American Art | Lots 54-114

AMERICAN ART

LOTS 54-114

OPPOSITE Lot 58

54 Jasper Francis Cropsey

(American, 1823–1900) Winter in Switzerland, 1861 oil on canvas laid to board signed J.F. Cropsey and dated (lower left) 4 x 8 inches. Property of an Estate, Pasadena, California

This lot was authenticated by the Newington-Cropsey Foundation and will be included in any future supplements to the Catalogue Raisonné of the artist. Lot note: This work was likely part of a Four Seasons set, which was a very popular item offered by Cropsey. When the four paintings were to be placed a single frame, they would be about the 4 x 8 inches as the present painting. There are only two known sets of single frame examples that are still intact; most were disassembled and the individual paintings sold separately. Four Seasons sets normally included: “Summer in Italy,” “Spring in England,” “Autumn in America,” and “Winter in Switzerland.”

$7,000 - 9,000

55 Jasper Francis Cropsey

(American, 1823–1900) Mountain Landscape (possibly White Mountains, New Hampshire) oil on paper laid to board signed J.F. Cropsey and indistinctly dated (lower left) 5 1/2 x 8 inches. Property of an Estate, Pasadena, California

This lot was authenticated by the Newington-Cropsey Foundation and will be included in any future supplements to the Catalogue Raisonné of the artist.

(American, 1823-1900) The Old Mill, August 1847 oil on canvas signed J.F. Cropsey and dated Aug. 1847 (lower center) 16 x 22 3/4 inches.

Provenance: (Probably) William S. Chanley, 1848 (as Mountain Stream and with dimensions «about 21 x 30 inches») Chapellier Galleries, New York Private Collection, Beloit, Wisconsin A.J. Kollar Fine Painting, Seattle, Washington, by 2005 Sold: Shannon’s Fine Art Auctioneers, Greenwich, Connecticut, October 20, 2005, Lot 29 Private Collection, Garden City, New York, acquired at the above sale Sold: Ford Art Auctions, Lewes, Delaware, May 26, 2019, Lot 39 Acquired at the above sale by the present owner

Literature: William S. Talbot, Jasper F. Cropsey, 1823-1900, PhD dissertation, New York University, 1977, pp. 48-49; 338339, fig. 18, cat. no. 19, illus. (as Highland Streams) “Found in a Closet-W.T. Richards Tops Shannon’s Sale at $215,100,” Antiques and The Arts Weekly, November 11, 2005, p. 61 Kenneth W. Maddox, Anthony M. Speiser, Jasper Francis Cropsey: Catalogue Raisonné Volume I, 1842-1863, Hastings-on-Hudson, New York, 2013, p. 50, no. 96, illus.

Lot note: This lot is the only known extant painting that Cropsey painted in Scotland, probably near Luss on the west bank of Loch Lemond, where he and his wife stayed for three weeks. The artist also executed two other paintings during his 1847 stay, View near Luss in the Highlands of Scotland, and Ruins of St. Anthony’s Chapel near Edinburgh, both commissioned by the American Art Union for $300.

$30,000 - 50,000

57 Jasper Francis Cropsey

(American, 1823-1900) Landscape with Cottage and Wagon, 1875 watercolor on paper signed J.F. Cropsey and dated (lower left) 6 x 9 inches.

This lot was authenticated by the Newington-Cropsey Foundation and will be included in any future supplements to the Catalogue Raisonné of the artist.

Provenance: Sold: Cutler Bay Auctions, Cutler Bay, Florida, December 15, 2020, Lot 64 Acquired at the above sale by the present owner

$2,000 - 4,000

58 William Merritt Chase

(American, 1849-1916) A Road to the Sea (Shinnecock Bay), c. 1902 oil on canvas signed Wm. M. Chase (lower left) 12 1/4 x 18 inches. Property from the Collection of Richard D. Simmons, Alexandria, Virginia

