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SALE 184
SATURDAY, MAY 6, 2023 11 AM
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20
Lots 1 — 97
Lots 98 — 115
Lots 116 — 156
1
ALDRO THOMPSON HIBBARD (American, 1886–1972)
Winter View oil on canvas signed A. T. Hibbard lower right
17 1/4 x 24 1/4 in.
frame: 23 3/4 x 31 in.
$3,000–5,000
Provenance: The Collection of a Massachusetts Gentleman. 2
ALDRO THOMPSON HIBBARD (American, 1886–1972)
March Mood oil on board signed A. T. Hibbard lower right
16 1/2 x 19 1/2 in.
frame: 24 1/8 x 27 1/8 in.
$3,000–5,000
Provenance: The Collection of a New England Lady.
3
ALDRO THOMPSON HIBBARD (American, 1886–1972)
Snowy Path oil on board
signed A. T. Hibbard lower right
9 x 12 in., frame: 13 3/4 x 16 3/4 in.
$1,500–2,500
Provenance: Property of a Gloucester, Massachusetts Collector.
4 WILLIAM LESTER STEVENS (American, 1888–1969)
Winter Stream oil on canvas
signed W. Lester Stevens N.A. lower right
24 1/8 x 36 in., frame: 31 x 43 1/8 in.
$2,000–4,000
Provenance: Property of a Gloucester, Massachusetts Collector.
WILLIAM LESTER STEVENS (American, 1888–1969)
Gray Day in New England oil on canvas signed W. Lester Stevens lower right 17 1/2 x 21 5/8 in. frame: 21 3/8 x 25 5/8 in.
$2,000–3,000
Provenance: Property of a Gloucester, Massachusetts Collector.
WILLIAM LESTER STEVENS (American, 1888–1969) Mt. Monadnock oil on board signed W. Lester Stevens lower right. 18 x 22 in., frame: 24 1/2 x 28 1/2 in.
$2,000–4,000
Provenance: Property of a Gloucester, Massachusetts Collector.
WILLIAM LESTER STEVENS (American, 1888–1969)
Mountain View oil on board
signed W. Lester Stevens lower right
11 1/2 x 13 1/2 in.
frame: 15 1/2 x 17 3/8 in.
$1,500–2,500
Provenance: Property of a Gloucester, Massachusetts Collector.
8
WILLIAM LESTER STEVENS (American, 1888–1969)
Village View, Brittany oil on canvas
signed W. Lester Stevens lower right
25 x 30 in.
frame: 32 1/2 x 37 1/2 in.
$3,000–5,000
Provenance: Property of a Gloucester, Massachusetts Collector.
Exhibitions: Rockport Art Association, Rockport, Massachusetts, William Lester Stevens Retrospective, September 27–November 9, 2003 (label verso).
ARTHUR CLIFTON GOODWIN
(American, 1864–1929)
Old Days–T Wharf, Boston oil on canvas
signed A.C. Goodwin lower right titled and signed verso
33 x 40 in., frame: 43 x 50 in.
$5,000–8,000
Provenance: The Collection of a Massachusetts Gentleman.
10 HAYLEY LEVER
(American, 1876–1958)
Italian Fishing Boats, Gloucester oil on canvas
24 x 30 in., frame: 33 3/4 x 38 3/4 in.
$10,000–15,000
Provenance: The Collection of a Lady, Gloucester and Wellesley, Massachusetts.
Other Notes: Kennedy Galleries, New York label verso.
CHARLES PAUL GRUPPE
(American, 1860–1940)
Late Afternoon, Gloucester oil on canvas
signed Chas. P. Gruppe lower right
25 x 30 in., frame: 28 1/2 x 33 1/2 in.
$4,000–8,000
Provenance: By descent to a Dedham, Massachusetts Couple.
FREDERICK MULHAUPT
(American, 1871–1938)
Atlantis Wharf, Gloucester, Massachusetts oil on board
signed Mulhaupt lower left; titled verso
7 1/2 x 9 1/2 in., frame: 15 1/4 x 17 in.
$8,000–12,000
Provenance: Private Collection, by descent from the artist; Sotheby's New York, April 11, 2013, Lot 102; The Collection of a Gentleman, Cape Cod and New York.
13
MARY BRADISH TITCOMB
(American, 1858–1927)
Ship on Ways, Gloucester Harbor watercolor on paper
signed M.B. Titcomb lower left
13 1/4 x 15 1/4 in.
frame: 22 1/8 x 13 3/4 in.
$1,500–2,000
Provenance: Property of a Gloucester, Massachusetts Collector.
Other Notes: Vose Galleries (Boston, Massachusetts) label verso.
14
PAUL STRISIK
(American, 1918–1998)
Rockport Street View oil on board signed Strisik lower right
12 x 16 in.
frame: 20 x 24 in.
$1,000–2,000
Provenance: The Collection of a Wellesley, Massachusetts Couple.
WALTER FARNDON (American, 1876–1964)
Low Tide at Little Neck Bay oil on canvas estate stamped verso 24 x 34 in., frame: 31 1/2 x 41 1/2 in.
$4,000–6,000
Provenance: By descent within a Massachusetts family.
Other Notes: Vose Galleries (Boston, Massachusetts) label verso, with Farndon estate inventory number WF245
16
WILLIAM PARTRIDGE BURPEE
(American, 1846–1940)
Haystack on the Annisquam River oil on canvas
estate stamped verso
12 1/4 x 18 1/8 in., frame: 18 3/8 x 24 3/8 in.
$2,000–3,000
Provenance: The Estate of the Artist; Childs Gallery, Boston, Massachusetts; A Massachusetts Collector; by descent within the family.
17
ALDRO THOMPSON HIBBARD
(American, 1886–1972)
Near the Shore, Pocasset oil on canvas
14 3/4 x 17 3/4 in.
frame: 22 3/4 x 28 3/4 in.
$8,000–12,000
Provenance: Vose Galleries, Boston, Massachusetts; Shannon's Auctions, Connecticut, October 25, 2007, Lot 125; The Collection of a Gentleman, Cape Cod and New York.
Exhibitions: St. Botolph Club, Boston, Massachusetts, The Golden Years: St. Botolph Club, 1881–1921, 2000.
18
HERMANN DUDLEY MURPHY (American, 1867–1945)
The Quiet Sea oil on board monogrammed lower left titled and signed verso
9 1/2 x 13 1/2 in.
frame: 16 1/2 x 20 1/2 in.
$2,000–4,000
Provenance: The Collection of a Maine Lady.
19
HERMANN DUDLEY MURPHY (American, 1867–1945)
Calm Sea oil on board estate stamped verso
9 1/2 x 13 1/2 in., frame: 15 x 19 in.
$2,000–4,000
Provenance: The Collection of a Maine Lady.
Attributed to REYNOLDS BEAL (American, 1867–1951)
Seascape oil on panel
3 1/2 x 5 in., frame: 9 1/2 x 12 1/8 in.
21
$1,500–2,500
Provenance: The Collection of a Hamilton, Massachusetts Gentleman; by descent within his family.
JOHN
ENNEKING (American, 1841–1916)
Looming Clouds oil on board titled verso
9 x 12 in., frame: 16 x 19 in.
$1,500–2,500
Provenance: Gifted in support of museum operations to The Hyde Collection (Glens Falls, New York) from the Charles R. Wood Foundation.
JOHN JOSEPH ENNEKING
(American, 1841–1916)
A Rosy Dawn
1902, oil on canvas
signed and dated Enneking 1902 lower right; titled in pencil on stretcher 18 x 24 in., frame: 25 1/2 x 31 5/8 in.
$4,000–6,000
Provenance: By descent within a Massachusetts family.
Other Notes: Graham Gallery (New York) label verso.
JASPER FRANCIS CROPSEY
(American, 1823–1900)
On the Hudson
1890, oil on canvas
signed and dated J.F. Cropsey
1890 lower right
8 3/4 x 14 in., frame: 16 x 21 1/4 in.
$30,000–50,000
Provenance: Private Collection, New York (ca. 1910–20s); by descent to a Private Collection, Canada; Sotheby's New York, March 11, 1992, Lot 5; Private Collection, Rowayton, CT; Shannon's Fine Art Auctioneers, Connecticut, October 25, 2007, Lot 37; The Collection of a Gentleman, Cape Cod and New York.
Literature: Maddox, Kenneth W. and Anthony M. Speiser. Jasper Francis Cropsey: Catalogue Raisonné, Works in Oil 1885–1900, vol. III, New York, 2016, no. 2035, p. 80.
Morning oil on canvas
signed S.W. Griggs 18[?]3 lower right 10 x 14 in., frame: 16 3/4 x 20 1/2 in.
Night oil on canvas
signed S.W. Griggs lower right 10 x 14 in., frame: 16 3/4 x 20 1/2 in.
