FINE ART
NOVEMBER 2, 2024
GEORGINA C. WINTHROP President georgina@groganco.com
MICHAEL B. GROGAN Founder michael@groganco.com
CLAUDIA E. DEELEY Gallery Director claudia@groganco.com
LILIA T.M. HUTCHINS Marketing Coordinator lilia@groganco.com
CHARLOTTE M. EPKER Auction Administrator charlotte@groganco.com
LIVE AUCTION
EXHIBITION HOURS
MONDAY, OCTOBER 28 FRIDAY, NOVEMBER 1
For more information, please contact: info@groganco.com | 617.720.2020
20 CHARLES STREET, BOSTON, MASSACHUSETTS 02114
Paintings & Sculpture
Prints & Multiples
Footnotes Index
118 158 160
(American, 1924-2019)
The Doll 1965, oil and gouache on board signed lower left; dated and initialed lower right 23 1/2 x 17 1/2 in.
frame: 32 3/4 x 26 3/4 in.
$4,000–6,000
1
GLORIA VANDERBILT
2
ELEANOR PARKE CUSTIS
(American, 1897-1983)
Floral Still Life pastel on paper signed lower right sight: 18 3/8 x 17 1/4 in. frame: 27 1/4 x 25 1/4 in.
$1,500–2,500
3
(American, 1876-1965) Zinnias gouache on paper
signed lower left sight: 21 1/2 x 29 in. frame: 29 x 36 1/2 in.
$2,000–3,000
JANE PETERSON
4
JANE PETERSON
(American, 1876-1965)
Italian Street Scene
watercolor on paper
signed lower left
sight: 23 3/8 x 17 3/8 in.
frame: 30 5/8 x 24 5/8 in.
$5,000–7,000
5
JANE PETERSON (American, 1876-1965)
French Market Scene
watercolor on paper signed lower left sight: 22 1/2 x 17 in.
frame: 31 5/8 x 25 1/8 in.
$2,000–4,000
6
ELEANOR PARKE CUSTIS (American, 1897-1983)
Albanian Market gouache on paper
signed lower right 19 3/4 x 25 3/4 in.
frame: 25 1/8 x 31 1/8 in.
$1,000–2,000
7
ELEANOR PARKE CUSTIS
(American, 1897-1983)
Street View gouache on paper signed lower right
sight: 14 x 15 1/4 in.
frame: 22 1/2 x 24 in.
$1,500–2,500
8 HENRIETTA DUNN MEARS (American, 1877-1970) Provincetown View oil on board
signed lower left 12 3/4 x 19 3/8 in.
frame: 14 3/8 x 21 in.
$1,000–2,000
9 ANNE PACKARD (American, b. 1933) Stormy Dunes oil on board
signed lower left 5 x 7 in.
frame: 7 3/8 x 9 3/8 in.
$1,000–2,000
(British, b. 1946)
Sandsend
2008, mixed media on paper titled, signed, and dated lower right 12 5/8 x 40 5/8 in. frame: 21 x 48 1/2 in.
$800–1,200
LEN TABNER
11
AYRES (British, 1930-2018)
Evening Star
2009, oil on canvas signed lower center signed, titled, and dated verso 48 1/8 x 48 1/8 in.
$5,000–8,000
GILLIAN
12
ALICE BABER (American, 1928-1982)
The Blue Song of the Tree 1981, watercolor on paper signed, dated, titled, and located verso sheet: 29 3/4 x 41 3/4 in.., frame: 31 x 43 in.
$5,000–8,000
JENNIE HADDAD (American, 1906-1996)
Candy Stripe (Architectural Stripe) 1980, oil on canvas signed, titled, and dated verso 50 x 70 in.
$3,000–5,000
JENNIE HADDAD (American, 1906-1996)
Abstraction oil on canvas signed verso
78 1/4 x 37 7/8 in.
$2,000–4,000
JEAN DUFY
(French, 1888-1964)
Le Jardin des Tuileries oil on canvas signed lower right 19 3/4 x 25 3/4 in. frame: 25 3/4 x 31 3/4 in.
$40,000–60,000
This work will be included in the forthcoming volume of the catalogue raisonné being prepared by Jacques Bailly and is accompanied by a certificate from Bailly.
THEORDORE EARL BUTLER (American, 1861-1936)
Village au fond de l'etang 1907, oil on canvas signed and dated lower left 25 3/4 x 32 in. frame: 33 1/8 x 39 1/2 in.
$30,000–50,000
17
CHARLES CAMOIN
(French, 1879-1965)
Golfe de Piana
1910, oil on canvas signed lower right 25 3/4 x 32 in. frame: 33 x 39 1/4 in.
$30,000–50,000
Madame Grammont-Camoin kindly confirmed the authenticity of this work, which will be included in the forthcoming Charles Camoin catalogue raisonné.
18
NEIL WELLIVER (American, 1929-2005) Study for Raymond's Stream oil on illustration board
18 x 18 in.
frame: 29 1/4 x 29 1/4 in.
$5,000–8,000
This work is a study for a screenprint of the same name from the series Landscapes: A Portfolio of Six Works.
19
WILLIAM THON
(American, 1906-2000)
The Overlook oil on canvas
signed lower right
22 x 36 1/8 in.
frame: 32 1/2 x 46 1/2 in.
$4,000–6,000
20
WILLIAM THON
(American, 1906-2000)
Landscape watercolor on paper signed lower right
19 7/8 x 26 1/2 in.
frame: 28 1/4 x 35 in.
$1,000–1,500
21
WOLF KAHN
(American, 1927-2020)
Hillside with Mountains 1976, pastel on paper signed and dated lower left sight: 14 x 19 in. frame: 20 1/8 x 24 3/4 in.
$6,000–9,000
22
WOLF KAHN
(American, 1927-2020)
Hillside with White House pastel on paper
sight: 14 1/4 x 19 in.
frame: 20 1/4 x 23 3/4 in.
$3,000–5,000
23
WOLF KAHN
(American, 1927-2020)
White House and Barn pastel on paper
signed lower center sight: 8 7/8 x 16 5/8 in. frame: 16 1/4 x 22 1/2 in.
$4,000–6,000
24
HAYLEY LEVER (American, 1876-1958) Corinthian Yacht Club, Marblehead
watercolor on paper signed lower right sheet: 15 1/4 x 21 1/4 in.
$800–1,200
25
HAYLEY LEVER (American, 1876-1958) East Gloucester watercolor on paper signed in pencil lower left sheet: 10 1/2 x 14 1/8 in.
$800–1,200
26
HAYLEY LEVER
(American, 1876-1958)
Rocks and Surf, Cornwall, England oil on canvas signed lower right 6 3/8 x 9 1/4 in.
frame: 13 1/8 x 16 in.
$1,000–2,000
27
WILLIAM PARTRIDGE BURPEE
(American, 1846-1940)
Sunset Over Gloucester 1905, pastel on paper 4 3/4 x 6 in.
frame: 11 x 12 in.
$500–800
28
HARRY LESLIE HOFFMAN (American, 1871-1964)
Galapagos oil on board
estate stamp verso 6 x 8 in.
frame: 9 5/8 x 11 5/8 in.
$700–1,000
29
HARRY LESLIE HOFFMAN (American, 1871-1964)
Rocky Shoreline oil on board
signed lower left
7 3/4 x 9 3/4 in.
frame: 8 7/8 x 10 7/8 in.
$500–800
30
HARRY LESLIE HOFFMAN
(American, 1871-1964) Beebe's Station, Kartabo Point, British Guiana (Guyana) oil on board signed lower center located and titled verso 11 3/4 x 15 3/4 in.
frame: 13 3/4 x 17 3/4 in.
$800–1,200
31
GEORGE GUSTAV ADOMEIT
(American, 1879-1967) Schooner, Monhegan oil on board 16 x 20 in.
frame: 21 3/4 x 25 3/4 in.
$1,500–2,500
WILLIAM MEYEROWITZ
(American, 1887-1981)
Folly Cove Bathers oil on canvas
signed lower left
20 1/4 x 23 1/4 in., frame: 29 x 32 in.
$3,000–5,000
WILLIAM MEYEROWITZ (American, 1887-1981)
The Thickets (Ellen Day Hale's House) oil on board
15 x 21 3/4 in.
frame: 18 1/4 x 25 1/4 in.
$2,000–4,000
In this work, Meyerowitz depicts the Folly Cove home of fellow artist Ellen Day Hale (1855-1940) and her partner, artist Gabrielle de Veaux Clements (18581948).
Attributed to THEODORE WENDEL (American, 1859-1932)
Ipswich Town View oil on board
12 1/8 x 9 3/8 in. frame: 18 7/8 x 17 1/2 in.
$3,000–5,000
35
ARTHUR WESLEY DOW
(American, 1857-1922)
Along the Ipswich River oil on panel signed lower right 12 1/8 x 18 1/2 in. frame: 17 7/8 x 24 1/2 in.
$7,000–10,000
PERCIVAL LEONARD ROSSEAU (American, 1859-1937)
Seascape, Martha's Vineyard 1920, oil on canvas signed and dated lower left 25 3/4 x 32 1/4 in., frame: 35 x 41 1/2 in.
$10,000–15,000
Percival Rosseau painted this work while a guest of friends on Martha's Vineyard. According to the family, when his friends went out for a duck shoot, Rosseau chose to set up his easel and paint the scene en plein air, the result of which is the present painting. The work has remained on Martha's Vineyard in the home of the family for whom it was painted since that time.
37
ALDRO THOMPSON HIBBARD (American, 1886-1972)
Seascape oil on board
signed lower right
17 1/2 x 24 1/4 in.
frame: 26 x 32 1/2 in.
$2,000–3,000
38
CHARLES HERBERT WOODBURY (American, 1864-1940)
Looking South to Perkins Cove 1910, oil on canvas signed lower right 17 x 21 in.
frame: 27 1/4 x 31 in.
$5,000–10,000
(American, 1864-1940)
21 3/4 x 25 7/8 in. frame: 26 5/8 x 30 3/4 in.
$6,000–12,000
CHARLES HERBERT WOODBURY
Perkins Cove oil on canvas
WALT KUHN
(American, 1877-1949)
Ogunquit, Maine (Houses on the Sound) ca. 1909-1911, oil on canvas signed indistinctly lower left 33 x 40 in.
frame: 41 1/4 x 48 1/4 in.
$100,000–150,000
This early work by Walt Kuhn, painted ca. 1909-1911, captures the rugged beauty of the Ogunquit shoreline in a bold, impressionistic style. Having returned from his studies in Europe, Kuhn had been exposed to the plein-air techniques of the Impressionists, and family photo albums from his summers in Maine depict him painting largescale canvases on the Ogunquit bluffs. The painting is a significant representation of the Ogunquit artist’s colony, with the houses of Charles Herbert Woodbury and Robert Laurent in the foreground, and it celebrates the frenetic intersection of land and sea that inspired generations of artists at Ogunquit.
Here, Kuhn’s thick, expressive brushstrokes and strong impasto create a dynamic, tactile surface, while his layering of a vibrant array of colors within each stroke renders the shifting light and energy of the coastal scene. This work reveals Kuhn’s longstanding interest in form and color, foreshadowing the bold modernist approach he would embrace in the years following the 1913 Armory Show.
41
ALDRO THOMPSON HIBBARD
(American, 1886-1972)
Houses in Winter oil on board signed lower left 8 x 10 in.
frame: 13 7/8 x 15 7/8 in.
$3,000–5,000
42
ALDRO THOMPSON HIBBARD
(American, 1886-1972)
The West River oil on canvas laid on board estate stamp verso 18 x 23 5/8 in.
frame: 22 5/8 x 28 1/4 in.
$2,000–4,000
43
ALDRO THOMPSON HIBBARD
(American, 1886-1972)
Woodland Snows oil on canvas signed lower right 28 x 36 1/4 in frame: 34 3/4 x 43 in.
$3,000–5,000
signed lower right
30 1/4 x 25 1/8 in.
frame: 36 7/8 x 31 7/8 in.
$5,000–10,000
44
JONAS LIE
(American, 1880-1940)
Birch Trees in Snowy Woods oil on canvas
45
GUY CARLETON WIGGINS
(American, 1883-1962)
The Hill Farm, Winter oil on canvas
signed lower right titled and signed verso 19 7/8 x 24 1/8 in.
frame: 27 x 31 1/4 in.
$5,000–10,000
46
KENT R. WALLIS (American, b. 1945)
Vermont Bridge oil on canvas signed lower left 30 x 40 in.
frame: 36 1/2 x 46 1/2 in.
$2,000–3,000
PAUL STARRETT SAMPLE
(American, 1896-1974)
The Horse Show, S. Woodstock, Vermont ca. 1949, oil on canvas signed lower right
31 3/8 x 44 1/8 in.
frame: 39 1/2 x 52 1/2 in.
$50,000–70,000
In Horse Show, South Woodstock, Vermont, Paul Sample captures a cherished Vermont tradition through his distinctive style of New England regionalism, applying the principles of Thomas Hart Benton and Grant Wood’s midwestern regionalism to a new subject and decade. Here, he paints the rolling landscape of Vermont with an array of muted greens, contrasting this with bright accents of color on the figures in the foreground, bringing a
dynamic energy to the work, and drawing the viewer’s eye to the activity at the center of the composition. In the present work, Sample’s New England regionalism, with its focus on ordinary life and small-town events, captures a moment of continuity in a world undergoing great change during the post-war years. The painting invites the viewer to reflect on the timeless nature of these traditions and the landscapes that nurture them.
(American, 1905-1985)
Vermont Hill Farm oil on board
titled and signed lower left
36 x 45 in.
frame: 43 1/2 x 55 1/2 in.
