Grogan & Company | The Fine Art Auction | Saturday, May 10, 2025 by Grogan & Company

FINE ART

MAY 10, 2025

GEORGINA C. WINTHROP President georgina@groganco.com

CLAUDIA E. DEELEY Gallery Director & Senior Specialist claudia@groganco.com

LILIA T.M. HUTCHINS Marketing Coordinator lilia@groganco.com

MICHAEL B. GROGAN Founder michael@groganco.com

SARAH R. COLBERT Gallery Manager sarah@groganco.com

CHARLOTTE M. EPKER Auction Administrator charlotte@groganco.com

MAY 10 ∙ 11 AM

LIVE AUCTION

EXHIBITION HOURS

MONDAY, MAY 5 FRIDAY, MAY 9

For more information, please contact: info@groganco.com | 617.720.2020

20 CHARLES STREET, BOSTON, MASSACHUSETTS 02114

(American, 1864-1940)

The Dories oil on canvas

signed lower right; estate stamped verso 24 x 30 in., frame: 31 1/4 x 37 1/8 in.

$4,000–8,000

CHARLES WOODBURY

CHARLES WOODBURY (American, 1864-1940)

Three Girls Walking on the Beach, Ogunquit oil on canvas laid on board estate stamped verso 11 7/8 x 17 in., frame: 19 1/4 x 24 1/4 in.

$3,000–5,000

(American, 1880-1968)

Rocky Neck Hill, East Gloucester 1925, oil on canvas signed and dated lower right 20 x 24 in., frame: 29 x 33 in.

$7,000–10,000

MAX KUEHNE

(American, 1867-1950)

House Overlooking a Salt Marsh oil on canvas

signed lower right; estate stamped verso 12 x 15 in., frame: 15 5/8 x 18 5/8 in.

$1,500–2,500

MARGARET JORDAN PATTERSON

HARRY LEITH-ROSS

(American, 1886-1973)

Shimmering Light oil on canvasboard signed lower left

8 1/4 x 10 1/2 in., frame: 14 1/2 x 17 in.

$2,000–3,000

HENRY MARTIN GASSER

(American, 1909-1981)

Winter Harbor Scene watercolor on paper signed lower left sight: 21 1/2 x 27 1/2 in. frame: 26 1/2 x 32 1/2 in.

$1,000–1,500

ANTHONY THIEME

(American, 1888-1954)

Harbor View oil on canvas

signed lower right

24 x 30 in.

frame: 32 1/4 x 38 in.

$3,000–5,000

ANTHONY THIEME

(American, 1888-1954)

Motif No. 1 oil on canvas

signed lower right

25 x 30 3/8 in.

frame: 34 1/2 x 39 1/2 in.

$6,000–8,000

signed lower right; titled and signed on stretcher 16 x 20 in., frame: 22 1/4 x 26 1/4 in.

$4,000–6,000

JOHN F. CARLSON (American, 1875-1945)

Solitude oil on canvas

FREDERICK JUDD WAUGH

(American, 1861-1940)

Queens Reach, Head of Jervis Inlet oil on board

signed lower right; titled verso 8 x 10 in., frame: 15 1/2 x 17 1/2 in.

$1,000–2,000

ERIC AHO

(American, b. 1966)

Smoke Black Cloud 1997, oil on panel signed upper center 8 x 12 in., frame: 12 1/4 x 16 1/4 in.

$2,000–4,000

MILTON AVERY (American, 1885-1965)

Two Fishermen gouache on paper signed lower left sight: 12 1/4 x 19 in. frame: 16 3/4 x 23 1/8

$30,000–50,000

CHARLES EPHRAIM BURCHFIELD (American, 1893-1967) The Storm 1916, watercolor and pencil on paper signed and dated lower left sheet: 12 x 8 3/4 in., frame: 19 1/2 x 16 in.

$15,000–25,000

STUART DAVIS (American, 1892-1964)

Untitled 1952, ink and crayon on paper estate stamped verso sheet: 4 3/4 x 5 5/8 in., frame: 18 1/8 x 19 in.

$2,000–4,000

JOHN MARIN

(American, 1870-1953)

Mount Desert Minute Drawing watercolor on paper signed lower right sheet: 6 5/8 x 7 3/4 in. frame: 14 1/2 x 15 3/8 in.

$5,000–10,000

JOHN MARIN

(American, 1870-1953)

Mount Desert Minute Drawing 1922, watercolor on paper signed and dated lower right sheet: 6 7/8 x 7 3/4 in. frame: 14 1/2 x 15 3/8 in.

$5,000–10,000

ZORACH (American, 1887-1968)

Robinhood Cove in Winter oil on canvas signed lower left 20 x 24 in. frame: 25 1/8 x 29 1/8 in.

$20,000–25,000

MARGUERITE

(American, 1887-1968)

Path Between the Trees oil on canvas

signed lower left and monogrammed lower right 16 x 20 in., frame: 20 1/4 x 24 3/8 in.

$8,000–12,000

MARGUERITE ZORACH

JAMES EDWARD FITZGERALD

(American, 1899-1971)

Monhegan Fishing Boat with Seagulls watercolor signed lower left sight: 14 x 20 7/8 in., frame: 24 3/4 x 31 1/4 in.

$4,000–6,000

WILLIAM LESTER STEVENS

(American, 1888-1969)

Lobster Shack watercolor on paper signed lower right sight: 7 1/2 x 10 1/4 in. frame: 15 1/2 x 17 3/4 in.

$500–700

WILLIAM LESTER STEVENS

(American, 1888-1969)

Rain, Wind, and Fog watercolor on paper signed lower left sight: 17 1/2 x 21 1/2 in. frame: 25 5/8 x 29 1/2 in.

$800–1,200

ARTHUR CLIFTON GOODWIN (American, 1864-1929)

T-Wharf Boston pastel on paper signed lower right sight: 23 1/4 x 17 1/2 in. frame: 33 x 27 in.

$800–1,200

CHARLES HENRY GIFFORD (American, 1839-1904) Frenchman's Bay, Mt. Desert 1874, oil on canvas signed and dated lower right 11 7/8 x 20 1/4 in., frame: 21 1/2 x 29 7/8 in.

$8,000–12,000

JOHN ROSS KEY (American, 1837-1920)

View of Cherry Mountain, New Hampshire 1878, oil on canvas signed and dated lower right 12 x 26 in., frame: 21 1/2 x 35 1/2 in.

$8,000–10,000

HERMANN OTTOMAR HERZOG

(German-American, 1832-1932)

On the Delaware oil on canvas signed lower right 20 1/4 x 30 1/8 in., frame: 27 5/8 x 37 1/2 in.

$5,000–10,000

GEORGE INNESS

(American, 1825-1894)

Solitude (Heron Brook) 1854, oil on canvas initialed and dated lower left 18 1/4 x 24 in., frame: 25 3/8 x 31 1/4 in.

$15,000–25,000

GEORGE INNESS

(American, 1825-1894)

Medfield, Massachusetts ca. 1860-62, oil on board signed lower right 10 1/2 x 14 1/2 in. frame: 14 3/4 x 18 1/2 in.

$5,000–8,000

Attributed to RALPH BLAKELOCK (American, 1847-1919)

Sunset Landscape oil on canvas signed lower right 8 x 12 in., frame: 14 3/8 x 18 3/8 in.

$3,000–5,000

JAMES EDWARD BUTTERSWORTH

(Anglo-American, 1817-1894)

The Start of the Great 1866 Transatlantic Yacht Race oil on canvas signed lower right 24 x 32 1/4 in., frame: 33 3/8 x 41 1/2 in.

$60,000–90,000

EDMUND DARCH LEWIS

(American, 1835-1910)

Gunning Rock, Narragansett Bay watercolor and gouache on paper signed and dated lower right sight: 9 1/4 x 20 1/4 in., frame: 16 1/4 x 26 3/4 in.

$700–1,000

WILLIAM TROST RICHARDS (American, 1833-1905)

Moonlit Shore 1872, watercolor on paper signed and dated lower center 3 x 4 3/4 in. frame: 14 1/4 x 15 3/4 in.

$700–1,000

The Coast of New England 1781, engraved chart

sight: 42 x 30 in., frame: 51 3/8 x 39 in.

$5,000–8,000

JOESPH FREDERICK WALLET DES BARRES (Canadian, 1721-1824)

(American, 1877-1956)

Twenty Birds of Mt. Desert Island 1934-35, the complete set of twenty offset lithographs from the edition of 250, housed in the original folio each sheet: 29 3/4 x 21 7/8 in.

$15,000–25,000

CARROLL SARGENT TYSON, JR.

After JOHN JAMES AUDUBON (American, 1785-1851)

Ocelot, or Leopard-Cat (Plate LXXXVI) Brewer's Shrew Mole (Plate LXXIV) hand colored lithographs

Philadelphia: J. T. Bowen, 1845-6 each sheet: 21 3/4 x 27 1/2 in.

$800–1,200

OGDEN MINTON PLEISSNER (American, 1905-1983)

On the Cascapédia watercolor on paper inscribed lower left sight: 6 3/4 x 9 3/4 in., frame: 13 1/4 x 16 1/4 in.

$1,500–2,500

(American, 1896-1969)

Under the Rialto, Venice 1925, watercolor signed and dated upper left 14 x 17 3/4 in.

$2,000–4,000

AIDEN LASSELL RIPLEY

AIDEN LASSELL RIPLEY

(American, 1896-1969)

Romanesque Ruins, Italy

1925, watercolor

signed and dated lower right 14 1/4 x 18 1/4 in.

$1,200–1,800

AIDEN LASSELL RIPLEY (American, 1896-1969)

Italian Church 1925, watercolor signed and dated upper left 17 7/8 x 14 in.

$1,500–2,500

RAOUL DUFY

(French, 1877-1953)

La Quai des Esclavons, Venise 1938, gouache and watercolor on paper signed, titled, and dated lower left sight: 18 5/8 x 24 3/4 in. frame: 26 1/8 x 33 1/8 in.

$20,000–40,000

JACQUES MARTIN-FERRIERES (French, 1893-1972)

Venice oil on board signed lower left 13 x 16 1/8 in., frame: 18 3/8 x 21 1/2 in.

$3,000–5,000

HENRI EDMOND CROSS

(French, 1856-1910)

Venice

watercolor

initialed lower right sight: 4 x 5 in., frame: 10 3/4 x 12 3/8 in.

$1,500–2,500

PIERRE EUGENE DE MONTEZIN (French, 1874-1946)

Pêcheurs à Chioggia oil on paper laid on canvas signed lower left 21 1/4 x 28 3/4 in.

frame: 28 1/2 x 36 1/2 in.

$8,000–12,000

After PAUL SIGNAC (French, 1863-1935)

etched by JACQUES VILLON (French, 1875-1963)

Le Port de la Rochelle 1928, color aquatint signed and numbered lower left plate: 18 x 23 in.

frame: 29 1/4 x 33 3/4 in.

$2,000–3,000

PAUL GAUGUIN (French, 1848-1903)

Nave Nave Fenua (Terre Delicieuse) 1894, woodcut numbered in pencil upper left inscribed in pencil lower left and right sight: 14 3/4 x 9 in.

frame: 22 5/8 x 16 3/4 in.

$3,000–5,000

(French, 1840-1917)

Petite Ombre de la Porte de l'Enfer dite aussi Petite Ombre No. 1 conceived ca. 1885, this example executed between 1906-1911 bronze with dark brown and green patina signed on right side of rock inscribed with foundry mark on back of rock stamped on interior of bronze height: 12 1/4 in.

$30,000–50,000

AUGUSTE RODIN

(French, 1861-1944)

Femme Assise dite Baigneuse Renoir bronze

stamped with artist's monogram on rear of base height: 9 1/8 in.

$10,000–20,000

ARISTIDE MAILLOL

ROGER GODCHAUX

(French, 1878-1958)

bronze inscribed on base height: 3 1/2 in.

$2,000–4,000

Lapin

(English, 1912-1993)

bronze

height: 36 7/8 in.

height with base: 39 in.

$10,000–15,000

DENIS ADEANE MITCHELL

Arwednack

height: 7 1/8 in.

height with base: 8 1/4 in.

$1,500–2,500

WILLIAM ZORACH

(American, 1887-1966)

Standing Girl

bronze

50 ANNE PACKARD (American, b. 1933)

signed lower left 24 x 36 in.

frame: 29 1/2 x 41 3/8 in.

$12,000–18,000

Early Morning Mist oil on canvas

LUC LEESTEMAKER

(Dutch/American, 1957-2012)

Transfiguration 2005, mixed media on canvas signed, titled, and dated verso 54 x 54 in.

$1,000–1,500

RICHARD SHEEHAN

(American, 1953-2006)

Green Bridge with Sun 1987, oil on canvas inscribed lower left titled, dated, and signed verso

36 1/4 x 25 1/4 in. frame: 37 1/4 x 26 1/4 in.

$1,000–2,000

ALICE BABER (American, 1928-1982)

The Blue Song of the Tree 1981, watercolor on paper signed lower left, in red triangle signed, dated, and titled verso sheet: 29 3/4 x 41 3/4 in.

$5,000–8,000

JANE PETERSON (American, 1876-1965) Zinnias oil on canvas 24 x 24 in. frame: 31 x 31 in.

