1988) Lunch on the Terrace

Signed ‘P. VAN ROEKENS’ bottom left; also titled and signed on upper stretcher v erso, oil on canv as 1 6 x 20 in. (40.6 x 50.8cm) provenance

Private Collection, North Dakota. $3,000-5,000

1 1 5 Paulette Victorine J. Van Roekens (American, 1896-1988) In the Woodlands

Signed ‘P. VAN ROEKENS’ bottom right; also titled on frame verso, oil on Masonite 8 x 9 3/4 in. (20.3 x 24.8cm) In an Arthur Meltzer frame. provenance

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

1 1 6 Fern Isabel Coppedge (American, 1883-1951) Winter Along the Delaware Valley

Signed ‘Fern I. Coppedge’ bottom center left, oil on canv as 25 x 3 0 in. (63.5 x 76.2cm) provenance

Private Collection, Maryland. $40,000-60,000

1 1 7

1 1 8

Walter Emerson Baum (American, 1884-1956)

Signed ‘W E BAUM’ bottom right, oil on board 1 6 x 20 in. (40.6 x 50.8cm)

Signed ‘W E BAUM’ bottom left, oil on Masonite 8 7/8 x 1 1 7/8 in. (22.5 x 30.2cm)

provenance

$3,000-5,000

Village Street

Private Collection, Pennsylvania.

Snowed-In Village

Private Collection, Pennsylvania.

1 1 9 Arthur Meltzer (American, 1893-1989) Last Rays of Sunshine

Signed ‘Arthur Meltzer’ bottom right; also titled v erso, oil on canv as 1 2 x 1 4 in. (30.5 x 35.6cm) provenance

Alderfer Auction & Appraisal, Hatfield, sale of March 6, 2002, lot 342. Acquired directly from the above sale. Private Collection, New Hope, Pennsylvania. $5,000-8,000

1 20 Antonio Pietro Martino (American, 1902-1989) Across the Schuylkill

Signed and dated ‘A.P. Martino ‘32’ bottom right, oil on canv as 25 x 3 0 in. (63.5 x 76.2cm) provenance

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

1 21 Acording to Dr. Kirsten Jensen, “Although Winterlocked Canal was completed prior to Folinsbee’s departure for France, it shows signs of the emerging voice that only fully blossomed after his trip. His technique is still Impressionistic, but he uses color, geometry, and strong brushwork to create a deeper sense of structure (. . .) Winterlocked Canal functioned as an introduction to the more sculptural paintings the public would see in the coming years. Reminiscent of Mending the Canal Bank, the long view down the waterway provided an opportunity to contrast the sinuous lines of the snow-covered canal with the more rigid structures of the cement bridge and towering telephone poles - a motif the artist employed frequently throughout the late 1920s and 1930s.” (Kirsten M. Jensen, Folinsbee Considered, p. 243).

John Fulton Folinsbee (American, 1892-1972) Winterlocked Canal

Signed ‘John F. Folinsbee; bottom right; also titled on upper stretcher v erso, oil on canv as 3 2 x 40 in. (81.3 x 101.6cm) provenance

The Artist. The Artist’s wife, Ruth Baldwin Folinsbee. Collection of Ralph and Bette Saul. Private Collection, Pennsylvania. exhibited

“One Hundred-Second Annual Exhibition,” National Academy of Design, New York, New York, March 23-April 17, 1927, no. 288. “Fourteenth Annual Exhibition of American Art,” Detroit Institute of Arts, Detroit, Michigan, April 13-May 31, 1928, no. 5 (as Winter Cocked [sic] Canal). “Recent Paintings by John Folinsbee,” Grand Central Galleries, New York, New York, January-February 1928. “Paintings by John Folinsbee,” New London, Connecticut, April-May 1929. literature

The Artist’s Stockbook, 1920s-1940s, pp. 95-96, 115-117, 120, 190. Kirsten M. Jensen, Folinsbee Considered, Hudson Hills Press, 2013, no. 1101, p. 243 (illustrated). $30,000-50,000

1 22 William Langson Lathrop (American, 1859-1938) Old Limekiln

Signed ‘W.L. LATHROP’ bottom left; also signed in pencil and illegibly dated ‘Wm. LANGSON LATHROP’ on upper stretcher v erso, oil on canv as 22 x 3 2 1/4 in. (55.9 x 81.9cm) Executed circa 1913. provenance

Bianco Gallery, Buckingham, Pennsylvania. Beacon Hill Fine Art, New York, New York. Private Collection, Philadelphia, Pennsylvania. exhibited

“An American Tradition: The Pennsylvania Impressionists,” Beacon Hill Fine Art, New York, New York, November 24, 1995-February 3, 1996. literature