$15,000–25,000
ERIC SLOANE
(American, 1888-1969)
Berkshire
signed lower right
25 x 30 1/8 in.
frame: 30 1/2 x 35 5/8 in.
$3,000–5,000
WILLIAM LESTER STEVENS
View oil on canvas
50
FREDERICK MULHAUPT
(American, 1871-1938)
Late Winter Grazing oil on canvas
signed lower right 30 x 40 1/4 in., frame: 40 x 50 in.
$10,000–15,000
51
ANTHONY THIEME
(American, 1888-1954)
Gloucester Harbor oil on canvas
signed lower right
30 x 36 1/8 in.
frame: 40 5/8 x 46 1/2 in.
$8,000–12,000
52
RICHARD ANDREW
(American, 1869-1956)
Eastern Point, Gloucester oil on canvas
signed lower right
25 1/4 x 30 1/8 in.
frame: 35 x 39 3/4 in.
$1,500–2,500
(American, 1880-1968)
Side Table
carved, gilded, and paint-decorated wood incised lower right height: 28 1/2 in.
$2,000–3,000
MAX KUEHNE
54
ROBERT CHARLES GRUPPE
(American, b. 1944)
Smith's Cove oil on canvas
signed lower right 25 x 30 in.
frame: 31 1/2 x 36 5/8 in.
$1,500–2,500
55
CARL WILLIAM PETERS
(American, 1897-1980)
Boats in a Harbor oil on board
estate stamp verso 14 1/4 x 17 3/4 in.
frame: 19 3/8 x 23 1/4 in.
$1,000–1,500
56
JOSHUA TOLFORD (American, 1910-1985)
Lobster Boats 1938, oil on canvas signed and dated lower right 24 x 30 in., frame: 34 x 40 in.
$1,500–2,500
57
CHARLES HENRY GIFFORD (American, 1839-1904)
Ship on Shore oil on board
initialed lower left 10 1/4 x 8 1/8 in. frame: 14 3/8 x 12 1/4 in.
$1,000–2,000
58
WILLIAM EDWARD NORTON
(American, 1842-1916)
Casco Bay
1868, oil on canvas
signed and dated lower right 11 1/2 x 19 3/4 in., frame: 16 x 24 in.
$1,000–1,500
59 COLIN HUNTER
(Scottish, 1841-1904)
Summer Twilight
1884, oil on canvas signed and dated lower right 27 1/8 x 48 in., frame: 33 3/4 x 54 5/8 in.
$4,000–6,000
60
MICHAEL ZENO DIEMER (German, 1867-1939)
Ship at Sea oil on canvas
signed lower left
39 x 56 3/4 in.
frame: 51 x 68 1/4 in.
$2,000–3,000
61 CHINESE SCHOOL (ca. 1900)
The Blue Funnel Line S.S. Agamemnon oil on canvas
16 x 21 1/2 in., frame: 20 1/2 x 26 in.
$2,000–3,000
(American, 1850-1921)
The S.S. Paraense 1895, oil on canvas signed and dated lower right 22 x 36 in., frame: 27 5/8 x 41 1/2 in.
$5,000–7,000
ANTONIO NICOLO GASPARO JACOBSEN
MAURICE GALBRAITH CULLEN (Canadian, 1866-1934)
View of Mount Girouard, Near Banff ca. 1940, oil on board signed lower right 15 x 18 in., frame: 22 1/4 x 25 3/4 in.
$10,000–20,000
64
FREDERIC MARLETT BELL-SMITH
(Canadian, 1846-1923)
Lake Louise
oil on board
signed lower right sight: 12 x 18 in.
frame: 22 1/2 x 28 1/2 in.
$1,500–2,500
65
CORNELIUS KRIEGHOFF
(Canadian, 1815-1872)
Portage oil on canvas
signed lower right 13 5/8 x 16 3/4 in.
frame: 19 1/2 x 22 1/2 in.
$15,000–30,000
33 1/4 x 45 5/8 in.
$30,000–50,000
This 1872 landscape is an important example of George Inness’s mature style, painted after he settled in Montclair, New Jersey in the early 1870s. By this time, he had been exposed to the techniques of the Barbizon school during his travels in Europe and his style had shifted away
66. GEORGE INNESS (American, 1825-1894), Old Mill, Montclair, New Jersey (Ramapo Hills) 1872, oil on canvas, signed and dated lower left 23 3/8 x 35 5/16 in., frame:
from a more detailed realism toward the moody, atmospheric compositions like the one seen here. In Old Mill, Montclair, Inness depicts the hilly landscape using a soft light, with delicate brush strokes and a muted color palette. This work reflects Inness’s mastery of atmosphere, transcending the physical world and offering a deeper, spiritual connection to nature. Here, he contrasts the subtle browns and greens of the landscape with the strong white of the churning water mill in the valley at the center of the composition, inviting the viewer to contemplate the tension between the natural and the man made.
67
Attributed to THEODORE ROBINSON
(American, 1852-1896)
Study of a Cow oil on canvas on board
9 1/2 x 19 3/4 in. frame: 17 1/2 x 27 7/8 in.
$2,000–3,000
68
THOMAS HEWES HINCKLEY
(American, 1813-1896)
View of Blue Hills with Cattle 1871, oil on canvas signed and dated lower right 38 1/2 x 52 1/2 in., frame: 48 x 62 1/4 in.
$7,000–10,000
69
GEORGE FORSTER
(American, 1817-1896)
Still Life
1866, oil on canvas signed and dated lower right 20 3/4 x 26 1/2 in. frame: 28 x 34 1/4 in.
$3,000–5,000
70 WALTER GAY
(American, 1856-1937) Floral Still Life oil on canvas signed lower right 18 1/4 x 14 1/4 in. frame: 23 x 19 in.
$2,000–4,000
71
ERNEST LEE MAJOR
(American, 1864-1950)
Zinnias and Carnations oil on canvas
34 5/8 x 25 1/8 in.
frame: 43 1/8 x 34 1/4 in.
$1,000–2,000
72
ABBOTT FULLER GRAVES
(American, 1859-1936)
Peonies oil on panel
signed lower left
11 3/4 x 9 1/2 in.
frame: 17 x 14 3/4 in.
$1,500–2,500
73
HENRIETTE WYETH
(American, 1907-1997)
Portrait of Charles A. Higgins, Jr. oil on canvas
signed lower right 22 1/4 x 20 in. frame: 24 3/4 x 22 1/2 in.
$4,000–6,000
The subject of this painting is 2nd Lieutenant Charles A. Higgins, Jr. (1922-1945), for whose family Henriette Wyeth painted a number of commissioned portraits.
Charles A. Higgins, Jr. was born on July 16, 1922, in Philadelphia, Pennsylvania, as an only child to Charles Afred Higgins and Marion Dunham Higgins (née Marion Glenn Dunham). After moving to Delaware, Charles attended The Lawrenceville School in Lawrenceville, New Jersey before attending Yale University in the fall of 1940.
In September of 1942, Charles dropped out of Yale to volunteer for the U.S. Army Signal Corps and attended Officer Candidate School at Fort Monmouth. Upon being commissioned as a 2nd Lieutenant in 1943, he was sent to France in January of 1945 to become a member of Photo Detachment No. 59, 3264th Signal Service Company.
On March 24, 1945, Lieutenant Higgins was assigned to photograph Operation Varsity. Operation Varsity was an airborne forces operation launched by Allied troops with the goal of securing a foothold across the Rhine, at the time a formidable challenge and a symbolic stronghold for the German nation. Upon successfully dropping their plane’s ‘stick’ of paratroopers belonging to the 513th Parachute Infantry Regiment, 17th Airborne Division, the Curtiss C-46 Commando in which Lieutenant Higgins was flying was struck and damaged by enemy fire. Tragically, Lieutenant Higgins lost his life at age 23 when the plane went down, crashing just beyond the drop zone.
Lieutenant Higgins was posthumously awarded the Purple Heart and Silver Star medals for his actions during the war and Operation Varsity. He is buried at the Netherlands American Cemetery in Margraten.
74
WILLIAM MCGREGOR PAXTON (American, 1869-1941)
Portrait of a Seated Woman in a White Dress oil on board signed lower right 30 x 25 in., frame: 35 1/2 x 30 1/2 in.
$5,000–10,000
75
EDMUND CHARLES TARBELL (American, 1862-1938)
Portrait of Emily Tyson (Perry) Russell 1930, oil on canvas signed and dated lower left housed in a hand-carved Thulin frame 46 x 34 in., frame: 52 1/2 x 40 1/4 in.
$6,000–12,000
CHARLES HOPKINSON (American, 1869-1962)
Summer Days (Portrait of Rosamond and Elizabeth Eliot) oil on canvas signed lower left 50 x 50 in., frame: 60 x 60 in.
$10,000–20,000
Rosamond and Elizabeth Eliot were granddaughters of Charles W. Eliot (1834-1926), the maternal uncle of the artist, and the 21st President of Harvard University. This work likely depicts Rosamond and Elizabeth at the Eliot family compound on Mount Desert Island, Maine.
77
WHITNEY FRISHMUTH (American, 1880-1980) Crest of the Wave 1925, bronze inscribed with signature and date and stamped Gorham Co Founders OFHL on base height: 21 in.
$5,000–7,000
HARRIET
1880-1980)
The Vine 1921, bronze inscribed with signature and date and stamped Gorham Co Founders QBWS on base height: 11 3/4 in.
$5,000–7,000
78
HARRIET WHITNEY FRISHMUTH (American,
FRED FELLOWS
(American, b. 1934)
An Honest Day's Work bronze
signed and numbered 12/50 on edge height: 36 in., width: 32 in. base height: 40 in., base width: 27 in.
$7,000–10,000
80 GRANT SPEED
(American, 1930-2011)
When Quiet Can Save Your Life 1986, bronze signed, dated, stamped, and numbered 10/30 lower right length: 32 in., overall height: 17 3/4 in.
$4,000–6,000
81 DUKE BEARDSLEY (American, b. 1969)
Six Horses 2012, oil on canvas signed and dated lower right 12 x 36 in.
$1,500–2,500
82
WILLIAM ACHEFF
(American, b. 1947)
Peyote Rattle
1978, oil on canvas signed and dated lower left
8 x 18 in., frame: 12 1/2 x 22 1/2 in.
$4,000–6,000
83
WILLIAM MATTHEWS
(American, b. 1949)
Cowboy Saddling Horse watercolor on paper
signed and stamped lower right
9 x 19 in.
frame: 19 1/4 x 28 1/4 in.
$2,000–3,000
MATTHEWS (American, b. 1949)
Indian Summer watercolor on paper signed lower right sheet: 34 1/2 x 28 1/2 in. frame: 49 1/2 x 43 1/2 in.
$3,000–5,000
WILLIAM
85
WILLIAM MATTHEWS
(American, b. 1949)
Cowboy on Horseback watercolor on paper signed and stamped lower right 15 x 10 in.
frame: 21 1/4 x 16 1/4 in.
$2,000–3,000
86
OLAF CARL SELTZER (Danish/American, 1877-1957)
Mr. Trail Boss watercolor on paper signed lower left sight: 14 x 10 in. frame: 25 3/4 x 19 3/4 in.
$3,000–5,000
87
JOHN JARVIS
(American, b. 1946)
Dry Wash gouache on paper
signed lower right
7 3/4 x 11 1/4 in.
frame: 16 1/2 x 19 1/2 in.
$1,000–1,500
88
WILLIAM SHARER
(American, b. 1934)
As Far as the Eye Can See ca. 1980, oil on panel signed lower left
20 x 30 in.
frame: 30 1/2 x 40 1/2 in.
$2,000–3,000
89 WILLIAM MATTHEWS (American, b. 1949) Acoma Courtyard watercolor on paper signed and stamped lower left 10 1/2 x 15 1/4 in.
frame: 20 x 24 1/2 in.
$1,500–2,500
90 JAMES EDWARD FITZGERALD (American, 1899-1971) Mountain Home, Tennessee watercolor on paper signed lower right sight: 19 x 24 in.
frame: 26 1/4 x 31 1/4 in.
$1,500–2,500
91
CHET RENESON
(American, b. 1934)
Fast Water: Landing a Fish 1974, watercolor on paper signed and dated lower left 22 1/2 x 30 1/4 in.
$1,000–2,000
92
FRANCIS STILLWELL DIXON (American, 1879-1967)
Evening in the Valley oil on canvas signed lower right 12 1/4 x 16 1/8 in. frame: 17 3/4 x 21 3/4 in.
$800–1,200
(American, b. 1951)
signed lower left
50 x 60 in.
frame: 60 x 68 in.
$20,000–40,000
CLYDE ASPEVIG
Bitterroot Valley oil on canvas
RICHARD D. THOMAS
(American, 1939-2019)
Crossing the Arkansas 1986, oil on canvas signed and dated lower left; titled, dated, and signed verso 30 x 40 in., frame: 43 1/2 x 55 1/2 in.
$4,000–8,000
95
GARY KAPP
(American, b. 1942)
Trappers Under the Tetons 1979, oil on board signed and dated lower right 24 x 36 in.
frame: 32 1/2 x 44 in.
$2,000–4,000
96
PETER SMITH
(English, b. 1949)
Morning Exercise Below the Heads of Ayr oil on canvas signed lower left 16 x 22 in.
frame: 22 1/2 x 28 1/2 in.
$1,000–2,000
97
Attributed to CARL RUNGIUS (American, 1869-1959)
Moose and Hunters oil on canvas
signed lower right
30 1/2 x 27 in.
frame: 37 x 28 1/2 in.