$3,000–5,000

ROSE PHIPPS HILTON

(English, 1931-2019)

Artist and Model oil on canvas

signed and titled verso 26 1/2 x 34 1/2 in.

frame: 29 1/4 x 37 1/4 in.

$3,000–5,000

JOHN HELIKER

(American, 1909-2000)

Still Life oil on canvas

signed lower left 12 x 18 in.

frame: 13 x 19 in.

$1,000–2,000

YVONNE JACQUETTE (American, 1934-2023)

Route One, Maine 2008, oil on canvas signed, titled, and dated verso 43 x 66 in.

$4,000–6,000

OSKAR FISCHINGER

(German/American, 1900-1967)

Three Little Squares oil on canvas laid on board signed and dated lower right 13 x19 in., frame: 14 x 20 in.

$2,000–4,000

59 GYORGY KEPES

(American, 1906-2001)

Roma

1961, oil and sand on canvas signed, titled, and dated verso 19 1/2 x 15 1/2 in. frame: 20 3/8 x 16 3/8 in.

$2,000–3,000

60 GYORGY KEPES

(American, 1906-2001)

Untitled oil and sand on canvas

60 x 60 in., frame: 61 x 61 in.

$4,000–6,000

GYORGY KEPES

(American, 1906-2001)

Three Spheres

1938, gelatin silver print signed and dated lower right numbered lower left image: 9 x 7 1/8 in. frame: 18 1/4 x 15 1/4 in.

$1,000–1,500

GYORGY KEPES

(American, 1906-2001)

Three Spheres

1939, gelatin silver print

signed and dated lower right numbered lower left

image: 6 1/4 x 4 1/4 in.

frame: 18 1/4 x 15 1/4 in.

$1,000–1,500

GYORGY KEPES

(American, 1906-2001)

Euclidean Form

1940, gelatin silver print signed and dated lower right numbered lower left

image: 5 3/4 x 4 1/4 in. frame: 18 1/4 x 15 1/4 in.

$1,000–1,500

FRANK STELLA (American, 1936-2024)

Black Adder, from V Series 1968, lithograph in colors numbered, signed, and dated lower left with publisher's blindstamp sheet: 16 x 28 1/2 in., frame: 17 1/2 x 30 in.

$3,000–5,000

FRANK STELLA

(American, 1936-2024)

Quathlamba II, from V Series 1968, lithograph in colors numbered, signed, and dated lower left with publisher's blindstamp sheet: 16 x 28 1/2 in., frame: 17 1/2 x 30

$2,000–4,000

FRANK STELLA

(American, 1936-2024)

Quathlamba I, from V Series 1968, lithograph in colors numbered, signed, and dated lower left with publisher's blindstamp sheet: 16 x 28 1/2 in., frame: 17 1/2 x 30 in.

$2,000–3,000

(American, 1923-1997)

Still Life, from the Metropolitan Scene (B. 27)

1968, screenprint in colors on aluminum panel incised with signature; numbered and dated lower right 36 x 36 in., frame: 36 1/4 x 36 1/4 in.

$10,000–15,000

ROY LICHTENSTEIN

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

VICTOR VASARELY

(Hungarian/French, 1906-1997)

Axo

silkscreen in colors on aluminum signed lower left, numbered lower right 25 1/4 x 25 1/4 in.

$800–1,200

VICTOR VASARELY

(Hungarian/French, 1906-1997)

Stèle

polychrome wood multiple signed lower left numbered lower right height: 12 1/8 in.

$1,500–2,500

MASAYUKI NAGARE

(Japanese, 1923-2018)

Untitled 1979, bronze signed, numbered, and dated under side of bronze height: 9 3/8 in., width: 9 1/4 in. height with base: 12 1/2 in.

$800–1,200

PABLO PICASSO

(Spanish, 1881-1973)

Profil de Taureau (A.R. 317) 1956, glazed earthenware stamped verso diameter: 10 in.

$3,000-5,000

(American, 1898-1976)

lithograph signed lower right and numbered lower left sight: 20 x 30 in., frame: 38 x 29 1/4 in.

$1,000–2,000

ALEXANDER CALDER

Tree

RICHARD DIEBENKORN

(American, 1922-1993)

Seated Woman in Striped Dress 1965, lithograph initialed and dated lower right numbered lower left with publisher's blindstamp lower right 28 x 22 1/4 in.

$2,000–4,000

RICHARD DIEBENKORN

(American, 1922-1993)

Seated Nude 1965, lithograph initialed and dated lower right numbered lower left 26 1/4 x 20 in.

$1,500–2,500

REYNOLDS BEAL (American, 1866-1951)

The Circus Dancer 1930, colored pencil on paper signed and dated lower right sight: 14 1/2 x 17 3/4 in.

frame: 23 1/8 x 26 1/2 in.

$800–1,200

REYNOLDS BEAL (American, 1866-1951)

Sells-Floto Circus 1929, colored pencil on paper signed, titled, and dated lower right sight: 14 x 18 1/4 in.

frame: 24 1/4 x 29 in.

$800–1,200

GUY CARLETON WIGGINS (American, 1883-1962)

New York Library in the Snow oil on canvasboard signed lower right signed and titled verso 20 x 16 in.

frame: 25 5/8 x 21 3/4 in.

$15,000–25,000

REYNOLDS BEAL (American, 1866-1951)

Double Ender, Newport 1897, oil on board titled and dated verso 5 3/8 x 8 3/4 in. frame: 10 7/8 x 14 in.

$1,500–2,500

THOMAS CURTIN (American, 1899-1977)

Rockport Harbor oil on canvas signed lower right

estate stamped verso 24 x 32 in.

frame: 32 3/4 x 40 3/4 in.

$1,000–2,000

ROBERT CHARLES GRUPPE (American, b. 1944)

Reed's Wharf oil on canvas signed lower right 30 x 36 in.

frame: 36 x 42 in.

$2,000–4,000

EMILE ALBERT GRUPPE

(American, 1896-1978)

Motif No. 1 with Lobsterman oil on canvas

signed lower left and lower right

20 x 16 in., frame: 24 1/2 x 20 1/2 in.

$2,000–3,000

EMILE ALBERT GRUPPE

(American, 1896-1978)

Gloucester Harbor oil on canvas

signed lower right

20 x 18 in., frame: 24 1/4 x 21 1/4 in.

$2,000–3,000

EMILE ALBERT GRUPPE

(American, 1896-1978)

View of Mount Mansfield, Fletcher, Vermont oil on canvas

signed lower right, titled verso 20 x 24 in., frame: 25 x 29 in.

$2,000–3,000

HERMANN DUDLEY MURPHY

(American, 1867–1945) The Gulf of Slides (Near Jackson, New Hampshire) oil on board

signed lower left signed and titled verso 11 7/8 x 16 in.

$800–1,200

ALDRO THOMPSON HIBBARD (American, 1886-1972)

Mount Chocorua oil on canvasboard signed lower right 16 3/4 x 19 7/8 in., frame: 24 6/8 x 27 3/4 in.

$7,000–10,000

ALDRO THOMPSON HIBBARD

(American, 1886-1972)

Rural Town, Vermont oil on canvasboard

signed lower right titled verso

18 x 24 1/4 in.

frame: 25 x 31 1/8 in.

$4,000–6,000

ALDRO THOMPSON HIBBARD

(American, 1886-1972)

The Red Barn oil on canvas

signed lower right estate stamped verso

24 x 36 in.

frame: 31 x 43 in.

$3,000–5,000

ALDRO THOMPSON HIBBARD (American, 1882-1972)

Covered Bridge oil on artist's board signed lower right 17 3/4 x 24 7/8 in. frame: 24 3/8 x 31 3/8 in.

$2,000–3,000

GLADYS NELSON SMITH (American, 1890-1980)

Catoctin Mountains

Sledding oil on canvas

initialed lower right 28 1/4 x 31 1/4 in.

frame: 38 1/2 x 41 1/4 in.

$2,000–4,000

OTIS COOK

(American, 1900-1980)

Winter View oil on canvas

signed lower left 20 x 24 1/4 in.

frame: 26 x 30 1/8 in.

$1,000–2,000

CARL WILLIAM PETERS

(American, 1897-1980)

Red Barn oil on canvas

estate stamped verso 24 x 30 in.

frame: 32 1/2 x 38 1/2 in.

$3,000–5,000

ALDRO THOMPSON HIBBARD

(American, 1886-1972)

Fall View

oil on artist's board

signed lower left 18 x 24 in.

frame: 24 3/8 x 30 1/4 in.

$3,000–5,000

ANTONIO CIRINO

(American, 1889-1983)

Mountains Majesty oil on canvas

signed lower right 25 x 30 in.

frame: 33 x 38 in.

$2,000–4,000

PAUL STRISIK

(American, 1918-1998)

Under Mount Mansfield, Vermont 1981, oil on canvas signed and dated lower right artist's label with title verso 12 x 24 in., frame: 20 x 32 in.

$1,000–2,000

WAYNE MORRELL

(American, 1923-2013)

The Red Barn, Bucks County, PA 1987, oil on canvasboard titled and signed lower right titled, dated, and signed verso 24 x 30 in., frame: 33 3/4 x 39 3/4 in.

$1,000–1,500

ANTONIO CIRINO

(American, 1889-1983)

Lobsterman's Rendezvous

1980, oil on canvas laid on board signed lower right signed, titled, and dated verso 8 x 10 in., frame: 13 x 15 in.

$800–1,200

ANTONIO CIRINO

(American, 1889-1983)

The Trudger oil on artist's board signed lower left signed and titled verso 7 7/8 x 10 in. frame: 13 1/2 x 15 1/2 in.

$800–1,200

(American, 1888-1954)

A Southern Doorway oil on panel signed lower right 20 x 16 in., frame: 26 x 22 in.

$2,000–4,000

ANTHONY THIEME

100

WALTER EMERSON BAUM

(American, 1884-1956)

Industrial City on a Clear Day 1946, oil on canvasboard signed lower left titled and dated verso 9 1/8 x 12 in.

frame: 13 3/8 x 16 3/8 in.

$1,000–2,000

101

MABEL MAY WOODWARD

(American, 1877-1945)

Walking the Holstein oil on canvas laid on board signed lower left 8 x 10 in.

frame: 13 3/4 x 16 in.

$1,500–2,500

102

ARTHUR V. DIEHL

(American, 1870-1929)

Dune Path oil on canvas signed lower left 12 x 24 in., frame: 17 1/4 x 29 3/4 in.

$800–1,200

103

ARTHUR V. DIEHL

(American, 1870-1929)

Provincetown

oil on artist's board signed lower right 12 x 20 in. frame: 30 1/2 x 22 1/2 in.

$1,500–2,500

104

PAUL STRISIK

(American, 1918-1998)

Gloucester View 1970, oil on canvasboard signed lower left 12 x 20 in., frame: 15 x 23 in.

$1,000–1,500

105

CHARLES CAHOON

(American, 1861-1951)

Dory on the Shore oil on artist's board signed lower right 9 x 12 in.

frame: 12 1/2 x 15 1/2 in.

$1,000–1,500

106

ROBERT BLISS (American, 1925-1981)

Looking Toward Boston from Hull oil on board

signed lower right; signed, titled, and dated verso 23 5/8 x 43 1/2 in., frame: 24 3/4 x 44 1/2 in.

$1,000–2,000

107

JOSEPH MCGURL

(American, b. 1958)

Ice Floes on Thompson Island, Boston Harbor oil on panel signed lower right 9 x 12 in.

frame: 15 1/2 x 18 1/2 in.

$2,000–2,500

108

JOSEPH MCGURL

(American, b. 1958)

At Anchor off Peddocks Island, Boston oil on panel signed lower right 10 1/2 x 13 1/2 in.

frame: 18 1/4 x 21 1/4 in.

$2,000–2,500

109

ROBERT DOUGLAS HUNTER

(American, 1928-2014)

Still Life with Violin 2004, oil on canvas signed and dated lower left 16 x 28 in., frame: 24 x 36 in.

$2,000–3,000

110

ROBERT DOUGLAS HUNTER (American, 1928-2014)

Still Life with Bowl 2009, oil on canvas signed and dated lower left 14 x 24 in., frame: 21 1/2 x 31 5/8 in.

$1,500–2,500

111

Attributed to MARTHA WALTER (American, 1875-1976)

Still Life with Fruit oil on board

20 x 26 in., frame: 28 x 33 3/4 in.

$1,000–2,000

BENJAMIN CHAMPNEY

(American, 1817-1907)

Still Life with Roses oil on canvas

signed lower left

16 x 24 in., frame: 24 3/4 x 32 3/4 in.

$1,500–2,500

GEORGE LOFTUS NOYES

(American, 1864-1954)

Roses

1889, oil on canvas signed and dated lower left 10 x 14 in., frame: 16 1/4 x 20 1/4 in.

$1,000–2,000

(British, 1877-1970) At the Seaside watercolor on paper signed lower right sight: 7 3/4 x 6 1/4 in. frame: 14 3/4 x 13 1/4 in.

$1,500–2,500

114

DAME LAURA KNIGHT

115

(American, 1861-1890)

Study of a Youth charcoal on paper sight: 16 x 22 in. frame: 24 x 30 in.