An American Tradition: The Pennsylvania Impressionists, an exhibition catalogue, Beacon Hill, New York, New York, 1995, p. 11 (illustrated). $6,000-10,000

1 23 Edward Willis Redfield (American, 1869-1965) Canal in Winter

Signed ‘E.W. Redfield’ bottom right; also pencil signed on upper stretcher v erso, oil on canv as 21 x 26 in. (53.3 x 6 6 cm) provenance

Private Collection, Canada. Dr. Tom Folk Gallery, New Jersey. Acquired directly from the above. Private Collection, Pennsylvania. note

The present painting will be included in the forthcoming C atalog ue Ra isonné of Edward Redfield’s work being compiled by Dr. Thomas C. Folk. $20,000-30,000

1 24 Harry Leith-Ross (American, 1886-1973) Pidcock Creek

Signed ‘Leith-Ross’ bottom right, oil on canv asboar d 20 x 24 in. (50.8 x 6 1 cm) provenance

The Artist. Acquired directly from the above. Private Collection, Pennsylvania. By descent in the family. Private Collection, Chicago, Illinois. $12,000-18,000

1 25 Fern Isabel Coppedge (American, 1883-1951) December on the Delaware

Signed ‘Fern I. Coppedge.’ bottom left; also titled on upper stretcher v erso, oil on canv as 1 2 x 1 2 in. (30.5 x 30.5cm) provenance

H.C. Moll, Pennsylvania (per carved inscription verso). Private Collection, Florida. $25,000-40,000

1 26 Maude Drein Bryant (American, 1880-1946)

Solitary House, Hendricks, PA Signed ‘Maude Drein Bryant’ bottom right; also signed and located ‘Hendricks’ on frame verso, oil on canv as 3 3 x 3 6 in. (83.8 x 91.4cm) provenance

Pook & Pook, Inc. Auctioneers and Appraisers, Downingtown, sale of October 8, 2004, lot 334. Acquired directly from the above sale. Private Collection, Maryland. $5,000-8,000

1 27 Walter Emerson Baum (American, 1884-1956) Snowy Road

Signed ‘W E BAUM’ bottom left, oil on canvasboard 1 6 x 20 in. (40.6 x 50.8cm) provenance

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

1 28 Kenneth R. Nunamaker (American, 1890-1957) On the Missing Link (Raven Rock, New Jersey)

Signed ‘K. NUNAMAKER’ bottom left, oil on canvas 28 1/8 x 3 2 1/8 in. (71.4 x 81.6cm) provenance

The Artist. Private Collection, New Jersey. By descent to the present owner. Private Collection, Pennsylvania. $25,000-40,000

1 29 Samuel George Phillips (American, 1890-1965) Weeping Willows

Signed ‘S. George Phillips’ bottom rig ht, oil on canv as 24 x 3 2 in. (61 x 81.3cm) provenance

Private Collection, Pennsylvania. Freeman’s, Philadelphia, sale of June 4, 2017, lot 71. Acq uired directly from the abo v e sale. Private Collection, Philadelphia, Pennsylvania. $5,000-8,000

1 3 0 Robert Spencer (American, 1879-1931) Canal Bridge (New Hope, Pennsylvania)

Signed ‘Robert Spencer’ bottom rig ht, oil on canv as 1 2 x 1 4 in. (30.5 x 35.6cm) provenance

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

1 3 1 John Fulton Folinsbee (American, 1892-1972) Quarry, Cape Ann

Signed ‘John Folinsbee’ bottom left; also signed and titled verso, oil on canv as laid dow n to b oard 8 1/4 x 1 0 1/8 in. (21 x 25.7cm) provenance

Dr. Tom Folk Gallery, New Jersey. Acquired directly from the above. Private Collection, New Hope, Pennsylvania. note

The present painting will be included in the Artist’s online Catalogue Raisonné prepared by Dr. Kirsten Jensen. $5,000-8,000

1 3 2 Walter Elmer Schofield (American, 1867-1944)

Country Pond and House Viewed Through Trees Signed ‘Schofield’ bottom left, oil on panel 1 6 x 20 in. (40.6 x 50.8cm) provenance

The Artist. Collection of Dr. French, friend of the Artist. Collection, then Estate, of Dr. Koeffer. By descent in the Koeffer family. L enz F ine Arts G allery , Milw aukee, Wisconsin. Alderfer Auction & Appraisal, Hatfield, sale of September 7, 2007, lot 3218. Acquired directly from the above sale. Private Collection, Pennsylvania. $6,000-10,000