$10,000–20,000
98 JOHN WILLIAMSON (American, 1826-1885)
Evening, Sioux Burial Grounds oil on board
6 3/4 x 9 in., frame: 13 1/2 x 15 1/2 in.
$3,000–5,000
ALBERT BIERSTADT
(American, 1830-1902)
Mounted Indian at Sunset oil on paper on board signed lower right 9 1/4 x 13 1/4 in. frame: 19 3/8 x 23 1/2 in.
$20,000–30,000
As part of his art practice, Bierstadt regularly did oil sketches where he captured an aspect of the scene – a mountain formation, clouds, or colors at certain times of day. In Mounted Indian in Sunset, he captures the colors of a setting sun and the effects of the light on the clouds and sky. The mounted figure and mountains are backlit with very little definition. The focus here is the evening light as described by the golds, oranges and corals….Although loosely painted, Bierstadt expertly captures the essence of a western landscape in waning light. The painting may date from his 1859 or 1863 trips West.
Grogan & Company thanks Melissa Webster Speidel, President of the Bierstadt Foundation and Director of the Albert Bierstadt catalogue raisonné project, for her assistance in the cataloguing of this lot.
100 FRANKLIN BROOKE VOSS (American, 1880-1953)
Free Gold 1936, oil on canvas signed and dated lower right 14 x 18 in., frame: 16 7/8 x 20 7/8 in.
$800–1,200
101 J.C. PARTRIDGE (English, 19th century)
Horse Portrait 1884, oil on canvas signed and dated lower left 14 x 18 in., frame: 19 x 23 in.
$500–800
COLLECTION OF
TEN
ENGLISH HORSE DRAWINGS
SAWREY GILPIN (English, 1733-1807)
Hunters Turned Out ink, sight: 5 7/8 x 9 1/4 in. frame: 13 3/4 x 16 7/8 in.
JAMES SEYMOUR (English, 1702-1752)
Lord Halifax's Partner pencil, 6 3/8 x 8 in., frame: 12 7/8 x 14 1/4 in.
JAMES WARD (English, 1769-1859)
"Fatigue" "Energy" "Hackney" ink, sight: 7 1/4 x 9 1/8 in., frame: 14 1/4 x 15 7/8 in.
JAMES KERR LAWSON (English/Canadian, 1864-1939)
At Cordova charcoal, sight: 4 1/8 x 3 1/2 in., frame: 10 7/8 x 10 in.
JAMES WARD (English, 1769-1859)
Study of a Foal ink, initialed lower right, sight: 2 7/8 x 4 1/4 in. frame: 9 1/2 x 10 1/2 in.
JOSEPH CRAWHALL (English, 1861-1913)
Study of Horse and Rider pencil, sight: 3 1/4 x 3 1/8 in., frame: 8 7/8 x 8 3/8 in.
JAMES SEYMOUR (English, 1702-1752)
Brood Mare and Foal sanguine, sight: 3 3/4 x 6 in., frame: 10 3/4 x 12 1/2 in.
JOHN JOSEPH BARKER OF BATH (English, 1824-1904)
Horses in a Landscape ink, sight: 4 1/4 x 6 3/4 in., frame: 10 5/8 x 13 1/8 in.
ENGLISH SCHOOL (19th century)
Two Horse Studies pencil, sight of each: 4 3/4 x 3 1/4 in., frame: 10 1/2 x 13 1/4 in.
ENGLISH SCHOOL (19th century)
A Flyer watercolor, sight: 4 3/8 x 6 1/2 in., frame: 11 x 12 7/8 in.
$500–700
103
LOUIS AGASSIZ FUERTES
(American, 1874-1927)
Shorebirds
watercolor en grisaille signed lower right sight: 19 1/2 x 13 in. frame: 26 3/4 x 20 in.
$2,000–4,000
104
FREDERICH JUNGLING
(German, 1846-1889)
Pair of Floral Still Lives in Architectural Niches gouache on paper each signed lower right 13 x 10 in., frame: 16 1/8 x 13 in.
$1,500–2,500
105 DUTCH SCHOOL (19th century)
Floral Still Life with Butterfly and Bird Nest oil on canvas
28 1/2 x 22 1/2 in.
frame: 36 1/2 x 30 1/4 in.
$1,500–2,500
106 MARMADUKE CRADOCK
(English, 1660-1717)
Poultry, Pigeons, and a Magpie in a Landscape oil on canvas
28 x 51 in.
frame: 34 1/4 x 55 3/4 in.
$4,000–6,000
107
JACOB HENDRICUS MARIS
(Dutch, 1837-1899)
Canal in Amsterdam oil on board
signed lower right
7 1/2 x 9 3/4 in., frame: 15 1/2 x 18 in.
$1,500–2,500
108
Manner of JAN JOSEFSZ VAN GOYEN
(Dutch, 1596-1656)
River Landscape oil on cradled panel inscribed on boat lower left 22 1/2 x 40 in., frame: 32 x 46 in.
$1,000–2,000
109
ALFRED DE BREANSKI SR. (British, 1852-1928)
A Sunset, On the Tummel oil on canvas signed lower left 24 x 36 in., frame: 29 3/4 x 41 7/8 in.
$4,000–8,000
110
JOHN A. M ac WHIRTER
(American, 1839-1911)
Standing Stones on Machrie Moor oil on canvas
signed lower right
19 1/4 x 30 1/2 in.
frame: 22 1/8 x 33 1/4 in.
$1,000–2,000
111
CHARLES WYSOCKI
(American, 1928-2002)
New England Port Scene oil on canvas
signed lower left 24 x 30 in.
frame: 29 5/8 x 35 5/8 in.
$10,000–15,000
112
BENJAMIN CHAMPNEY
(American, 1817-1907)
Forest Path oil on board
signed lower left
11 5/8 x 7 1/2 in.
frame: 21 3/8 x 17 1/4 in.
$1,000–2,000
113
EDWARD WILBUR DEAN HAMILTON
(American, 1864-1943)
Autumn Landscape oil on canvas
signed lower right
29 3/4 x 25 in.
frame: 39 3/4 x 34 3/4 in.
$2,000–3,000
114
A. HALE JOHNSON
(American, b. 1937)
Landscape Study
1985, oil on panel signed lower right; signed and dated verso 6 x 14 in., frame: 13 1/4 x 21 1/4 in.
$800–1,200
115
WILLIAM ROBERT DAVIS
(American, b. 1952)
Old Barn, Reading, VT 2008, oil on panel signed lower right; signed, titled, and dated verso 12 x 16 in., frame: 18 1/4 x 22 1/4 in.
$1,500–2,000
116
WILLIAM ROBERT DAVIS (American, b. 1952)
Winter Saco River, Late Afternoon
2002, oil on panel signed lower left signed, titled, and dated verso 8 x 10 in.
frame: 11 1/2 x 13 1/2
$1,000–1,500
117
WILLIAM ROBERT DAVIS (American, b. 1952)
January Snows, Chocorua 2009, oil on panel signed lower left signed, titled, and dated verso 6 x 8 in.
frame: 11 1/2 x 13 1/2 in.
$1,000–1,500
118
JOHN TERELAK (American, b.1942)
Boston Twilight 1996, oil on canvas signed and dated lower left 24 x 29 1/2 in.
frame: 32 1/2 x 38 3/8 in.
$2,000–3,000
119
JOHN TERELAK (American, b.1942)
New England Autumn 1991, oil on canvas signed and dated lower left 24 x 30 in.
frame: 32 1/2 x 38 1/2 in.
$1,500–2,500
120 BEN ARONSON (American, b. 1958) Light Rain, Copley Square 2003, oil on panel signed and dated lower left 12 x 15 in., frame: 18 x 21 in.
$1,500–2,500
Accompanied by a plein-air study signed and dated by the artist.
(American, 1883-1972)
Trinity Church, Wall Street oil on canvasboard
signed lower right 7 x 5 1/8 in., frame: 14 5/8 x 12 5/8 in.
$2,000–4,000
121
JOHANN BERTHELSEN
GUY CARLETON WIGGINS (American, 1883-1962)
Union Square, Winter 1912, oil on canvas signed and dated lower right; titled, signed, and dated verso 20 1/4 x 24 1/4 in., frame: 24 3/4 x 28 3/4 in.
$20,000–40,000
122
123
COLIN CAMPBELL COOPER
(American, 1856-1937)
New York in the Snow oil on board
signed lower right 16 x 20 in.
frame: 21 5/8 x 25 5/8 in.
$3,000–5,000
124
COLIN CAMPBELL COOPER
(American, 1856-1937)
Lower Manhattan, Winter oil on board
signed lower left 20 x 16 in.
frame: 24 1/2 x 20 3/4 in.
$3,000–5,000
125
ARTHUR CLIFTON GOODWIN (American, 1864-1929)
Boston Public Garden pastel on paper signed lower left sight: 18 1/4 x 23 3/8 in. frame: 28 3/4 x 33 5/8 in.
$1,200–1,800
126
OTTO ERICH WAGNER (Austrian, 1895-1979)
Abstract Townscape 1953, watercolor on paper signed and dated lower left sight: 19 1/8 x 15 1/8 in. frame: 25 1/8 x 21 1/8 in.
$1,000–2,500
(Mexican, 1886-1957)
Portrait of a Gentleman pencil on paper signed lower left sight: 10 1/2 x 8 in. frame: 17 3/4 x 14 3/4 in.
$7,000–10,000
127
DIEGO RIVERA
(American, 1939-2011)
Paul Robeson 1980, watercolor on paper signed and dated lower right sight: 30 1/2 x 19 1/2 in. frame: 37 3/4 x 29 1/2 in.
$1,500–2,500
128
RICHARD YARDE
129
WILSON BIGAUD (Haitian, 1931-2010)
Haitian Market oil on masonite signed lower right
19 1/4 x 23 3/4 in. frame: 24 1/8 x 28 1/2 in.
$2,000–4,000
130
1969, oil on board signed and dated lower right 24 x 20 in.
frame: 31 1/4 x 27 1/8 in.
$1,000–1,500
SALNAVE PHILIPPE-AUGUSTE (Haitian, 1908-1989)
Fruit Tree
131
ROLAND DORCELY
(Haitian, 1930-2017)
Still Life with Chair oil on canvas
signed center left
21 1/8 x 25 1/2 in., frame: 21 3/4 x 26 in.
$2,000–3,000
132
(American, 1891-1971)
Still Life oil on canvas
signed lower right 24 x 36 in., frame: 26 3/8 x 38 1/2 in.
$4,000–6,000
KARL KNATHS
(American, 1882-1952)
Untitled Composition oil on canvas
initialed lower right 24 x 18 1/8 in. frame: 29 7/8 x 23 7/8 in.
$5,000–7,000
133
ALBERT EUGENE GALLATIN
(Dutch, 1900-1984)
Untitled Composition
1924, oil on panel signed and dated lower right 23 1/2 x 23 1/2 in.
frame: 29 1/4 x 29 1/4 in.
$20,000–40,000
134
WOBBE ALKEMA
135
DEVRIM NEJAD (Turkish, 1923-1995)
Untitled oil on canvas signed lower left
28 x 20 in.
frame: 32 3/4 x 24 3/4 in.
$8,000–12,000
136
NAFTALI BEZEM (Israeli, 1924-2018)
Untitled oil on canvas signed lower left
19 3/4 x 24 in.
frame: 27 3/4 x 32 in.
$1,000–2,000
(British/American, 1936-2022)
acrylic on wood titled, signed, and dated verso 56 x 47 1/2 in.
$1,000–1,500
137
TONY MAGAR
Redcliff
138
DOUGLAS ABDELL (American, b. 1947)
D Station #100
acrylic on wood titled verso
65 x 58 3/8 in.
$5,000–8,000
139
YASHAREL MANZY (Iranian, b. 1947)
Alassio
2000, oil on canvas signed lower left signed and dated verso
27 x 31 in.
frame: 28 5/8 x 32 5/8 in.
$1,500–2,500
140
JULIAN STANCZAK
(Polish/American, 1928-2017) Crystals
1990, acrylic on masonite panel inscribed and dated verso 16 3/4 x 13 1/2 in.
$8,000–12,000
141
BERNARD CHAET
(American, 1924-2012)
Orange Coast and Sun, Gloucester oil on canvas titled verso
20 x 30 1/8 in.
frame: 21 1/2 x 31 1/2 in.
$800–1,200
142
TIM ROLLINS and K.O.S. (American, 1955-2017) Study For Amerika 1988, watercolor and pencil on book page signed and dated lower right 7 7/8 x 5 1/8 in. frame: 15 7/8 x 12 7/8 in.
$1,000–1,500
143
CHI CHEN
(Chinese/Ameri, 1912-2005) Red Flowers
1990, watercolor on paper signed and dated lower left sight: 21 x 28 3/4 in. frame: 25 3/8 x 33 1/4 in.
$1,000–2,000
144
WEE SHOO LEONG
(Singaporean, b. 1958)
Daching with Pot 1989, oil on canvas
signed and dated lower right titled and dated verso 44 x 34 in.
frame: 46 1/4 x 36 1/4 in.
$2,000–4,000
145
WEE SHOO LEONG
(Singaporean, b. 1958)
Chinese Thrush
1989, oil on canvas
signed and dated lower right
titled and dated verso 44 x 34 in.
frame: 46 1/4 x 36 1/4 in.
$2,000–4,000
RAYMOND HAN
(American, 1931-2017)
White Still Life with Cauliflower 1987, oil on canvas signed and dated verso 52 x 52 in., frame: 53 x 53 in.
$2,000–4,000
147
ROGER CAPRON
(French, 1922-2006)
Lady in Red Hat ceramic
signed bottom left height: 14 1/2 in.