Provenance: Estate of the Artist Sold: American Art Galleries, New York, William Merritt Chase Sale, May 14 - 16, 1917, Lot 357 (as A Road to the Sea) M.H. Marlin, New Haven, Connecticut, acquired at the above sale Sold: Sotheby’s, New York, May 23, 1974, Lot 32 (as Shinnecock Bay) Private Collection, Binghamton, New York, 1974-77, acquired at the above sale Spanierman Gallery, New York, 1977 R.H. Love Galleries, Chicago Geist Collection, Chicago Private Collection, New England, 1989-1995 Hollis Taggart Gallery, Washington, DC Acquired from the above by the present owner, November 9, 1995

Exhibited: Philadelphia, Pennsylvania, McClees Gallery, Exhibition of Paintings: The Works of Mr. William M. Chase, March 1905, no. 7 (as A Road to the Sea) Boston, Vose Gallery, Exhibition of Paintings: The Latest Works of William M. Chase, December 1909, no. 7 (as A Road to the Sea) Huntington, New York, Heckscher Museum, The Students of William Merritt Chase/Shinnecock Group, September 28 - November 11, 1973 (also traveled to the Parrish Art Museum, Southampton, New York, November 18 - December 30, 1973), p. 24, no. 48 Mobile, Alabama, The Fine Arts Museum of the South at Mobile, The Ripening of American Art: Duveneck & Chase, October 18 - November 25, 1979, pp. 51; 61, no. 35, illus. Greenvale, New York, Long Island University, C.W. Post Art Gallery, A Century of American Impressionism, January 30 - February 28, 1982 (as Shinnecock Bay), illus. Southampton, New York, Tripoli Gallery, Water, August 15 - September 9, 2013

Literature: Wilbur Peat, “Checklist of Known Work by William M. Chase,” addendum to exh. cat., Chase Centennial Exhibition, John Herron Art Museum, Indianapolis, Indiana, 1949 (as A Road to the Sea) Ronald G. Pisano, William Merritt Chase: Landscapes in Oil, New Haven, Connecticut, 2010, vol. 3, p. 133, no. L.276, illus.

$150,000 - 250,000 Executed in 1902, A Road to the Sea (Shinnecock Bay) is one of many depictions William Merritt Chase made of the sand roads of the Long Island region. In 1890, the artist was invited to Shinnecock by Mrs. William S. Hoyt, an amateur painter and early resident of the area intent on establishing a summer art school. The clear skies, shifting light, and soft air of the surrounding landscape convinced Chase to launch the Shinnecock Summer School of Art in 1891. He and his family would continue to spend summers in Shinnecock for the next 25 years, even after Chase retired from teaching classes in 1902. A popular teacher, Chase’s school was well-attended, with students including Joseph Stella, Charles Hawthorne, and Rockwell Kent. As he only taught classes two days a week, Chase had copious free time for his own painting, which he did predominantly outdoors and directly from nature, without preparatory sketches or drawings: “I carry a comfortable stool that can be closed up in a small space, and I never use an umbrella,” he remarked. “I want all the light I can get. When I have found the spot I like, I set up my easel, and paint the picture on the spot. I think that is the only way rightly to interpret nature” (as quoted in D. Scott Atkinson and Nicolai Cikovsky, Jr., William Merritt Chase: Summers at Shinnecock 1891-1902, Washington, D.C., 1987, p. 18)

The present work effortlessly captures a Long Island summer day and the artist’s en plein air style at its best. Chase uses a horizontal format divided between two nearly equal registers of sky and scrub-covered dunes. The curving road invites the viewer into the scene and emphasizes the expansive, gently rolling vista that dips toward the sea. Two bristling bushes punctuate the foreground, with the dash of a bright red roof in the distance centered between them, adding depth and texture to the spontaneously depicted scene. Chase was especially fascinated with the movement of clouds over Shinnecock. Bravura brushstrokes describe the rushing cirrus and cumulus clouds in the windswept sky, rendered in soft grays, blues, and purples. Chase’s commitment to documenting the environment exactly as it was experienced was perhaps best summarized by Rockwell Kent, who observed: “[Chase] went to nature, stood before nature and painted it as his eyes beheld it.” (It’s Me O Lord, New York, 1955, p. 76)