1 3 3 William Langson Lathrop (American, 1859-1938) Delaware Canal

Signed ‘W L LATHROP’ bottom right; also inscribed with title verso, oil on canvas 1 9 x 25 1/8 in. (48.3 x 63.5cm) provenance

Private Collection, New Jersey. $10,000-15,000

1 3 4 Edward Willis Redfield (American, 1869-1965) French Village at Dusk

Signed, located and illegibly dated ‘E W Redfield/France/19**’ bottom right, oil on canvas 23 1/4 x 3 2 1/2 in. (59.1 x 82.6cm) provenance

Private Collection, Pennsylvania. note

The present painting will be accompanied by a Letter of Authenticity from Dr. Thomas C. Folk, and will be included in the forthcoming Catalogue Raisonné of Edward Redfield’s work, being compiled by Dr. Folk. $30,000-50,000

1 3 5 William Langson Lathrop (American, 1859-1938) Beach Scene (Sand Harbor)

Signed ‘W L LATHROP’ bottom right, oil on canvas 1 8 x 22 in. (45.7 x 55.9cm) provenance

Private Collection, Pennsylvania. $10,000-15,000

1 3 6 Samuel George Phillips (American, 1890-1965) Winter Day

Signed ‘S GEORGE PHILLIPS’ bottom right, oil on canvas 22 x 24 in. (55.9 x 6 1 cm) provenance

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

1 3 7 Daniel Garber (American, 1880-1958) Young Man and Woman

Signed ‘Daniel Garber’ upper right, charcoal on I ng res laid paper Sheet siz e: 1 8 7/8 x 22 in. (47.9 x 55.9cm) provenance

The Artist. The Estate of the Artist, 1958. Collection of John Franklin Garber, son of the Artist. By descent in the Garber family. Private Collection, Pennsylvania, since circa 1973. exhibited

“Daniel Garber: Romantic Realist,” Pennsy lv ania Academy of the F ine Arts, Philadelphia, Pennsy lv ania, J anuary 26 -A pril 8, 2007. literature

L ance H umphries, Daniel Garber: Catalogue Raisonné, Hollis Taggart Galleries, New York, 2006. vol. II cat. D 207, p. 347 (illustrated). $4,000-6,000

138 Daniel Garber (American, 1880-1958) By the River

Signed ‘Daniel Garber’ bottom center, oil on canvas 28 1/8 x 30 1/8 in. (71.4 x 76.5cm) provenance

The Artist. Collection of Mrs. Thomas H. Eddy, Pittsburgh, Pennsylvania (acquired when exhibited at the Carnegie Institute in 1929). By descent in the family. Greg Thompson Fine Art, Little Rock, Arkansas. Private Collection, Little Rock, Arkansas. exhibited

“Twenty-Eighth Annual International Exhibition of Paintings,” Carnegie Institute, Pittsburgh, Pennsylvania, October 15-December 8, 1929, cat. 79 (original label verso). “An Exhibition of Carnegie International Paintings Owned in Pittsburgh,” Carnegie Institute, Pittsburgh, Pennsylvania, November 1-December 15, 1932, no. 65 (on loan). literature

Artist’s Record Book I, lines 13-18, p. 41. Letter from John O’Connor, Jr., Carnegie to Daniel Garber, December 9, 1929, LF. Lance Humphries, Daniel Garber: Catalogue Raisonné, Hollis Taggart Galleries, New York, 2006. vol. I, chapter 5, mentioned in note 55 p. 236; and vol. II cat. P 550, p. 203 (illustrated as a detail photograph from the Artist’s Archives showing his works on exhibition at the Carnegie Institute in 1929). $200,000-300,000