$1,000–1,500
148
HENRYK TWARDZIK
(Polish/American, 1990-1992)
Portrait of a Lady in a Red Hat oil on canvas signed lower center 40 1/4 x 32 1/8 in. frame: 45 x 36 7/8 in.
$1,000–1,500
149
Attributed to JEAN MAURICE
EUGENE CLEMENT COCTEAU
(French, 1889-1963)
Study for 'Le Chiffre' pencil on paper signed upper left
8 x 5 1/8 in., frame: 14 x 11 in.
$800–1,200
150
ANTONIO BUENO
(Italian, 1918-1984)
Portrait of a Boy oil on board
signed upper left
10 7/8 x 7 7/8 in. frame: 18 3/4 x 15 3/4 in.
$4,000–6,000
151
ROBERT BLISS (American, 1925-1981)
Seated Male Figure 1970, oil on board signed and dated lower left 18 7/8 x 16 5/8 in.
frame: 20 x 17 3/4 in.
$3,000–5,000
152
ROBERT BLISS (American, 1925-1981)
The Young Man oil on masonite signed upper left 11 x 17 in.
frame: 12 1/2 x 18 1/2 in.
$2,000–3,000
153
(Romanian, b. 1978)
The Bather
2009, oil on canvas signed and dated verso 19 3/4 x 13 7/8 in., frame: 20 3/4 x 15 in.
$3,000–5,000
SERBAN SAVU
154
MOSES WIGHT
(American, 1827-1895)
Mother and Daughter, Paris oil on canvas signed and inscribed lower right 22 x 17 1/2 in., frame: 27 x 21 1/2 in.
$3,000–5,000
155
PHILIP CORBET (British, 1802-1877)
The Ven. Archdeacon Owen & The Rev. J. Blakeway oil on board 23 1/2 x 21 3/8 in., frame: 30 x 28 in.
$800–1,200
156
HENRI HOURTAL (French, 1877-1944)
Street Scene oil on canvas signed lower left 29 x 36 in., frame: 42 1/2 x 50 1/2 in.
$1,500–3,000
157
PHILIP HENRY CHRISTOPHER JACKSON
(English, b. 1944)
Pope Joan bronze
inscribed and numbered 8/8 verso height: 20 in.
$2,000–3,000
Accompanied by signed book Sculptures by Philip Jackson. This work is a maquette for a larger sculpture titled Pope Joan
158
LUIS MONTOYA and LESLIE ORTIZ (POPLITEO)
(Spanish/American, 20th/21st century) Plum bronze
signed and numbered 6/8 on edge height: 17 1/2 in.
$1,500–2,500
159
MICHAEL STEINER (American, b. 1945) Model for Inroof 1973, bronze 23 3/4 x 24 x 17 in.
$1,500–2,500
160 MICHAEL STEINER (American, b. 1945) Pontus bronze
50 x 32 x 22 in.
$2,000–4,000
161
REMBRANDT VAN RIJN
(Dutch, 1606-1669)
The Flute Player etching and drypoint plate: 4 1/2 x 5 5/8 in. sheet: 4 3/4 x 5 7/8 in.
$5,000–10,000
162
REMBRANDT VAN RIJN (Dutch, 1606-1669)
The Rest on the Flight: A Night Piece ca. 1644, etching plate: 3 5/8 x 2 3/8 in., sheet: 4 x 2 5/8 in.
$800–1,200
163
ALBRECHT DÜRER (German, 1471-1528)
Christ Arrested (From "The Small Passion") ca. 1508, woodcut
4 1/2 x 3 in., frame: 13 3/4 x 12 1/8 in.
$1,000–1,500
164
CAMILLE PISSARRO
(French, 1830-1903)
Marché aux légumes, à Pontoise etching and drypoint stamped lower left numbered 39/45 lower right plate: 9 7/8 x 7 7/8 in.
frame: 19 1/4 x 15 1/2 in.
$1,000–1,500
165
CAMILLE PISSARRO
(French, 1830-1903)
Quai de Rouen (Grand Pont)
1896, lithograph on blue-grey chine collé signed lower left numbered 8/12 lower right plate: 8 1/4 x 11 3/4 in.
frame: 18 x 20 3/4 in.
$1,000–1,500
166
PABLO PICASSO
(Spanish, 1881-1973)
Deux sculpteurs devant une statue etching
signed lower right in pencil plate: 8 3/4 x 12 1/4 in. frame: 16 3/4 x 18 3/4 in.
$4,000–6,000
167
PABLO PICASSO
(Spanish, 1881-1973)
Sculpteur et son modèle avec un groupe sculpté représentant un centaure embrassant une femme etching, from the Vollard suite signed lower right in pencil sheet: 13 1/4 x 17 1/2 in. frame: 16 3/4 x 18 5/8 in.
$2,000–3,000
168
PABLO PICASSO
(Spanish, 1881-1973)
Cavalier en visite chez une fille, avec la Célestine et un petit chien [Plate 162 from Series 347 (B. 1642; Ba. 1658)]
1968, aquatint
signed in pencil lower right numbered 38/50 lower left plate: 3 3/4 x 6 1/4 in., frame: 17 x 19 1/2 in.
$2,000–3,000
169
MARC CHAGALL (French, 1887-1985)
La Passion lithograph in colors signed lower right numbered 38/50 lower left in pencil sheet: 22 1/2 x 14 7/8 in. frame: 28 3/8 x 20 7/8 in.
$2,000–3,000
170
GEORGES BRAQUE (French, 1882-1963)
Les Deux Iris lithograph in colors signed lower right numbered 23/75 lower left
sight: 13 7/8 x 10 3/8 in.
frame: 25 1/4 x 21 in.
$800–1,200
171
GEORGES BRAQUE (French, 1882-1963)
Poissons bleus
lithograph in colors signed lower right numbered 18/70 lower left
sight: 16 1/8 x 24 3/4 in.
frame: 26 1/2 x 34 1/2 in.
$1,000–1,500
172
LEONARD TSUGUHARU FOUJITA (Japanese, 1886-1968)
Little Girl With Top Knot Holding a Bird hand colored etching numbered H.C. 4/5 lower left signed lower right plate: 13 1/4 x 10 in. frame: 23 x 19 3/4 in.
$3,000–5,000
173
MAX BECKMANN
(German, 1884-1950)
Der Ausrufer (Selbstbildnis)
1921, drypoint on paper signed lower right plate: 13 1/4 x 9 7/8 in. sheet: 20 3/4 x 14 7/8 in.
$2,000–4,000
174
(German, 1880-1916)
stamped and signed in pencil by Maria Marc verso plate: 7 7/8 x 9 3/8 in., sheet: 12 x 16 3/8 in., frame: 16 3/4 x 22 3/4 in.
$2,000–3,000
FRANZ MARC
Tiger woodcut
175
GEORGE BELLOWS (American, 1882-1925)
Businessmen's Bath 1923, lithograph signed lower right; signed by the printer lower left; titled center sheet: 14 x 19 in. frame: 19 x 24 in.
$1,500–2,500
176
THOMAS HART BENTON (American, 1889-1975)
Haystack lithograph signed lower right plate: 10 1/4 x 12 7/8 in. sheet: 11 7/8 x 16 in.
$1,500–2,500
177
JOHN JAMES AUDUBON (1785-1851) and REV. JOHN BACHMAN (1790-1874)
The Quadrupeds of North America
New York: Published by V.G. Audubon, 1849-1851-1854.
three volumes, octavo edition, with 155 hand-colored lithographs drawn on stone by W.E. Hitchcock and R. Trembly, after John James and John Wodehouse Audubon.
$2,500–3,500
178
DAVID YARROW
(British, b. 1966)
The Puzzle
2013, pigment print asigned and dated lower right sheet: 56 3/4 x 65 1/2 in. frame: 74 1/4 x 83 5/8 in.
$10,000–15,000
179
(British, b. 1966)
Mankind 2014, pigment print
numbered A.P. lower left; signed and dated lower right sight: 50 1/4 x 103 7/8 in., frame: 59 5/8 x 114 1/4 in.
$15,000–25,000
DAVID YARROW
"I wanted people to be able to look at the picture for hours and find new stories each time"
- David Yarrow
180
ANSEL ADAMS (American, 1902-1984)
Clearing Winter Storm, Yosemite National Park, California
gelatin silver print artist's stamp verso 15 1/4 x 19 1/4 in.
$20,000–40,000
182
JERRY UESLMANN
(American, 1934-2022)
Untitled (Philosopher's Desk)
gelatin silver print artist's stamp verso sheet: 13 3/4 x 10 7/8 in.
$800–1,200
181
JERRY UESLMANN
(American, 1934-2022)
Untitled (Philosopher's Desk)
gelatin silver print signed verso; artist's stamp verso sheet: 13 3/4 x 10 7/8 in.
$1,000–1,500
183
JERRY UESLMANN (American, 1934-2022) Rock Tree
1969, gelatin silver print signed verso sheet: 9 7/8 x 8 in.
$700–1,000
184
JERRY UESLMANN
(American, 1934-2022)
Untitled, from Other Realities
1980, gelatin silver print
inscribed, signed, and stamped verso sheet: 14 x 10 7/8 in.
$700–1,000
185
JERRY UESLMANN
(American, 1934-2022)
Untitled (Rock, Tree, and Water)
1983, gelatin silver print inscribed, signed, and stamped verso sheet: 13 3/4 x 10 7/8 in.
$700–1,000
1923-2004)
Scarf by Versace photograph in colors signed and numbered 68/80 lower right; stamped verso sheet: 16 x 13 in., frame: 22 1/2 x 17 1/4 in.
$4,000–6,000
186
RICHARD AVEDON (American,
187
BRICE MARDEN
(American, 1938-2023)
Fungoid Rock 1996-7, aquatint signed and dated lower right numbered 37/45 lower left sheet: 19 x 15 1/2 in.
frame: 24 3/4 x 21 1/4 in.
$5,000–8,000
188
JULIAN STANCZAK
(Polish/American, 1928-2017)
Blue Cut-Out Fold
screenprint in colors signed lower right
numbered 101/165 lower left
sight: 25 1/2 x 25 1/2 in.
frame: 35 x 34 in.
$700–1,000
189
MILTON AVERY (American, 1885-1965)
Three Birds (L. 43) woodcut in blue and black signed and dated lower right numbered artist's proof lower left plate: 9 1/2 x 24 7/8 in. frame: 18 1/2 x 33 3/4 in.
$2,500–3,500
190 GUSTAVE BAUMANN (American, 1881-1971)
The Ridge Road 1918, woodcut in colors signed with artist's stamp lower right titled lower left numbered 96/100 lower center plate: 10 3/4 x 9 3/4 in. frame: 23 1/4 x 21 3/8 in.
$5,000–8,000
191 NEIL WELLIVER (American, 1929-2005) Canadian Geese lithograph in colors signed lower right numbered 65/75 lower left sight: 9 x 8 5/8 in. frame: 18 1/8 x 17 in.
$400–600
$4,000–8,000
192. ALEX KATZ (American, b. 1927), Blue Umbrella, lithograph in colors signed and numbered 57/120 lower left, 20 x 30 in., frame: 29 x 39 in.
193
GILLIAN AYRES (British, 1930-2018)
Star Spangled
2010, hand colored print
signed and dated lower right numbered 4/30 lower left sheet: 30 1/4 x 40 3/4 in.
frame: 35 x 49 in.
$1,000–1,500
194
GILLIAN AYRES (British, 1930-2018) Greenwells Glory
1999, hand colored print signed and dated lower right numbered 8/30 lower left sheet: 25 x 29 in.
frame: 30 x 34 1/2 in.
$800–1,200
ALEXANDER CALDER (American, 1898-1976)
Loops and Yin-Yang, lithograph in colors, signed lower right, numbered E.A. lower left sight: 31 1/4 x 22 1/4 in., frame: 40 x 30 1/4 in.
$2,000–4,000
195.
Lots 196–211: The Cardinale Collection
Lots 196-211 come to auction from the personal collection of the late Charles Cardinale. From 19501984, Cardinale owned and operated Fine Creations, Inc., a prominent New York printing company that specialized in high-quality screenprints. Over the decades, he worked with many of the great artists of the twentieth century, including Roy Lichtenstein, Alexander Calder, and Will Barnet.
Cardinale’s collaborative approach to printmaking led him to foster deep friendships with the artists as they worked alongside each other in the print studio. For example, when Cardinale was interviewed by Avis Berman in 2010 for the Lichtenstein Catalogue Raisonné, he recalled how he and Roy Lichtenstein worked together to create the Ten Landscapes series. Under Lichtenstein’s direction, Cardinale carefully die-cut large Rowlux sheets so that each cut piece had a unique pattern, while Lichtenstein hand cut the screenprint stencils. Fittingly, one Landscape from the partial set of Ten Landscapes (Lot 202) is numbered and dedicated “A/P - To Charlie - Roy Lichtenstein 1967.” Indeed, many of the prints in his collection feature personalized inscriptions from the artists. Will Barnet dedicated one print (Lot 209) with the inscription “To Charlie - King of Silkscreen - with appreciation as ever - Will Barnet,” and another (Lot 207) “To my old friend and printer par excellence - Charles Cardinale - Will Barnet.” Meanwhile, Ernest Trova simply wrote on his print, “for Charlie, ‘the best’ - E.T.” (Lot 211). The intimate nature of these inscriptions reflects the mutual respect between artist and printmaker.
Grogan & Company is honored to bring Charles Cardinale’s collection to market and to have the opportunity to celebrate his legacy as an important printmaker of the twentieth century.
Clockwise from top left: Charles Cardinale in conversation with Larry Rivers; printmaking in progress at Fine Creations; Alexander Calder signing his works at Fine Creations.