Chase retained A Road to the Sea (Shinnecock Bay) throughout his life and it was included in his 1917 estate sale. In the auction catalogue, the painting was described: “The real road to the sea is out through the gray-blue bay of the distance, but leading to it is a winding, sandy road, passing from the foreground around hillocks and bushes, through the wiry seashore grass, in the Peconic region of Long Island. Bits of color at the edge of the grass line in the middle distance, and the top of a sail, indicate the presence of people at the beach. Grayish, windy sky.” (The Paintings and Other Artistic Property Left by the Late William Merritt Chase, N.A., New York, 1917, n.p.) The painting was purchased by a “M.H. Marlin,” likely Mahlon Harry Marlin (1864-1949) of New Haven, Connecticut. Mahlon’s family owned the Marlin Firearms Company, a successful rifle manufactory that rivaled the Winchester brand. Marlin rifles were used by Annie Oakley and “Buffalo Bill” Cody in their Wild West Shows. Marlin had a significant interest in landscape painting and after retiring, created his own landscapes for the next 34 years.

59 William Merritt Chase

(American, 1849-1916) Portrait of a Girl (Miss Willard), c. 1902 oil on canvas signed Chase (center left) 24 1/2 x 18 1/4 inches.

Provenance: Goldfield Galleries, Los Angeles, California (label verso)

Exhibited: (Possibly) New York, M. Knoelder & Co., William Merritt Chase, A Benefit Exhibition for the Parrish Art Museum, May 7 - June 5, 1976, no. 84, (as Portrait Study (oil sketch) and dated c. 1908)

Literature: Ronald G. Pisano, William Merritt Chase: Portraits in Oil, New Haven, Connecticut, 2010, vol. 2, pp. 180-181, no. OP.352, illus.

Lot note: According to Ronald G. Pisano’s catalogue raisonné on the artist, records show the verso of the present painting bore an inscription that read, “Painted before class, Miss Willard-student.” (the painting is now lined and the inscription no longer visible) The artwork is dated c. 1902, the final year Chase taught at his Shinnecock summer art school. It is characteristic of Chase’s many demonstration pieces. The original iteration of the portrait had the sitter posed wearing a hat, which at some unknown point was painted over, with hair added in its stead.

$30,000 - 50,000

60 Robert Henri

(American, 1865-1929) Girl in a Red Dress, 1928 oil on canvas signed Robert Henri and inscribed by another hand with the artist’s notebook number (verso) 28 x 20 inches. Property from the Collection of Anne McIntyre, Los Angeles, California

Provenance: Hammer Galleries, New York (as Bridget in Red) Private Collection, acquired from the above, by 1993 Thence by descent to the present owner

$200,000 - 300,000

A chief proponent of the Ashcan School, Robert Henri’s true artistic spirit is understood through his portraits. Images of individuals from all classes, ages, and nationalities, his portraits are principally concerned with capturing the essence of his sitters, who he called “my people.” The influence of his teacher Thomas Anschutz at the Pennsylvania Academy of Art, who he studied under in 1885, contributed substantially to the development of Henri’s art, particularly regarding his focus on social realism and urban life. Together with other fellow artists of the Ashcan School, including John Sloan, George Bellows, William Glackens, and Everett Shinn, Henri sought out immigrant subjects for his urban realist paintings and illustrations. Additionally, the artist’s eventual adoption of a plain background and limited palette of colors, using either a three-color palette base or pairs of complementary colors, further allowed him to reveal his subjects and present them as they really were, without artifice.

Henri was also a teacher, widely admired for his theory and criticism. In 1907, he took a group of students to Haarlem in the Netherlands, where he taught a class and worked on his own paintings. The local population fascinated him, particularly the children. Likewise, he found inspiration in the work of the 16th century painter Frans Hals, who used thick, visible brushwork to create expressive portraits. During his stay, Henri executed a series of informal portraits of two Dutch girls, painting so rapidly that he produced one to three portraits a day. Titled Cori in the artist’s notebook, the present portrait of Cori Peterson was executed during these sessions. The energetic, spontaneous brushwork reveals the artist’s admiration for Hals and the French Impressionists, as well his characteristic use of gestural brushstrokes, dramatic lighting, and a limited palette. Other portraits of Cori include Dutch Girl Laughing, Dallas Museum of Art, and Laughing Child, Whitney Museum of Art, New York. Henri described his merry model in several

61 Robert Henri

(American, 1865-1929) Cori, 1907 oil on canvas signed Robert Henri (lower right); inscribed by another hand with the artist’s name and his notebook number, as well as an erroneous title identifying the sitter as a boy (verso) 23 3/4 x 20 1/4 inches.