After two years studying abroad in Europe, Daniel Garber returned to the United States in 1907, and settled with his family in Bucks County — just thirty miles outside of Philadelphia. The artist had been introduced to the area in the early 1900s by the painter William Lathrop (then the leader of the New Hope School), and immediately felt enchanted by the region’s bucolic atmosphere. The Garber farm house, located in Cuttalossa Glen and today known as “Cuttalossa,” offered direct access to the nearby Delaware River Valley, which Garber explored in search of inspiration and scenic views. As Metropolitan Museum of Art Curator Sylvia Yount explains, “It was from his home base at Cuttalossa that Garber built his life - his career as a teacher, his reputation as a painter, and of course his work: vistas of quarries and forests along the Delaware; calm, transcendental domestic scenes with his family as subjects.” Garber took great care of his property and turned it into his own idealized haven, tearing certain buildings down while allowing others to decay picturesquely until the property resembled the world he envisioned, a certain extension of himself. As the artist confessed to his cousin George, “to know me now you would have to know the place. Everyone knows it’s half of me.” Unlike other fellow Bucks County artists such as Edward Redfield, Walter Schofield or Fern Coppedge, who often depicted the Pennsylvania landscape blanketed in the snow, Garber preferred to paint the more temperate seasons, especially spring and summer. The present painting is no exception. By The River depicts thin strands of water birches and young elm trees growing along the Delaware River’s bank, with fresh rolling hills in the distance. The warm afternoon light, diffused through the newly green leaves, softly dapples on the surface of the golden river stream and contributes to the tranquility of the scene. Executed in June of 1929 from River Road, down toward Centre Bridge, By The River is reminiscent of Garber’s decorative oils of the previous decade, in which the picture’s foreground is occupied by heavily massed vertical groupings of trees, and often includes draping vines to create a lacy effect. Yet the canvas introduces an important stylistic change in the artist’s career. It is marked by a new level of sophistication in his use of colors and light, and by a bold taste for highly structured compositions. As the artist confesses, “now I’m interested in the less obvious, the more suggestive and subtle things that gets me.” In By The River, Garber spreads the tree formations across the canvas in a rhythmic manner, and goes deeper into the picture plane than in his previous works. All connected to each other through their rich green foliage, the trees blend nicely in a hazy,

dreamlike vision which is accentuated by the subtle hues in the background. Here, the artist renounces his typical browns and blacks to adopt a lighter palette of deep blues, intense oranges, and soft lavender pigments. Unlike the French impressionists who mixed their colors onto the canvas, Garber applies the paint in a very meticulous and intricate fashion, keeping each varisized brushstroke separate, each color intact. In the end, Garber achieves his “tapestry-like” effect - an addition of layers (or curtains, as he taught his students) running parallel to the picture plane, thus contributing to an illusion of depth and strong harmony. Although Garber was trained to paint en plein-air and did not rely on the use of preparatory sketches, his landscapes are more than factual representations of his beloved Bucks County. However realistic and faithful they may be, his views mainly serve as a channel to communicate the beauty and serenity of a moment the artist informally witnessed. By The River invites the viewer to penetrate a privileged world depleted of its inhabitants, an earthly paradise disconnected from the crude reality. As an anonymous critic once said, “there is a serenity, and all’s well with the world” in Garber’s work. Such a statement could very well apply to the idyllic By The River, as it majestically translates into paint the longing memory of a warm sunny day. The artist must have taken some pride in this Edenic landscape, as he exhibited By The River only four months after its completion at the Carnegie Institute of Art, where the painting was directly bought by an eminent art collector from Pittsburgh.

1 3 9 Mary Elizabeth Price (American, 1877-1965)

The Dorothy Bradford (From Provincetown to Boston) Titled and signed ‘M. ELIZABETH PRICE’ verso, oil on canv asboar d 9 7/8 x 1 3 7/8 in. (25.1 x 35.2cm) provenance

Private Collection, New Jersey. Freeman’s, Philadelphia, sale of December 2, 2012, lot 138. Acquired directly from the above sale. Private Collection, Florida. $10,000-15,000

1 40 Rae Sloan Bredin (American, 1881-1933) Canal Towpath (At New Hope)

Signed ‘R.S. Bredin’ bottom right; also located on bottom stretcher v erso, oil on canv as 1 2 x 1 4 in. (30.5 x 35.6cm) Executed circa 1925. provenance

Richard Stuart Gallery, Pipersville, Pennsylvania. Private Collection, New Hope, Pennsylvania. $10,000-15,000

1 41 Walter Emerson Baum (American, 1884-1956) Spring House at Center Valley Mill

Signed ‘W.E. BAUM’ bottom right; also signed verso and titled on upper stretcher verso, oil on canvas 25 x 3 0 in. (63.5 x 76.2cm) provenance

Private Collection, Maryland. $6,000-10,000

1 42

1 43

Walter Emerson Baum (American, 1884-1956)

Signed ‘W.E. Baum’ bottom right; also signed and titled on label verso, oil on canvasboard 1 5 3/4 x 1 9 7/8 in. (40 x 50.5cm)

Signed ‘W E BAUM’ bottom right, oil on canv as 25 x 3 0 in. (63.5 x 76.2cm)

provenance

$6,000-10,000

$5,000-8,000

Rural Pennsylvania

Private Collection, Pennsylvania.

A Quiet Road

Private Collection, Texas.