Spirale Imaginatif, 1975, lithograph in colors signed lower right, numbered 24/90 lower left; sheet: 31 x 22 3/4 in.
$2,000–4,000
196. ALEXANDER CALDER , (American, 1898-1976)
197 ALEXANDER CALDER
(American, 1898-1976)
Les Fleurs lithograph signed lower right numbered 56/90 lower left sheet: 22 3/4 x 30 1/2 in. frame: 29 1/2 x 36 1/2 in.
$2,000–4,000
198
ALEXANDER CALDER
(American, 1898-1976)
Dolphin lithograph signed lower right numbered EA lower left sheet: 26 1/4 x 38 1/4 in.
$2,000–4,000
Alexander Calder at work on Dolphin at Fine Creations
199
ROY LICHTENSTEIN
(American, 1923-1997)
Still Life, from the Metropolitan Scene (B. 27) 1968, screenprint in colors on aluminum panel incised with signature, dated, and numbered '68 lower right 36 x 36 in., frame: 36 1/4 x 36 1/4 in.
$10,000–15,000
200
ROY LICHTENSTEIN
(American, 1923-1997)
Aspen Winter Jazz screenprint in colors from the unsigned, unnumbered edition sheet: 40 1/8 x 26 in.
$500–800
201
ROY LICHTENSTEIN
(American, 1923-1997)
Merton of the Movies (Two Copies) 1968, color screenprint on silver foil paper printed by Fine Creations, Inc., New York published by List Art Poster and H.K.L. Ltd., New York/Boston one: from the unsigned, unnumbered edition the other: numbered, dedicated, signed, and dated A/P To Charlie Roy Lichtenstein 1968 in pencil along lower edge each sheet: 30 x 20 in.
$400–600
ROY LICHTENSTEIN
(American, 1923-1997)
Eight Landscapes, from Ten Landscapes
Landscape 2 (C. 52)
screenprint on paper with Rowlux overlay, mounted on rag board sheet: 11 3/4 x 18 in.
Landscape 3 (C. 53)
screenprint on chromogenic photographic print, mounted on rag board bearing adhesive sticker verso with printed title
Landscape 3 / Original Editions sheet: 12 x 16 1/2 in.
Landscape 4 (C. 54)
screenprint on opaque Rowlux, mounted on rag board sheet: 11 x 17 3/4 in.
Landscape 5 (C. 55)
screenprint on pink moiré Rowlux with blue moiré Rowlux collage, mounted on rag board sheet: 14 3/4 x 17 3/4 in.
Landscape 6 (C. 56)
screenprint on blue-green moiré Rowlux with chromogenic photographic print collage, mounted on rag board numbered, dedicated, signed, and dated A/P To Charlie -- Roy Lichtenstein 1967 in pencil verso, bottom center sheet: 13 1/8 x 16 1/4 in.
Landscape 8 (C. 58)
iridescent silver Mylar collage on opaque black Rowlux and grey moiré Rowlux, mounted on rag board sheet: 19 3/4 x 11 1/4 in.
Landscape 9 (C. 59)
screenprint with chromogenic photographic print collage, mounted on rag board bearing adhesive sticker verso with printed title
Landscape 9 / Original Editions sheet: 13 x 16 1/4 in.
Landscape 10 (C. 60)
$5,000–10,000
chromogenic photographic print and translucent moiré Rowlux, mounted on rag board sheet: 15 1/2 x 16 3/4 in.
203
WILLIAM T. WILLIAMS
(American, b. 1942)
HKL Portfolio
1970, screenprint in colors each signed and numbered printers proof lower right each plate: 16 x 11 1/2 in., each sheet: 19 3/4 x 13 1/8 in.
$2,000–4,000
204
NEIL WELLIVER
(American, 1929-2005)
Bog screenprint in colors signed lower right plate: 35 1/2 x 35 1/2 in. frame: 43 1/4 x 43 1/4 in.
$2,000–4,000
Greer's
205 NEIL WELLIVER
(American, 1929-2005)
Si's Hill screenprint in colors signed lower right plate: 35 3/4 x 36 in. frame: 42 1/2 x 42 1/2 in.
$2,000–4,000
206 WILL BARNET
(American, 1911-2012) Ariadne and Circe II 1980, screenprints each titled, numbered AP, signed, and dated in lower margin each plate: 17 1/2 x 17 1/2 in. each frame: 35 x 29 in.
$500–800
207
WILL BARNET
(American, 1911-2012)
The Skaters
1994, screenprint titled, inscribed To my old friend and printer par excellence–Charles Cardinale, and signed along lower margin plate: 42 x 22 1/4 in. sheet: 46 1/4 x 26 1/2 in.
$300–500
208
WILL BARNET
(American, 1911-2012) Woman, Cat, and Yarn 1980, aquatint and etching titled, numbered artist's proof, signed, and dated in lower margin plate: 20 x 19 3/4 in. frame: 32 1/2 x 31 1/2 in.
$400–600
209
WILL BARNET (American, 1911-2012)
Introspection
1972, screenprint titled, inscribed To Charlie–King of Silkscreen–with appreciation as ever, and signed in lower margin plate: 29 1/2 x 34 3/4 in. sheet: 32 1/2 x 42 in.
$600–900
210
WILL BARNET (American, 1911-2012)
Fifth Season #2
screenprint titled, numbered Artist's Proof 1/2, and signed along lower margin sight: 31 1/2 x 24 3/4 in. frame: 41 1/2 x 30 1/2 in.
$300–500
211
ERNEST TROVA (American, 1927-2009)
Five Works from the Falling Manscapes Series 1969, screenprints each signed and dated lower right one dedicated For Charlie "the best" E.T. 69 each plate: 24 x 24 in. each sheet approx. 27 3/4 x 27 3/4 in.
Save Our Planet Save Our People 1971, screenprint signed lower right sheet: 33 3/4 x 33 3/4 in. frame: 34 1/4 x 34 1/4 in.
$500–800
Artist Lot
ABDELL, DOUGLAS
ACHEFF, WILLIAM
ADAMS, ANSEL
ADOMEIT, GEORGE GUSTAV
ALKEMA, WOBBE
ANDREW, RICHARD
ARONSON, BEN
ASPEVIG, CLYDE
AUDUBON, JOHN JAMES
AVEDON, RICHARD
AVERY, MILTON
AYRES, GILLIAN
BABER, ALICE
BARNET, WILL
BAUMANN, GUSTAVE
BEARDSLEY, DUKE
BECKMANN, MAX
BELL-SMITH, FREDERIC
BELLOWS, GEORGE
BENTON, THOMAS HART
BERTHELSEN, JOHANN
BEZEM, NAFTALI
BIERSTADT, ALBERT
BIGAUD, WILSON
BLISS, ROBERT
BRAQUE, GEORGES
BREANSKI SR ., ALFRED DE BUENO, ANTONIO
BURPEE, WILLIAM PARTRIDGE
BUTLER, THEORDORE EARL
CALDER, ALEXANDER
CAMOIN, CHARLES
CAPRON, ROGER
CHAET, BERNARD
CHAGALL, MARC
CHAMPNEY, BENJAMIN
CHEN, CHI
CHINESE SCHOOL
COCTEAU, Attr. JEAN
COOPER, COLIN CAMPBELL
CORBET, PHILIP
CRADOCK, MARMADUKE
CULLEN, MAURICE GALBRAITH
CUSTIS, ELEANOR PARKE
DAVIS, WILLIAM ROBERT
DIEMER, MICHAEL ZENO
DIXON, FRANCIS STILLWELL
DORCELY, ROLAND
DOW, ARTHUR WESLEY
DUFY, JEAN
DUNN MEARS, HENRIETTA
DURER, ALBRECHT
DUTCH SCHOOL
FELLOWS, FRED
FITZGERALD, JAMES EDWARD
FORSTER, GEORGE
FOUJITA, LEONARD TSUGUHARU
FRISHMUTH, HARRIET WHITNEY
FUERTES, LOUIS AGASSIZ
GALLATIN, ALBERT EUGENE
GAY, WALTER
GIFFORD, CHARLES HENRY
GOODWIN, ARTHUR CLIFTON
GRAVES, ABBOTT FULLER
GRUPPE, ROBERT CHARLES
HADDAD, JENNIE
HAMILTON, EDWARD WILBUR DEAN
HAN, RAYMOND
HIBBARD, ALDRO
HIBBARD, ALDRO THOMPSON
HINCKLEY, THOMAS HEWES
HOFFMAN, HARRY LESLIE
HOPKINSON, CHARLES
HOURTAL, HENRI
HUNTER, COLIN
INNESS, GEORGE
JACKSON, PHILIP
JACOBSEN, ANTONI
JARVIS, JOHN
JOHNSON, A. HALE
JUNGLING, FREDERICH
KAHN, WOLF
KAPP, GARY
KATZ, ALEX
KNATHS, KARL
KRIEGHOFF, CORNELIUS
KUEHNE, MAX
KUHN, WALT
LEONG, WEE SHOO
POPLITEO
LEVER, HAYLEY
LICHTENSTEIN, ROY
LIE, JONAS
M ac WHIRTER, JOHN A.
MAGAR, TONY
MAJOR, ERNEST LEE
MANZY, YASHAREL
MARC, FRANZ
MARDEN, BRICE
MARIS, JACOB HENDRICUS
MATTHEWS, WILLIAM
MEYEROWITZ, WILLIAM
MULHAUPT, FREDERICK
NEJAD, DEVRIM
NORTON, WILLIAM EDWARD
PACKARD, ANNE
PARTRIDGE, J.C.
PAXTON, WILLIAM M c GREGOR
PETERS, CARL WILLIAM
PETERSON, JANE
PHILIPPE-AUGUSTE, SALNAVE
PICASSO, PABLO
PISSARRO, CAMILLE
RENESON, CHET
RIVERA, DIEGO
ROBINSON, Attr. THEODORE
ROLLINS, TIM and K.O.S.
ROSSEAU, PERCIVAL LEONARD
RUNGIUS, Attr. CARL
SAMPLE, PAUL STARRETT
SAVU, SERBAN
SELTZER, OLAF CARL
SHARER, WILLIAM
SLOANE, ERIC
SMITH, PETER
SPEED, GRANT
STANCZAK, JULIAN
STEINER, MICHAEL
STEVENS, WILLIAM LESTER
TABNER, LEN
TARBELL, EDMUND CHARLES
TERELAK, JOHN
THIEME, ANTHONY
THOMAS, RICHARD D.
THON, WILLIAM
TOLFORD, JOSHUA
TWARDZIK, HENRYK
UESLMANN, JERRY
VAN GOYEN, Manner of JAN
VAN RIJN, REMBRANDT
VANDERBILT, GLORIA
VOSS, FRANKLIN BROOKE
WAGNER, OTTO ERICH
WALLIS, KENT R.
WELLIVER, NEIL
WENDEL, Attr. THEODORE
WIGGINS, GUY CARLETON
WIGHT, MOSES
WILLIAMS, WILLIAM T.
WILLIAMSON, JOHN
WOODBURY, CHARLES HERBERT
WYETH, HENRIETTE
WYSOCKI, CHARLES
YARDE, RICHARD
YARROW, DAVID
FOOTNOTES
1. GLORIA VANDERBILT
Provenance: The Collection of a Maryland Lady. Notes: Hammer Galleries (New York) stamp verso.
2. ELEANOR PARKE CUSTIS
Provenance: The Collection of a Wellesley, Massachusetts Gentleman.
3. JANE PETERSON
Provenance: Property of a Back Bay, Boston, Massachusetts Couple; Grogan & Company, Boston, Massachusetts, February 5, 2017, Lot 57; The Collection of a Massachusetts Couple.
4. JANE PETERSON
Provenance: By descent within a New York family.
5. JANE PETERSON
Provenance: By descent within a New York family.
6. ELEANOR PARKE CUSTIS
Provenance: Sloan's Auction Galleries, July 5, 1992, Lot 3120; Weschler's Auctioneers and Appraisers, May 13, 2016, Lot 295; The Collection of a Washington, D.C. Gentleman.
7. ELEANOR CUSTIS
Provenance: A New York Collection.
8.HENRIETTA DUNN MEARS
Provenance: Property of a Massachusetts Collection.
9. ANNE PACKARD
Provenance: A New York Collection.
10. LEN TABNER
Provenance: Private Massachusetts Collection.
11. GILLIAN AYRES
Provenance: Private Massachusetts Collection.
12. ALICE BABER
Provenance: Barbara Annis Fine Arts, New York; Property of a New York Collector.
13. JENNIE HADDAD
Provenance: Estate of the artist: Jennie Haddad, Dallas, Texas; Pat Houseman Collection, Dallas, Texas; Private Collection.
14. JENNIE HADDAD
Provenance: Estate of the artist; Jennie Haddad, Dallas, Texas; Pat Houseman Collection, Dallas, Texas; Private Collection.
15. JEAN DUFY
Provenance: By descent to a Maine Gentleman.
Notes: Schoneman Galleries, Inc. (New York) label verso.
Literature: This work will be included in the forthcoming volume of the catalogue raisonné being prepared by Jacques Bailly and is accompanied by a certificate from Bailly.
16. THEORDORE EARL BUTLER
Provenance: Meredith Long & Company, Houston, Texas (label verso); The Collection of a Greenwich, Connecticut Gentleman.
17. CHARLES CAMOIN
Provenance: The Estate of a German Lady; by descent within her family; the collection of a Boston couple.
Literature: Madame Grammont-Camoin kindly confirmed the authenticity of this work, which will be included in the forthcoming Charles Camoin catalogue raisonné.