$2,000–3,000
25
CORNELIUS DAVID KRIEGHOFF
(Canadian, 1815–1872)
Running the Toll Gate oil on canvas
signed C. Krieghoff lower right 16 x 25 1/4 in., frame: 22 1/8 x 31 1/4 in.
$90,000–130,000
Provenance: Private Collection, Belmont, Massachusetts; with Vose Galleries, Boston, Massachusetts; purchased from the above by Mr. John S. du Mont, November 26, 1958; by descent within his family.
As his family recalls, John S. du Mont (1919 – 2005) was a sportsman, historian, author and collector of guns, American furniture, and Fine Art. He was known as the “Dean of American Gun Collecting” by his contemporaries. It was on one of his fishing trips to Canada that he was introduced to the paintings of Cornelius Krieghoff by his Canadian cousin. In his search for more information about Krieghoff and his paintings, he corresponded with authors, museums and other collectors, including Lord Thompson of Fleet. He viewed as many of the artist’s works as he could, not only to learn the nuances of Krieghoff’s techniques, but also to applaud his sense of humor and appreciation of everyday life in Habitant Canada. He considered this painting of Running the Toll Gate the epitome of both. Robert Vose agreed, writing to du Mont in 1958, "You really have a wonderful picture there. I strongly doubt that we will ever find one of that interest or quality available again."
Cornelius Krieghoff was an iterative artist, returning to the same subject repeatedly on numerous occasions. According to J. Russell Harper’s 1979 monograph, there are 30 known examples of the subject Running the Toll Gate, dating from 1857-71, thus spanning the apex of Krieghoff's artistic career. Harper writes, “Krieghoff spent much of his adult life as an observer and recorder of the Canadian scene, and his paintings emerge as significant historical documents of Canadian society in the mid-nineteenth century. At the same time, his canvases are entertaining and cleverly executed works of art, thanks to his wit and keen awareness of his surroundings….about 1856 Krieghoff conceived the composition for what would prove to be his most successful habitant genre subject, bilking the toll. He painted it repeatedly throughout the years for an audience delighted by such saucy escapades. “
The present work is one of Harper’s 30 known examples of Running the Toll Gate, and it was examined by Harper in the early 1970s as part of his extensive research in preparation for his book. In fact, John du Mont was one of the few private collectors Harper singled out in the introduction to his book, thanking him and noting his enthusiasm for the artist. Today, few depictions of Krieghoff’s Running the Toll Gate remain in private hands; this is only the second example to come up at auction in the past 20 years.
There is an immediate sense of motion in Running the Toll Gate. Three villagers have rushed through the toll on their sled, refusing to stop to pay the required tariff. Their horse’s breath and the snow kicked up around its feet highlight the pace at which they speed by, with the first figure cracking his whip to spur the horse on. The second two figures, however, have taken the time to taunt the toll-keeper, with one thumbing his nose at the man and the other raising his bottle in the air in celebration. Meanwhile, the aggrieved toll-keeper leans toward the villagers, his jaw set and his fist clenched in frustration. The toll-boy looks on in shock, his mouth agape and his arms raised in protest, while the black dog in the foreground barks his disapproval.
Krieghoff carefully considered each detail in his work, precisely rendering elements ranging from the construction of the horse-drawn worksleigh to the color of the villagers’ sashes. Although it is the figures that bring action to the composition, Krieghoff still documents the everyday aspects of the toll, including the snow-roller at right (not recently used, as evidenced by the potholes in the foreground), and the tariff board on the toll-building at left. While the details in the foreground have a high degree of verisimilitude, the landscape on the horizon is one of Krieghoff’s imagination, one that he employs as an artistic device to guide the viewer’s eye through his composition. The left-to-right diagonal of the snowy road is reinforced by the linear perspective of the spruce trees on the right of the composition. This diagonal is further demarcated by the solid toll-house on the left of the composition. Thus, the viewer’s eye is naturally drawn to the center of the composition, the open toll road, with the sleigh having just passed through. From that negative space one’s eye is then cast to the brightly clad figures on the sleigh, the middle figure’s thumb-to-nose gesture and intent stare point directly at the irate toll-keeper, this unspoken communication breaking the snow-laden boundary between the two figure groups.
A 1979-80 exhibition at the Montreal Museum of Fine Arts provided a close analysis of eight representative examples of the 30 known paintings of Running the Toll Gate, and this analysis can in turn be applied to the subject work. For example, the presence of the black dog on the left of the subject composition indicates that the work was painted ca. 1863. Further supporting this date is the fact that the toll-house is “Type-B,” an example of architecture from the Montreal region. The addition of the small vestibule (to block the cold from the main house), the clapboard siding, and the hip-roof with central chimney are all indicative of this type. Furthermore, the subject work relates most closely in overall composition, building detail, and figure placement to the 1863 example now in the Beaverbrook Art Gallery in Fredericton, New Brunswick.
Both critics in Krieghoff’s time and modern art-historians have argued that Running the Toll Gate’s subject matter is significant because of the social complexities it depicts: while at first glance it simply presents an amusing snapshot of village life, one soon realizes that it also sheds light on the ever-present tension between the Franco-Canadian villagers and the English-imposed systems in 19th century Quebec. In this way, Running the Toll Gate can be understood as a key example of the nuanced approach Krieghoff took to depicting the complex dynamics of habitant life, while also appreciated as an engaging, impressive, and well-composed work of art.
26
CORNELIUS DAVID KRIEGHOFF
(Canadian, 1815–1872)
Shooting the Rapids
1861, oil on canvas signed and dated C. Krieghoff 1861 lower center canvas: 9 x 14 1/2 in., frame: 18 1/4 x 24 in.
$20,000–35,000
Provenance: Joyner-Waddington's, December 3, 2002, Lot 41; a Private New Hampshire Collection.
27
FREDERIC ARTHUR
BRIDGMAN
(American, 1847–1928)
Harbor View
1919, oil on canvas
signed and dated F.A. Bridgman
1919 lower left 18 1/4 x 22 1/4 in. frame: 22 1/4 x 26 1/2 in.
$5,000–10,000
WALTER LAUNT PALMER
(American, 1854–1932)
Sailboats, View of Venice oil and watercolor on paper signed W. L. Palmer lower right
13 x 16 7/8 in., frame: 18 1/2 x 22 1/2 in.
$8,000–12,000
Provenance: Hawthorne Fine Art, New York; The Collection of a Gentleman, Cape Cod and New York.
29
THEODORE ROBINSON
(American, 1852–1896)
Moonlit Farmhouse, Giverny oil on board
10 x 13 3/4 in.
frame: 18 x 21 1/2 in.
$20,000–40,000
Provenance: The artist; to his brother, John Robinson; to his daughter, Olive Ellen Antes; to her daughter, Margaret Antes, Evansville, Wisconsin; Christie's New York, May 24, 2007, Lot 51; The Collection of a Gentleman, Cape Cod and New York.
This painting relates closely in subject matter and composition to Robinson's 1892 oil House with Scaffolding, Giverny, now at the North Carolina Museum of Art (G.52.7.1).
MAURICE BRAZIL PRENDERGAST
(American, 1858–1924)
Beach Scene (Crescent Beach)
1896, watercolor and pencil on paper
signed and dated Prendergast 1896 lower left 13 1/2 x 10 in., frame: 19 x 14 1/2 in.
$30,000–50,000
Provenance: Violette de Mazia, Philadelphia; Estate of the above; Christie's New York, May 25, 1989, Lot 262; James Graham & Sons, New York; Private Collection, Paris; Acquired from the above in 1996; by descent to the present owner.
Literature: Clark, C., Matthews, N.M., and Owens, G. Maurice Brazil Prendergast, Charles Prendergast; A Catalogue Raisonne.
Williamstown, Massachusetts, 1990, no. 574, p. 344, illus.
31
CHARLES HENRY DEMUTH
(American, 1883–1935)
Spring Flowers
1915, watercolor on paper
signed and dated Demuth '15 lower right sheet: 18 x 12 in., frame: 25 3/4 x 19 1/2 in.
$20,000–40,000
32
MARGUERITE THOMPSON ZORACH (American, 1887–1968)
Flower Market, Paris
oil on board
monogrammed MT lower left
12 1/2 x 15 1/2 in., frame: 16 3/4 x 19 3/4 in.
$20,000–30,000
33
WILLIAM ZORACH (American, 1887–1966)
Mountain Stream 1920, watercolor
signed William Zorach lower right
20 x 13 1/8 in., frame: 29 1/4 x 22 3/4 in.
$3,000–5,000
Provenance: The Collection of Laurance Rockefeller; by descent within the family.
33A
WILLIAM ZORACH (American, 1887–1966)
Coming Storm
1948, watercolor on paper signed William Zorach lower right 14 1/2 x 21 1/2 in.
frame: 28 1/4 x 33 1/2 in.
33B
WILLIAM ZORACH (American, 1887–1966)
Father and Son pressed terracotta signed Zorach on base height: 6 1/2 in.
