american art & pennsylvania impressionists June 09, 2019
american art & pennsylvania impressionists
auction Sale 1634 Sunday, June 09 at 2pm 1808 Chestnut Street, Philadelphia PA 19103 Cover Image: Lot 85 (detail), Inside Front Cover: Lot 19 (detail), Inside Back Cover: Lot 146 (detail)
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american art & pennsylvania impressionists department Alasdair Nichol Chairman | Head of Department anichol@freemansauction.com 267.414.1211
David Weiss Senior Vice President | Specialist dweiss@freemansauction.com 267.414.1214
RaphaĂŤl Chatroux Associate Specialist rchatroux@freemansauction.com 267.414.1253
exhibitions Wednesday, June 05
10:00 am - 5:00 pm
Thursday, June 06
10:00 am - 5:00 pm
Friday, June 07
10:00 am - 5:00 pm
Saturday, June 08
12:00 pm - 5:00 pm
By appointment only on the morning of the sale
client services Mary Maguire Director | Client Services mmaguire@freemansauction.com 267.414.1236
Lot 57 (detail)
Joslyn Moore Bidding Registration jmoore@freemansauction.com 267.414.1207
Melissa Arundel Post-Sale Administrator marundel@freemansauction.com 267.414.1226
Lot 79 (detail)
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AM E R I C AN A R T lots 1-111
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he present lot is a highly notable and extremely rare print from Lewis’s oeuvre. A vision of urban poetry, the work presents a young boy sitting under the shade of an imposing tree, contemplating the elegant skyline of New York City from Hoboken Heights. According to the Catalogue Raisonné, “the compositional device of a young boy seated next to a tree on an overlook with the skyline of New York City in the distance was already employed in Looking Down (Above the Tunnel - Weehawken) in 1915.”
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1 MARTIN LEWIS (american 1881-1962) “FROM HOBOKEN HEIGHTS” 1937. Edition of 14, including 4 trial proofs. Pencil signed ‘Martin Lewis’ bottom right, drypoint on paper Image size: 8 3/4 x 7 3/4 in. (22.2 x 19.7cm) Sheet size: 12 3/4 x 10 5/8 in. (32.4 x 27cm) [McCarron 123] provenance: Kennedy & Company, Rare Prints, New York, New York, sale of either October 8, 1937 or November 6, 1937. Estate of Ms. Vidal S. Clay, Westport, Connecticut. $5,000-8,000
2 MARTIN LEWIS (american 1881–1962) “MANHATTAN LIGHTS” 1931. Edition of approximately 49. Pencil signed ‘Martin Lewis’ bottom right; also titled bottom center, drypoint on ‘Rives’ laid paper Image size: 15 1/2 x 9 3/16 in. (39.4 x 23.3cm) Sheet size: 19 1/8 x 12 3/4 in. [McCarron 92] provenance: Private Collection, New Jersey. $10,000-15,000
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3 JAMES ABBOTT MCNEILL WHISTLER (american 1834–1903) “RIAULT” (THE WOOD ENGRAVER) 1860. Edition of 69. Glasgow’s second state of four, drypoint on paper Image size: 6 7/8 x 4 3/4 in. (17.5 x 12.1cm). Sheet size: 11 3/16 x 8 3/4 in. (28.4 x 22.2cm) [Kennedy 65] provenance: Private Collection, Pennsylvania. $1,000-1,500
5 THOMAS HART BENTON (american 1889–1975) “PHOTOGRAPHING THE BULL” 1950. Edition of 500. Pencil signed ‘Thomas H. Benton’ bottom right; also dedicated ‘To Robert Moses’ bottom left, and inscribed ‘#185 of 500’ in the margin bottom left, with publisher’s seal at bottom left corner, lithograph on ‘Rives’ paper Image size: 11 3/4 x 15 7/8 in. (29.8 x 40.3cm) Sheet size: 15 5/8 x 20 in. (39.7 x 50.8cm) Twayne Publishers, New York. [Fath 75] provenance: Collection of Robert Moses, New York. By descent in the family. A Private Estate, New York. Acquired directly from the above. Private Collection, Pennsylvania. $2,000-3,000