Provenance: Macbeth Gallery, New York, 1915

$100,000 - 150,000

letters, stating, “One of my two models is a little white-headed, broad-faced, red-cheeked girl of about eight—always laughing.” In Cori, Henri records a more contemplative moment, with the young girl solemnly gazing ahead, her bright red cheeks and lips contrasting against the dark background and her white pinafore.

The artist’s continued search for authentic subjects led him and his wife, Marjorie Organ, to visit Ireland, eventually discovering the fishing villages of Keel and Dooagh on Achill Island, a remote location off the western coast. They first visited in June 1913 and stayed until September. World War I and financial troubles intervened, and the couple was unable to visit again until 1924. They subsequently purchased a cottage named Corrymore and visited every spring or summer for the next four years. It was here that Henri created some of his most memorable portraits of Irish children. Painted during his last stay, Girl in a Red Dress is a masterful example of his later works in Ireland, which focused primarily on color and form. Valerie Leeds explains, “Henri explored formal and abstract ideas of color and compositional harmonies in a virtual shorthand vocabulary. In these paintings, he used a more limited tonal range, with one or two foundation colors to build the composition.” (“The Portraits of Robert Henri” in My People: The Portraits of Robert Henri, p. 40) In the present work, the artist builds his portrait primarily in shades of red and black, which create the perfect complement to the sitter’s blonde hair and light blue eyes. Animated, broad brushstrokes define the background and dramatically contrast with the girl’s beautifully rendered, rosy face. Girl in a Red Dress highlights Henri’s ability to paint the vitality and unique character of his sitters. It is a captivating example of the portraits for which he is best known.

62 Charles Webster Hawthorne

(American, 1872-1930) Portrait of a Young Man oil on canvas signed C. Hawthorne (lower left) 21 x 18 1/2 inches.

$8,000 - 12,000

63 Alice Schille

(American, 1869-1955) Miss Betty oil on canvas inscribed Alice Schille by another hand (lower right) 30 1/2 x 26 1/2 inches.

Provenance: Estate of Alice Schille (label verso) The Heritage Gallery, Columbus, Ohio Acquired from the above by the present owners, 1975

64 Edward Dufner

(American, 1872-1957) Dorthea oil on canvas signed Edward Dufner (upper left) 30 x 24 3/4 inches. Property from the Carmen S. Holeman Trust, Indianapolis, Indiana

Provenance: Eckert Fine Art, North Adams, Massachusetts Acquired from the above by the present owner, March 1988

$3,000 - 5,000

65 Charles Courtney Curran

(American, 1861-1942) Gathering Flowers, 1911 oil on canvas signed Charles C. Curran and dated (lower right) 20 x 16 inches.

$6,000 - 8,000

66 Walter Shirlaw

(American, 1838-1909) Sheep Shearers in the Bavarian Alps oil on canvas signed Walter Shirlaw (lower right) 50 x 83 1/2 inches.

$20,000 - 30,000

67 Harriet Whitney Frishmuth

(American, 1880-1980) Crest of the Wave, 1925 bronze with brown and verdigris patina inscribed HARRIET W. FRISHMUTH© 1925 (on the base), and stamped Gorham Co. Founders / Q F H L (along the base) Height 20 1/2 inches.

Provenance: Pendragon Collection, Inc., Lebanon, Ohio Acquired from the above by the present owner, January 29, 1996

Literature: Janis Conner, Frank Hohmann, Leah Rosenblatt Lehmbeck, and Thayer Tolles, Captured Motion: The Sculpture of Harriet Whitney Frishmuth, A Catalogue of Works, New York, 2006, no. 1925:5, pp. 27, 48, 79-80, 85-86, 90-91, 97, 102-03, 277, another example illustrated, pp. 178-80, 250

$10,000 - 15,000

67A Bessie Potter Vonnoh

(American, 1872–1955) Water Lilies, modeled c. 1913 bronze inscribed Bessie Potter Vonnoh (on the base); stamped ROMAN BRONZE WORKS N.Y. (along the base) Height 28 1/2 inches.