$1,500–2,500
Provenance: The Downtown Gallery; The Collection of Laurance Rockefeller; by descent within the family.
$1,500–2,500
Provenance: The Downtown Gallery; The Collection of Laurance Rockefeller; by descent within the family.
This work is a study for Zorach's sculpture Faith of the Nation is Eternal. It is one of approximately four known terracotta examples.
MARSDEN HARTLEY (American, 1877–1943)
Landscape with Mountain and Five Trees
graphite on paper
sheet: 9 1/2 x 12 1/4 in.
frame: 15 7/8 x 18 7/8 in.
$1,500–2,500
Provenance: The Estate of Morgan Russell; Barridoff Auctions, Portland, Maine; The Collection of a Florida Gentleman.
Exhibitions: Barridoff Galleries, Portland, Maine, Marsden Hartley in New England July 12–September 3, 1980, no. 27.
35
MILTON AVERY (American, 1885–1965)
Green Pears
1959, oil on board signed and dated Milton Avery 1959 lower right 5 x 13 in., frame: 9 3/8 x 17 3/8 in.
$20,000–30,000
Provenance: Rudolph Galleries, Woodstock, New York; Irving Brown, New York; Estate of the above, Christie's New York, 25 May 2006, Lot 44; Private Collection; Christie's New York, Important American Paintings, Drawings, and Sculpture, 20 May 2010, Lot 170; Private Massachusetts Collection.
MILTON AVERY (American, 1885–1965) California Collegians gouache on paper signed Milton Avery lower left 12 x 18 in.
frame: 15 3/8 x 21 3/8 in.
$10,000–15,000
Provenance: Christie's Los Angeles, 4 November 1998, Lot 93; Spanierman Gallery, New York; George Krevsky Gallery, San Francisco; Hackett Freedman Modern, San Francisco; Private Collection; Doyle New York, 6 May 2014, Lot 125; Private Massachusetts Collection.
Exhibitions: Cahoon Museum of Art, Cotuit, Massachusetts, Striking the Right Notes: Music in American Art, October 25–December 31, 2005.
ANNA MARY ROBERTSON 'GRANDMA' MOSES (American, 1860–1961)
Long Bridge 1954, oil on masonite signed Moses lower right 6 1/2 x 10 in., frame: 12 5/8 x 16 1/4 in.
$10,000–20,000
Provenance: Parke–Bernet, New York, April 15, 1970, Sale 3025, Lot 212; by descent within an Illinois family; Grogan & Company, Boston, November 7, 2021, Lot 150; The Collection of a New York Lady.
Literature: Kallir, Otto. Grandma Moses. New York: 1973, p. 313, cat. no. 1127 (illus).
Other NOtes: With Grandma Moses inventory label verso (dated February 25, 1954, numbered 1616, and titled).
38 WOLF KAHN
(American, 1927–2020)
Barn at the Edge of the Woods III 1973, oil on canvas signed W. Kahn lower right titled and dated verso 36 x 52 in., 37 x 53 in.
$30,000–50,000
Provenance: Harcus Kracow Gallery, Boston, MA; purchased by a Massachusetts Lady, ca. 1973.
This striking Wolf Kahn landscape has remained in the same family since it was purchased soon after it was painted in 1973. The work represents a significant turning point for the artist, as it was in the early 70s that he moved away from the muted, tonal palette to the arrestingly bright colors for which he is best known.
In the 1950s and 60s, Kahn’s landscapes were dominated by greys, blues, and purples, built up into dense, textured compositions. In 1968, Khan and his wife bought a farm in West Brattleboro, Vermont, spending their summers painting en plein air. The foggy
atmospheres of his 1960s works gave way to an explosion of color in the early 1970s, with bright yellows and rich purples dominating his oeuvre and barns becoming a constant theme, adding hints of man-made geometry to the natural landscape. Barn at the Edge of the Woods epitomizes this shift, with the bold goldenrod foreground in harmonious concert with the vibrant purple highlights in the trees.
Khan’s maturing style of the early 70s was celebrated in a November 19, 1972 New York Times review of the artist’s show at the Grace Borgenicht Gallery in New York. Of the artist, Peter Schjeldahl wrote, “He is an artist concerned primarily with the direct, sensual experience of color…his colors are brilliant and often searing - hot magenta shadows and grass of acidic yellow-green. These are not colors that sunlight finds in nature: they are colors that an aroused sensibility finds, with joy, in the act of painting.”
The aroused sensibility seen in Kahn’s interpretation of the landscape that Schjeldahl observed in 1972 is still felt today when examining the artist’s works from this period. With arresting, invigorating colorwork, Barn at the Edge of the Woods invites the viewer into Kahn’s perspective with an intimacy and immediacy that feels as fresh as it did when the work was painted fifty years ago.
Tondo
1961, oil on board signed and dated Kiukok 61 upper left 21 1/2 x 31 1/2 in., frame: 22 1/8 x 31 7/8 in.
Sally's Angus Drawing #3
2006, oil and graphite on paper
signed T J Waddell lower right 30 x 40 in.
frame: 34 1/2 x 44 1/2 in.
$2,000–3,000
Provenance: J. Willott
Gallery, Palm Desert, CA; a Massachusetts Collector, 2015.
$25,000–35,000
Provenance: Purchased from the artist by a Wellesley, Massachusetts couple in the early 1960s.
41
JILL HOY
(American, 20th/21st century)
First Light
2006, watercolor
signed and dated J Hoy 06
lower left
22 x 30 in., frame: 32 x 38 in.
$1,000–2,000
Provenance: The Collection of a Mount Desert Island, Maine Couple.
42
JOHN WHALLEY
(American, b. 1954)
Custom House Wharf
graphite on paper
signed John Whalley lower left
16 3/4 x 27 7/8 in.; frame: 27 1/4 x 37 1/2 in.
$6,000–9,000
43
DOUG BREGA (American, b. 1948)
Grey House with Red Roof watercolor
signed Doug Brega lower left
14 x 20 in., frame: 23 1/4 x 29 1/2 in.
$3,000–5,000
44
DOUG BREGA (American, b. 1948)
Blue House with Grey Roof watercolor
signed Doug Brega lower left
12 x 18 in.
frame: 20 1/2 x 26 1/2 in.
$3,000–5,000
45
DOUG BREGA (American, b. 1948)
White House with Red Roof watercolor
signed Doug Brega lower left
8 x 12 in.
frame: 17 1/2 x 21 1/2 in.
$2,000–4,000
46
PERI SCHWARTZ (American, 1951–2021)
Studio XXXIII
2013, oil on canvas titled, signed, and dated verso 52 x 46 in.
$1,500–2,500
Provenance: Gallery NAGA, Boston, MA (label verso); purchased from the above by a Massachusetts Collector.
47
SEONNA HONG (American, b. 1973)
I Prefer the Low Notes 2007, acrylic and paper on wood 48 x 48 in.
$4,000–6,000
Provenance: Kaikai Kiki Co. Gallery, Tokyo; Private New York Collection.
CHERYL KELLEY (American, b. 1968)
Chevelle with iPod 2010, oil on aluminum panel signed, titled, and dated verso 30 x 40 in.
$4,000–6,000
Provenance: Bernaducci Meisel Gallery; Property of a Private Maine Collection.
49
RAPHAELLA BEATRICE SPENCE (English, b. 1978)
Paris Hotel, Las Vegas 2013, oil on canvas signed R. Spence lower left 24 x 32 in., frame: 26 1/2 x 34 1/4 in.
$15,000–30,000
51 SCOTT PRIOR (American, b. 1949)
Still Life of Flowers
2005, oil on panel signed and dated verso
12 x 11 1/2 in.
frame: 18 x 17 1/4 in.
$2,000–3,000
Provenance: The Collection of a Cohasset, Massachusetts Couple.
52 BEN ARONSON (American, b. 1958)
On Wall Street
2010, oil on panel signed and dated Aronson 10 lower left 11 x 14 in.
frame: 13 3/4 x 16 3/4 in.
$2,000–3,000
Provenance: The Collection of a Cohasset, Massachusetts Couple.
53
GYÖRGY KEPES
(American, 1906–2001)
Untitled oil and sand on canvas numbered 00–14–1 verso
49 x 49 in.
frame: 49 1/2 x 49 1/2 in.
$2,000–3,000
Provenance: By descent within a Massachusetts Family.
54
GEORGE D. GREEN
(American, 1943–2020)
Shadow of the Flying Body: Heaven Glowing Between the Ribs
2010, acrylic on birch panel signed, titled, and dated verso 12 x 16 in.
$1,000–1,500
55 T.M. NICHOLAS (American, b. 1963)
Sunset, White Island Light oil on panel signed T.M. Nicholas lower left 16 x 24 in. housed in a Paul Goodnow frame: 21 3/4 x 29 1/2 in.
$1,500–2,500
56 T.M. NICHOLAS (American, b. 1963) Blue Shadows, Isle of Shoals oil on canvas signed T.M. Nicholas lower left 30 x 40 in., frame: 39 x 49 in.