1 44 Walter Elmer Schofield (American, 1867-1944) Forest Interior

Signed ‘Schofield’ bottom right; also signed on upper tacking edg e v erso, oil on canv as 24 x 3 0 in. (61 x 76.2cm) provenance

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

1 45 Edward Willis Redfield (American, 1869-1965) Spring Mills in Glenside Pennsylvania

Signed ‘E W Redfield’ bottom right; also titled on upper stretcher v erso, oil on canv as 3 1 x 26 in. (78.7 x 6 6 cm) provenance

Private Collection, Pennsylvania. Freeman’s, Philadelphia, sale of June 5, 2016, lot 100. Acquired directly from the above sale. Private Collection, Philadelphia, Pennsylvania. note

T he present w ork w ill b e included in the forthcoming C atalog ue Raisonné of Edward Redfield’s work being compiled by Dr. Thomas C. Folk. $15,000-25,000

1 46 Fern Isabel Coppedge (American, 1883-1951) The Old Grist Mill

Signed ‘Fern I. Coppedge’ bottom right; also titled on upper stretcher v erso, oil on canv as 1 8 x 20 in. (45.7 x 50.8cm) provenance

Private Estate, Uhlerstown, Pennsylvania. $30,000-50,000

1 47 John Fulton Folinsbee (American, 1892-1972) Western Pennsylvania

Signed ‘John Folinsbee’ bottom right, oil on canvas 1 2 x 20 in. (30.5 x 50.8cm) provenance

Property of John F. Folinsbee Art Trust. Newman Galleries, Philadelphia, Pennsylvania. Richard Stuart Gallery, Pipersville, Pennsylvania. Private Collection, New Jersey. Freeman’s, Philadelphia, sale of June 4, 2017, lot 76. Acquired directly from the above sale. Private Collection, Philadelphia, Pennsylvania. note

The present work will be included in the Artist’s online Catalogue Raisonné prepared by Dr. Kirsten Jensen. $4,000-6,000

1 48 John Pierce Barnes (American, 1893-1954) Nature’s Touch; with Landscape Study V erso

Signed ‘John P. Barnes’ bottom right, oil on panel 1 6 x 20 in. (40.6 x 50.8cm) provenance

The Estate of the Artist. Acquired directly from the above. Private Collection, New Hope, Pennsylvania. $5,000-8,000

1 49 Nancy Ferguson (American, 1869-1967) Gloucester Street

Signed ‘Nancy Maybin Ferguson’ v erso, oil on canv as 25 x 3 0 1/4 in. (63.5 x 76.8cm) provenance

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

1 5 0 Stanley L. Reckless (American, 1892-1955) Cottage by the River

O il on canv as 1 8 x 20 in. (45.7 x 50.8cm) provenance

Private Collection, New Jersey. $4,000-6,000

1 5 1 Mary Elizabeth Price (American, 1877-1965) Hollyhocks; A Pair

One signed ‘M. ELIZABETH PRICE’ bottom right; both also signed and located v erso; one also sig ned and titled on label verso, oil with gold and silv er leaf on panels E ach: 1 7 7/8 x 8 3/8 in. (45.4 x 21.3cm) (2 ) provenance

The Artist. By descent in the Bredin/Price family. Private Collection, Bucks County, Pennsylvania. $12,000-18,000

While she depicted a rich variety of subjects, Mary Elizabeth Price made a name for herself by painting decorative floral panels and screens, which she rendered in a close-up, yet painterly manner, as shown in the two present lots. Price started to explore the genre in the late 1920s and continued onwards, using the countless irises, peonies, poppies, lilies, delphinium and hollyhocks that grew in her lush garden at “Pumpkinseed Cottage” as her main source of inspiration. Through her captivating still lifes, Price revived an old technique of Italian Renaissance painting. Like the Florentine and Sienese artists of the 15th century, she used a bold palette of oil colors, which she richly applied to a gilded surface of gesso (sometimes covered by no less than sixteen different shades of gold and silver leaf), preliminarily incised with intricate designs. Price’s standing screens (spanning from one to six panels) and gilded frames were usually crafted by her brother, Reuben Moore

Price, as is believed to be the case with Lot 152. It provided the artist with the perfect vehicle for her decorative inclinations as the screens could be collected as furniture and not merely as paintings. Price created many floral compositions similar to the central panel of the present work, almost always combining the full, soft round heads of hollyhocks, with the delphinium, a spikier plant with star-shaped flowers. Here, the artist is treating the panel as a unified composition, extending over the stylized cartouche in the upper part of the composition. The hollyhocks bloom in diverse warm colors, ranging from soft pinks and coral tones, through peach and orange hues, to dark maroons and purples. The hollyhocks vividly contrast with the cool blues of the delphinium, at times hidden behind the bushy green leaves or instead gloriously standing against the golden textured background—a transcendental feature which strongly enhances the timeless quality of Price’s panel and reveals the influence of Art Nouveau and the Arts & Crafts Movement.