$2,000–4,000

DENNIS MILLER BUNKER

116

FREDERICK ANDREW BOSLEY

(American, 1881-1941)

Arrangement

1913, oil on canvas

signed and dated lower right

36 1/4 x 35 in.

frame: 41 3/4 x 41 in.

$4,000–6,000

117

ENOCH WOOD PERRY, JR.

(American, 1831-1915)

Young Woman Quilting

1885, oil on canvas

signed and dated lower left

16 1/8 x 12 1/4 in.

frame: 21 1/8 x 17 1/4 in.

$2,000–3,000

118

FRANK HECTOR TOMPKINS

(American, 1847-1922)

Afternoon Reverie

1894, oil on canvas

signed and dated lower left

27 x 34 in.

frame: 32 3/4 x 39 7/8 in.

$1,500–2,500

119

MARGUERITE STUBER PEARSON

(American, 1898-1978)

Tone Poem oil on canvas

signed lower right

30 x 36 in.

frame: 39 x 45 in.

$2,000–3,000

120

FRANK WESTON BENSON (American, 1862-1951)

Young Girl with Doll 1897, oil on canvas signed and dated upper right dedicated upper left 24 x 20 in., frame: 28 1/8 x 24 1/4 in.

$4,000–6,000

121

WILLIAM MORRIS HUNT (American, 1824-1879)

Portrait of a Girl oil on canvas monogrammed left edge 14 x 12 in., frame: 23 3/4 x 21 3/4 in.

$1,500–2,500

122

HERMANN DUDLEY MURPHY

(American, 1867-1945)

Portrait of a Young Girl oil on canvas monogrammed lower left 27 x 48 in.

$1,500–2,500

123

LYDIA FIELD EMMET

(American, 1866-1952)

Elizabeth Laura McCullough pastel on board monogramed lower right sight: 26 5/8 x 20 1/2 in. frame: 35 3/4 x 29 3/4 in.

$1,500–2,500

(American, 1842-1906)

In St. George Street, St. Augustine, Florida 1888, oil on canvas signed and dated lower left; titled and signed verso 20 1/4 x 14 1/8 in., frame: 30 3/8 x 24 1/8 in.

$10,000–15,000

124

FRANK HENRY SHAPLEIGH

125

FRANK HENRY SHAPLEIGH

(American, 1842-1906)

Mote Mountain from the Barn in Conway, NH 1881, oil on canvas signed and dated lower right titled and signed verso 10 x 16 in.

frame: 14 1/4 x 20 1/4 in.

$1,500–2,500

126

FRANK HENRY SHAPLEIGH

(American, 1842-1906)

Old Kitchen in Jackson, NH 1885, oil on canvas signed and dated lower left titled and signed verso 10 x 16 in.

frame: 18 3/4 x 24 3/4 in.

$1,500–2,500

127

JOHN JOSEPH ENNEKING (American, 1841-1916)

Landscape with Sheep oil on canvas signed lower right 16 1/4 x 22 1/4 in.

frame: 22 5/8 x 28 5/8 in.

$2,000–4,000

128

JOHN JOSEPH ENNEKING (American, 1841-1916)

Fall View oil on canvas signed lower right 20 x 24 in.

frame: 30 3/8 x 34 1/2 in.

$2,000–3,000

129

FREDERICK MULHAUPT

(American, 1871-1938)

Fall River View 1904, oil on canvas signed and dated lower left 24 1/4 x 29 1/8 in. frame: 32 1/2 x 37 5/8 in.

$3,000–5,000

130

AARON DRAPER SHATTUCK

(American, 1832-1928)

Cows in a Meadow 1874, oil on artist's board signed and dated lower left 12 1/2 x 18 1/4 in., frame: 27 1/2 x 23 in.

$2,000–3,000

131

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.

$3,000–5,000

132

JOHN APPLETON BROWN (American, 1844-1902) Country Landscape oil on canvas signed lower left

26 1/4 x 22 5/8 in. frame: 36 5/8 x 33 in.

$2,000–4,000

133

GEORGE HAWLEY HALLOWELL (American, 1871-1926)

Perugia oil on canvas

signed lower right

31 x 47 in.

frame: 37 x 52 7/8 in.

$2,000–4,000

134

HAYLEY LEVER (American, 1876-1958)

Bateau sur la Seine, Paris oil on board

signed lower right sight: 9 x 12 3/4 in.

frame: 18 3/4 x 21 3/4 in.

$1,500–2,500

135

Attributed to WILLIAM FORMBY HALSALL

(American, 1841-1919)

Ship at Sunset oil on canvas

12 x 16 in.

frame: 17 3/4 x 21 3/4 in.

$1,500–2,500

136

EDWARD MORAN

(American, 1829-1901)

Evening, Cape Ann oil on canvas

signed lower left 18 x 36 in., frame: 21 1/4 x 39 1/2 in.

$4,000–6,000

137

EGIDIUS LINNIG

(Belgian, 1821-1860)

The Ship Peterhof 1854, oil on canvas signed and dated lower left 21 5/8 x 29 3/8 in. frame: 23 7/8 x 31 7/8 in.

$2,000–4,000

138

HENRY MOORE

(British, 1831-1895)

Seascape with Sailboats 1878, oil on panel signed and dated lower right 8 x 12 in., frame: 10 7/8 x 15 1/4 in.

$1,000–2,000

139

JOHN BRETT

(British, 1831-1902)

Newquay oil on canvas

signed lower right; titled and dated lower left 7 x 14 in., frame: 11 3/4 x 18 1/2 in.

$3,000–5,000

140

JOHN BRETT

(British, 1831-1902)

Mountain Landscape 1882, oil on canvas signed and dated upper left 7 x 14 in., frame: 13 3/4 x 20 3/4 in.

$2,000–4,000

141

JAMES M c AULIFFE

(American, 1848-1921)

Maybird and Tanner Boy oil on panel

signed lower left sight: 6 1/4 x 9 in.

frame: 11 1/2 x 14 1/4 in.

$1,000–1,500

142

JAMES M c AULIFFE

(American, 1848-1921)

Tanner Boy oil on panel

signed lower left

sight: 6 1/4 x 9 in.

frame: 11 1/2 x 14 1/4 in.

$1,000–1,500

143

WILLIAM CALLOW

(English, 1812-1908)

On the Tiber, Rome watercolor

titled and signed lower right sight: 9 7/8 x 14 1/8 in. frame: 20 x 24 5/8 in.

$1,500-2,500

144

CHARLES F. DAUBIGNY

(French, 1817-1878)

Normandy Landscape charcoal on paper

12 3/8 x 18 3/4 in. frame: 21 x 27 1/4 in.

$1,500–2,500

1798-1863)

A Moroccan pencil on paper estate stamped lower left sight: 7 1/2 x 4 5/8 in. frame: 15 5/8 x 12 5/8 in.

$800–1,200

145

EUGENE DELACROIX (French,

146

After GIOVANNI BATTISTA PIRANESI (Italian, 1720-1778)

Veduta interna dell'Atrio del Portico di Ottavia etching plate: 16 x 21 5/8 in.

frame: 22 3/8 x 27 1/2 in.

Veduta di Campo Vaccino etching plate: 16 x 21 1/2 in.

frame: 22 3/8 x 27 1/2 in.

$1,000–2,000

147

After GIOVANNI BATTISTA PIRANESI (Italian, 1720-1778)

Four Works from Imaginary Prisons etchings

each with Regia Calcografia blindstamp each sheet approx. 35 1/2 x 23 1/2 in.

$500–1,000

148

After WILLIAM HOGARTH

(English, 1697-1764)

Marriage a la Mode 1745, the set of six etchings and engravings by Scotin, Baron, and Ravenet on laid paper with margins each plate approx. 15 x 18 1/4 in.; two of six are framed, frames: 25 1/2 x 28 1/2 in.

$300–500

149

REMBRANDT VAN RIJN (Dutch, 1606-1669)

The Great Jewish Bride etching sheet: 8 1/2 x 6 5/8 in. frame: 17 3/4 x 14 1/2 in.

$10,000–20,000

150

REMBRANDT VAN RIJN

(Dutch, 1606-1669)

The Angel Appearing to the Shepherds etching sheet: 10 1/2 x 8 3/4 in. frame: 17 3/4 x 15 1/8 in.

$5,000–7,000

Attributed to HENDRIK VAN MINDERHOUT (Dutch, 1632-1696)

Harbor Scene with Ruins oil on canvas

44 x 65 in., frame: 57 x 78 in.

$8,000–12,000

THE EFRAT ADLER PORAT HOLY LAND COLLECTION

Grogan & Company is honored to bring to auction the collection of the noted art historian Efrat Adler Porat. Though Efrat's academic focus was on the Boston School artists, her true collecting passion lay in views of the Holy Land, where she was born and raised. Her collection features a selection of nine oil paintings depicting the Holy Land, as well as a wide variety of watercolors, drawings, and prints of the region.

These works are from what is often referred to as the “Orientalist Period,” a nineteenth century movement following Napoleon’s 1798 invasion of Egypt that focused on the study and representation of the Middle East. 1 Starting in the 1830s, European and American painters began to follow in the footsteps of Scottish painter David Roberts in viewing the “Orient” as a future for Classical painting beyond the Greco-Roman landscapes and mythology that had previously dominated the art world. 2 As transportation technology improved and travel became easier in the 1860s, the Middle East was added to the “Grand Tour” of the Continent traditionally undertaken by young artists. 3

The oil paintings in this collection were painted by American artists who brought a distinct point of view to their representations of the Holy Land. Although American and European artists painted similar subject matter, Americans focused on landscapes rather than genre scenes depicting Biblical stories. 4 Art historian Oleg Grabar argued that the unique form of “American Orientalism” came, in part, from the Protestant search for a space of Biblical revelation. 5 Many places in the United States are named for Biblical locations, belying the sense of a metaphorical relationship between the connection between Chosen People and the Holy Land and American Manifest Destiny.

Both James Fairman and Andrew Melrose came up in the Hudson River School before departing to the Middle East. The Hudson River School was a term that identified a group of New York based landscape painters from the second half of the nineteenth century. 6 These painters applied the theory of the Sublime – defined as the fearsome or awesome – in their work, focusing on an appreciation of the wilderness and the overwhelming power of nature. 7 Their work was particularly connected with the American idea of “Manifest Destiny," and these paintings helped to promote the connection between American identity and landscape.

The Hudson River School painters followed a prescribed set of landscape characteristics to present an appealing landscape. James Fairman follows these iconographic markers

precisely in his View of Jerusalem (Lot 152) from 1875. Fairman provides an entry point to the landscape, in this case a path coming in from the right side of the painting, allowing the remote landscape to feel accessible to the viewer. Fairman places an individual in the foreground to provide a sense of scale as well as an immediateness to the painting, as if it is capturing a moment in time. The middle ground features criss-crossing hills and a trickling stream that leads the eyes up to the horizon. In his book introducing “habitat theory,” Jay Appleton argues that humans are attracted to landscapes that appear to be able to provide for our biological needs. 8 We find landscapes with water, greenery, and shelter to be beautiful and appealing to paint or hang on our walls. In the distance, Fairman features the city of Jerusalem, its domes and walls highlighted by the rising sun. The sun is a popular motif in Hudson River School paintings given its association with the divine and the following implication that the land illuminated by the sun is thus protected by the divine.

The “American Orientalism” seen in these paintings is distinct in its rejection of the eroticism closely associated with its European counterpart, instead focusing on a “picturesque” character. 9 There was an effort to combine religious pilgrimage with a post-Enlightenment scientific objectivity by capturing the landscape with minute realism. 10 The immense care taken in recording these landscapes with excruciating attention to detail and nuance can be read, in itself, as an act of religious devotion. America’s relationship with the “Orient” was distinct from that of France, for example, which saw the “Orient” as a feminized vessel for colonial activity. 11 As the United States was still primarily seen by the world as a former colony, Americans had a different relationship with foreign colonies. Americans saw the Middle East not as a corporeal entity to dominate but, rather, a picturesque landscape on which to spread their democratic ideals. 12 In this sense, these landscapes serve a similar role to the depictions of western landscapes on the American frontier – a beautiful, but wild promised land in need of western enlightenment.

The frontier was, perhaps not incidentally, a favorite subject of Andrew Melrose. Melrose seemed to have imparted this fascination with the frontier onto his representation of a Jerusalem Landscape (Lot 160) depicting a series of rolling hills and jagged mountaintops. In the foreground, a group of travelers heading towards Jerusalem – the city on a hill – both emphasize the scale and recall the American pioneers performing a similar journey to their own imagined city on a hill.

Features of the Hudson River School were translated onto these foreign landscapes with a deft touch. James Fairman’s Seascape (Lot 157) provides a masterful example of the Sublime in painting, defined by Edmund Burke as causing “that state of the soul in which all its motions

Lot 160

are suspended, with some degree of horror”. The rich red of the sky and the convergence of steep landscape and rough waters imparts a sense of Biblical importance on an ecological study. Less tumultuous paintings allow the awesome scale of the painting to imbue a work with the Sublime, such as James Fairman’s View of Jerusalem which features a seemingly endless stretch of land.