Provenance: Bette Bryant Galleries, Kansas City, Missouri Acquired from the above by the present owner, 1969

Literature: Brookgreen Gardens, Sculpture by Bessie Potter Vonnoh, Murrell’s Inlet, South Carolina, 1937, n.p. (another example illustrated) B.G. Proske, Brookgreen Gardens Sculpture, Murrell’s Inlet, South Carolina, 1943, pp. 83; 85 (another example referenced) Joel Conner, Janice Rosenkranz, Rediscoveries in American Sculpture: Studio Works, 1893-1939, Austin, Texas, 1989, pp. 165; 167; 168n13 (another example illustrated) Julie Aronson, Bessie Potter Vonnoh: Sculptor of Women, exhibition catalogue, Athens, Ohio, 2008, pp. 164-68 (another example illustrated)

68 William Glackens

Flowers in a Goblet oil on canvasboard bears artist’s estate stamp and titled (verso) 16 x 13 inches.

Provenance: Ira Glackens, the Artist’s son Kraushaar Galleries, New York (label verso) Acquired by the present owner, c. 1978

Exhibited: Columbus, Ohio, Columbus Gallery of Fine Arts, 1967 (label verso)

$15,000 - 20,000

69 Louis Michel Eilshemius

(American, 1864-1941) Landscape, 1909 oil on paperboard signed Elshemus. (lower left); dated (lower right); inscribed (verso) 8 3/4 x 13 inches.

Provenance: The Artist Margaret J. Buckner, gifted by the Artist, March 5, 1932 (inscription verso)

$2,000 - 4,000

70 Frederick Judd Waugh

(American, 1861-1940) Sun on the Rocks oil on canvas laid to board signed Waugh (lower right) 20 x 30 inches.

Provenance: Sold: Freeman’s, Philadelphia, Pennsylvania, June 25, 2006, Lot 102

$4,000 - 6,000

71 Harrison Bird Brown

(American, 1831-1915) Wind and Surf oil on canvas signed HB Brown (lower left) 13 x 23 inches. Property from the Collection of Richard D. Simmons, Alexandria, Virginia

Provenance: Acquired by the present owner, by 2001

$2,000 - 4,000

72 Wilson Irvine

(American, 1869-1936) Autumn’s Opal oil on canvas signed Irvine (lower left); titled (stretcher) 24 x 27 inches.

Provenance: Grand Central Art Galleries, New York (label verso)

$4,000 - 6,000

73 Lovell Birge Harrison

(American, 1854-1929) Moonlight on The Hackensack oil on canvas signed Birge Harrison (lower left); titled (stretcher) 24 x 30 inches.

$5,000 - 7,000

74 Nellie Augusta Knopf

(American, 1875-1962) Trees and Surf, Pacific Coast, 1924 oil on canvas signed N.A. Knopf and dated (lower right) 29 3/4 x 30 1/4 inches.

$2,000 - 4,000

75 Edward K. Williams

(American, 1870-1950) Cottage with Hollyhocks, 1922 oil on canvas signed Edward K. Williams and dated (lower left) 20 x 24 inches. Property from the Carmen S. Holeman Trust, Indianapolis, Indiana

76 Antonio Pietro Martino

(American, 1902-1989) Houses Along a Road, 1929 oil on canvas signed A.P. Martino and dated (lower left) 20 1/4 x 24 1/4 inches.

Provenance: Private Collection, Pennsylvania Sold: Freeman’s, Philadelphia, June 4, 2017, Lot 77 Acquired at the above sale by the present owner

$4,000 - 6,000

77 Milton Avery

(American, 1885-1965) Bicyclists, 1931 gouache on paper signed Milton Avery (lower right) 12 x 18 inches.