18.NEIL WELLIVER
Provenance: The artist; to Charles Cardinale, Fine Creations Inc.; to his estate.
Notes: This work is a study for a screenprint of the same name from the series Landscapes: A Portfolio of Six Works.
19. WILLIAM THON
Provenance: Private Collection York, Maine; Barridoff Auctions, Portland, Maine August 20, 2022 Lot 82; Private Massachusetts Collection.
Notes: Midtown Galleries (New York) label verso.
20. WILLIAM THON
Provenance: A San Francisco Collection.
21. WOLF KAHN
Provenance: A Woodstock, Vermont Collection.
22. WOLF KAHN
Provenance: A Woodstock, Vermont Collection.
23. WOLF KAHN
Provenance: Acquired by a friend of the artist, ca. 1990s; by descent.
24. HAYLEY LEVER
Provenance: The Estate of Leonard Clayton; A South Carolina Collection.
25. HAYLEY LEVER
Provenance: The Estate of Leonard Clayton; A South Carolina Collection.
26. HAYLEY LEVER
Provenance: Questroyal Fine Art, New York (label verso); The Collection of a South Carolina Lady.
27. WILLIAM PARTRIDGE BURPEE
Provenance: The Collection of a Massachusetts Gentleman.
28. HARRY LESLIE HOFFMAN
Provenance: The Collection of a Williamstown, Massachusetts Gentleman.
29. HARRY LESLIE HOFFMAN
Provenance: A Massachusetts Collection.
30. HARRY LESLIE HOFFMAN
Provenance: A Massachusetts Collection.
31. GEORGE GUSTAV ADOMEIT
Provenance: Hindman Auctions, Chicago, Illinois, Property from the Estate of Dr. Paul J. Vignos, Jr., November 6, 2011, Lot 5; The Collection of a Massachusetts Couple.
Notes: Vixseboxse Art Galleries (Cleveland Heights, OH) label verso.
32. WILLIAM MEYEROWITZ
Provenance: The Collection of an Ipswich, Massachusetts Family. Notes: Crane Collection (Boston) label verso.
33. WILLIAM MEYEROWITZ
Provenance: The Collection of an Ipswich, Massachusetts Family. Notes: The Crane Collection (Boston) label verso.
34. Attributed to THEODORE WENDEL
Provenance: Skinner Inc., Boston, March 11, 2002, Sale 2119, Lot 413; The Collection of an Ipswich, Massachusetts Family.
35. ARTHUR WESLEY DOW
Provenance: Skinner, Inc., Bolton, MA, March 9, 1990, Lot 149A; The Collection of an Ipswich, Massachusetts Family.
36. PERCIVAL LEONARD ROSSEAU
Provenance: The artist, to his friend; by descent within the family.
37. ALDRO THOMPSON HIBBARD
Provenance: By descent within a Massachusetts family.
38. CHARLES HERBERT WOODBURY
Provenance: The Collection of a Boston Couple.
39. CHARLES HERBERT WOODBURY
Provenance: The Perkins Family of Ogunquit, Maine; James D. Julia Auctioneers, Fairfield, Maine, February 8, 2018, Lot 1013; The Collection of a Richmond Lady.
40. WALT KUHN
Provenance: Estate of the Artist; Kennedy Galleries, New York; Property of a Colorado Gentleman (ca. 1979); Private New Hampshire Collection (2014).
Exhibitions: Ogunquit Museum of American Art, Ogunquit, Maine, The View from Narrow Cove, April 27 - October 31, 2019. Notes: Kennedy Galleries (New York) label verso; Debra Force Fine Art, Inc. (New York) label verso; Ogunquit Museum of American Art (Ogunquit, Maine) label verso.
41. ALDRO THOMPSON HIBBARD
Provenance: A Massachusetts Collection; Grogan & Company, Boston, June 11, 2017, Lot 31; The Collection of a Richmond Lady.
42. ALDRO THOMPSON HIBBARD
Provenance: The Collection of a Wellesley, Massachusetts Gentleman.
43. ALDRO HIBBARD
Provenance: The Collection of an Ipswich, Massachusetts Family.
44. JONAS LIE
Provenance: Litchfield County Auctions, Litchfield, Connecticut; The Collection of a Greenwich, Connecticut Gentleman.
45. GUY CARLETON WIGGINS
Provenance: The Collection of a Greenwich, Connecticut Gentleman.
46. KENT R. WALLIS
Provenance: The Collection of a Williamstown, Massachusetts Gentleman.
47. PAUL STARRETT SAMPLE
Provenance: The Collection of a Greenwich, Connecticut Gentleman.
Notes: Fort Wayne Museum of Art (Fort Wayne, IN) label verso; Woodstock Gallery of Art (Woodstock, VT) label verso; Associated American Arts (New York) partial label verso.
48. ERIC SLOANE
Provenance: The Collection of a Williamstown, Massachusetts Gentleman.
Notes: Altermann & Morris Galleries (Santa Fe, NM) label verso.
49. WILLIAM LESTER STEVENS
Provenance: Property of a Massachusetts Collector.
Literature: Curtis, Judith. W. Lester Stevens, N.A., 1888-1969 Rockport Art Association: Rockport, MA, 2003, p. 93.
50. FREDERICK MULHAUPT
Provenance: The Collection of a Dover, Massachusetts Lady.
51. ANTHONY THIEME
Provenance: The Collection of a Dover, Massachusetts Lady.
52. RICHARD ANDREW
Provenance: The Collection of a Dover, Massachusetts Lady.
53. MAX KUEHNE
Provenance: Property of a Massachusetts Collector.
54. ROBERT CHARLES GRUPPE
Provenance: Property of a Massachusetts Collector.
55. CARL WILLIAM PETERS
Provenance: The Collection of a Wellesley, Massachusetts Gentleman.
56. JOSHUA TOLFORD
Provenance: Grogan & Company, Boston, Massachusetts, February 13, 2011, Lot 64; The Collection of a Massachusetts Couple.
57. CHARLES HENRY GIFFORD
Provenance: By descent within a Massachusetts Family.
58. WILLIAM EDWARD NORTON
Provenance: Grogan & Company, Boston, Massachusetts, February 5, 2017, Lot 5; The Collection of a Massachusetts Couple.
59. COLIN HUNTER
Provenance: Marine Arts Gallery, Marblehead, Massachusetts; The Collection of a Greenwich, Connecticut Gentleman.
60. MICHAEL ZENO DIEMER
Provenance: The Collection of a Gloucester, Massachusetts Couple.
61. CHINESE SCHOOL
Provenance: N.R. Omell Gallery, London (label verso); The Collection of a Greenwich, Connecticut Gentleman.
Exhibitions: N.R. Omell Gallery, London, 21st Annual Marine Paintings Exhibition, no. 38.
62. ANTONIO NICOLO GASPARO JACOBSEN
Provenance: N.R. Omell Gallery, London (label verso); The Collection of a Greenwich, Connecticut Gentleman.
Exhibitions: N.R. Omell Gallery, London, 18th Annual Marine Paintings Exhibition, 1987, cat. no. 47.
63. MAURICE GALBRAITH CULLEN
Provenance: By descent to a New Hampshire Lady. Notes: Watson Art Galleries (Montreal, Québec) label verso.
64. FREDERIC MARLETT BELL-SMITH
Provenance: A Vermont Collection.
65. CORNELIUS KRIEGHOFF
Provenance: Property of a New York Collector.
66. GEORGE INNESS
Provenance: The artist; Captain Israel Clark, Rhode Island, ca. 1874-5; Mrs. John W. Hutchinson (by 1949); Hirschl & Adler Galleries; Private Collection, Michigan; Vose Galleries, Boston (1971); Private Collection, Sandwich, MA; Robert C. Vose, Jr., Duxbury, MA; Vose Galleries, Boston (1995); The Collection of a Massachusetts Couple.
Literature: Ireland, Leroy. The Works of George Inness: An Illustrated Catalogue Raisonne. Austin, TX: 1965, cat. no. 1412, p. 363, illus.; Quick, Michael. George Inness: A Catalogue Raisonne. Rutgers University Press: New Jersey, 2007, cat. no. 597, pp. 518-520, illus.; Weeks, Edward F., and Andrea Derr. American Masters 1872-1972. Birmingham Museum of Art Bulletin, no. 10, Feb-March 1972.
Exhibitions: The Saginaw Museum, Saginaw, Michigan, 1949; Collector's Gallery VIII, McNay Art Institute, San Antonio, Texas, 1974.
67. Attributed to THEODORE ROBINSON
Provenance: The Collection of an Ipswich, Massachusetts Family.
68. THOMAS HEWES HINCKLEY
Provenance: The Collection of an Ipswich, Massachusetts Family. Notes: Childs Gallery (Boston, MA) label verso.
69. GEORGE FORSTER
Provenance: Christie's New York, 1 December 2010, Lot 90; The Collection of a Boston Lady.
70. WALTER GAY
Provenance: The Collection of a Massachusetts Gentleman; Grogan & Company, Sale 188, October 28, 2023, Lot 92; Property of a Boston Collector.
71. ERNEST LEE MAJOR
Provenance: The Collection of a Dover, Massachusetts Lady.
72. ABBOTT FULLER GRAVES
Provenance: Skinner Auctioneers, Boston, Massachusetts, January 24, 2020, Lot 365; A New England Collector.
73. HENRIETTE WYETH
Provenance: By descent within the family of the subject.
74. WILLIAM McGREGOR PAXTON
Provenance: The Collection of a Brookline, Massachusetts Couple.
Notes: Schneider Gabriel Galleries, Inc. (New York, NY) label verso.
75. EDMUND CHARLES TARBELL
Provenance: By descent within the family of the subject.
76. CHARLES HOPKINSON
Provenance: The Collection of a Dover, Massachusetts Lady.
77. HARRIET WHITNEY FRISHMUTH
Provenance: Property of a Cleveland, Ohio Collector.
78. HARRIET WHITNEY FRISHMUTH
Provenance: Property of a Cleveland, Ohio Collector.
79. FRED FELLOWS
Provenance: The Collection of a Massachusetts Gentleman.
80. GRANT SPEED
Provenance: The Collection of a Williamstown, Massachusetts Gentleman.
81. DUKE BEARDSLEY
Provenance: The Collection of a Williamstown, Massachusetts Gentleman.
82. WILLIAM ACHEFF
Provenance: The Collection of a Williamstown, Massachusetts Gentleman.
Notes: Altermann & Morris Galleries (Dallas, TX) label verso.
83. WILLIAM MATTHEWS
Provenance: The Collection of a Williamstown, Massachusetts Gentleman.
Notes: William Matthews Gallery (Denver, CO) label verso.
84. WILLIAM MATTHEWS
Provenance: The Collection of a Williamstown, Massachusetts Gentleman.
Notes: William Matthews Gallery (Denver, CO) label verso.
85. WILLIAM MATTHEWS
Provenance: The Collection of a Williamstown, Massachusetts Gentleman.
Notes: William Matthews Gallery (Denver, CO) label verso.
86. OLAF CARL SELTZER
Provenance: The Collection of a Williamstown, Massachusetts Gentleman.
87. JOHN JARVIS
Provenance: The Collection of a Williamstown, Massachusetts Gentleman.
Notes: Altermann Galleries & Auctioneers (Santa Fe, NM) label verso.
88. WILLIAM SHARER
Provenance: Wadle Galleries, Santa Fe, New Mexico; The Collection of a Greenwich, Connecticut Gentleman.
89. WILLIAM MATTHEWS
Provenance: The Collection of a Williamstown, Massachusetts Gentleman.
Notes: Spanierman Gallery (New York, NY) label verso.
90. JAMES EDWARD FITZGERALD
Provenance: Property of a Connecticut Collector.
91. CHET RENESON
Provenance: Property of a Marion, Massachusetts Collector.
92. FRANCIS STILLWELL DIXON
Provenance: Property of a Massachusetts Collector.
Notes: Salmagundi Club (New York, NY) label verso.
93. CLYDE ASPEVIG
Provenance: The Collection of a Williamstown, Massachusetts Gentleman.
94. RICHARD D. THOMAS
Provenance: The Collection of a Williamstown, Massachusetts Gentleman.
95. GARY KAPP
Provenance: The Collection of a Williamstown, Massachusetts Gentleman.
Notes: Texas Art Gallery (Dallas, TX) label verso.
96. PETER SMITH
Provenance: The Collection of a South Carolina Lady. Notes: Frost & Reed (London) label verso, reg. no. 57425.
97. Attributed to CARL RUNGIUS
Provenance: Purchased in Vermont ca. 1970 by a New England Collector.
98. JOHN WILLIAMSON
Provenance: Questroyal Fine Art, New York; The Collection of a South Carolina Lady.
99. ALBERT BIERSTADT
Provenance: Northern Natural Gas Company, Omaha, Nebraska; InterNorth Art Foundation; Gene Autry Western Heritage Museum, Los Angeles, California; Questroyal Fine Art, New York; The Collection of a South Carolina Lady.
Literature: Joslyn Museum, Artists of the Western Frontier. Omaha, Nebraska: Joslyn Museum, 1976, illus. p. 8, no. 22.; William G. Goetzmann, Joseph C. Porter and David C. Hunt, The West as Romantic Horizon. Omaha, Nebraska: Center for Western Studies, Joslyn Art Museum/The InterNorth Art Foundation, 1981, p. 75, no. 11.
Exhibitions: Long-term loan to the Joslyn Museum, Omaha, Nebraska; Artists of the Western Frontier, Joslyn Art Museum, July 3-October 17, 1976.; The West as Romantic Horizon, Kennedy Galleries, New York, September 14-October 2, 1981.