Efrat Adler Porat (1941–2024) was born in Tel Aviv, Israel and moved to the United States with her husband, eventually pursuing a master’s degree in Art History from Tufts University. She specialized in American art and wrote her dissertation on American Impressionist Dennis Miller Bunker who, at the time, was relatively unrecognized by art historians. It was Porat’s work that reintroduced him to American audiences and she was a key contributor to the exhibition dedicated to him at the Museum of Fine Arts, Boston.

Around 1989, a painting depicting the hills of Judea showed up in an auction catalogue from Sotheby’s. Porat immediately recognized the landscape from her childhood where she learned to love Israel by walking, getting to know the geography by heart. The painter had carefully recorded every detail of the landscape so that, to Porat, it was as if he had plucked it directly from her memory. Porat knew she had to have it and, even as the bids soared far above what Sotheby’s had estimated, she brought it home. Her husband, David, remembered that after the auction ended, the auctioneer came over to her, stunned by the demand for the painting, and asked: “what did you know that I did not?”

“The Holy Land,” she responded.

After that day, Porat fell in love with the subject and turned her art historical skills and passion for discovery towards building a collection of Holy Land paintings. After being so far from home for so many years, Porat developed a passion for collecting meticulously detailed depictions of the landscape she grew up in as seen through the eyes of her adopted country. Using her rich background in American art, she built a living collection of paintings she was truly passionate about, that spoke to each other. Porat employed the same skill for uncovering that led her to become one of the foremost experts on Dennis Miller Bunker to laboriously build a collection of unique paintings that had become dispersed throughout the art market over the years. Porat reunited the oeuvre Fairman, Melrose, and others to tell a story about the land that she grew up in and continued to love for the rest of her life.

Lot 157

152

JAMES FAIRMAN (American, 1826-1904) View of Jerusalem 1875, oil on canvas signed and dated lower left 31 1/2 x 45 in., frame: 36 x 49 1/2 in.

$25,000–50,000

153

(American, 1826-1904)

Jerusalem oil on canvas

signed lower left

31 3/4 x 44 3/4 in., frame: 43 1/2 x 56 1/2 in.

$15,000–25,000

JAMES FAIRMAN

154

(American, 1826-1904)

View of Jerusalem oil on canvas signed lower left 32 x 45 in., frame: 40 x 53 in.

$15,000–25,000

JAMES FAIRMAN

155

JAMES FAIRMAN (American, 1826-1904)

View from the Mount of Olives oil on canvas

signed lower right

32 x 44 13/4 in., frame: 41 1/2 x 54 1/4 in.

$20,000–40,000

Accompanied by a pencil sketch of the view

156

JAMES FAIRMAN (American, 1826-1904)

View of Jerusalem from Mount of Olives oil on canvas

signed lower right

30 1/4 x 40 1/4 in., frame: 37 1/2 x 47 1/2 in.

$20,000–30,000

157

JAMES FAIRMAN

(American, 1826-1904) Seascape 1883, oil on canvas signed and dated lower right 17 3/4 x 30 in., frame: 25 3/4 x 38 in.

$5,000–10,000

158

JAMES FAIRMAN

(American, 1826-1904) Beach at Jaffa 1874-5, oil on canvas initialed lower right 31 1/2 x 45 in., frame: 38 1/2 x 52 1/4 in.

$8,000–12,000

159

ANDREW MELROSE

(American, 1836-1901)

Jerusalem and Mount Olives from the Path to Bethany oil on canvas

signed lower left

22 x 36 in., frame: 29 1/4 x 43 1/4 in.

$4,000–8,000

160

ANDREW MELROSE

(American, 1836-1901)

Jerusalem Landscape oil on canvas signed lower left 24 x 42 in., frame: 35 1/2 x 53 1/2 in.

$4,000–8,000

161

CORWIN KNAPP LINSON (American, 1864-1934)

Plain of Jericho 1899, oil on board titled and dated lower left signed lower right 9 x 12 1/2 in.

frame: 13 x 16 1/2 in.

$300–500

162

CORWIN KNAPP LINSON (American, 1864-1934)

By the Sea of Galilee watercolor on paper titled and signed lower left sight: 7 1/2 x 11 1/2 in. frame: 14 3/4 x 16 1/2 in. with extensive notes by the artist

$100–200

163

CORWIN KNAPP LINSON (American, 1864-1934)

Portrait of a Man in Bethlehem 1898, oil on canvasboard signed, dated, and located lower left sight: 9 1/2 x 6 3/4 in.

frame: 13 3/4 x 10 3/4 in.

$200–400 164

CORWIN KNAPP LINSON (American, 1864-1934)

The Lesson of the Birds (Matthew 6:26) 1899, watercolor and gouache on paper signed and dated lower left sight: 13 1/2 x 9 in.

frame: 20 1/2 x 16 1/2 in.

$200–300

Jesus Healing the Bleeding Woman 1899, watercolor and gouache on paper signed and dated lower left sight: 13 1/2 x 9 in.

frame: 20 1/2 x 16 1/2 in.

165

ITALIAN SCHOOL (19th century)

Two Views of Jerusalem gouache on paper one: 8 x 12 in. the other: 7 1/2 x 10 3/4 in.

$200–400

166

Manner of IPPOLITO CAFFI (Italian, 1809-1866)

View of Jerusalem gouache and watercolor on paper sight: 10 1/2 x 15 in. frame: 20 1/2 x 25 1/8 in.

$1,000–1,500

167

HENRY HARPER (English, 1835-1900)

Two Views of the Holy Land 1885 and 1894, watercolor each signed and dated one: 19 x 28 3/4 in. the other: 20 3/4 x 29 3/4 in.

$300–500

168 AUGUST LOFFLER

(German, 1822-1866)

Three Views of Jerusalem watercolor and gouache each initialed each approx.: 7 x 10 in. each frame: 16 x 18 in.

$300–500

169

Six 19th Century Views of the Holy Land comprising of four watercolors, one oil painting, and one chromolithograph

$300–500

170 After DAVID ROBERTS

(Scottish, 1796-1864)

Collection of Sixty Seven Prints Depicting the Holy Land including a collection of fifteen similarly framed lithographs

$800–1,200

171

MARGARET GERDING

(American, 20th century)

Loosestrife in Red 1995, oil on canvas signed lower right signed and dated verso 18 x 18 in.

frame: 20 3/8 x 20 3/8 in.

$700–1,000

172

MARGARET GERDING

(American, 20th century)

The Beginning of June oil on panel signed lower right 14 x 24 in., frame: 16 3/8 x 26 3/8 in.

$800–1,200

173

MARGARET GERDING

(American, 20th century)

Evening Storm Approaching pastel on paper sight: 17 1/8 x 23 1/4 in. frame: 27 1/8 x 32 1/8 in.

$700–1,000

174

MARGARET GERDING

(American, 20th century)

Georgia Marsh 1998, oil on canvas monogrammed indistinctly lower right titled and dated verso 24 1/4 x 36 1/8 in., frame: 26 x 38 in.

$1,500–2,500

175

STEPHEN ETNIER (American, 1903-1984)

Studio Window 1932, oil on canvas signed and dated lower center 26 1/4 x 18 1/8 in.

frame: 32 5/8 x 24 5/8 in.

$1,000–1,500

176

HARRIET DE SANCHEZ (American, 1904-1957)

On the Rooftop, New York oil on canvas signed lower right 12 x 8 1/8 in.

frame: 14 1/2 x 10 1/2 in.

Still Life with Flowers oil on canvas

signed lower left 8 1/8 x 10 in.

frame: 11 3/8 x 13 1/4 in.

$2,000–3,000

177

JOHN R. GRABACH

(American, 1886-1981)

Artist and Model oil on panel

signed lower center

13 x 17 in.

frame: 17 1/4 x 21 1/8 in.

$2,000–3,000

178

ARTHUR BEECHER CARLES

(American, 1882-1952)

The Red Shawl oil on canvas

21 3/8 x 18 1/4 in.

frame: 27 3/8 x 24 3/8 in.

$2,000–4,000

179

JOSEPH SOLMAN

(American, 1909-2008)

Portrait of a Woman oil on board

initialed lower right 19 3/4 x 11 5/8 in. frame: 26 x 17 3/4 in.

$1,000–1,500

180 THERESA BERNSTEIN (American, 1890-2002)

Portrait of a Girl oil on canvas

signed upper right 33 1/8 x 25 1/2 in. frame: 43 x 35 1/8 in.

$2,000–4,000

181

VALENTIN DE ZUBIAURRE JR. (Spanish, 1879-1963)

Young Woman oil on canvas

19 x 13 in.

frame: 23 3/8 x 17 1/2 in.

$2,000–4,000

182 NGUYEN TRI MINH (Vietnamese, 1924-2010)

Seated Woman 1962, oil on canvas signed and dated lower right 28 3/4 x 15 5/8 in.

$1,500–2,500

183

PAUL PLETKA

(American, b. 1946)

Untitled oil on canvas signed lower left 48 x 48 in.

$8,000–12,000

184

LEONARD BASKIN

(American, 1922-2000)

American Indian Portfolio 1973-1974, sixteen lithographs each signed lower right and numbered lower left each sheet: 41 3/4 x 29 3/4 in.

$5,000–10,000

185

FRANK REED WHITESIDE

(American, 1866-1929)

The New Gun

1912, oil on canvas signed and dated lower left 13 1/2 x 20 in.

frame: 21 x 27 1/2 in.

$1,500–2,500

186

VICTOR MANUEL

(Cuban, 1897-1969)

Portrait of a Young Woman watercolor and ink on paper signed lower left sheet: 12 5/8 x 9 3/4 in. frame: 19 3/4 x 16 3/4 in.

$1,000–1,500

187

JOY LAVILLE

(English/Mexican, 1923-2018)

Five Figures pastel on paper signed lower center sight: 15 3/4 x 11 7/8 in. frame: 24 x 20 1/8 in.

$1,000–2,000

188

BRUNO ZUPAN

(Slovenian/American, b. 1939) On the Giudecca, View to the Redentore oil on canvas

signed upper right 18 1/4 x 21 3/4 in.

frame: 26 x 29 3/8 in.

$1,000–1,500

189

BRUNO ZUPAN

(Slovenian/American, b. 1939) Walkway to the Accademia oil on canvas

signed lower right 15 1/8 x 18 1/4 in.

frame: 23 x 26 1/8 in.

$1,000–1,500

190

ALFRED BIRDSEY (Bermudian, 1912-1996)

Bermuda Harbor View oil on canvas signed lower right

24 x 30 in.

frame: 27 x 33 in.

$800–1,200

191

YOLANDE ARDISSONE (French, 1927-2024)

Verger à Dormelle oil on canvas signed lower left

23 3/4 x 28 7/8 in.

frame: 33 1/2 x 38 1/2 in.

$3,000–5,000

Cloud 2012-13, oil and spray paint on linen signed, dated, and titled verso

70 1/4 x 46 1/4 in.

$1,000–2,000

192

SARAH LUTZ

(American,

1967)

193

CHI CHEN

(Chinese-American, 1912-2005)

Red Flowers

1990, watercolor and pencil 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

194

RENÉ PORTOCARRERO (Cuban, 1912–1985)

Untitled 1970, watercolor and gouache on paper signed and dated lower left sheet: 25 1/2 x 19 3/4 in.

$1,000–1,500

195

NAM JUNE PAIK

(Korean, 1932-2006)

Untitled 2005, oil on canvas dated and signed lower left 24 x 30 in.

$2,000–3,000

196

CHARLES GREEN SHAW (American, 1892-1974)

Tidal Curve 1965, oil on canvasboard signed lower left titled, dated, and signed verso 6 x 8 1/2 in. frame: 10 1/2 x 13 in.

$1,000–2,000

197

JOHN MCLAUGHLIN (American, 1898-1976)

Untitled Composition oil on masonite signed lower left 18 x 24 in. frame: 24 x 30 in.

$20,000–30,000

198 SEWELL SILLMAN (American, 1924-1992) North Border Entry 1964, oil on masonite titled and dated verso 46 7/8 x 64 1/4 in. frame: 48 1/7 x 65 1/4 in.

$3,000–5,000

199

JESUS RAFAEL SOTO (Venezuelan, 1923-2005)

Untitled (Two Works) screenprint

each initialed and numbered lower right each sheet: 27 1/4 x 19 1/2 in. each frame: 28 x 20 1/2 in.

$1,500–2,500

200

FRIEDEL DZUBAS

(German/American, 1915-1994)

Multi (Community Holiday Festival)

1974, screenprint in colors numbered, signed, and dated lower right sheet: 60 1/2 x 40 3/4 in. frame: 61 1/2 x 41 1/4 in.

$700–1,000

201

Yarde, Richard and Alexander Eliot. Richard Yarde's The Savoy Ballroom. Boston: Hampshire Typothetae for Savoy Associates, 1986. Folio edition, housed in original grey cloth box with black morocco spine; the letterpress and plates loose and housed in black paper chemise with debossed lettering. The complete suite, with two sets of 14 prints hand signed by the artist; sheet of each print: 14 1/2 x 20 1/2 in.

$800–1,200

202 WILL BARNET (American, 1911-2012)

Introspection

1972, screenprint titled, numbered, and signed along lower edge plate: 29 1/2 x 34 3/4 in. frame: 40 1/2 x 48 1/4 in.