$2,000–4,000
57
T.M. NICHOLAS (American, b. 1963)
Sunrise, Little Harbor, New Castle, New Hampshire oil on panel signed T.M. Nicholas lower right
18 x 24 in.
frame: 26 x 32 in.
$2,000–3,000
58
T.M. NICHOLAS (American, b. 1963)
Gosport Regatta
2012, oil on board signed T.M. Nicholas lower right
18 x 24 in., frame: 24 x 30 in.
$1,500–2,500
60 ARTHUR DIEHL (American, 1870–1929)
Sunset Over Cape Cod 1920, oil on board signed and dated Arthur Vidal Diehl 1920 lower left 30 x 50 in., frame: 38 x 58 1/2 in.
59 OLAF BRAUNER (American, 1869–1947)
Sunset, Garden Gate, Appledore Island, Isles of Shoals oil on burlap signed and titled verso 20 x 24 in., frame: 25 x 29 in.
$2,000–4,000
$4,000–6,000
Provenance: Outer Cape Art Auctions, July 22, 2006, Lot 75; The Collection of a Massachusetts Gentleman.
61 CHARLES HENRY HAYDEN (American, 1856–1901)
Cuban Landscape oil on canvas
estate signed lower left 14 x 17 in.
frame: 17 1/2 x 20 3/4 in.
$1,500–2,000
62 IMERO GOBBATO (Italian, 1923–2010)
Sailboats, Sunrise, Maine
1980, oil on canvas
signed and dated I. Gobbato 80 upper left 20 x 36 in., frame: 20 1/2 x 36 1/2 in.
$3,000–5,000
Provenance: Thomaston Place Auctions, Thomaston, Maine, November 14, 2015, Lot 797; Property of a New York Collector.
63
GEORGE M. HATHAWAY (American, 1852–1903)
Portland Light oil on canvas signed G.M. Hathaway lower left 9 x 12 in.
frame: 13 1/2 x 16 1/2 in.
$1,200–1,800
Provenance: Property of a Private Maine Collection.
64
HOWARD RUSSELL BUTLER (American, 1856–1934)
Bald Head Cliffs (Ogunquit), Calm Afternoon oil on board signed H.R. Butler lower right 9 1/2 x 13 1/2 in.
frame: 15 x 19 in.
$1,000–1,500
65 ANNE PACKARD (American, b. 1933)
Wharves 1985, oil on canvas signed A. Packard '85 lower right
19 1/2 x 23 1/2 in. frame: 27 x 31 in.
$3,000–5,000
Provenance: Packard Gallery, Provincetown, MA; The Collection of a New Jersey Couple.
66 WILLIAM THON (American, 1906–2000)
Maine Boatyard in Winter 1935, oil on canvas board signed William Thon lower right; titled and dated verso, with Thon Estate no. 2699
16 x 20 in.
frame: 21 1/2 x 25 1/2 in.
$4,000–8,000
Provenance: Property of a Private Maine Collection.
Other Notes: Caldbeck Gallery (Rockland, Maine) label verso; Portland Museum of Art (Portland, Maine) label verso.
XANTHUS RUSSELL SMITH (American, 1839–1929)
Monhegan Fisherman's House 1917, watercolor
initialed and dated X.S. Sept. 3rd 1917 lower left sight: 7 1/2 x 9 1/2 in., frame: 14 1/8 x 16 1/4 in.
Mackerel Cove, Maine 1919, watercolor
signed and dated X.S. Aug. 20th 1919 lower left and titled center left sight: 6 3/4 x 9 3/4 in., frame: 13 x 16 in.
$800–1,200
Provenance: Property of a Private Maine Collection.
68 THOMAS DALY (American, b. 1937)
Canoe on the Lake watercolor
signed T Daly lower left sight: 11 1/4 x 8 1/4 in. frame: 19 x 15 3/4 in.
Fishing at the Water's Edge watercolor
signed T Daly lower right sight: 8 x 12 1/2 in. frame: 17 1/4 x 21 in.
$2,000–3,000
69
OSCAR F. BLUEMNER (American, 1867–1938)
Harlem River
1909, watercolor monogramed, titled, and dated OFB Harlem River, 150th Aug. 28, 09 9AM lower left sight: 5 1/2 x 9 1/2 in., frame: 12 x 16 in.
$1,500–2,500
Provenance: Christie's New York; The Collection of a Florida Gentleman.
70
EDWARD DUFNER (American, 1872–1957)
Boy Fishing oil on board
signed Edward Dufner upper right sight: 10 x 6 1/2 in., frame: 18 1/2 x 15 1/2 in.
$2,000–3,000
Provenance: The Collection of a Florida Gentleman.
71 JOSEPH CHRISTIAN LEYENDECKER (American, 1874–1951)
Lucky Bag Girl
hand-painted print signed Leyendecker lower left sight: 4 1/2 x 4 in., frame: 12 5/8 x 11 7/8 in.
$2,000–3,000
Provenance: The Collection of a Florida Gentleman.
72 LEE LUFKIN KAULA (American, 1865–1957)
Trinkets
oil on canvas signed Lee Lufkin Kaula lower right 40 x 32 in., frame: 46 x 38 in.
$1,500–2,500
Other Notes: Carnegie Institute, Pittsburgh label verso.
1848–1919)
Portrait of Joseph DeCamp
1887, oil on canvas signed, inscribed, and dated To my friend Joe, Munich, [indistinct], 87 upper right 40 x 24 in., frame 45 1/4 x 29 1/4 in.
$5,000–10,000
Provenance: By descent within a New England family.
73 AMERICAN
(mid–19th century)
Portrait of a Lady oil on canvas 24 x 19 3/4 in., frame: 28 x 24 in.
$2,000–3,000
75 CLAUDE (CLAUDINE) RAGUET HIRST (American, 1855–1942)
The Plays of Shakespeare oil on canvas
signed Claude Raguet Hirst NY lower right 8 x 10 in., frame: 10 1/2 x 12 1/2 in.
$4,000–8,000
76 CLAUDE (CLAUDINE) RAGUET HIRST (American, 1855–1942)
Lord Chesterfield's Letters oil on canvas signed Claude Raguet Hirst NY lower right 7 x 10 in., frame: 9 1/2 x 11 1/2 in.
$4,000–8,000
77
JOHN WHORF
(American, 1903–1959)
Summer Nights, Marseilles #9
1928, watercolor
signed John Whorf upper left sheet: 14 5/8 x 20 5/8 in.
frame: 25 x 30 in.
78
JOHN WHORF
(American, 1903–1959)
Bridge, Toledo 1931, watercolor
signed John Whorf '31 Bridge, Toledo lower left sight: 20 1/2 x 28 7/8 in.
frame: 29 x 37 1/2 in.
$3,000–5,000
Provenance: By descent within a Chestnut Hill, Massachusetts Family.
$2,000–3,000
Provenance: Property of a Gloucester, Massachusetts Collector.
Other Notes: Accompanied by E. A. Milch, Inc. (New York) Gallery label.
79
ABRAHAM WALKOWITZ (American, 1878–1965)
Bathers oil on canvas
signed A. Walkowitz lower right
8 x 10 1/4 in.
frame: 13 1/4 x 15 3/8 in.
$1,000–2,000
Provenance: Property of a Gloucester, Massachusetts Collector.
80 CHARLES CONSTANTINE HOFFBAUER (American, 1875–1957)
Costumed People Arriving at a Masquerade Party gouache on paper
signed C. Hoffbauer lower left
10 x 17 1/2 in., frame: 20 7/8 x 28 1/4 in.
$1,000–2,000
81
CHARLES CONSTANTINE HOFFBAUER
(American, 1875–1957)
Circus Performer on Horseback oil on canvas
signed C. Hoffbauer lower right
23 1/2 x 31 1/4 in.
frame: 31 1/2 x 39 in.
$2,000–3,000
82
JOHN C. TRAYNOR (American, b. 1961)
Paul Revere's Ride
1983, oil on canvas
signed and dated Traynor 83 lower left
24 x 30 in., frame: 27 x 33 1/4 in.
$1,000–1,500
83 CHARLES VICKERY (American, 1913–1998)
Morning Light: The Flying Cloud oil on canvas signed Charles Vickrey lower right; titled verso
20 x 30 in., frame: 26 1/2 x 36 1/2 in.
$3,000–5,000
84
WILLIAM FORMBY HALSALL (American, 1841–1919)
Mayflower, First Morning at Sea oil on canvas signed W. F. Halsall lower left 24 x 36 in., frame: 31 x 43 1/2 in.
$2,000–4,000
85
AMERICAN SCHOOL (19th century)
The Ship 'New York' oil on canvas 26 x 36 in., frame: 31 x 41 in.
$1,000–1,500
86
Attributed to THOMAS BUTTERSWORTH
(English, 1768–1842)
Ship in Stormy Sea oil on board
10 x 12 in.
frame: 13 1/2 x 15 1/2 in.