1 5 2 Mary Elizabeth Price (American, 1877-1965)

Hollyhocks and Delphinium Screen Signed ‘M. ELIZABETH PRICE’ in a cartouche bottom right, oil with gold and silv er leaf on Masonite Screen: 7 2 x 3 6 x 1 5 in. (182.9 x 91.4 x 38.1cm) I mag e: 47 x 3 1 in. (119.4 x 78.7cm) Framed by the Artist’s brother, Reuben Moore Price. Executed circa 1925. provenance

Private Collection, New York, New York. Acquired directly from the above. Private Collection, Pennsylvania. $50,000-80,000

E nd of Sale

Lot 22 (detail)

Lot 87 (detail)

INDEX 1 1 1 , 1 21 , 1 3 1 , 1 47

OSTHAUS, E.H.

PETERSON, J.

5 0

FRIEDMAN, A.

6 9

PETO, J.F.

1 6

FRIESEKE, F.C.

5 6

PHILIPS, S.G.

1 29 , 1 3 6

GARBER, D.

1 3 7 , 1 3 8

6 4

POTTHAST, E.H.

GLACKENS, W.

3 3

BEARDEN, R.

8 8 -9 3

PRICE, M.E.

1 3 9 , 1 5 1 , 1 5 2

GRAVES, A.F.

7 1

BENTON, T.H.

3 , 4

RAMSEY, M.

1 8

GREEN, J.

8 6

BERNSTEIN, T.F.

8 0

RECKLESS, S.L.

1 5 0

GRUPPE, E.A.

28 , 29 , 3 4

BLUME, P.

8 7

REDFIELD, E.W.

GUTMANN, B.

5 5

1 05 , 1 23 , 1 3 4, 1 45

BODMER, K.

5 -1 0

HERGESHEIMER, E.S.

ROCKWELL, N.

6 5

BRECKENRIDGE, H.H.

7 9

HOFMANN, H.

8 3

ROSEN, C.

1 1 0

BREDIN, R.S.

1 40

KEAST, S.I.S.

9 4-9 8

SCHOFIELD, W.E.

1 3 2, 1 44

BROWN, J.G.

KNIGHT, L.A.

7 0

SLAUGHTER, W.A.

5 9

BRYANT, M.D.

1 26

LATHROP, W.L.

SOTTER, G.W.

1 02

BUTLER, T.E.

3 0-3 2

1 06 , 1 22, 1 3 3 , 1 3 5

SPEIGHT, F.

8 4

CARLSEN, E.

1 7

LAWSON, E.

5 3 , 5 4

SPENCER, R.

1 1 2, 1 3 0

CARLSON, J.F.

1 09

LEITH-ROSS, H.

1 03 , 1 24

SPRUANCE, B.M.

CARR, S.S.

1 9

LEVER, R.H.

26 , 27 , 3 5 , 3 6

STENGEL, G.J.

1 07 , 1 08

CASSATT, M.

3 7

LEWIS, M.

SWOPE, H.V.

COPPEDGE, F.I.

9 9 , 1 1 6 , 1 25 , 1 46

LIE, J.

5 1

SYMONS, G.G.

6 1

CORNOYER, P.

6 6

MARIL. H.

6 7 , 6 8

THIEME, A.

CORNWELL, D.

6 3

MARTINO, A.P.

1 20

TROST RICHARDS, W.

1 1 -1 4

CROPSEY, J.F.

1 5

MAURER, A.H.

7 1

VAN ROEKENS, P.V.J.

1 1 3 -1 1 5

DAVIS, C.H.

MCCOY, J.W.

5 7

WAGNER, F.

1 01

DEMUTH, C.

7 2, 7 3

MELTZER, A.

1 1 9

WALKER, W.A.

EATON, C.W.

47 , 48

MIGNOT, L.R.

WALTER, M.

7 5 -7 8 , 8 1 , 8 2

EMMET, L.F.

NEWSWANGER, V.K

8 5

WHORF, J.

5 8

FARLEY, R.B.

NOYES, G.L.

3 8 -4 1

WIGGINS, G.C.

6 0

FERGUSON, N.M.

1 49

NUNAMAKER, K.R.

1 28

WYETH, N.C.

6 2

FISKE, G.

5 2

NUSE, R.C.

1 00

BALL DODSON, S.P.

BARNES, J.P.

1 48

BAUM, W.E.

1 04, 1 1 7 , 1 1 8 , 1 27 , 1 41 , 1 42, 1 43

BAUMNANN, G.

C L IE N T

FOLINSBEE, J.F.