This lot is accompanied by a letter of opinion from the Milton and Sally Avery Arts Foundation, New York.

Provenance: Charlotte Jackson Fine Art Gallery, Santa Fe, New Mexico

$7,000 - 9,000

78 Milton Avery

(American, 1885-1965) Slim Girl, c. 1945 ink and graphite on paper signed Milton Avery (lower right); titled and inscribed (verso) 16 3/4 x 13 3/4 inches.

This lot is accompanied by a letter of opinion from the Milton and Sally Avery Arts Foundation, New York.

Provenance: David Barnett Gallery, Milwaukee, Wisconsin Acquired from the above Thence by descent to the present owner

$3,000 - 5,000

79 Robert Vickrey

(American, 1926-2011) Apparition oil on masonite signed Robert Vickrey (lower right) 25 1/2 x 38 1/2 inches. Property from a Private Collection, Minneapolis, Minnesota

Provenance: The Artist ACA Galleries, New York Private Collection, acquired from the above, 1985 Sold: Christie’s, New York, September 28, 2010, Lot 259 Acquired at the above sale by the present owner

Exhibited: New York, Salmagundi Club, American Watercolor Society, Annual watercolor & pastel exhibition, February 20 - March 22, 1984 (won Bronze Medal of Honor)

$6,000 - 8,000

80 Wolf Kahn

(American/German, 1927-2020) Dark Beaver Pond, 1996 oil on canvas signed W Kahn (lower left); titled and inscribed with artist’s inventory number 1996/112 36 x 52 inches.

Provenance: The Artist Marianne Friedland Gallery, Naples, Florida, acquired from the Artist Private Collection, Oconomowoc, Wisconsin Thence by descent to the present owner

$30,000 - 50,000

81 Wolf Kahn

(American/German, 1927-2020) Pink Sky, 1991 oil on canvas signed W Kahn (lower center); titled and inscribed with artist’s inventory number 115-1991 (stretcher) 28 x 30 inches.

Provenance: The Artist Marianne Friedland Gallery, Naples, Florida, acquired from the Artist Private Collection, Oconomowoc, Wisconsin Thence by descent to the present owner

$20,000 - 30,000

82 Wolf Kahn

(American/German, 1927-2020) Against a Dark Blue Sky II, 1998 oil on canvas signed W Kahn (lower center); titled and inscribed with artist’s inventory number 1998/6 (verso) 30 x 42 inches.

$20,000 - 30,000

83 Wolf Kahn

(American/German, 1927-2020) Young Locust Trees, 1993 pastel on paper signed W Kahn (lower right) 8 x 10 inches.

Provenance: The Artist Marianne Friedland Gallery, Naples, Florida, acquired from the Artist

84 Wolf Kahn

(American/German, 1927-2020) Pacific Evening, 1992 oil on canvas signed W Kahn (lower left); titled and inscribed with artist’s inventory number 52-1992 (verso) 14 x 22 inches.

Provenance: Marianne Friedland Gallery, Naples, Florida

$10,000 - 15,000

85 Wolf Kahn

(American/German, 1927-2020) Orange Sunset, 1992 oil on canvas signed W Kahn (lower left and lower center); titled and inscribed with artist’s inventory number 51-1992 (verso) 16 x 22 inches.

Provenance: Marianne Friedland Gallery, Naples, Florida

$10,000 - 15,000

86 Wolf Kahn

(American/German, 1927-2020) Untitled, 1993 oil on canvas signed W Kahn (lower left); inscribed with artist’s inventory number 691993 (verso) 24 x 28 inches.

$10,000 - 15,000

87 Wolf Kahn

(American/German, 1927-2020) Grey and Yellow on the Horizon, 1993 oil on canvas signed W Kahn (lower left); inscribed with artist’s inventory number 701993 (verso) 16 x 28 inches.

Provenance: The Artist Marianne Friedland Gallery, Naples, Florida, acquired from the Artist, 1993

$8,000 - 12,000

88 LeRoy Neiman

Frank Sinatra Duets II, 1993 oil on board signed LeRoy Neiman and dated (lower right) 40 x 40 1/4 inches.