$2,000–3,000
Provenance: The Collection of a Wellesley, Massachusetts Gentleman.
87
JAMES GUY EVANS
(American, 1810–1860)
Loss of the Schooner Cora oil on canvas
signed Evans lower right inscribed Loss of the Schooner Cora on Brazos Bar. July 20th 1846. Capt. S.M.Read along lower margin
29 x 36 in., frame: 35 x 42 in.
$5,000–7,000
Provenance: The Collection of the late John and Marilyn Keane, Boston and Cohasset, Massachusetts.
BARRY AND CHRIS LEVY (Canadian, 20th century) Bluenose Schooner bronze stamped 000/100 on base length: 23 in., height: 21 in.
$2,000–3,000
89 MARTIN ROSOL (American/Czech, b. 1956) Silence Illusion 2005, glass
Martin Rosol 12.05 etched on base 9 1/2 x 11 1/2 in.
$3,000–5,000
Provenance: Chappell Gallery, New York; The Collection of a Boston Lady.
90
DALE CHIHULY
(American, b. 1941)
Blue Seaform with Red Lip Wrap
1992, handblown glass signed and dated Chihuly 92 on base height: 7 1/2 in., width: 14 1/2 in., depth: 8 1/2 in.
$2,000–4,000
Provenance: The Collection of a Bar Harbor, Maine Couple.
91
JEAN XCERON (American, 1890–1967)
Painting No. 238
1937, oil on canvas
signed Xceron lower right; titled and dated verso
57 1/2 x 38 1/2 in., frame: 62 x 42 3/4 in.
$15,000–25,000
Provenance: Rose Fried Gallery, New York (label verso); The Collection of a Portland, Maine Gentleman.
This work relates closely to Xceron's Painting No. 239, which was included in the 1965 Guggenheim retrospective of the artist and is now in the collection of the Newark Museum of Art.
JEAN XCERON (American, 1890–1967)
#216A
1935, gouache signed Xceron 35 lower right
30 x 21 1/2 in.
frame: 40 1/4 x 31 3/8 in.
$1,500–2,500
Provenance: Rose Fried Gallery, New York (label verso); The Collection of a Portland, Maine Gentleman.
93
JOHN ATHERTON (American, 1900–1952)
The Game oil on board signed Atherton on center panel signed and titled verso
11 1/2 x 12 3/4 in.
frame: 20 1/2 x 21 3/4 in.
$5,000–7,000
Provenance: The Collection of a Portland, Maine Gentleman.
94
Attributed to GLORIA VANDERBILT (American, 1924–2019) Woman with Vase oil on canvas
44 x 25 in., frame: 44 1/2 x 26 1/2 in.
$3,000–5,000
Provenance: A Manhattan neighbor of the artist; Private Florida Collection.
95 PEGEEN VAIL (American, 1925–1967)
Interior Scene pastel on paper signed Pegeen lower right sight: 19 x 25 in. frame: 22 1/2 x 28 3/4 in.
$1,000–2,000
Provenance: The Collection of a Portland, Maine Gentleman.
(American, b. 1941)
Allegory of Fleeting Time
1980, oil on canvas
signed McKnight lower left 30 x 36 in.
frame: 32 3/4 x 39 in.
$2,000–3,000
Provenance: Pucker Safrai Gallery, Boston, Massachusetts; purchased from the above in 1985 by a Massachusetts Gentleman; by descent within the family.
97
(American, 1914–1968)
Night and Day oil on canvas
28 1/2 x 38 3/4 in.
frame: 33 x 43 1/2 in.
$2,000–4,000
Provenance: The Collection of a Portland, Maine Gentleman.
Exhibitions: Julien Levy Gallery, New York, January 21–February 10, 1941.
WITOLD KACZANOWSKI (Polish, b. 1932)
Untitled 1991, oil on canvas
signed, dated, and dedicated To Claude–L. Witold–K 91 lower right 48 x 48 in.
$3,000–5,000
Provenance: The artist; The Collection of a Boston Gentleman, a friend of the artist.
99 WITOLD KACZANOWSKI (Polish, b. 1932)
Untitled
1966, oil on canvas signed and dated Witold–K–66 upper left
24 x 20 in.
$1,500–2,500
Provenance: The artist; The Collection of a Boston Gentleman, a friend of the artist.
100 WITOLD KACZANOWSKI (Polish, b. 1932)
Untitled
1966, oil on canvas signed and dated Witold–K–66 upper left
14 x 10 3/4 in., frame: 18 1/2 x 15 1/4 in.
$1,000–2,000
Provenance: The artist; The Collection of a Boston Gentleman, a friend of the artist.
101 RATISLAV RAKOV (Russian/French, 1904–1982)
Still Life with White Flower 1957, oil on board
signed and dated Racoff 57 lower left sight: 13 1/8 x 10 1/8 in.
frame: 29 1/4 x 22 1/4 in.
Still Life with Pink Flowers 1957, oil on board
signed and dated Racoff 57 lower right sight: 13 1/8 x 10 1/8 in., frame: 29 1/4 x 22 1/4 in.
$1,500–2,500
Provenance: The Collection of a Portland, Maine Gentleman.
102 PERICLES PANTAZIS (Greek, 1849–1884)
Still Life with Apples oil on canvas
signed Pantazis lower right 15 1/2 x 21 in.
frame: 18 x 23 3/4 in.
$5,000–8,000
103 STANISLAS LEPINE (French, 1835–1892)
River View oil on canvas signed S. Lepine lower right 10 1/2 x 15 in., frame: 14 1/2 x 19 3/4 in.
$3,000–5,000
104 LOUIS BOSWORTH HURT (British, 1856–1929)
In the Highlands 1904, oil on canvas laid on board signed Louis B. Hurt 1904 lower left 24 x 40 in., frame: 34 x 50 in.
$3,000–5,000
105
Manner of JACOB VAN RUISDAEL (Dutch, 1628–1682)
Coastal Landscape oil on canvas
19 x 23 in., frame: 28 x 33 in.
$1,000–2,000
Provenance: By descent within a Massachusetts Family.
106
THIERRY PONCELET (Belgian, b. 1946)
Portrait of a Great Dane (Judge Malapie of Lyon)
oil on canvas signed Th. Poncelet lower right 32 1/2 x 26 1/4 in.
frame: 38 x 31 1/4 in.
$2,000–4,000
Provenance: Stephanie Hoppen Gallery, London; Property of a Private Maine Collection.
107
Attributed to MAURICE DE VLAMINCK
(French, 1876–1958)
Tancarville ink on paper signed faintly lower right sheet: 11 1/2 x 15 1/4 in.
frame: 20 x 23 1/2 in.
$1,000–2,000
Provenance: By descent within a Massachusetts Family.
108 ANDRÉ MASSON
(French, 1896–1987)
Femme Labouree gouache on paper titled Femme Labouree lower center sheet: 13 x 10 1/4 in.
frame: 17 x 15 3/4 in.
$7,000–10,000
Provenance: Simon/Neuman Gallery, New York, 1986; The Collection of a Newport, Rhode Island Lady.
Other Notes: Accompanied by a signed and stamped letter of authenticity from Andre Schoeller, dated 1985.
109
RIK WOUTERS (Flemish, 1882–1916)
Landschap, Boitsfort watercolor on paper with studio stamp and numbered a106 lower left
16 3/4 x 19 3/4 in.
frame: 24 3/4 x 28 in.
$8,000–12,000
Provenance: By descent within a New York family.
Mr. Olivier Bertrand has kindly confirmed the authenticity of this work.
110
LUCIEN ADRION (French, 1889–1953)
Street View, Paris oil on canvas signed Adrion lower right 18 1/4 x 21 3/4 in.
frame: 21 3/8 x 24 5/8 in.
$1,500–2,500
112
JEAN JANSEM
(French, 1920–2013)
Yeux Baisses ink and gouache on paper signed Jansem lower left sight: 25 1/4 x 16 1/4 in. frame: 30 1/4 x 24 1/2 in.
$2,000–4,000
Provenance: Purchased from Wally Findlay Galleries, Chicago; by descent within the family of an Illinois Collector.
Other Notes: Wally Findlay Galleries (Chicago, IL) label verso.
111
JEAN JANSEM
(French, 1920–2013)
Femme dans un interieur oil on canvas signed Jansem lower right 58 x 45 in., frame: 65 x 52 in.
$10,000–15,000
Provenance: The Collection of a Palm Beach, Florida Lady.
113 LE PHO (French, 1907–2001)
Bouquet oil on silk laid on board signed le pho lower right 14 x 20 in., frame: 20 x 25 in.
$3,000–5,000
Provenance: The Collection of a Massachusetts Lady. This work is being sold to benefit the Needham Community Council.
Other Notes: Findlay Galleries, Inc. (Chicago, IL) label verso.