$600–900

203

BERNARD BUFFET (French, 1928-1999)

Les Fleurs Papillon lithograph on paper signed lower right numbered lower left sight: 27 7/8 x 19 1/8 in. frame: 34 1/2 x 25 1/2 in.

$800–1,200

204

After MARC CHAGALL (French, 1887-1985), by CHARLES SORLIER (French, 1921-1990)

Sirène au Pin (M. CS. 35)

lithograph in colors signed lower right numbered lower left plate: 25 x 18 1/8 in. frame: 30 x 21 1/3 in.

$4,000–8,000

205

LEONARD TSUGUHARU FOUJITA (Japanese-French, 1886-1968)

Nature morte aux fils et aux boutons etching and aquatint in colors on paper signed lower right and numbered lower left plate: 10 3/8 x 13 1/2 in., frame: 19 x 21 3/4 in.

$2,000–3,000

206

After ALPHONSE MUCHA (Czech, 1860-1939)

Bénédictine ca. 1898, lithograph in colors published by F. Champenois, Paris sheet: 78 1/2 x 28 3/4 in. frame: 82 x 32 1/4 in.

$2,000–4,000

207

PAUL SCHÜTZE

(Australian, b. 1958)

The Museum of Absence III 2002, inkjet print titled and numbered lower left signed and dated lower right image: 17 3/4 x 38 3/4 in. frame: 27 3/4 x 48 1/4 in.

$1,000–2,000

208

PETER RUCK

(American, 20th/21st century) Shaken Not Stirred silver gelatin print conceived 1968, printed later from the edition of 300 sight: 11 3/4 x 10 3/8 in. frame: 20 1/2 x 19 in.

$500–1,000

209

S.E. ORCHARD

(American, 20th/21st century)

Jane Birkin

silver gelatin print from the edition of 300 sight: 10 1/2 x 13 3/4 in. frame: 19 x 22 1/4 in.

$500–1,000

LOTS 210 – 252

PROPERTY OF A NEW ENGLAND INSTITUTION

210 HAROLD EDGERTON (American, 1903-1990) Bullet Through Jack 1960, gelatin silver print sight: 13 1/4 x 17 3/4 in. frame: 23 x 27 1/4 in.

$3,000–5,000

211

HAROLD EDGERTON

(American, 1903-1990)

Bullet Through King

1964, dye transfer sight: 7 x 9 1/2 in. frame: 16 1/2 x 18 3/4 in.

$3,000–5,000

212

HAROLD EDGERTON

(American, 1903-1990)

Bullet Through Apple

1964, dye transfer sight: 13 1/4 x 17 1/4 in. frame: 23 x 26 1/2 in.

$3,000–5,000

213

HAROLD EDGERTON

(American, 1903-1990)

Bullet through Banana 1964, dye transfer sight: 13 1/2 x 15 3/4 in. frame: 23 1/8 x 25 in.

$800–1,200

214

HAROLD EDGERTON

(American, 1903-1990)

Bullet through Bulb 1936, gelatin silver print sight: 11 1/2 x 17 3/4 in. frame: 21 1/8 x 27 1/8 in.

$400–600

215

HAROLD EDGERTON (American, 1903-1990)

Ouch! (Archery)

1934, gelatin silver print sight: 13 1/2 x 17 1/2 in. frame: 23 1/8 x 26 7/8 in.

$400–600

216

HAROLD EDGERTON (American, 1903-1990)

Pigeon Release

1965, dye transfer sight: 13 1/4 x 17 1/4 in. frame: 23 x 26 3/4 in.

$400–600

217

HAROLD EDGERTON (American, 1903-1990)

Fan and Smoke Vortices

1934, gelatin silver print sight: 17 1/4 x 13 3/4 in. frame: 27 x 23 in.

$800–1,200

218

HAROLD EDGERTON (American, 1903-1990)

Moving Skiprope Multiflash

1952, gelatin silver print sight: 6 x 9 1/2 in. frame: 15 1/2 x 18 3/4 in.

$800–1,200

219

HAROLD EDGERTON (American, 1903-1990) Tumblers Multiflash 1942, gelatin silver print sight: 16 7/8 x 13 1/2 in. frame: 26 1/2 x 22 3/4 in.

$500–800

220

ELIOT PORTER

(American, 1901-1990)

Red Bud Trees in Bottomland near Red River Gorge, Kentucky

1979, dye transfer signed lower right sheet: 12 3/4 x 10 1/2 in.

frame: 24 1/8 x 20 1/2 in.

$200–400

221

ELIOT PORTER

(American, 1901-1990)

Columbine Leaves, Great Spruce Head Island, Maine

1979, dye transfer signed lower right sheet: 13 x 10 1/2 in.

frame: 24 1/8 x 20 1/2 in.

$200–400

222

ELIOT PORTER

(American, 1901-1990)

Fox Tail Grass Lake City

1979, dye transfer signed lower right sheet: 13 1/8 x 10 1/8 in.

frame: 24 1/2 x 20 1/4 in.

$200–400

223

TANJA ALEXIA HOLLANDER (American, b. 1972)

Untitled 91910 (Phippsburg, Maine)

2014, archival inkjet print edition 1/10 sheet: 19 3/4 x 19 3/4 in.

frame: 24 3/4 x 24 3/4 in.

$500–800

224

JAMES WILSON RAYEN (American, 1935-2013) Innocent Stream acrylic on canvas signed and titled verso 60 x 60 in. frame: 62 1/4 x 62 1/4 in.

$1,000–1,500

225

JOHN STOCKWELL

(American, b. 1958)

On the Namequoit River 1985, pastel on paper

signed and dated lower right sight: 28 3/4 x 42 3/4 in.

frame: 38 1/2 x 52 1/4 in.

$800–1,200

226

JANE RITCHIE

(American, 1927-2000)

Maidstone Stream 1985, acrylic on canvas signed lower left 42 x 59 7/8 in.

frame: 42 7/8 x 60 7/8 in.

$800–1,200

(American, b. 1950)

Walking with J 1997, triptych, oil on canvas signed center right central panel: 40 1/4 x 60 in., frame: 42 1/4 x 62 in. side panels each: 32 x 20 in., frame: 34 x 22 1/8 in.

$1,000–1,500

227

NINA JEROME

228

THOMAS M c NICKLE

(American, b. 1944)

Hayfield–Overcast Day watercolor on paper signed lower right sight: 21 x 29 in. frame: 28 3/4 x 35 3/4 in.

$800–1,200

229

DAVID FULLAM

(American, 1945-2014)

Cloud Pool

2002, pastel on paper

signed lower right

sight: 30 1/4 x 45 1/2 in.

frame: 39 3/4 x 54 5/8 in.

$800–1,200

230

DAVID FULLAM

(American, 1945-2014)

Birch Grove

2002, pastel on paper signed lower right sight: 30 x 45 in. frame: 39 5/8 x 54 1/2 in.

$800–1,200

231

TOM HALL

(American, b. 1954) Bridgton, Maine 1986, oil on canvas signed and dated lower left 28 x 34 in.

frame: 32 3/4 x 38 1/2 in.

$1,000–1,500

232

BERNARD CHAET

(American, 1924-2012) Cross Roads 1992, oil on canvas signed, titled, and dated verso 22 1/2 x 24 in.

$1,000–1,500

233

JON IMBER

(American, b. 1950) Indian Point 1992, pastel on paper signed and dated lower right sight: 37 x 32 in.

frame: 45 1/2 x 39 3/4 in.

$800–1,200

234

JON IMBER

(American, b. 1950)

Cornstalks

1988, pastel on paper signed and dated lower right sheet: 22 x 29 1/2 in.

frame: 29 1/2 x 37 1/4 in.

$700–1,000

235

OMER T. LASSONDE

(American, 1903-1980)

View from Manchester oil on board signed lower right

14 1/2 x 22 1/4 in.

frame: 17 7/8 x 25 7/8 in.

$1,000–1,500

236

OMER T. LASSONDE

(American, 1903-1980)

Summer Landscape oil on canvas

signed lower right

13 1/2 x 23 1/2 in.

frame:14 1/8 x 24 1/8 in.

$1,000–1,500

237

JOE WARDWELL

(American, b. 1972)

Soon I Will Be President [Boston] 2016, acrylic on paper titled, initialed, located, and dated verso sheet: 30 x 22 1/2 in.

$2,000–3,000

238

JOE WARDWELL

(American, b. 1972)

Soon I Will Be President [Ranier] 2016, acrylic on paper titled, initialed, located, and dated verso sheet: 30 1/8 x 22 1/2 in.

$2,000–3,000

239

JOE WARDWELL

(American, b. 1972)

Soon I Will Be President [Waltham] 2016, acrylic on paper titled, initialed, initialed, and dated verso sheet: 30 1/8 x 22 1/2 in.

$2,000–3,000

240

CAROL SUMMERS

(American, 1925-2016)

Burning Mountain woodcut on paper numbered, titled, and signed right edge sheet: 36 1/2 x 31 1/4 in. frame: 42 1/4 x 36 1/2 in.

$500–800

241

CAROL SUMMERS

(American, 1925-2016)

Bartapur woodcut on paper signed lower right numbered and titled lower left sheet: 24 1/4 x 24 in. frame: 28 3/4 x 29 1/8 in.

$500–800

242

CAROL SUMMERS

(American, 1925-2016)

The Likiang woodcut on paper sheet: 24 x 24 in.

frame: 31 7/8 x 31 1/2 in.

$500–800

243

ROBERT HAMILTON

(American, 1916-2004)

The British Band Master oil on canvas

39 3/4 x 39 3/4 in. frame: 41 1/2 x 41 1/2 in.

$1,000–1,500

245

KARL DRERUP

(German-American, 1904-2000)

Untitled enamel tile

sight: 5 1/4 x 5 3/4 in. frame: 15 1/8 x 14 5/8 in.

$700–1,000

244

JULES OLITSKI (American, 1922-2007)

Break of Day 2000, watercolor and gouache on paper signed and dated lower right sheet: 9 3/4 x 14 in., frame: 18 7/8 x 22 7/8 in.

$1,000–2,000

246

KARL DRERUP

(German-American, 1904-2000)

Untitled enamel tile

initialed lower left sight: 5 5/8 x 5 3/4 in., frame: 15 1/8 x 14 5/8 in.

$700–1,000

247

PETER MILTON

(American, b. 1930)

Points of Departure I: Mary's Turn 1994, resist-ground etching and engraving signed and dated lower right titled and numbered lower left titled lower center plate: 19 1/2 x 27 7/8 in. frame: 29 5/8 x 39 1/4 in.

$700–1,000

248

ALISON SAAR (American, b. 1956) Shebop (from the Copacetic Series) multiblock linocut on paper signed and dated lower right sheet: 19 3/8 x 17 3/4 in.

$800–1,200

249

ALEJANDRO ELUCHANS

(American, 20th century)

Back Bay, Turn of the Century I oil on canvas

30 3/8 x 72 1/4 in.

frame: 32 1/2 x 74 3/8 in.

$800–1,200

250

ALEJANDRO ELUCHANS

(American, 20th century)

Hereford Street oil on canvas

28 1/4 x 60 in.

frame: 29 3/4 x 61 1/2 in.

$800–1,200

251

ALEJANDRO ELUCHANS

(American, 20th century)

Charles Street oil on canvas

30 3/8 x 72 in. frame: 32 1/2 x 74 3/8 in.

$800–1,200

252

ALEJANDRO ELUCHANS

(American, 20th century)

Windows

1986, diptych, oil on canvas each signed, titled, and dated verso each: 48 1/8 x 48 1/8 in., frame: 50 1/4 x 50 1/4 in.

$800–1,200

AHO, ERIC

ARDISSONE, YOLANDE

AUDUBON, After JOHN JAMES

AVERY, MILTON

BABER, ALICE

BARNET, WILL

BASKIN, LEONARD

BAUM, WALTER EMERSON

BEAL, REYNOLDS

BENSON, FRANK WESTON

BERNSTEIN, THERESA

BIRDSEY, ALFRED

BLAKELOCK, Attr. RALPH ALBERT

BLISS, ROBERT

BOSLEY, FREDERICK ANDREW

BRETT, JOHN

BROWN, JOHN APPLETON

BUFFET, BERNARD

BUNKER, DENNIS MILLER

BURCHFIELD, CHARLES EPHRAIM

BUTTERSWORTH, JAMES EDWARD

CAFFI, Manner of IPPOLITO

CAHOON, CHARLES

CALDER, ALEXANDER

CALLOW, WILLIAM

CARLES, ARTHUR BEECHER

CARLSON, JOHN F.

CHAET, BERNARD

CHAGALL, After MARC

CHAMPNEY, BENJAMIN

CHEN, CHI

CIRINO, ANTONIO

COOK, OTIS

CROSS, HENRI EDMOND

CURTIN, THOMAS

DAUBIGNY, CHARLES FRANCOIS

DAVIS, STUART

DE SANCHEZ, HARRIET

DELACROIX, EUGENE

DES BARRES, JOESPH F. W.

DIEBENKORN, RICHARD

DIEHL, ARTHUR V.