100. FRANKLIN BROOKE VOSS
Provenance: The artist, to Joan E. Appleton, in exchange for a six month old Cairn terrier puppy; a gift to a South Carolina Lady.
101. J.C. PARTRIDGE
Provenance: The Collection of a South Carolina Lady.
102. COLLECTION OF TEN ENGLISH HORSE DRAWINGS
Provenance: Most from Sabin Galleries, London (labels verso); The Collection of a South Carolina Lady.
103. LOUIS AGASSIZ FUERTES
Provenance: By descent to an Ipswich, Massachusetts Lady.
104. FREDERICH JUNGLING
Provenance: Grogan & Company, Boston, Massachusetts, May 22, 2000, Lot 1; A New England Collector.
105. DUTCH SCHOOL
Provenance: The Estate of Grace Byoir, New York, New York; Grogan & Company, Boston, Massachusetts, April 21, 1996, Lot 138; A New England Collector.
106. MARMADUKE CRADOCK
Provenance: Frost & Reed, London; The Collection of a South Carolina Lady.
Notes: Frost & Reed (London) label verso.
107. JACOB HENDRICUS MARIS
Provenance: Borzo Kunsthandel, Netherlands; Acquired from the above by the current owner; The Collection of a Williamstown, Massachusetts Gentleman.
Notes: Goupil & Cie (Paris) partial label verso.
108. Manner of JAN JOSEFSZ VAN GOYEN
Provenance: A Massachusetts Collector.
109. ALFRED DE BREANSKI Sr.
Provenance: A Connecticut Collector.
110. JOHN A. M ac WHIRTER
Provenance: The Estate of a Westwood, Massachusetts Art Historian.
111. CHARLES WYSOCKI
Provenance: By descent to a Boston, Massachusetts Lady.
112. BENJAMIN CHAMPNEY
Provenance: The Collection of a Boston, Massachusetts Couple.
113. EDWARD WILBUR DEAN HAMILTON
Provenance: The Collection of a Dover, Massachusetts Lady.
114. A. HALE JOHNSON
Provenance: The Collection of a Massachusetts Gentleman.
115. WILLIAM ROBERT DAVIS
Provenance: The Collection of a Vermont Family.
116. WILLIAM ROBERT DAVIS
Provenance: The Collection of a Vermont Family.
Notes: Tree's Place Gallery (Orleans, MA) label verso.
117. WILLIAM ROBERT DAVIS
Provenance: The Collection of a Vermont Family.
118. JOHN TERELAK
Provenance: The Collection of a Massachusetts Gentleman.
119. JOHN TERELAK
Provenance: The Collection of a Massachusetts Gentleman.
120. BEN ARONSON
Provenance: A Boston, Massachusetts Collector.
121. JOHANN BERTHELSEN
Provenance: A Cleveland, Ohio Collector.
122. GUY CARLETON WIGGINS
Provenance: By descent within a Massachusetts Family.
123. COLIN CAMPBELL COOPER
Provenance: A Cleveland, Ohio Collector.
124. COLIN CAMPBELL COOPER
Provenance: A Cleveland, Ohio Collector.
125. ARTHUR CLIFTON GOODWIN
Provenance: The Collection of a Massachusetts Lady.
126. OTTO ERICH WAGNER
Provenance: A Vermont Collection.
127. DIEGO RIVERA
Provenance: By descent within a Massachusetts Family. Notes: Accompanied by the original bill of sale from the Central de Publicaciones, S.A. in Mexico City from 1935.
128. RICHARD YARDE
Provenance: The artist; The Harcus Gallery, Boston; Private Massachusetts Collection.
129. WILSON BIGAUD
Provenance: A San Francisco Collection.
130. SALNAVE PHILIPPE-AUGUSTE
Provenance: The Collection of an Ipswich, Massachusetts Family.
131. ROLAND DORCELY
Provenance: A Massachusetts Collector. Notes: La Galerie "18" (Paris, France) label verso.
132. KARL KNATHS
Provenance: Property of an East Coast Collector.
133. ALBERT EUGENE GALLATIN
Provenance: Property of an East Coast Collector.
134. WOBBE ALKEMA
Provenance: Paul Van Ostaijen; Private Collection, Netherlands; by descent; A Private New York City Collection.
135. DEVRIM NEJAD
Provenance: Property of an East Coast Collector.
136. NAFTALI BEZEM
Provenance: Property of a Massachusetts Collector.
137. TONY MAGAR
Provenance: The Collection of a Chestnut Hill Lady.
138. DOUGLAS ABDELL
Provenance: The family of the artist (accompanied by a letter from the artist's brother).
139. YASHAREL MANZY
Provenance: A Boston Collection. Notes: Martha Lincoln Gallery (Vero Beach, FL) label verso.
140. JULIAN STANCZAK
Provenance: A gift from the artist to Rudolf Arnheim; by descent to a Michigan Gentleman.
Notes: Inscribed and signed Dear Rudolf - you are "Crystal" in our mind - Keep on being forever..." / Julian Stanczak January 1990 on inscription panel verso.
141. BERNARD CHAET
Provenance: A Cambridge, Massachusetts Collection. Notes: Harmon-Meek Gallery (Naples, FL) labels verso.
142. TIM ROLLINS and K.O.S.
Provenance: A Massachusetts Collection.
Notes: Barbara Krakow Gallery (Boston, MA) label verso.
143. CHI CHEN
Provenance: Property of a New York Collector.
144. WEE SHOO LEONG
Provenance: Purchased in Singapore in the early 1980s by a Maine couple.
145. WEE SHOO LEONG
Provenance: Purchased in Singapore in the early 1980s by a Maine couple.
146. RAYMOND HAN
Provenance: Purchased from the artist by a Boston Gentleman.
147.ROGER CAPRON
Provenance: The Collection of a Brookline, Massachusetts Couple.
148. HENRYK TWARDZIK
Provenance: Property of a Massachusetts Collector.
149. Attributed to JEAN COCTEAU
Provenance: A Massachusetts Collection.
150. ANTONIO BUENO
Provenance: A Vermont Collector.
151. ROBERT BLISS
Provenance: Property of a Boston Collector. Notes: Galerie Des Nus (New York) exhibition label verso.
152. ROBERT BLISS
Provenance: Skinner Inc., Boston, May 8, 1998, Lot 207; The Collection of a Boston Gentleman; Grogan & Company, Boston, May 2, 2021, Lot 96; Property of a Boston Collector.
153. SERBAN SAVU
Provenance: Property of a Boston Collector.
154. MOSES WIGHT
Provenance: The Collection of a Massachusetts Lady.
155. PHILIP CORBET
Provenance: Property of a New England Family. Notes: Frost & Reed (London) label verso.
156. HENRI HOURTAL
Provenance: By descent within a Vermont Family.
157. PHILIP HENRY CHRISTOPHER JACKSON
Provenance: A Vermont Collection. Notes: Accompanied by signed book Sculptures by Philip Jackson; this work is a maquette for a larger sculpture titled Pope Joan.
158. LUIS MONTOYA and LESLIE ORTIZ (POPLITEO)
Provenance: A Vermont Collection.
159. MICHAEL STEINER
Provenance: The Collection of Dr. Guido Goldman, Concord, Massachusetts.
160. MICHAEL STEINER
Provenance: The Collection of Dr. Guido Goldman, Concord, Massachusetts.
161. REMBRANDT VAN RIJN
Provenance: A Canadian Collection.
162. REMBRANDT VAN RIJN
Provenance: A Canadian Collection.
163. ALBRECHT DÜRER
Provenance: By descent to a Massachusetts Gentleman.
164. CAMILLE PISSARRO
Provenance: Property of a Maine Collector.
165. CAMILLE PISSARRO
Provenance: Property of a Maine Collector.
166. PABLO PICASSO
Provenance: The Estate of a Cambridge, Massachusetts Lady.
167. PABLO PICASSO
Provenance: The Estate of a Cambridge, Massachusetts Lady.
168. PABLO PICASSO
Provenance: Property of a Boston Collector.
169. MARC CHAGALL
Provenance: Property of a Lexington, Massachusetts Lady.
170. GEORGES BRAQUE
Provenance: The Collection of a Boston Lady. Notes: Horizon Gallery (Rockport, MA) label verso.
171. GEORGES BRAQUE
Provenance: The Collection of a Boston Lady. Notes: Horizon Gallery (Rockport, MA) label verso.
172. LEONARD TSUGUHARU FOUJITA
Provenance: A Cambridge, Massachusetts Collection.
173. MAX BECKMANN
Provenance: A Canadian Collection.
174. FRANZ MARC
Provenance: The Collection of a Maine Couple.
175. GEORGE BELLOWS
Provenance: Sotheby's New York, November 13, 1980, Lot 55; The Collection of a Massachusetts Lady; Grogan & Company, October 28, 2023, Lot 120; Property of a Boston Collector.
176. THOMAS HART BENTON
Provenance: A Canadian Collection.
177. JOHN JAMES AUDUBON
Provenance: Property of a Massachusetts Collector.
178. DAVID YARROW
Provenance: The artist; A Beacon Hill, Boston Lady.
179. DAVID YARROW
Provenance: The artist; A Beacon Hill, Boston Lady.
180. ANSEL ADAMS
Provenance: Property of a Photography Professor.
181. JERRY UESLMANN
Provenance: Property of a Photography Professor.
182. JERRY UESLMANN
Provenance: Property of a Photography Professor.
183. JERRY UESLMANN
Provenance: Property of a Photography Professor.
184. JERRY UESLMANN
Provenance: Property of a Photography Professor.
185. JERRY UESLMANN
Provenance: Property of a Photography Professor.
186. RICHARD AVEDON
Provenance: A New York Collection.
187. BRICE MARDEN
Provenance: A Beacon Hill, Boston Lady.
188. JULIAN STANCZAK
Provenance: A Newton, Massachusetts Collector.
189. MILTON AVERY
Provenance: Property of a Massachusetts Family.
190. GUSTAVE BAUMANN
Provenance: Property of a Massachusetts Lady.
191. NEIL WELLIVER
Provenance: Property of a Boston Lady.
192. ALEX KATZ
Provenance: Property of a Boston Lady.
Notes: Horizon Gallery (Rockport, MA) label verso.
193. GILLIAN AYRES
Provenance: Property of a Massachusetts Collection.
194. GILLIAN AYRES
Provenance: Property of a Massachusetts Collection.
195. ALEXANDER CALDER
Provenance: Property of a Massachusetts Lady.
196. ALEXANDER CALDER
Provenance: The artist, to his printer, Charles Cardinale, Fine Creations, Inc., New York.
197. ALEXANDER CALDER
Provenance: The artist, to his printer, Charles Cardinale, Fine Creations, Inc., New York.
198. ALEXANDER CALDER
Provenance: The artist, to his printer, Charles Cardinale, Fine Creations, Inc., New York.
199. ROY LICHTENSTEIN
Provenance: The artist, to his printer, Charles Cardinale, Fine Creations, Inc., New York.
200. ROY LICHTENSTEIN
Provenance: The artist, to his printer, Charles Cardinale, Fine Creations, Inc., New York.
201. ROY LICHTENSTEIN
Provenance: The artist, to his printer, Charles Cardinale, Fine Creations, Inc., New York.
202. ROY LICHTENSTEIN
Provenance: The artist, to his printer, Charles Cardinale, Fine Creations, Inc., New York.
203. WILLIAM T. WILLIAMS
Provenance: The artist, to his printer, Charles Cardinale, Fine Creations, Inc., New York.
204. NEIL WELLIVER
Provenance: The artist, to his printer, Charles Cardinale, Fine Creations, Inc., New York.
205. NEIL WELLIVER
Provenance: The artist, to his printer, Charles Cardinale, Fine Creations, Inc., New York.
206. WILL BARNET
Provenance: The artist, to his printer, Charles Cardinale, Fine Creations, Inc., New York.
207. WILL BARNET
Provenance: The artist, to his printer, Charles Cardinale, Fine Creations, Inc., New York.
208. WILL BARNET
Provenance: The artist, to his printer, Charles Cardinale, Fine Creations, Inc., New York.
209. WILL BARNET
Provenance: The artist, to his printer, Charles Cardinale, Fine Creations, Inc., New York.
210. WILL BARNET
Provenance: The artist, to his printer, Charles Cardinale, Fine Creations, Inc., New York.
211. ERNEST TROVA
Provenance: The artist, to his printer, Charles Cardinale, Fine Creations, Inc., New York.
TERMS AND CONDITIONS OF SALE
Please read the following terms and conditions carefully. Bidding at an auction sale constitutes acceptance by you (herein referred to as “you” or “Bidder”) of all the Conditions of Sale.
These Terms and Conditions of Sale contain all terms and conditions on which Grogan & Company, Inc. (herein referred to as “Grogan & Co.” ,“we”, “us”, or “our”) and the consignor’s contract with the purchaser relative to the property listed in our catalogue or otherwise offered for sale. These Terms and Conditions of Sale may be amended by Grogan & Co. at any time and from time to time through the time of sale by any notices posted or oral announcements made during the sale.
1. Agency. We act as agent for the consignors of all property described in all catalogues. The contract for the sale of each item is a contract between the owner of the item and the successful bidder (the “Purchaser”) for the item.
2. Inspections. Our auctions are sight sales. Regardless of the presence of any condition report with respect to any item, each Bidder must rely on his or her own judgment of an item’s description and condition and should inspect the property before bidding to determine its condition, size, and whether or not it has been repaired or restored. You accept all responsibility for such purchase; without limitation, you accept any defects, damages, past repairs, irregularities, and all other physical conditions that could have been determined by your inspection of the property.