Provenance: ArtRev.com, Hollywood, Florida Acquired from the above by the present owner, January 12, 2015

$25,000 - 35,000

89 LeRoy Neiman

(American, 1921–2012) The Carousel, 1958 oil on canvas signed LeRoy Neiman and dated (lower right) 16 x 44 inches. Provenance: The Artist Private Collection, acquired from the Artist Thence by descent Sold: Leslie Hindman Auctioneers, Chicago, September 25, 2013, Lot 1194 Acquired at the above sale by the present owner

$25,000 - 35,000

90 Marshall Maynard Fredericks

(American, 1908-1998) Penitence bronze signed M. Fredericks (base edge) Height 7 1/2 inches.

$2,000 - 4,000

91 Hale Woodruff

(American, 1900-1980) Windblown Trees oil on canvas signed Hale Woodruff (lower left) 30 x 36 inches. Property from the Collection of Brian Gerard Dekker, Lafayette, Indiana

$30,000 - 50,000

92 Hale Woodruff

(American, 1900-1980) Classical Landscape oil on canvas signed Hale Woodruff (lower right) 23 x 29 inches. Property from the Collection of Brian Gerard Dekker, Lafayette, Indiana

$10,000 - 15,000

93 Hale Woodruff

(American, 1900-1980) Untitled (Wooded Landscape) oil on canvas signed Hale Woodruff (lower right) 18 x 22 inches. Property from the Collection of Brian Gerard Dekker, Lafayette, Indiana

Provenance: Mrs. Lionel F. Artis, Indianapolis, Indiana

$15,000 - 25,000

94 Hale Woodruff

(American, 1900-1980) Le Pont Neuf oil on canvas signed Hale Woodruff (lower left); titled (stretcher) 13 x 16 1/4 inches. Property from the Collection of Brian Gerard Dekker, Lafayette, Indiana

$10,000 - 15,000

95 William Edouard Scott

(American, 1884-1964) Tangiers (a Triptych) oil on board signed Scott (lower left) 23 1/2 x 44 inches. Property from the Collection of Brian Gerard Dekker, Lafayette, Indiana

96 William Edouard Scott

(American, 1884-1964) Haitian Scene, 1952 oil on panel signed Scott and dated (lower left) 22 x 17 3/4 inches. Property from the Collection of Brian Gerard Dekker, Lafayette, Indiana

Provenance: Mrs. Lionel F. Artis, Indianapolis, Indiana

$5,000 - 7,000

97 William Edouard Scott

(American, 1884-1964) Portrait of Mrs. Lionel Artis, 1923 oil on canvas signed Scott (lower right) 28 x 20 inches. Property from the Collection of Brian Gerard Dekker, Lafayette, Indiana

Provenance: Mrs. Lionel F. Artis, Indianapolis, Indiana

98 William Edouard Scott

(American, 1884-1964) Landscape with Shepherdess and Sheep oil on canvas signed W.E. Scott (lower right) 31 1/4 x 23 inches. Property from the Collection of Brian Gerard Dekker, Lafayette, Indiana

Provenance: Mr. & Mrs. Lionel F. Artis, Indianapolis, Indiana

$7,000 - 9,000

99 William Edouard Scott

(American, 1884-1964) Couple Boating on a Country Lake oil on canvas signed W.E. Scott (lower left) 22 x 24 inches. Property from the Collection of Brian Gerard Dekker, Lafayette, Indiana

100 William Thompson Goss

(American, 1894-1960) Portrait, 1930 oil on canvas signed Will Goss and dated (lower left) 18 x 24 inches. Property from the Collection of Brian Gerard Dekker, Lafayette, Indiana

Exhibited: Washington, DC, National Gallery of Art, Exhibition of Paintings and Sculpture by American Negro Artists (label verso)

$1,000 - 2,000

101 Fletcher Martin

(American, 1904-1979) Exit in Color, 1939 oil on canvas signed Fletcher Martin and dated (lower right); signed and dated (verso) 40 x 30 inches.

102 Herman Menzel

(American, 1904-1988) Untitled (Men in a Boat) oil on canvas 20 x 25 inches.