DRERUP, KARL

DUFY, RAOUL

DZUBAS, FRIEDEL

EDGERTON, HAROLD

ELUCHANS, ALEJANDRO

EMMET, LYDIA FIELD

ENNEKING, JOHN JOSEPH

ETNIER, STEPHEN

FAIRMAN, JAMES

FISCHINGER, OSKAR

FITZGERALD, JAMES EDWARD

FOUJITA, LEONARD TSUGUHARU FULLAM, DAVID

GASSER, HENRY MARTIN

GAUGUIN, PAUL

GERDING, MARGARET

GIFFORD, CHARLES HENRY

GODCHAUX, ROGER

GOODWIN, ARTHUR CLIFTON

GRABACH, JOHN R. GRUPPE, EMILE ALBERT

GRUPPE, ROBERT CHARLES HALL, TOM HALLOWELL, GEORGE HAWLEY

HALSALL, Attr. WILLIAM FORMBY

HAMILTON, ROBERT HARPER, HENRY

HELIKER, JOHN

HERZOG, HERMANN OTTOMAR

HIBBARD, ALDRO THOMPSON

HILTON, ROSE PHIPPS

HINCKLEY, THOMAS HEWES

HOGARTH, After WILLIAM HOLLANDER, TANJA ALEXIA

HUNT, WILLIAM MORRIS

HUNTER, ROBERT DOUGLAS

IMBER, JON

INNESS, GEORGE

ITALIAN SCHOOL

JACQUETTE, YVONNE

JEROME, NINA

KEPES, GYORGY

KEY, JOHN ROSS

KNAPP LINSON, CORWIN

KNIGHT, DAME LAURA

KUEHNE, MAX

LASSONDE, OMER T.

LAVILLE, JOY

LEESTEMAKER, LUC

LEITH-ROSS, HARRY

LESTER STEVENS, WILLIAM

LEVER, HAYLEY

LEWIS, EDMUND DARCH

LICHTENSTEIN, ROY

LINNIG, EGIDIUS

LINSON, CORWIN KNAPP

LOFFLER, AUGUST

LUTZ, SARAH

MAILLOL, ARISTIDE

MANUEL, VICTOR

MARIN, JOHN

MARTIN-FERRIERES, JACQUES

McAULIFFE, JAMES McGURL, JOSEPH

McLAUGHLIN, JOHN

McNICKLE, THOMAS

MELROSE, ANDREW

MILTON, PETER

MITCHELL, DENIS ADEANE

MONTEZIN, PIERRE EUGENE DE MOORE, HENRY

MORAN, EDWARD

MORRELL, WAYNE

MUCHA, After ALPHONSE

MULHAUPT, FREDERICK

MURPHY, HERMANN DUDLEY

NAGARE, MASAYUKI

NOYES, GEORGE LOFTUS

OLITSKI, JULES

ORCHARD, S.E.

PACKARD, ANNE

PAIK, NAM JUNE

PATTERSON, MARGARET JORDAN

PEARSON, MARGUERITE STUBER

PERRY, JR., ENOCH WOOD

PETERS, CARL WILLIAM

PETERSON, JANE

PICASSO, PABLO

PIRANESI, After GIOVANNI BATTISTA

PLEISSNER, OGDEN MINTON

PLETKA, PAUL

PORTER, ELIOT

PORTOCARRERO, REN

RAYEN, JAMES WILSON

RICHARDS, WILLIAM TROST

RIPLEY, AIDEN LASSELL

RITCHIE, JANE

RODIN, AUGUSTE

RUCK, PETER

SAAR, ALISON

SCH TZE, PAUL

SHAPLEIGH, FRANK HENRY

SHATTUCK, AARON DRAPER

SHAW, CHARLES GREEN

SHEEHAN, RICHARD

SILLMAN, SEWELL

SMITH, GLADYS NELSON

SOLMAN, JOSEPH

SOTO, JESUS RAFAEL

STELLA, FRANK

STEVENS, WILLIAM LESTER

STOCKWELL, JOHN

STRISIK, PAUL

SUMMERS, CAROL

THIEME, ANTHONY

TOMPKINS, FRANK HECTOR

TRI MINH, NGUYEN

TYSON, JR., CARROLL SARGENT

VAN MINDERHOUT, Attr. HENDRIK

VAN RIJN, REMBRANDT

VASARELY, VICTOR

WALTER, Attr. MARTHA

WARDWELL, JOE

WAUGH, FREDERICK JUDD

WHITESIDE, FRANK REED

WIGGINS, GUY CARLETON

WOODBURY, CHARLES

WOODWARD, MABEL MAY

ZORACH, MARGUERITE

ZORACH, WILLIAM ZUBIAURRE

FOOTNOTES

1. CHARLES WOODBURY

Provenance: The Collection of a Boston Doctor. Other Notes: Vose Galleries (Boston) label verso.

2. CHARLES WOODBURY

Provenance: The Collection of a Boston Doctor. Other Notes: Vose Galleries, Boston, label verso.

3. MAX KUEHNE

Provenance: Meredith Long & Co., Houston, Texas; purchased ca. 1985 by Mr. and Mrs. David R. Wintermann; to their estate; Private Collection. Notes: Mongerson Gallery (Chicago, IL) label verso; Thomas Colville Fine Art label verso; Hirschl & Adler Galleries (New York, NY) label verso; Meredith Long & Company (Houston, TX) label verso.

4. MARGARET JORDAN PATTERSON

Provenance: The Collection of a Boston Doctor.

5. HARRY LEITH-ROSS

Provenance: Property of a Needham, Massachusetts Collector.

Notes: Salmagundi Club Thumb-Box Exhibition (New York, NY) label verso.

6. HENRY MARTIN GASSER

Provenance: Property of a Needham, Massachusetts Collector.

Notes: Sue Page Shop (Wellesley, MA) label verso.

7. ANTHONY THIEME

Provenance: Property of a Needham, Massachusetts Collector.

8. ANTHONY THIEME

Provenance: Property of a Massachusetts Collector. Notes: Vose Galleries (Boston, MA) label verso.

9. JOHN F. CARLSON

Provenance: Property of a Massachusetts Collector. Notes: Vose Galleries (Boston, MA) estate stamp verso.

10. FREDERICK JUDD WAUGH

Provenance: Property of a Maine Collector.

11. ERIC AHO

Provenance: Property of a New England Institution. Notes: Barton-Ryan Gallery (Boston) label verso.

12. MILTON AVERY

Provenance: The artist, to one of his friends and occasional models; by descent within her family.

Notes: This work relates closely to Avery's 1940-41 oil titled Shells and Fishermen in the Phillips Collection (object no. 0043).

13. CHARLES EPHRAIM BURCHFIELD

Provenance: The artist, until 1942; The Charles E. Burchfield Foundation, Buffalo, New York; Kennedy Galleries, New York; acquired by Bernard Goldberg, 2001; Christie's New York, Important American Paintings, Drawings, and Sculpture - Bernard Goldberg Fine Arts: The Collection, 20 May 2010, Lot 5; Property of a Private New England Collection.

Exhibitions: Kennedy Galleries, Inc., New York, Charles E. Burchfield: Watercolors from 1915-1920 , May 10June 10, 1983 (no. 17); Kennedy Galleries, Inc., New York, Charles E. Burchfield: The Imaginative Landscape , November 10, 2001-January 19, 2002.

Literature: Trovato, J.S., Charles Burchfield: Catalogue of Paintings in Public and Private Collections , Utica, New York, 1970, p. 46, no. 122.; Kennedy Galleries, Inc., Charles E. Burchfield: Watercolors from 1915-1920 , exhibition catalogue, New York, 1983, no. 17, illus.; Kennedy Galleries, Inc., Charles E. Burchfield: The Imaginative Landscape , exhibition catalogue, New York, 2001, no. 8, illus.

14. STUART DAVIS

Provenance: The estate of the artist; Salander-O'Reilly Galleries, New York; Private New York Collection; acquired 2006 by a private collector; Bonhams New York, American Art, May 23, 2018, Lot 53.

Literature: Boyajian, Ani and Mark Rutkowski, Stuart Davis: A Catalogue Raisonné , vol. 2, New Haven: 2007, p. 338, no. 691, illus.

Exhibitions:Salander-O'Reilly Galleries, Stuart Davis (1892-1964): Black and White , November 6-December 28, 1985, no. 20; Babcock Galleries, Giants: American Modernist Masters , October 14-December 17, 2010, no. 25.

Notes: Grace Borgenicht Gallery (New York) label verso; Babcock Galleries (New York) label verso.

15. JOHN MARIN

Provenance: The Collection of a New England Gentleman.

Notes: Richard York Gallery (New York) label verso.

16. JOHN MARIN

Provenance: The Collection of a New England Gentleman.

Notes: Richard York Gallery (New York) label verso.

17. MARGUERITE ZORACH

Provenance: The Collection of a New England Gentleman.

Notes: Kraushaar Galleries, Inc., (New York), label verso.

18. MARGUERITE ZORACH

Provenance: The Collection of a Maine Gentleman.

19. JAMES EDWARD FITZGERALD

Provenance: Property of a Needham, Massachusetts Collector.

20. WILLIAM LESTER STEVENS

Provenance: Property of a Needham, Massachusetts Collector.

21. WILLIAM LESTER STEVENS

Provenance: A Massachusetts Collection.

Notes: Museum of Fine Arts, Boston, Boston Society of Water Color Painters Special Exhibition label verso; Boston Society of Water Color Painters label verso

22. ARTHUR CLIFTON GOODWIN

Provenance: Private Massachusetts Collection.

23. CHARLES HENRY GIFFORD

Provenance: Private Massachusetts Collection.

24. JOHN ROSS KEY

Provenance: Property of a Connecticut Estate.

25. HERMANN OTTOMAR HERZOG

Provenance: By descent to a Massachusetts Lady. Literature: Philadelphia Collection XXII, Philadelphia Paintings (1975-1930) , January 1984, pl. 27.

Exhibitions: Brandywine River Museum, Chadds Ford, PA, American Paintings of Herman Herzog , September 11 - November 22, 1922. Notes: Frank S. Schwarz & Son (Philadelphia, PA) label verso.

26. GEORGE INNESS

Provenance: Property of Robert C. Vose III. Literature: Quick, Michael. George Inness: A Catalogue Raisonne . Rutgers University Press: New Jersey, 2007.

27. GEORGE INNESS

Provenance: Elizabeth Hart Inness, the artist's wife, sold Fifth Avenue Art Galleries, New York, February 11-13, no. 47; Harry W. Watrous, N.A.; Dr. and Mrs. Jones, Portland, Oregon; Mrs. Thomas W. Holman, Portland, Oregon, by 1931; Kennedy Galleries, New York; Private Collection; Sotheby's New York, 29 September 2010, Lot 98; Property of a Private New England Collection.

Exhibitions: The Lewis and Clark Centennial Exhibition, Portland, Oregon, Official Catalogue for the Department of Fine Arts , 1905, no. 279, p. 34.

Literature: Ireland, Leroy, Works of George Inness: An Illustrated Catalogue Raisonné , Austin, Texas, 1965, no. 213, p. 52, illus.; This work will be included in the supplement to Michael Quick's catalogue raisonné of the artist's work.

28. Attributed to RALPH ALBERT BLAKELOCK

Provenance: Property of Robert C. Vose III.

Notes: Vose Galleries (Boston) label verso.

29. JAMES EDWARD BUTTERSWORTH

Provenance: A Prominent California Collection; Vallejo Gallery, California; A Museum Collection, Minnesota; Thomaston Place Auction Galleries, August 27, 2016, Lot 74; Private Collection.

Notes: Vallejo Gallery (Newport Beach, CA) label verso.

30. EDMUND DARCH LEWIS

Provenance: The artist, to his friend, a Rhode Island Gentleman; by descent within the friend's family. Notes: According to the family, Edmund Darch Lewis would frequently come to stay and paint at his friend's oceanfront home in Narragansett in the summers, giving paintings as gifts each visit. This painting has descended within the family since that time.

31. WILLIAM TROST RICHARDS

Provenance: By descent to a Massachusetts Gentleman.

32. JOESPH FREDERICK WALLET DES BARRES

Provenance: The Collection of a New England Gentleman.

33. CARROLL SARGENT TYSON, JR.

Provenance: By descent within a Mount Desert Island Family.

34. After JOHN JAMES AUDUBON

Provenance: Property of a Canadian Collection

35. OGDEN MINTON PLEISSNER

Provenance: Property of a Needham, Massachusetts Collector.

Notes: Clarke Galleries American Paintings (Vermont) label verso.

36. AIDEN LASSELL RIPLEY

Provenance: Property of a New England Collector.

37. AIDEN LASSELL RIPLEY

Provenance: Property of a New England Collector. Exhibitions: Department of Fine Arts, Sesquicentennial International Exposition , Philadelphia, 1926 (accompanied by label).

38. AIDEN LASSELL RIPLEY

Provenance: Property of a New England Collector. Exhibitions: Boston Society of Water Color Painters (accompanied by label).

39. RAOUL DUFY

Provenance: Lucien Lefebvre-Foinet, Paris; Bignou Gallery, New York (accompanied by a bill of sale dated 3 November 1942); the Collection of a New York Lady; by descent to her son, a Boston Gentleman.

Literature: Guillon-Laffaille, Fanny, Raoul Dufy, Catalogue Raisonné: Aquarelles et Gouaches - Supplément , no. As-0564.

Notes: Bignou Gallery (New York) label verso.