3. Estimates and Descriptions. Any estimate of the selling price of an item stated in our catalogue or internet listing is intended as a guide for prospective bidders. Stated estimates should not be relied upon as the value of the item, nor as a statement that this is the price at which the item will in fact sell. All images in catalogues are for identification purposes only and are not intended to represent the actual color or clarity of the item being auctioned. Written and oral descriptions, including, without limitation, catalogue and internet descriptions and condition reports, are our opinions only, and should not be construed or relied upon as statements of fact nor as guarantees of any kind. We and the consignor make no representation or warranty as to whether the Purchaser acquires any copyrights, including, but not limited to, any reproduction rights, in the property. No statement anywhere, whether written or oral, shall be deemed to be a guarantee, a representation, warranty, or assumption of liability of any kind by us. Grogan & Co. is not responsible or liable for the correctness of the catalogue, internet listing, condition reports, or other descriptions, except as expressly provided in Section 20 hereof. Any references to damage, repair or restoration are for guidance only and should be evaluated by personal inspection by the bidder; the absence of such references does not imply that an item is free from defects, repairs, or restoration, nor does a reference to particular defects, repairs or restorations imply the absence of others. Condition of frames on artwork is not generally described. All measurements are approximate. Jewelry descriptions are only estimates as to carat size, precious metal content, number of stones, quality, clarity, and the like.
4. Purchaser’s Responsibility. Except as expressly stated in Section 20, all property is sold “AS-IS” and neither we nor the consignor make any guarantees, warranties or representations, expressed or implied, with respect to the property, merchantability, or correctness of the catalogue, internet listings, condition reports or other description of the authenticity of authorship, physical condition, size, quality, rarity, importance, provenance, exhibitions, literature, or historical relevance of the property or otherwise. Bidders are responsible for satisfying themselves as to all aspects of property condition and descriptions.
5. Qualification. We may from time to time establish standards of qualification for bidders. We reserve the right, at our sole and absolute discretion, to refuse admission to the premises and/or participation in any auction, and/or to reject any bid.
6. Registration. Prospective bidders are required to register prior to the auction. Registration may be limited to a select number of days prior to the time of the
auction. Internet bidders may register through Grogan & Co’s online bidding software. PRIOR TO BIDDING, ALL REGISTRANTS ARE REQUIRED TO CAREFULLY READ ALL TERMS AND CONDITIONS OF SALE, THE DESCRIPTIONS FOR THE LOTS ON WHICH THEY INTEND TO BID AND THEY AGREE TO BE BOUND BY THESE TERMS OF SALE. Registrants are responsible for payment of purchases resulting from all successful bids.
7. Internet Bidding. Internet bidding is offered as a service to our customers. Consignors and prospective bidders shall not hold us responsible for any errors or failures in executing bids, nor shall they hold us responsible for any failure or delay as a result of using our online bidding applications, platforms, software including, without limitation, those provided by third party providers.
8. Acceptance and Rejection of Bids. The highest bidder acknowledged by the auctioneer will be the purchaser. In the event of a dispute between bidders, or in the event of doubt on our part as to the validity of any bid, the auctioneer will have the final discretion either to determine the successful bidder or to re-offer and re-sell the article in dispute. If any dispute arises after the sale, our sale record is conclusive. Although at our discretion we will execute order bids or accept telephone bids as a convenience to clients who are not present at auctions, we are not responsible for any errors or omissions in connection therewith.
9. Winning Bids. On the fall of the auctioneer’s hammer, title to the offered lot will pass to the highest bidder acknowledged by the auctioneer, subject to fulfillment by such Bidder of all of the conditions set forth herein, and such bidder thereupon assumes full risk of loss and responsibility therefore. Any person submitting bids on behalf of a corporation or other entity, by making such bid, agrees to be personally liable for the payment of the purchase price and any related charges and the performance of all Purchaser obligations under the Terms of Sale. GROGAN & CO. IS NOT RESPONSIBLE FOR ANY ERRORS IN BIDDING. All Bidders should make certain to bid on the correct lot and that the bid is in the amount intended. Once the hammer has fallen and the auctioneer has announced the winning bidder, the winning bidder is unconditionally bound to pay for the lot in the amount of the winning bid, even if the winning bidder made a mistake.
10. Reserves. It is our policy to act as agent on behalf of the consignor; we do not permit a consignor to bid on his or her own lots unless expressly agreed between us and the consignor or except as herein set forth. Unless advertised otherwise, some lots may be offered subject to a reserve. A reserve is the minimum price that the consignor is willing to accept for the lot, which may or may not be disclosed, and which may be determined or modified at any time by written or verbal communication between us and the consignor. If the auctioneer decides that any bid is below the value of the lot offered, the auctioneer may reject the same and withdraw the lot from the sale, and if, having acknowledged an opening bid, the auctioneer decides that any advance thereafter is insufficient; the auctioneer may reject the advance and may thereafter withdraw the lot. Unless an auction is announced as “without reserve,” each lot offered may be subject to a reserve and we may execute said reserves by bidding on behalf of the consignor; provided, however, that we will not place consecutive bids on behalf of the consignor above the reserve.
11. Withdrawal of Lots. We reserve the right to withdraw any property at any time before the sale and for any reason or no reason. No participant in the auction shall have a right to claim any damages, including, without limitation, consequential damages, if a lot is withdrawn.
12. Buyer's Premium. A buyer’s premium of 25% will be added to the successful hammer price and is payable by the Purchaser as part of the total purchase price. Purchases made through Invaluable or LiveAuctioneers will be subject to an additional 5% charge and through Bidsquare an additional 3% charge.
13. Payment. Acceptable forms of payment include cash, check, or wire transfer. Property will not be released until funds equal to the total purchase price clear,
unless credit has been previously established, or if a bank letter has been received prior to the sale guaranteeing said personal check. All property must be paid for within five (5) business days following the sale and removed from the gallery within twenty (20) days. At our option, payment will not be deemed to have been made in full until we have collected funds represented by checks, or, in case of bank or cashier’s checks, we have confirmed authenticity. GROGAN & CO. DISCLAIMS ANY AND ALL LIABILITY FOR LOSSESS OR DAMAGES THAT MAY OCCUR AS A RESULT OF TRANSPORTING OR STORING UNCOLLECTED PROPERTY.
14. Tax. Unless exempt by law, the Purchaser will be required to pay the Massachusetts sales tax or any applicable compensating use tax of another state on the total purchase price. The rate of sales tax in Massachusetts is 6.25%. For those eligible, a Massachusetts exemption number may be applied for prior to the auction by contacting the Massachusetts Department of Corporations and Taxation, 100 Cambridge Street, Boston, Massachusetts.
15. Shipping. No lots shall be delivered to or collected by the Purchaser until payment in full of the purchase price and all applicable taxes and charges. All lots must be picked up by the Purchaser or the Purchaser’s shipper within twenty (20) business days following the close of the auction. Property not removed from the gallery within twenty (20) days will be sent to our warehouse where storage fees may be assessed at the then prevailing rate. We may provide names of packing and shipping agents and you may arrange for service by one of those agents or one of your own choosing to pack and ship the winning lots. Grogan & Co. will not pack or ship; providing names of packing and shipping agents is done as a convenience for our customers and Grogan & Co. shall have no responsibility or liability for loss or damage of property shipped to Purchasers. We are not responsible for the acts or omissions of carriers or packers of purchased lots, whether or not recommended by us. Packing and handling of purchased lots by us is at the entire risk of the Purchaser. Without limiting the foregoing, in no event will we be liable for damage to glass or frames, regardless of the cause. If property remains in our warehouse on the third anniversary of the close of the auction, we retain the right to resell, as agent for the Purchaser, any such unshipped property, or send the property to another auctioneer for resale. We will send the proceeds of any resale, less any commissions and fees, by mail to the Purchaser’s last known address.
16. Remedies for Breach. If any applicable conditions herein are not complied with by a winning bidder, in addition to other remedies available by law, including without limitation the right to hold the winning bidder liable for the total purchase price, we, at our option, may either (a) cancel the sale, retaining as liquidated damages all payments made by the winning bidder or (b) resell the property at public auction without reserve or minimum selling price, and the winning bidder will be liable for any deficiency and costs, including handling charges, expenses of both sales, the commission on both sales at regular rates, all other charges due hereunder and incidental damages. In the event of breach by internet bidders of these Terms and Conditions of Sale, Grogan & Co. may file a Non-Paying Bidder Alert to Bidsquare, Invaluable and/or LiveAuctioneers. Grogan & Co. reserves the right to impose a carrying charge of 1.5% per month on past due accounts. Purchasers agree to pay reasonable attorneys’ fees and costs incurred to collect past due accounts.
17. Limitation of Liability. IN NO EVENT SHALL THE LIABILITY OF CONSIGNOR OR US, OUR OFFICERS, EMPLOYEES, REPRESENTATIVES AND AGENTS, TO A PURCHASER FOR ANY BREACH, ACT, OMISSION, OR CLAIM OF ANY NATURE, WITH RESPECT TO AN ITEM PURCHASED, EXCEED THE PURCHASE PRICE ACTUALLY PAID BY THE PURCHASER FOR THE ITEM. In no event shall the consignor or us, our officers, employees and agents, have any liability under any circumstances for special, indirect, incidental or consequential damages (including, without limitation, for loss of profits or revenue, costs of obtaining alternative property, claims of customers of Purchaser or otherwise), whether in contract, tort, negligence, strict liability, or otherwise, arising out of, resulting from or in any way relating to the property purchased, or its purchase, sale, delivery or non-delivery. In no event shall consignor or us, our officers, employees and agents, be liable for any claims related to the errors, acts,
omissions, websites, or technology of the bidding software.
18. LIMITATION OF WARRANTIES. EXCEPT AS EXPRESSLY SET FORTH IN SECTION 20, ALL LOTS ARE OFFERED, AND ALL PROPERTY IS SOLD, “AS IS” WITH NO GUARANTIES OR WARRANTIES OF ANY TYPE. NEITHER THE CONSIGNOR NOR US, OUR OFFICERS, EMPLOYEES OR AGENTS, MAKE ANY REPRESENTATION, WARRANTY OR GUARANTY, NOR DO ANY OF THE FOREGOING ASSUME ANY LIABILITY OF ANY KIND WITH RESPECT TO THE MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, DESCRIPTION, SIZE, GRADING, QUALITY, ATTRIBUTION, GENUINENESS, AUTHENTICITY, PROVENANCE, AGE, CONDITION, MATERIALS, AUTHORSHIP, COMPLETENESS, DAMAGE, REPAIR, RESTORATION, ESTIMATE OF VALUE OR ANY OTHER FEATURE. NEITHER THE CONSIGNOR NOR US, OUR OFFICERS, EMPLOYEES, REPRESENTATIVES OR AGENTS, ARE RESPONSIBLE FOR THE CORRECTNESS OF ANY STATEMENT OF WHATEVER KIND CONCERNING ANY LOT, WHETHER WRITTEN OR ORAL, OR FOR ANY ERRORS OR OMISSIONS IN DESCRIPTION OR FOR ANY FAULTS OR DEFECTS IN ANY PROPERTY. THE PURCHASER HEREBY ASSUMES ALL RISKS CONCERNING AND RELATED THE PROPERTY, INCLUDING, WITHOUT LIMITATION, THE GRADING, QUALITY, DESCRIPTION, CONDITION, AUTHENTICITY, AND PROVENANCE OF A LOT.
19. All Sales Final. Items are sold with all faults and are not returnable for any reason except as set forth in the following Section 20.
20. Limited Rescission Right. If within fourteen (14) days of the sale of any lot, the Purchaser gives notice in writing to us that the lot is counterfeit and within ten (10) days after such notice, the Purchaser, at Purchaser’s sole cost, risk, and expense, returns the lot to us in the same condition as when sold, and demonstrates to our satisfaction that the lot is a counterfeit, we will refund the purchase price.
21. Severability. No invalidity or partial invalidity or unenforceability of any provision provided herein shall affect or impair the validity of enforceability of any other provision hereof. If any provision or portion thereof of the Terms and Conditions of Sale shall be void, unlawful or unenforceable under applicable law, that provision or portion thereof shall be deemed deleted and severed from the remaining provisions, and shall not affect the enforceability or validity of any of the remaining provisions.
22. Jurisdiction; Governing Law. These Terms and Conditions of Sale as well as the Purchaser’s and our respective rights and obligation hereunder shall be governed by and construed and enforced in accordance with the laws of the Commonwealth of Massachusetts. By bidding at an auction whether present in person or by agent, order bid, telephone, or other means, you shall be deemed to have consented to the jurisdiction of the state courts, and the federal courts sitting in the Commonwealth of Massachusetts. In any litigation between us and any Bidders (whether or not the Purchaser) the prevailing party shall be awarded full reimbursement of its actual paid legal fees in connection with the dispute.
23. No Assignment. Unless Grogan & Co. consents in writing, you may not assign your rights or any of your obligations relating to an auction or other sale by Grogan & Co. Any assignment without Grogan & Co.’s written consent will be void.
24. No Waiver. The failure of Grogan & Co. hereto to exercise any right, power or remedy provided hereunder or otherwise available in respect hereof at law or in equity, or to insist upon compliance by any other party hereto with its obligations hereunder, and any custom or practice of the parties at variance with the terms hereof, shall not constitute a waiver by such Grogan & Co. of its right to exercise any such or other right, power or remedy or to demand such compliance.
25. BY BIDDING AT AN AUCTION, WHETHER IN PERSON OR BY AGENT, PROXY, ABSENTEE BID, TELEPHONE, OR OTHERWISE, YOU AGREE TO BE BOUND BY THESE TERMS AND CONDITIONS OF SALE.