Provenance: Kamp Gallery, Winnetka, Illinois (label verso)

$6,000 - 8,000

103 Stephan Chizmarik

(American, 1898-1962) Tree Cutting oil on canvas signed S. Chizmarik (lower right) 24 x 20 inches.

Provenance: R.H. Love Galleries, Chicago (label verso)

104 Kenneth Shopen

(American, 1902-1967) Room in a “B” Hotel, 1945 watercolor on paper signed Kenneth Shopen, dated, and inscribed Biarritz (upper left) 14 x 10 inches.

Provenance: R.H. Love Galleries, Chicago (label verso)

$1,500 - 2,500

105 Harold Laurence Gregor

(American, b. 1929) Illinois Corncrib #28, 1974 oil and acrylic on canvas signed Harold Gregor, dated, and titled (verso) 43 1/2 x 67 inches.

106 Eric Sloane

(American, 1905-1985) Covered Bridge in Winter oil on board signed Sloane (lower right) 21 x 32 inches.

$8,000 - 12,000

107 Eric Sloane

(American, 1905-1985) December Morning oil on board signed Sloane (lower right) 20 x 24 inches.

108 Robert Riggs

(American, 1896-1970) Feeding Time tempera on board initialed R (lower right) 21 1/2 x 23 inches.

Provenance: Nedra Matteucci Galleries, Santa Fe, New Mexico (label verso)

$6,000 - 8,000

109 William Zorach

(American, 1887-1966) Head of a Young Girl, 1952 stone signed Zorach and dated (verso) Height 12 1/4 inches.

$6,000 - 8,000

110 Marguerite Thompson Zorach

(American, 1887–1968) Baby Girl (The Awakening), c. 1918 oil on canvas laid to board signed M. Zorach (lower right) 18 1/4 x 15 1/4 inches.

Provenance: Estate of the Artist Kraushaar Galleries, New York, acquired from the above Private Collection Sold: Doyle, New York, November 15, 2017, Lot 72 Acquired at the above sale by the present owner Literature: Nancy Mowll Mathews, American Dreams: American Art to 1950 in the Williams College Museum of Art, New York, 2001, p. 130

Lot note: The present lot depicts the artist’s second child, one year old Dahlov, who was born in 1917. Her mother has depicted her here not as an innocent baby, but as a powerful presence, monumental and straining against the confines of the canvas. The artwork bears an original frame designed and carved by Dahlov’s father, William Zorach. Together, the painting and the frame is a testament to the artist couple’s combined creativity and a commemoration of love for their new daughter.

$15,000 - 20,000

111 David Bekker

(American/Polish, 1897-1955) The Cabalist oil on canvas signed D. Bekker and inscribed (upper right) 32 1/4 x 26 inches.

Provenance: Gershon Fenster, Tulsa, Oklahoma

Exhibited: Chicago, Art Institute of Chicago, The Fifty-Third Annual Exhibition of American Paintings & Sculpture, October 29 - December 10, 1942, no. 56 (awarded the Martin B. Cahn Prize)

Literature: The Art Collection of Gershon Fenster, Tulsa, 1948. p. 7, illus.

$4,000 - 6,000

112 David Bekker

(American/Polish, 1897-1955) At the Table, c. 1935 oil on paper laid to board signed D. Bekker (upper right) 12 1/2 x 16 1/2 inches.

Provenance: Sold: Treadway/Toomey Auctions, Oak Park, Illinois, September 12, 2010, Lot 523 Acquired at the above sale by the present owner

113 Georges Schreiber

(American/Belgian, 1904-1977) Bar Mitzvah, 1932 oil on canvas signed Schreiber and dated (lower right) 35 1/2 x 30 1/2 inches. Property from a Private Collection, Minneapolis, Minnesota

Provenance: Sold: Doyle, New York, September 13, 2006, Lot 102 Acquired at the above sale by the present owner

$4,000 - 6,000

114 Max Weber

(American, 1881-1961) Rabbi, 1950 oil on canvas signed Max Weber and dated (lower right) 40 x 30 inches.

Provenance: M. Knoedler & Co., New York Joan and Lester Avnet Collection, New York (label verso)