40. JACQUES MARTIN-FERRIERES

Provenance: The Collection of a New York Lady; by descent to her son, a Boston Gentleman.

Notes: Galerie Paul Pétridès (Paris, France) label verso.

41. HENRI EDMOND CROSS

Provenance: J. Le Chapelin Tableaux, Paris (accompanied by a bill of sale dated 18 May 1968); the Collection of a New York Lady; by descent to her son, a Boston Gentleman.

Notes: Galerie J. Le Chapelin (Paris) label verso.

42. PIERRE EUGENE DE MONTEZIN

Provenance: Property of a Maine Collector.

Notes: We thank Monsieur Cyril Klein-Montézin for kindly confirming the authenticity of this work. It is registered in his archive under certificate no. 638.

43. After PAUL SIGNAC, etched by JACQUES VILLON

Provenance: Swann Auction Galleries New York, 19 September 2017, Lot 74; Property of a Private New England Collection.

44. PAUL GAUGUIN

Provenance: By descent to a Newton, Massachusetts couple.

Notes: FAR Gallery (New York) label verso.

45. AUGUSTE RODIN

Provenance: By descent within a New York and Boston family since ca. 1914.

Literature: This work will be included in the forthcoming Catalogue critique de l'oeuvre sculpté de Auguste Rodin , currently being prepared by the Comité Auguste Rodin at Galerie Brame & Lorenceau under the direction of Jérôme Le Blay, under the archive number 2024-7298B. Georges Grappe, Catalogue du Musee Rodin , Paris, 1927, no. 121, (the plaster), another cast illus.; Ionel Jianou & Cecile Goldscheider, Rodin , Pairs, 1967, another cast illus., p. 90; John L. Tanock, The Sculpture of Auguste Rodin , Philadelphia, 1976, another cast illus., p. 130-132, pl. 5-2.; Albert E. Elsen, In Rodin’s Studio, A Photographic Record of Sculpture in the Making , Oxford, 1980, vol. II, another cast illus., p. 22; Catherine Lampert, Rodin, Sculpture & Drawings , Great Britain, 1986, another cast illus., p. 105; Antoinette le NormandRomain, The Brones of Rodin, Catalogue of Works in the Musee Rodin , Paris, 2007, another cast illus., p. 573; Steinberg, Leo, Other Criteria: Confrontations with Twentieth Century Art , New York, Oxford University Press, 1972, p. 346-349, another cast illus., pl. 211.

Notes: This bronze is one of approximately 13 proofs that Rodin had made by the Alexis Rudier foundry between 1906-1911. (The bronze was continued by the Rodin Museum, as a further 5 proofs were made by the Alexis Rudier foundry between 1919-1949, and 7 additional proofs were made by the Georges Rudier foundry between 1958-1966).

46. ARISTIDE MAILLOL

Provenance: Perls Galleries, New York; the Collection of a New York Lady; by descent to her son, a Boston Gentleman.

47. ROGER GODCHAUX

Provenance: Collection of a Vermont Lady.

48. DENIS ADEANE MITCHELL

Provenance: The Collection of a Buffalo, New York Family.

49. WILLIAM ZORACH

Provenance: Property of a Maine Collector.

50. ANNE PACKARD

Provenance: Property of a Boston Couple.

51. LUC LEESTEMAKER

Provenance: Collection of a Massachusetts Family.

52. RICHARD SHEEHAN

Provenance: Property of a Massachusetts Collector.

Notes: Roger Ramsay Gallery (Chicago, IL) label verso.

53. ALICE BABER

Provenance: Barbara Annis Fine Arts, New York; Property of a New York Collector.

54. JANE PETERSON

Provenance: Collection of a Massachusetts Gentleman.

55. ROSE PHIPPS HILTON

Provenance: Messum's Gallery, London, 2018; Property of a Private New England Collection.

Notes: Messum's Fine Art (London) label verso.

56. JOHN HELIKER

Provenance: The Collection of a Boston and Maine Lady.

57. YVONNE JACQUETTE

Provenance: The Collection of a Boston and Maine Lady. Exhibitions: D.C. Moore Gallery, New York, Yvonne Jacquette , March 26-April 26, 2008.

Notes: D.C. Moore Gallery (New York) label verso.

58. OSKAR FISCHINGER

Provenance: The artist; to Harvard physicist Sidney Coleman; by descent within the family.

Exhibitions: The Pasadena Art Museum, Pasadena, California, December 1956- January 1957 (label verso).

59. GYORGY KEPES

Provenance: Collection of a Woodstock, Vermont Gentleman.

60. GYORGY KEPES

Provenance: A gift from the artist to his friend, a fellow MIT professor; by descent within the family.

61. GYORGY KEPES

Provenance: By descent within a Cambridge, Massachusetts Family.

Notes: Alpha Gallery (Boston, MA) label verso.

62. GYORGY KEPES

Provenance: By descent within a Cambridge, Massachusetts Family.

Notes: Alpha Gallery (Boston, MA) label verso.

63. GYORGY KEPES

Provenance: By descent within a Cambridge, Massachusetts Family.

Notes: Alpha Gallery (Boston, MA) label verso.

64. FRANK STELLA

Provenance: Property of a Private New England Collection.

65. FRANK STELLA

Provenance: Property of a Private New England Collection.

66. FRANK STELLA

Provenance: Property of a Private New England Collection.

67. ROY LICHTENSTEIN

Provenance: The artist, to his printer, Charles Cardinale, Fine Creations, Inc., New York; by descent within his family.

68. ROY LICHTENSTEIN

Provenance: The artist, to his printer, Charles Cardinale, Fine Creations, Inc., New York; by descent within his family.

69. VICTOR VASARELY

Provenance: The Collection of a Wellesley, Massachusetts Family.

70. VICTOR VASARELY

Provenance: The Collection of a Wellesley, Massachusetts Family.

71. MASAYUKI NAGARE

Provenance: The Collection of a Cambridge, Massachusetts Doctor.

72. PABLO PICASSO

Provenance: The Collection of a Flushing, New York Lady.

73. ALEXANDER CALDER

Provenance: The Collection of a Wellesley, Massachusetts Family.

74. RICHARD DIEBENKORN

Provenance: Collection of a Connecticut Gentleman.

75. RICHARD DIEBENKORN

Provenance: Collection of a Connecticut Gentleman.

76. REYNOLDS BEAL

Provenance: Property of a Massachusetts Collector.

77. REYNOLDS BEAL

Provenance: Property of a Needham, Massachusetts Collector.

78. GUY CARLETON WIGGINS

Provenance: Kodner Gallery, St. Louis, Missouri; acquired from the above by an Ohio family. Notes: This work is accompanied by a letter of authenticity from Noel C. Wiggins.

79. REYNOLDS BEAL

Provenance: Collection of a Massachusetts Gentleman.

80. THOMAS CURTIN

Provenance: Property of a Needham, Massachusetts Collector.

81. ROBERT CHARLES GRUPPE

Provenance: By descent within a Massachusetts family.

82. EMILE ALBERT GRUPPE

Provenance: Property of a Needham, Massachusetts Collector.

Notes: Sue Page Shop (Wellesley, MA) label verso.

83. EMILE ALBERT GRUPPE

Provenance: Property of a Needham, Massachusetts Collector.

84. EMILE ALBERT GRUPPE

Provenance: Property of a Needham, Massachusetts Collector.

85. HERMANN DUDLEY MURPHY

Provenance: Collection of a Massachusetts Gentleman.

86. ALDRO THOMPSON HIBBARD

Provenance: Collection of a New Hampshire Gentleman.

87. ALDRO THOMPSON HIBBARD

Provenance: Property of a Massachusetts Collector.

88. ALDRO THOMPSON HIBBARD

Provenance: Property of a Needham, Massachusetts Collector.

89. ALDRO THOMPSON HIBBARD

Provenance: Property of a Massachusetts Collector.

90. GLADYS NELSON SMITH

Provenance: Collection of a Maryland Family.

Notes: Greenwich Gallery (Greenwich, CT) label verso.

91. OTIS COOK

Provenance: Property of a Massachusetts Collector.

92. CARL WILLIAM PETERS

Provenance: Property of a Massachusetts Collector.

93. ALDRO THOMPSON HIBBARD

Provenance: Property of a Massachusetts Collector.

94. ANTONIO CIRINO

Provenance: Rockport Art Association, Rockport, MA, Fine Arts Auctions, June 27, 1990 (label verso); Property of a Needham, Massachusetts Collector.

95. PAUL STRISIK

Provenance: Property of a Needham, Massachusetts Collector.

96. WAYNE MORRELL

Provenance: Property of a Needham, Massachusetts Collector.

97. ANTONIO CIRINO

Provenance: Property of a Needham, Massachusetts Collector.

98. ANTONIO CIRINO

Provenance: Property of a Massachusetts Collector. Notes: Providence Art Club (Providence, RI) label verso.

99. ANTHONY THIEME

Provenance: Collection of a Newburyport, Massachusetts Gentleman.

100. WALTER EMERSON BAUM

Provenance: Collection of a Wellesley, Massachusetts Gentleman.

101. MABEL MAY WOODWARD

Provenance: Property of a Needham, Massachusetts Collector.

Notes: Clarke Galleries American Paintings (Vermont) label verso.

102. ARTHUR V. DIEHL

Provenance: Property of a Needham, Massachusetts Collector.

103. ARTHUR V. DIEHL

Provenance: Property of a Needham, Massachusetts Collector.

Notes: Clarke Galleries American Paintings (Vermont) label verso; Hermitage Collectors Gallery (New Jersey) label verso.

104. PAUL STRISIK

Provenance: Property of a Needham, Massachusetts Collector.

105. CHARLES CAHOON

Provenance: Property of a Massachusetts Collector.

106. ROBERT BLISS

Provenance: Property of a Boston Collector.

107. JOSEPH MCGURL

Provenance: Property of a Cape Cod Gentleman.

108. JOSEPH MCGURL

Provenance: Property of a Cape Cod Gentleman.

109. ROBERT DOUGLAS HUNTER

Provenance: The Collection of a Massachusetts Lady.

110. ROBERT DOUGLAS HUNTER

Provenance: The Collection of a Massachusetts Lady.

111. Attributed to MARTHA WALTER

Provenance: Property of a Massachusetts Collector.

112. BENJAMIN CHAMPNEY

Provenance: Skinner Marlborough, American and European Paintings, March 7, 2008, Lot 504; The Collection of a Massachusetts Doctor.

113. GEORGE LOFTUS NOYES

Provenance: Property of a Massachusetts Collector.

114. DAME LAURA KNIGHT

Provenance: Property of a Maine Collector.

Notes: This work was painted by Dame Laura Knight before her marriage to Harold Knight in 1903. Her maiden name was Laura Johnson. It was likely painted at the seaside in Staithes, North Yorkshire, where Laura Knight lived from 1898-1907.

115. DENNIS MILLER BUNKER

Provenance: The Collection of Efrat Adler Porat.

Exhibitions: Museum of Fine Arts, Boston, Works of D. M. Bunker , loaned by R. H. Ives Gammell (label verso).

116. FREDERICK ANDREW BOSLEY

Provenance: The Estate of the Reverend Peter J. Gomes, Harvard University; Grogan & Company, December 11, 2011, Lot 263; Private Massachusetts Collection.

Exhibitions: Minneapolis Museum of Art, Exhibition of Paintings, Miniatures, and Sculptures by Members of the Boston Guild of Artists , July 1-August 31, 1916.

Notes: Vose Galleries (Boston) label verso.

117. ENOCH WOOD PERRY, JR.

Provenance: C.F. Libbie & Co. Auctioneers and Appraisers, Boston, April 8, 1909, Lot 529 (Autograph Collection, Rare Etchings and Engravings, Watercolors and Oil Paintings, Curios, Etc. Collected by George Alfred Townsend); Skinner Boston, American and European Paintings, September 24, 2010, Lot 399; The Collection of a Massachusetts Doctor.

118. FRANK HECTOR TOMPKINS

Provenance: Property of a Dedham, Massachusetts Collector.

119. MARGUERITE STUBER PEARSON

Provenance: Skinner Boston, American and European Paintings, September 11, 2009, Lot 706; The Collection of a Massachusetts Doctor.

120. FRANK WESTON BENSON

Provenance: Collection of a Newburyport, Massachusetts Gentleman.

121. WILLIAM MORRIS HUNT

Provenance: The Collection of a Massachusetts Doctor.

122. HERMANN DUDLEY MURPHY

Provenance: The estate of the artist; to Mrs. Carlene Samoiloff, his daughter; to Private Collection, New Hampshire.

123. LYDIA FIELD EMMET

Provenance: Collection of a Newburyport, Massachusetts Gentleman.

Notes: Elizabeth Laura McCullough (1873-1965) was the daughter of Vermont governor John McCollough.

124. FRANK HENRY SHAPLEIGH

Provenance: CRN Auctions, April 27, 2008, Lot 75; Property of a Massachusetts Collector.

125. FRANK HENRY SHAPLEIGH

Provenance: Property of a Needham, Massachusetts Collector.

126. FRANK HENRY SHAPLEIGH

Provenance: Property of a Massachusetts Collector. Notes: Vose Galleries (Boston, MA) label verso.

127. JOHN JOSEPH ENNEKING

Provenance: Property of a Massachusetts Collector.