114 LOUIS VALTAT (French, 1869–1952)
Le Jardin Fleuri oil on card laid on canvas signed LV lower right 18 1/2 x 24 in., frame: 27 1/2 x 33 in.
$40,000–60,000
Provenance: Private Collection, Paris; Sotheby's New York, May 9, 2007, Lot 143; The Collection of a Gentleman, Cape Cod and New York.
Literature: Jean Valtat. Louis Valtat, Catalogue de l'oeuvre peint, 1869–1952, vol. I, Paris, 1977, no. 105, p. 12, illus.
Mère et Fille Mourante conceived 1908, cast 1926, bronze with green patina edition of two; signed A. Rodin on base at top right; foundry stamp ALEXIS RUDIER Fondeur Paris on left edge of base verso height: 29 in., height with base: 33 in. base: 26 5/8 x 27 5/8 x 4 in.
$150,000–250,000
Provenance: Musée Rodin, Paris; cast by the above in 1926 for Mr. and Mrs. Thomas Merrill, Duluth, MN; by descent within the family to the Estate of a Massachusetts Lady.
This haunting work, a portrait of loss and sorrow, was commissioned by Mr. and Mrs. Thomas Merrill of Duluth, Minnesota to memorialize the death of Mrs. Merrill’s daughter Sally. Before marrying Mr. Merrill, Elizabeth was married to Charles Miller Croswell, the governor of Michigan from 1877-1881. Tragically, Croswell died three months before Elizabeth gave birth to their daughter Sally in 1887. After Croswell’s death, Elizabeth married lumber magnate Thomas D. Merrill and had two more daughters, Marie and Elizabeth. Mrs. Merrill suffered another tragedy when, in 1904, Sally died at the age of 17.
Mrs. Merrill was bereft at the loss of her eldest daughter, and, in 1908, she commissioned Rodin to sculpt a work in memory of Sally. The Merrills had travelled extensively in Europe and had made Rodin’s acquaintance at Meudon on several occasions. Mrs. Merrill traveled to Paris in the fall of 1908 to sit for Rodin as he began work on the memorial sculpture, creating several plaster busts of Sally and Mrs. Merrill that remain in the Musée Rodin’s collection. It was during one of these sittings that he presented Mrs. Merrill with a small relief of young Sally’s hand, which today can be seen at the National Gallery of Art in Washington. Upon her return home in December 1908, Mrs. Merrill wrote to Rodin with notes about her wishes for the larger memorial work, including a photograph of her and Sally from when Sally was about six years old. In her letter, she asked Rodin “to reproduce and to make immortal my resemblance and that of my muchloved child.”
Rodin drew inspiration from her words, and the memorial began to take shape: the figures of a mother and child, heads together and hands clasped, emerged from a rough, unfinished block of marble. The composition became much more than a portrait of the Merrill family; rather, it served as a symbol for the all-encompassing strength of maternal love.
By 1910, Mr. Merrill had sent two deposits for the sculpture, and the Merrills had travelled to Paris to view their work. Mrs. Merrill expressed her admiration for the sculpture, writing to Rodin, “my dream that my child should be immortal has come true.” However, for unknown reasons, the marble was never deemed complete, and so it remained in Rodin’s studio at the time of his gift to the French state in 1916. By 1920, Mr. Merrill was in correspondence with Léonce Bénédite, the first director of the Musée Rodin to discuss having the marble sent on to him in America. After several years of back-andforth, Mr. Merrill and Georges Grappe, curator of the Musée Rodin, came to an agreement: the museum would retain the marble sculpture, but would have their foundry cast two bronze examples of the work, and guarantee that no future casts would be made. Furthermore, they would ensure that Mrs. Merrill’s name remain attached to the marble, retitling it Mère et sa fille mourante (Mme. Merrill et sa fille).
The nuanced yet unfailingly cordial negotiations between Merrill and the Musée are recorded in letters and meeting minutes that are held in the Musée Rodin Archives. In 1926, of their recent meeting at the Musée, Mr. Merrill wrote to Mr. Grappe, “you were most kind in receiving us and discussing the various phases of the subject and were good enough to offer to recommend to your board of administrators something as follows: that the marble itself will remain in the muse and that there be inscribed upon it: Mme. Merrill et sa fille. Furthermore that we be furnished two replicas of the marble executed in bronze without expense to us.” In return, on March 17, 1926, Mr. Grappe replied, “I am pleased to let you know that…the museum will have cast for you two bronze copies, as you wished, of this monument…I hope I have given you the satisfaction which you have so long desired.” Mr. Grappe himself selected the dark green patina of the works, and, by July 1, 1926, the Musée Rodin had ordered the Rudier foundry to cast two bronzes from the marble sculpture. Things progressed smoothy – save for a small delay in October when the foundry workers went on strike – and by December 1926 Mr. Grappe was overseeing the release of the bronzes for transport to America, writing to Mr. Merrill, “I am delivering this day to our dispatcher…the two bronzes which were promised to you. I have had the patina taken care of in particular, and I hope that Mrs. Merrill and you will be satisfied. I would be very happy if, when the works have arrived safely, you would kindly let me know your feelings about them.”
Unfortunately, Mrs. Merrill did not have long to enjoy the bronzes once they arrived in America, as she passed away the following year. In response to Mr. Grappe’s condolence letter, Mr. Merrill wrote, “I shall always treasure the words of appreciation of my wife’s nobility of soul and of her personality which are so beautifully expressed. One of her very treasured memories was of the brief visit at the Musée and the kind and considerate way you met a difficult situation.” Thus the matter of Mrs. Merrill et sa fille mourante was concluded, with the marble example remaining in the Musée Rodin, to be studied, exhibited, and celebrated as an exemplar of Rodin’s final decade, while the bronzes remained with the Merrill family. Upon Mr. Merrill’s death in 1932, the two bronzes were left to his daughters, in memory of their late mother and sister, and the present example has been passed down through three generations since that time.
116
PABLO PICASSO (Spanish, 1881–1973)
Chouette Femme (A.R. 119)
glazed earthenware
stamped and marked Edition Picasso and stamped Madoura Plein Feu on base height: 11 in., width: 9 in.
$10,000–15,000
Provenance: By descent to a Wellesley, Massachusetts Lady.
117
PABLO PICASSO (Spanish, 1881–1973)
Profil de Taureau (A.R. 317)
1956, glazed earthenware
stamped Empreinte Originale de Picasso and Madoura Plien Feu verso
diameter: 10 in.
$3,000–5,000
Provenance: By descent to a Wellesley, Massachusetts Lady.
118
PABLO PICASSO (Spanish, 1881–1973)
Danseurs (A.R. 388)
glazed earthenware stamped Empreinte Originale de Picasso and Madoura Plein Feu verso
diameter: 7 1/4 in.
$5,000–7,000
Provenance: By descent to a Wellesley, Massachusetts Lady.
119
After PABLO PICASSO
(Spanish, 1881–1973)
Tête de Faune
aquatint
signed Picasso lower right, marked H.C. lower left plate: 11 3/4 x 9 7/8 in., frame: 29 x 23 in.
$3,000–5,000
Provenance: Purchased from Merrill Chase Galleries, Chicago; by descent within the family of an Illinois Collector.
120
MARC CHAGALL
(French, 1887–1985)
L’Accordéoniste (M. 204)
1957, lithograph in colors signed Marc Chagall lower right and numbered 24/90 lower left
sight: 12 1/2 x 15 3/4 in., frame: 21 3/4 x 26 5/8 in.
$1,500–2,500
121
ALEXEJ VON JAWLENSKY
(Russian, 1864–1941)
Head (Kopf)
1922, lithograph signed A Jawlensky lower right; with Staatliches Bauhaus Weimar blindstamp lower left image: 7 x 4 7/8 in., frame: 17 3/4 x 14 in.
$2,000–4,000
122 HENRY MOORE
(British, 1898–1986)
Three Plates from The Elephant Skull Album 1970, etchings
Plate I.
signed Moore lower right, numbered 82/100 lower left plate: 9 7/8 x 8 in., sheet: 19 1/2 x 14 1/2 in.
Plate VII.
signed Moore lower right, numbered 82/100 lower left plate: 9 7/8 x 7 3/4 in., sheet: 19 1/2 x 14 1/2 in.
Plate XI.
signed Moore lower right, numbered 82/100 lower left plate: 10 x 7 3/4 in., sheet: 19 1/2 x 14 1/2 in.
$1,000–1,500
123
JEAN ARP (French, 1886–1966)
Plakat Basel
lithograph in colors signed in pencil Arp lower right and numbered in pencil 39/75 lower left 35 1/2 x 35 1/4 in., sheet: 50 x 35 3/4 in., frame: 50 1/2 x 36 in.
$2,000–3,000
124
SONIA DELAUNAY (French, 1885–1979)
Grand Icone
lithograph in colors on Arches paper signed Sonia Delaunay lower right, numbered 73/75 lower left
plate: 30 x 20 1/2 in.
frame: 37 3/4 x 27 1/2 in.