SE R V I C E S

Mary Maguire, Director | Client Services mmaguire@freemansauction.com, 267.414.1236 Joslyn Moore, Bidding Registration jmoore@freemansauction.com, 267.414.1207 Justin Cook, Post- Sale Administrator jcook@freemansauction.com, 267.414.1226

Lot 121 (detail)

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 “AS-IS”. Freeman’s is acting solely as an auction broker, and unless otherwise stated, does not own the Property offered for sale and has made no independent investigation of the Property. Freeman’s makes no warranty of title, merchantability or fitness for a particular purpose, or any other warranty or representation regarding the description, genuineness, attribution, provenance or condition to the Property of any kind or nature with respect to the Property. 4 Freeman’s in its sole and exclusive discretion, reserves the right to withdraw any property, at any time, before the fall of the hammer. 5 Unless otherwise announced by the auctioneer at the time of sale, all bids are per lot as numbered in the printed catalogue. Freeman’s reserves the right to determine any and all matters regarding the order, precedence or appropriate increment of bids or the constitution of lots. 6 The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer has the right to reject any bid, to advance the bidding at his absolute discretion and in the event of any dispute between bidders, the auctioneer shall have the sole and final discretion either to determine the successful bidder or to re- offer and resell the article in dispute. If any dispute arises after sale, the Freeman’s sale record shall be conclusive in all respects. 7 If the auctioneer determines that any opening or later bid or any advance bid is not commensurate with the value of the Property offered, he may reject the same and withdraw the Property from sale.

8 Upon the fall of the hammer, title to any offered lot or article will immediately pass to the highest bidder as determined in the exclusive discretion of the auctioneer, subject to compliance by the buyer with these Conditions of Sale. Buyer thereupon assumes full risk and responsibility of the property sold, agrees to sign any requested confirmation of purchase, and agrees to pay the full price, plus Buyer’s Premium, therefore or such part, upon such terms as Freeman’s may require. 9 No lot may be removed from Freeman’s premises until the buyer has paid in full the purchase price therefor including Buyer’s Premium or has satisfied such terms that Freeman’s, in its sole discretion, shall require. Subject to the foregoing, all Property shall be paid for and removed by the buyer at his/her expense within ten (10) days of sale and, if not so removed, may be sold by Freeman’s, or sent by Freeman’s to a public warehouse, at the sole risk and charge of the buyer(s), and Freeman’s may prohibit the buyer from participating, directly or indirectly, as a bidder or buyer in any future sale or sales. In addition to other remedies available to Freeman’s by law, Freeman’s reserves the right to impose a late charge of 1.5% per month of the total purchase price on any balance remaining ten (10) days after the day of sale. If Property is not removed by the buyer within ten (10) days, a handling charge of 1% of the total purchase price per month from the tenth day after the sale until removal by the buyer shall be payable to Freeman’s by the buyer; Freeman’s shall charge 1.5% of the total purchase price per month for any property not so removed within 60 days after the sale. Freeman’s will not be responsible for any loss, damage, theft, or otherwise responsible for any goods left in Freeman’s possession after ten (10) days. If the foregoing conditions or any applicable provisions of law are not complied with, in addition to other remedies available to Freeman’s and the Consignor (including without limitation the right to hold the buyer(s) liable for the bid price) Freeman’s, at its option, may either cancel the sale, retaining as liquidated damages all payments made by the buyer(s), or resell the property. In such event, the buyer(s) shall

remain liable for any deficiency in the original purchase price and will also be responsible for all costs, including warehousing, the expense of the ultimate sale, and Freeman’s commission at its regular rates together with all related and incidental charges, including legal fees. Payment is a precondition to removal. Payment shall be by cash, certified check or similar bank draft, or any other method approved by Freeman’s. Checks will not be deemed to constitute payment until cleared. Any exceptions must be made upon Freeman’s written approval of credit prior to sale. In addition, a defaulting buyer will be deemed to have granted and assigned to Freeman’s, a continuing security interest of first priority in any property or money of, or owing to such buyer in Freeman’s possession, and Freeman’s may retain and apply such property or money as collateral security for the obligations due to Freeman’s. Freeman’s shall have all of the rights accorded a secured party under the Pennsylvania Uniform Commercial Code. 10 Unless the sale is advertised and announced as “without reserve”, each lot is offered subject to a reserve and Freeman’s may implement such reserves by bidding through its representatives on behalf of the Consignors. In certain instances, the Consignor may pay less than the standard commission rate where Freeman’s or its representative is a successful bidder on behalf of the Consignor. Where the Consignor is indebted to Freeman’s, Freeman’s may have an interest in the offered lots and the proceeds therefrom, other than the broker’s Commissions, and all sales are subject to any such interest. 11 No “buy” bids shall be accepted at any time for any purpose. 12 Any pre-sale bids must be submitted in writing to Freeman’s prior to commencement of the offer of the first lot of any sale. Freeman’s copy of any such bid shall conclusively be deemed to be the sole evidence of same, and while Freeman’s accepts these bids for the convenience of bidders not present at the auction, Freeman’s shall not be responsible for the failure to execute, or, to execute properly, any pre-sale bid.