128. JOHN JOSEPH ENNEKING

Provenance: Property of a Massachusetts Collector.

129. FREDERICK MULHAUPT

Provenance: Property of a Massachusetts Collector.

130. AARON DRAPER SHATTUCK

Provenance: Property of a Massachusetts Collector.

131. THOMAS HEWES HINCKLEY

Provenance: The Collection of an Ipswich, Massachusetts Family.

Notes: Childs Gallery (Boston, MA) label verso.

132. JOHN APPLETON BROWN

Provenance: Collection of a Newburyport, Massachusetts Gentleman.

Notes: Vose Galleries (Boston, MA) label verso.

133. GEORGE HAWLEY HALLOWELL

Provenance: Property of a Massachusetts Collector. Notes: Vose Galleries (Boston, MA) labels verso.

134. HAYLEY LEVER

Provenance: Barridoff Galleries, Portland, Maine, April 30, 2015, Lot 139; Private Collection, Connecticut; Shannon's Fine Art Auctioneers, October 24, 2019, Lot 244; Property of a Private Collector.

135. Attributed to WILLIAM FORMBY HALSALL

Provenance: Property of a Massachusetts Collector.

136. EDWARD MORAN

Provenance: By descent within a Massachusetts Family. Notes: This work likely depicts the Ten Pound Island Lighthouse, Gloucester, Massachusetts.

137. EGIDIUS LINNIG

Provenance: The Collection of a Cambridge, Massachusetts Gentleman.

138. HENRY MOORE

Provenance: The Estate of a Massachusetts Gentleman.

139. JOHN BRETT

Provenance: The Estate of a Massachusetts Gentleman. Notes: Winsor & Newton (London) canvas stamp verso.

140. JOHN BRETT

Provenance: The Estate of a Massachusetts Gentleman. Notes: Winsor & Newton (London) canvas stamp verso.

141. JAMES MCAULIFF

Provenance: By descent to a Massachusetts Gentleman.

142. JAMES MCAULIFF

Provenance: By descent to a Massachusetts Gentleman.

143. WILLIAM CALLOW

Provenance: Thomas Agnew & Sons, Ltd., London (accompanied by a bill of sale dated 14 September 1956); the Collection of a New York Lady; by descent to her son, a Boston Gentleman.

144. CHARLES FRANCOIS DAUBIGNY

Provenance: Daubigny Atelier Sale, Paris, May 6-11, 1878 (stamp of sale - Lugt 518 - appears twice lower right); Jacques Seligmann & Co., Inc., New York (accompanied by a bill of sale dated 21 January 1964); the Collection of a New York Lady; by descent to her son, a Boston Gentleman.

145. EUGENE DELACROIX

Provenance: Este Gallery, New York (accompanied by a bill of sale dated 19 April 1960); the Collection of a New York Lady; by descent to her son, a Boston Gentleman.

146. After GIOVANNI BATTISTA PIRANESI

Provenance: Collection of a Cambridge, Massachusetts Gentleman.

147. After GIOVANNI BATTISTA PIRANESI

Provenance: Property of a Maine Gentleman.

148. After WILLIAM HOGARTH

Provenance: Sotheby's New York, 29 April 1999, Lot 80; Property of a Private New England Collection.

149. REMBRANDT VAN RIJN

Provenance: By descent to a Massachusetts Gentleman.

150. REMBRANDT VAN RIJN

Provenance: Property of a Maine Gentleman.

151. Attributed to HENDRIK VAN MINDERHOUT

Provenance: By descent within a New England family.

THE EFRAT ADLER PORAT HOLY LAND COLLECTION

Grogan & Company thanks Annabelle Meyers for her contribution to the research and cataloging of this collection.

1. Gerald M. Ackerman, American Orientalists (ACR Édition Internationale, 1994), 6.

2. Nicholas Tromans, “Introduction,” in The Lure of the East: British Orientalist Painting , ed. Nicholas Tromans (Tate Publishing, 2008),19-20.

3. Ackerman, American Orientalists , 3.

4. Ackerman, American Orientalists , 11.

5. Oleg Grabar, “Roots and Others,” in Noble Dreams, Wicked Pleasures: Orientalism in America, 1870-1930, ed. Holly Edwards (Princeton University Press, 2000), 4.

6. Jennifer Meagher, “Orientalism in NineteenthCentury Art,” Heilbrunn Timeline of Art History, The

Metropolitan Museum of Art , October 2004.

7. Meagher, “Orientalism in Nineteenth-Century Art”.

8. James Appleton, The Experience of Landscape (John Wiley & Sons, 1996), 62-63.

9. Holly Edwards, “A Million and One Nights: Orientalism in America, 1870-1930,” in Noble Dreams, Wicked Pleasures: Orientalism in America, 1870-1930, ed. Holly Edwards (Princeton University Press, 2000), 14.

10. Nicholas Tromans, “The Holy City,” in The Lure of the East: British Orientalist Painting , ed. Nicholas Tromans (Tate Publishing, 2008), 166.

11. Edwards, “A Million and One Nights,” 14.

12. Edwards, “A Million and One Nights,” 19.

152. JAMES FAIRMAN

Provenance: Doyle, New York, May 11, 2022, Lot 6; The Efrat Adler Porat Holy Land Collection.

153. JAMES FAIRMAN

Provenance: Private Collection, New York; Shannon's Fine Art Auctioneers, Milford, CT, May 2-3, 2019, Lot 177; The Efrat Adler Porat Holy Land Collection.

154. JAMES FAIRMAN

Provenance: The Efrat Adler Porat Holy Land Collection.

155. JAMES FAIRMAN

Provenance: The Efrat Adler Porat Holy Land Collection.

156. JAMES FAIRMAN

Provenance: The Efrat Adler Porat Holy Land Collection.

157. JAMES FAIRMAN

Provenance: The Efrat Adler Porat Holy Land Collection.

158. JAMES FAIRMAN

Provenance: Weschler's Auctions, Washington, DC, May 18,1996, Sale 1192, Lot 6; The Efrat Adler Porat Holy Land Collection.

159. ANDREW MELROSE

Provenance: The Efrat Adler Porat Holy Land Collection. Notes: Label verso inscribed Jerusalem and Mount Olives from the Path to Bethany

160. ANDREW MELROSE

Provenance: Gerald W. Bell Jr., Portland, ME, ca. 1997; The Efrat Adler Porat Holy Land Collection.

161. CORWIN KNAPP LINSON

Provenance: The Efrat Adler Porat Holy Land Collection.

162. CORWIN KNAPP LINSON

Provenance: The Efrat Adler Porat Holy Land Collection.

163. CORWIN KNAPP LINSON

Provenance: The Efrat Adler Porat Holy Land Collection.

164. CORWIN KNAPP LINSON

Provenance: Christie's New York, September 7, 2006, Lot 62; The Efrat Adler Porat Holy Land Collection.

165. ITALIAN SCHOOL

Provenance: The Efrat Adler Porat Holy Land Collection. Notes: Each bearing partial Fratelli Alinari (Florence, Italy) label verso.

166. Manner of IPPOLITO CAFFI

Provenance: The Efrat Adler Porat Holy Land Collection.

167. HENRY HARPER

Provenance: The Efrat Adler Porat Holy Land Collection.

168. AUGUST LOFFLER

Provenance: The Efrat Adler Porat Holy Land Collection.

169. VARIOUS ARTISTS

Provenance: The Efrat Adler Porat Holy Land Collection.

170. After DAVID ROBERTS

Provenance: The Efrat Adler Porat Holy Land Collection.

171. MARGARET GERDING

Provenance: The Collection of a Boston Gentleman.

172. MARGARET GERDING

Provenance: Collection of a New England Institution.

173. MARGARET GERDING

Provenance: Collection of a New England Institution.

174. MARGARET GERDING

Provenance: The Collection of a Boston Gentleman.

175. STEPHEN ETNIER

Provenance: Collection of a California Gentleman.

176. HARRIET DE SANCHEZ

Provenance: Collection of a Wellesley, Massachusetts Gentleman.

177. JOHN R. GRABACH

Provenance: Collection of a California Gentleman.

178. ARTHUR BEECHER CARLES

Provenance: Bill O-Reilly, New York; to Franklin Riehlman Fine Art, New York; Private Collection, Massachusetts.

179. JOSEPH SOLMAN

Provenance: Collection of a Wellesley, Massachusetts Gentleman.

180. THERESA BERNSTEIN

Provenance: The Collection of a Massachusetts Gentleman.

181. VALENTIN DE ZUBIAURRE JR.

Provenance: Property of a Maine Collector. Notes: Raydon Gallery (New York) label verso.

182. NGUYEN TRI MINH

Provenance: Private Massachusetts Collection.

183. PAUL PLETKA

Provenance: Private Massachusetts Collection.

184. LEONARD BASKIN

Provenance: Property of a Boston Collector.

185. FRANK REED WHITESIDE

Provenance: Property of a Needham, Massachusetts Collector.

186. VICTOR MANUEL

Provenance: Skinner, Inc., Marlborough, Massachusetts, May 11, 2011, Lot 294; A Massachusetts Collection.

187. JOY LAVILLE

Provenance: Property of a Franklin, Massachusetts Gentleman.

188. BRUNO ZUPAN

Provenance: Collection of a Natick, Massachusetts Family.

189. BRUNO ZUPAN

Provenance: Collection of a Natick, Massachusetts Family.

190. ALFRED BIRDSEY

Provenance: Collection of a Massachusetts Gentleman.

191. YOLANDE ARDISSONE

Provenance: Collection of a Boston Lady.

192. SARAH LUTZ

Provenance: The Collection of a Cambridge, Massachusetts Lady.

193. CHI CHEN

Provenance: Property of a New York Collector.

194. RENÉ PORTOCARRERO

Provenance: Private Canadian Collection.

195. NAM JUNE PAIK

Provenance: The Collection of John Cage and Merce Cunningham; Christie's New York, Sale 2286, 12 January 2010, Lot 1; A Massachusetts Collection.

196. CHARLES GREEN SHAW

Provenance: Collection of a Massachusetts Gentleman.

197. JOHN McLAUGHLIN

Provenance: Private Collection Massachusetts; Private Collection London, UK, by descent; acquired from above 2001; Private Collection NYC.

198. SEWELL SILLMAN

Provenance: Property of a Massachusetts Collector. Notes: Martha Jackson Gallery (New York) label verso.

199. JESUS RAFAEL SOTO

Provenance: The Collection of a New York Lady.

200. FRIEDEL DZUBAS

Provenance: Private Massachusetts Collection.

Notes: Harcus Krakow Rosen Sonnabend Gallery (Boston, MA) label verso.

201. RICHARD YARDE

Provenance: The artist, to a supporter of the artist; by descent within her family.

Notes: This example is a partner copy from the intended edition of 400; however, it is not known whether the full edition was ever printed.

202. WILL BARNET

Provenance: The artist, to his printer, Charles Cardinale, Fine Creations, Inc., New York; by descent to his family.

203. BERNARD BUFFET

Provenance: Private Cambridge, Massachusetts Collection.

Notes: Zantman Art Galleries (Carmel, CA) label verso.

204. After MARC CHAGALL

Provenance: By descent to a Massachusetts Gentleman.

205. LEONARD TSUGUHARU FOUJITA

Provenance: A Boston Collection.

Notes: M. Knoedler & Co., Inc. (New York) label verso.

206. After ALPHONSE MUCHA

Provenance: The Collection of a Boston Doctor.

207. PAUL SCHÜTZE

Provenance: Alan Cristea Gallery, London, 2002; Property of a Private New England Collection.

208. PETER RUCK

Provenance: Ralph Lauren/Getty Images Gallery, London; The Collection of a Boston Lady.

Notes: This work depicts the British actor Sir Roger Moore, best known for his role as James Bond.

209. S.E. ORCHARD

Provenance: Ralph Lauren/Getty Images Gallery, London; The Collection of a Boston Lady.

210. HAROLD EDGERTON

Provenance: Gift of the Harold and Esther Edgerton Family Foundation; Property of a New England Institution.

211. HAROLD EDGERTON

Provenance: Gift of the Harold and Esther Edgerton Family Foundation; Property of a New England Institution.

212. HAROLD EDGERTON

Provenance: Gift of the Harold and Esther Edgerton Family Foundation; Property of a New England Institution.

213. HAROLD EDGERTON

Provenance: Gift of the Harold and Esther Edgerton Family Foundation; Property of a New England Institution.

214. HAROLD EDGERTON

Provenance: Gift of the Harold and Esther Edgerton Family Foundation; Property of a New England Institution.

215. HAROLD EDGERTON

Provenance: Gift of the Harold and Esther Edgerton Family Foundation; Property of a New England Institution.

216. HAROLD EDGERTON

Provenance: Gift of the Harold and Esther Edgerton Family Foundation; Property of a New England Institution.

217. HAROLD EDGERTON

218. HAROLD EDGERTON

Provenance: Gift of the Harold and Esther Edgerton Family Foundation; Property of a New England Institution.

219. HAROLD EDGERTON

Provenance: Gift of the Harold and Esther Edgerton Family Foundation; Property of a New England Institution.

220 - 252. Property of a New England Institution.

Provenance: Gift of the Harold and Esther Edgerton Family Foundation; Property of a New England Institution. Lot 48

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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.

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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.