$1,500–2,500
Provenance: The Collection of a Mount Desert Island, Maine Couple.
Other Notes: Graphics 1 & Graphics 2 (Boston, MA) label verso.
125
KARL APPEL (Dutch, 1921-2006)
Visage
1969, lithograph in colors
signed in pencil Appel K. lower right; numbered in pencil 62/110 lower left
27 3/4 x 20 1/8 in.
frame: 35 7/8 x 25 1/2 in.
$400–600
Provenance: Property of a Private Maine Collection.
126
KARL APPEL (Dutch, 1921-2006)
Compositions
1960, lithograph in colors
signed in pencil Appel K. lower right; numbered in pencil 58/125 lower left
22 x 29 1/2 in., frame: 28 1/4 x 35 in.
$400–600
Provenance: Property of a Private Maine Collection.
CLAES OLDENBURG (American, 1929–2022)
Geometric Mouse Pyramid as an Image of the Electoral System, Doubled
1976, lithograph in colors signed Oldenburg lower right numbered 4/50 lower left
35 x 25 7/8 in.
frame: 38 3/8 x 29 1/2 in.
$800–1,000 128
CLAES OLDENBURG (American, 1929–2022)
Ice Cream Desserts etching signed CO. lower center numbered 20/50 lower left
13 1/4 x 21 1/4 in.
frame: 25 7/8 x 32 in.
$500–800
129
JIM DINE
signed Jim Dine lower center, dated 1950 lower right, and numbered 15/30 lower left
39 5/8 x 29 1/2 in., frame: 55 1/2 x 39 in.
$2,000–4,000
130 ANDY WARHOL (American, 1928–1987)
Teddy Roosevelt, from Cowboys and Indians (F&S II.386)
screenprint in colors signed Andy Warhol lower right and numbered 44/250 lower left; with publishers blind stamp lower left sight: 35 1/2 x 35 in. frame: 42 x 41 1/2 in.
$30,000–50,000
Provenance: Leslie Hindman, Chicago, IL, October 14th, 1991, Lot 260; The Collection of a Massachusetts Gentleman.
131 ROY LICHTENSTEIN (American, 1923–1997)
Still Life, from the Metropolitan Scene (B. 27)
1968, screenprint in colors on aluminum panel signed, numbered, and dated Lichtenstein 19/50 '68 lower right 36 x 36 in., frame: 36 1/4 x 36 1/4 in.
$8,000–12,000
Provenance: Sotheby's New York, Contemporary Prints, Sale 6101, November 17th, 1990, Lot 1006; The Collection of a Massachusetts Gentleman.
132
ROBERT MOTHERWELL
(American, 1915–1991)
Tobacco Roth–Händle
1975, lithograph
signed Motherwell and numbered 12/45 lower right sheet: 40 x 30 1/2 in., frame: 45 1/2 x 36 in.
$1,500–2,500
Provenance: Alan Cristea Gallery, London, 2002; Private Massachusetts Collection.
133 ROCKWELL KENT (American, 1882–1971)
Starlight
1930, wood engraving signed Rockwell Kent lower right sheet: 10 3/4 x 12 1/4 in. frame: 15 1/4 x 16 3/8 in.
$2,000–3,000
Provenance: The Collection of a Massachusetts Lady.
134 ROCKWELL KENT (American, 1882–1971)
Lunar Disintegration
1937, lithograph signed in pencil Rockwell Kent lower right sheet: 16 x 11 3/4 in.
frame: 20 1/2 x 17 1/2 in.
$1,500–2,500
Provenance: The Collection of a Massachusetts Lady.
135 MARK FREEMAN (American, 1908–2003)
2nd Ave "El"
lithograph signed Mark Freeman lower right, inscribed Ed. 75 lower center, and titled lower left sight: 11 1/2 x 15 1/4 in. frame: 17 1/4 x 21 in.
$1,500–2,000
136 BERENICE ABBOTT (American, 1898–1991) El Station, Ninth Avenue Line 1936, gelatin silver print titled and dated verso, with Federal Art Project stamp 10 x 8 in., frame: 16 3/4 x 14 1/4 in.
$1,500–2,000
137
GEORGE BELLOWS (American, 1882–1925)
Businessmen's Bath
1923, lithograph
signed George Bellows lower right, sheet: 14 x 19 in., frame: 19 x 24 in.
$2,000–4,000
Provenance: Sotheby's New York, November 13, 1980, Lot 55; The Collection of a Massachusetts Lady.
138
JOHN SLOAN (American, 1871–1951)
Sunbathers on the Roof
1941, etching
signed John Sloan lower right plate: 5 7/8 x 7 in.
frame: 14 3/4 x 18 1/4 in.
$1,000–2,000
Provenance: Sotheby's New York, November 1980, Sale 4469M, Lot 713; The Collection of a Massachusetts Lady.
139
CHILDE HASSAM (American, 1859–1935)
Avenue of the Allies
1918, lithograph signed in pencil with artist's cypher lower right sheet: 18 x 11 1/2 in., frame: 22 x 16 1/2 in.
$2,000–3,000
Provenance: Sotheby's New York, February 19, 1982, Sale 4544M, Lot 279; The Collection of a Massachusetts Lady.
140
CHILDE HASSAM (American, 1859–1935)
A Home on the Main Street, Easthampton 1922, etching on wove paper signed CH imp. in pencil lower right sheet: 7 3/4 x 14 in., frame: 11 3/4 x 17 1/4 in.
$700–1,000
Provenance: The Collection of a Massachusetts Lady.
141
MAUD HUNT SQUIRE (American, 1873–1955)
Femme et Enfant, Paris
1907, color aquatint signed and dated M. Squire 1907, Paris lower right
plate: 4 1/2 x 3 3/8 in.
frame: 15 1/4 x 11 1/4 in.
$700–1,000
Provenance: The Collection of a Massachusetts Lady.
142
THOMAS HART BENTON (American, 1889–1975)
Down the River lithograph
signed Benton lower right sheet: 14 1/2 x 11 3/4 in.
frame: 19 1/2 x 16 5/8 in.
$1,500–2,000
Provenance: The Collection of a Massachusetts Lady.
Other Notes: Associated American Artists label verso.
143
THOMAS HART BENTON (American, 1889–1975)
Cradling Wheat
1939, lithograph signed Benton lower right sight: 10 1/2 x 13 in., frame: 15 x 18 3/4 in.
$2,000–3,000
Provenance: The Collection of a Massachusetts Lady.
Other Notes: Associated American Artists label verso.
144
THOMAS HART BENTON (American, 1889–1975)
Fence Mender lithograph signed Benton lower right sight: 10 1/2 x 14 in. frame: 16 3/4 x 20 1/2 in.
$1,500–2,500
145
JAMES ABBOTT MCNEILL WHISTLER (American, 1834–1903)
Rue Furstenburg
1894, lithograph on wove paper signed in pencil with butterfly lower left paper: 11 1/4 x 8 5/8 in.
frame: 18 1/2 x 15 1/2 in.
$800–1,200
Provenance: Sotheby's New York, November 13, 1980, Lot 795A; The Collection of a Massachusetts Lady.
146
JAMES ABBOTT MCNEILL WHISTLER (American, 1834–1903)
The Adam and Eve, Old Chelsea 1878, etching and drypoint sheet: 9 x 15 in.
frame: 14 1/2 x 19 1/4 in.
$1,000–2,000
Provenance: The Collection of a Massachusetts Lady.
147
JOHN TAYLOR ARMS
(American, 1887–1953)
Venetian Filigree
1931, etching on Arches paper
signed and dated John Taylor Arms 1931 lower right dedicated To my friend Julius Komjati, in sincerest admiration lower left sight: 10 3/4 x 11 in., sheet: 16 1/8 x 14 3/4 in., frame: 17 3/4 x 17 1/4 in.
$1,500–2,500
Provenance: The Collection of a Massachusetts Lady.
148
After CANALETTO (Italian, 1697–1768) La Torre di Malghera etching
sheet: 14 1/2 x 19 3/4 in.
frame: 21 1/2 x 25 1/2 in.
$800–1,200
149
REMBRANDT VAN RIJN (Dutch, 1606–1669)
Christ at Emmaus: The Larger Plate etching and drypoint
sheet: 8 1/2 x 6 3/8 in.
frame: 13 7/8 x 11 1/2 in.
$2,000–3,000
Provenance: Property of a Maine Collector.
150
REMBRANDT VAN RIJN (Dutch, 1606–1669)
Self Portrait in a Velvet Cap and Plume etching
sheet: 5 5/8 x 4 1/2 in.
mat: 9 1/2 x 8 1/8 in.
$2,000–3,000
Provenance: Property of a Maine Collector.
151
REMBRANDT VAN RIJN (Dutch, 1606–1669)
The Adoration of the Shepherds etching
sheet: 4 1/4 x 5 3/8 in.
mat: 8 1/2 x 10 in.