13 A Buyer’s Premium will be added to the successful bid price and is payable by the buyer as part of the total purchase price. The Buyer’s Premium shall be: 25% on the first $200,000 of the hammer price of each lot, 20% on the portion from $200,001 through $3,000,000, and 12% thereafter. 14 Unless exempted by law from the payment thereof, the buyer will be required to pay any and all federal excise tax and any state and/or local sales taxes, including where deliveries are to be made outside the state where a sale is conducted, which may be subject to a corresponding or compensating tax in another state. 15 Freeman’s may, as a service to buyer, arrange to have purchased property posted and shipped at the buyer’s expense. Freeman’s is not responsible for any acts or omissions in packing or shipping of purchased lots whether or not such carrier is recommended by Freeman’s. Packing and handling of purchased lots is at the responsibility of the buyer and is at the entire risk of the buyer. 16 In no event shall any liability of Freeman’s to the buyer exceed the purchase price actually paid. 17 No claimed modification or amendment of this Agreement on the part of any party shall be deemed extant, enforceable or provable unless it is in writing that has been signed by the parties to this Agreement. No course of dealing and no delay or omission on the part of Freeman’s in exercising any right under this Agreement shall operate as a waiver of such right or any other right and waiver on any one or more occasions shall not be construed as a bar to or waiver of any right or remedy of Freeman’s on any future occasion. 18 These Conditions of Sale and the buyer’s, the Consignor’s and Freeman’s rights under these Conditions of Sale shall be governed by, construed and enforced in accordance with the laws of the Commonwealth of Pennsylvania and Consignor and Buyer agree to the exclusive jurisdiction of the Philadelphia, Pennsylvania Court of Common Pleas and the United States District Court for the Eastern District of Pennsylvania.

PURCHASE REMOVAL, SHIPPING & OFF-SITE 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 e an a ona at mla ona@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 i hael o ley 853 am er ville, .5 .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 5 oral ree Philadelphia, PA 191 5 540.550.7080 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 ‡ a ie am ell 1330 North 30th Street Philadelphia, PA 19144 215.8 .35 | 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 1513 Gehman Road Harleysville, PA 19438 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.

DIRECTORY Officers

Specialist Departments

Representatives

Alasdair Nichol Chairman

20th Century Design Tim Andreadis tandreadis@freemansauction.com

New England Darren Winston dwinston@freemansauction.com

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

Mid-Atlantic Samuel T. Freeman III sfreeman@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 Ben Farina bfarina@freemansauction.com Business Development Thomas B. McCabe IV tmccabe@freemansauction.com Client Services Mary Maguire mmaguire@freemansauction.com Finance Whitney Long wlong@freemansauction.com Marketing & Communications Whitney Bounty wbounty@freemansauction.com Museum Services Thomas B. McCabe IV tmccabe@freemansauction.com Photography Thomas Clark tclark@freemansauction.com Private Collections Grace Fitts gfitts@freemansauction.com Shipping & Receiving Megan Latona mlatona@freemansauction.com Trusts & Estates Thomas B. McCabe IV tmccabe@freemansauction.com

American Furniture, Folk & Decorative Arts Lynda Cain lcain@freemansauction.com Asian Arts Benjamin Farina bfarina@freemansauction.com Books, Maps & Manuscripts Darren Winston dwinston@freemansauction.com British & European Furniture & Decorative Arts Tessa Laney tlaney@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 David M. Weiss dweiss@freemansauction.com Prints Anne Henry ahenry@freemansauction.com Silver & Objets de Vertu Tessa Laney tlaney@freemansauction.com

Southeast Colin Clarke cclarke@freemansauction.com West Coast Michael Larsen mlarsen@freemansauction.com Main Line Sarah Riley, GG sriley@freemansauction.com

European Art & Old Masters Auction February 18, 2020 David Weiss | 267.414.1214 dweiss@freemansauction.com

Edgar Degas (French, 1834-1917) Grande Arabesque, DeuxiĂ¨me Temps, c. 1885-1890 Sig ned, numb ered and stamped w ith foundry mark on the top of the b ase, b ronz e w ith b row n patina Height: 17 in. (43.2cm) [HĂŠbrard 15, cast after 1937] $120,000-180,000

2400 Market St

Philadelphia PA

freemansauction.com