$500–800
Provenance: Property of a Maine Collector.
153
New York City Volunteer Fireman Certificate 1822, hand colored engraving
the inscription appointing fireman Abraham Scott one of the firemen of the City of New York; dated May 13, 1822 and signed by J. Morton, clerk of the common council.
sight: 14 x 10 1/4 in., frame: 18 1/2 x 15 1/2 in.
$1,000–1,500
Provenance: The Collection of a Massachusetts Lady.
154
WILLIAM RUSSELL BIRCH (1755–1834) and THOMAS BIRCH (1779–1851)
Two Views of Philadelphia, from The City of Philadelphia, In the State of Pennsylvania North America; As it Appeared in the Year 1800 1799, hand colored engravings
South East Corner of Third and Market Streets sheet: 13 1/2 x 16 in., frame: 15 x 18 3/4 in.
View in Third Street, from Spruce Street sheet: 13 1/2 x 16 in., frame: 15 x 18 3/4 in.
$800–1,200
Provenance: The Collection of a Massachusetts Lady.
155
AMOS DOOLITTLE
(American, 1754–1832)
The Complete Prodigal Son Series four hand–colored engravings comprising:
The Prodigal Son Receiving his Patrimony
The Prodigal Son Revelling with Harlots
The Prodigal Son in Misery
The Prodigal Son Returned to his Father
each: 13 3/4 x 10 1/4 in. in period frames: 15 1/4 x 11 3/4 in
$2,000–4,000
Provenance: The Collection of a Massachusetts Lady.
156
EDWARD SHERIFF CURTIS
(American, 1868–1952)
Set of Eight Photogravures from The North American Indian each image: approx. 7 1/2 x 5 1/2 in.
$2,000–4,000
ADRION, LUCIEN
AMERICAN SCHOOL
APPEL, KARL
ARMS, JOHN TAYLOR
ARONSON, BEN
ARP, JEAN
ATHERTON, JOHN
AVERY, MILTON
BEAL, ATTR. REYNOLDS
BELLOWS, GEORGE
BENTON, THOMAS HART
BERNARDI, ROBERTO
BIRCH, WILLIAM RUSSELL
BLUEMNER, OSCAR F.
BRAUNER, OLAF
BREGA, DOUG
BRIDGMAN, FREDERIC ARTHUR
BURPEE, WILLIAM PARTRIDGE
BUTLER, HOWARD RUSSELL
BUTTERSWORTH, ATTR. THOMAS
CANALETTO, AFTER ANTONIO
CHAGALL, MARC
CHIHULY, DALE
CROPSEY, JASPER FRANCIS
CURRIER & IVES
CURTIS, EDWARD
DALY, THOMAS
DE REGIL, SALVADOR
DE VLAMINCK, ATTR. MAURICE
DELAUNAY, SONIA
DEMUTH, CHARLES HENRY
DIEHL, ARTHUR
DINE, JIM
DOOLITTLE, AMOS
DUFNER, EDWARD
DUVENECK, FRANK
ENNEKING, JOHN JOSEPH
EVANS, JAMES GUY
FARNDON, WALTER
FREEMAN, MARK
GOBBATO, IMERO
GOODWIN, ARTHUR CLIFTON
GREEN, GEORGE D.
GRIGGS, SAMUEL W.
GRUPPE, CHARLES
HALSALL, WILLIAM FORMBY
HARTLEY, MARSDEN
HASSAM, CHILDE
HATHAWAY, GEORGE M.
HAYDEN, CHARLES HENRY
HIBBARD, ALDRO THOMPSON
HIRST, CLAUDE RAGUET
HOFFBAUER, CHARLES C.
HONG, SEONNA
HOY, JILL
HURT, LOUIS BOSWORTH
JANSEM, JEAN
KACZANOWSKI, WITOLD
KAHN, WOLF
KAULA, LEE LUFKIN
KELLEY, CHERYL
KENT, ROCKWELL
KEPES, GYÖRGY
KIUKOK, ANG
KRIEGHOFF, CORNELIUS DAVID
LEPINE, STANISLAS
LEVER, HAYLEY
LEVY, BARRY AND CHRIS
LEYENDECKER, JOSEPH CHRISTIAN
LICHTENSTEIN, ROY
MASSON, ANDRÉ
RODIN, AUGUSTE
ROSOL, MARTIN
SCHWARTZ, PERI
SLOAN, JOHN
SMITH, XANTHUS RUSSELL
SPENCE, RAPHAELLA BEATRICE
SQUIRE, MAUD HUNT
STEVENS, WILLIAM LESTER
STRISIK, PAUL
THON, WILLIAM
TITCOMB, MARY BRADISH
TRAYNOR, JOHN C.
VAIL, PEGEEN
VALTAT, LOUIS
VAN RIJN, REMBRANDT
VAN RUISDAEL, MANR. JACOB
VANDERBILT, ATTR. GLORIA
VICKERY, CHARLES
VON JAWLENSKY, ALEXEJ
WADDELL, THEODORE
WALKOWITZ, ABRAHAM
WARHOL, ANDY
WHALLEY, JOHN
WHISTLER, JAMES A. M.
WHORF, JOHN
WOUTERS, RIK
The auction catalogue, if any, and the terms hereinafter set forth, as amended by any posted notices or oral announcements during the sale, is Grogan & Company’s (herein referred to as “we”, “us”, or “our”) and the consignor’s entire agreement with the purchaser relative to the property listed in our catalogue or otherwise offered for sale.
1. All property is sold “as is” and neither we nor the consignor make any guarantees, warranties or representations, expressed or implied, with respect to the property, merchantability, or correctness of the catalogue or other description of the authenticity of authorship, physical condition, size, quality, rarity, importance, provenance, exhibitions, literature or historical relevance of the property or otherwise. No statement anywhere, whether oral or written, shall be deemed such a guarantee, warranty or representation. Prospective bidders should inspect the property before bidding to determine its condition, size, and whether or not it has been repaired or restored. We and the consignor make no representation or warranty as to whether the purchaser acquires any copyrights, including but not limited to any reproduction rights, in the property. However, if within 14 days of the sale of any lot, the purchaser gives notice in writing to us that the lot is counterfeit and within 10 days after such notice, the purchaser 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.
2. A buyer’s premium of 25% will be added to the successful purchase price and is payable by the purchaser as part of the total purchase price. Purchases made online through Invaluable or LiveAuctioneers will be subject to an additional 5% charge and Bidsquare a 3% charge.
3. Acceptable forms of payment include cash, check, or wire transfer. Property will not be released until a personal check clears, unless credit has been previously established with us. All property must be paid for within 5 business days following the sale and removed from the gallery within 20 days. Property not removed from the gallery within 20 days will be sent to our warehouse where storage fees may be assessed. 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.
4. We reserve the right to reject any bid. The highest bidder acknowledged by the auctioneer will be the purchaser. In the event of a dispute between bidders, or in the event of doubt on our part as to the validity of any bid, the auctioneer will have the final discretion either to determine the successful bidder or to re–offer and re–sell the article in dispute. If any dispute arises after the sale, our sale record is conclusive. Although at our discretion we will execute order bids or accept telephone bids as a convenience to clients who are not present at auctions, we are not responsible for any errors or omissions in connection therewith.
5. We reserve the right to withdraw any property before the sale.
6. If the auctioneer decides that any bid is below the value of the article offered, he may reject the same and withdraw the article from sale, and if, having acknowledged an opening bid, he decides that any advance thereafter is insufficient; he may reject the advance and may thereafter withdraw the property. Unless an auction is
announced as “without reserve,” each lot offered may be subject to a reserve and we may execute said reserves by bidding on behalf of the consignor.
7. On the fall of the auctioneer’s hammer, title to the offered lot will pass to the highest bidder acknowledged by the auctioneer, subject to fulfillment by such bidder of all of the conditions set forth herein, and such bidder thereupon assumes full risk and responsibility therefore.
8. If any applicable conditions herein are not complied with the purchaser, in addition to other remedies available to us and the consignor by law, including without limitation the right to hold the purchaser 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 purchaser or (b) resell the property at public auction without reserve, and the purchaser will be liable for any deficiency, as well as costs, including handling charges, the expense of both sales, our commission on both sales at our regular rates, all other charges due hereunder and incidental damages.
9. 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.
10. These 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, the purchaser shall be deemed to have consented to the jurisdiction of the state courts, and the federal courts sitting in the Commonwealth of Massachusetts.
11. 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. In no event will we be liable for damage to glass or frames, regardless of the cause.
12. In no event will our liability to a purchaser exceed the purchase price actually paid.
13. No invalidity or partial invalidity or unenforceability of any provision provided herein shall effect or impair the validity of enforceability of any other provision hereof.
14. Bidding at an auction, whether present, by proxy (agent, order, telephone, online bid), or by any other means, constitutes your acceptance of these terms and conditions of sale.