4 FRANK WESTON BENSON (american 1862–1951) “THE DORY FISHERMAN” 1927. Edition of 150. Pencil signed ‘Frank W. Benson’ bottom left, etching on laid paper Plate size: 7 13/16 x 12 13/16 in. (19.8 x 32.5cm) Sheet size: 10 7/8 x 12 7/8 in. (27.6 x 32.7cm) provenance: Kennedy & Company, Rare Prints, New York, New York. Private Collection, United Kingdom. $1,000-1,500
clockwise from left: 6 BENTON MURDOCH SPRUANCE (american 1904–1967) “FORWARD PASS” 1944. Edition of 40. Pencil signed ‘Spruance’ bottom right; also titled bottom center and inscribed ‘Ed. 40’ bottom left, color lithograph (with five colors) on paper Image size: 20 1/16 x 12 1/2 in. (51 x 31.8cm) Sheet size: 23 x 15 5/8 in. (58.4 x 39.7cm) Printed by Cuno. [Fine/Looney 231] provenance: Private Collection, Philadelphia, Pennsylvania. $3,000-5,000
7 BENTON MURDOCH SPRUANCE (american 1904–1967) “TOUCHDOWN PLAY” 1933. Edition of 40. Pencil signed and dated ‘Benton Spruance 1933’ bottom right; also titled bottom center left and inscribed ‘13/40’ bottom left, lithograph on paper Image size: 11 9/16 x 16 1/2 in. (29.4 x 41.9cm) Sheet size: 14 1/8 x 19 in. (35.9 x 48.3cm) Printed by Cuno [?]. [Fine/Looney 87] provenance: Private Collection, Philadelphia, Pennsylvania. $1,500-2,500
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8 BENTON MURDOCH SPRUANCE (american 1904–1967) “PASS COMING UP” 1938. Edition of 30. Pencil signed and dated ‘Spruance ‘35’ bottom right; also titled bottom center and inscribed ‘Ed. 30’ bottom left, lithograph on paper Image size: 9 5/8 x 12 1/2 in. (24.4 x 31.8cm) Sheet size: 11 7/8 x 16 1/4 in. (30.2 x 41.3cm) Printed by Cuno [?]. [Fine/Looney 147] provenance: Private Collection, Philadelphia, Pennsylvania. $1,000-1,500
9 HERMANN HERZOG (american/german 1832–1932) MOONLIT COVE Signed ‘H. Herzog’ bottom right, oil on canvas 29 1/4 x 22 in. (74.3 x 55.9cm) provenance: Shannon’s Fine Art Auctioneers, Milford, sale of October 21, 2004, lot 111. Acquired directly from the above sale. Private Collection, Ohio. $6,000-10,000
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(detail)
10 ANDREW MELROSE (american 1836-1901) “SUMMER IN ROCKLAND COUNTY, NEW YORK” Signed ‘Andrew Melrose’ bottom left; also titled bottom left, oil on canvas 22 x 36 in. (55.9 x 91.4cm) provenance: Private Collection, United Kingdom. $2,000-3,000
11 FRANCIS HOPKINSON SMITH (american 1838–1915) “ALONG THE CANAL” Oil on canvas 14 x 18 in. (35.6 x 45.7cm) provenance: Newman Galleries, Philadelphia, Pennsylvania. $1,500-2,500
12 AARON DRAPER SHATTUCK (american 1832–1928) ALONG THE RIVER Signed and dated ‘A D Shattuck 63.’ bottom left, oil on canvas 12 x 20 1/8 in. (30.5 x 51.1cm) provenance: Private Collection, United Kingdom. $2,500-4,000
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13 WILLIAM HENRY LIPPINCOTT (american 1849-1920) “FEEDING HIS PETS” Signed ‘Wm H. Lippincott’ bottom right; also titled, signed, located and dated ‘Paris 1881’ verso, oil on panel 9 3/4 x 13 in. (24.8 x 33cm) provenance: The Artist. Silo’s, sale of March 10, 1898. Schwarz Gallery, Philadelphia, Pennsylvania. Private Collection, Delaware. exhibited: “Winter Exhibition,” National Academy of Design, December 18, 1895 (according to the artist’s unpublished Ledger of paintings; not in the National Academy of Design’s Records). literature: The Artist’s Ledger of Paintings, no. 357 (unpublished). American Paintings, Philadelphia Collection LVI, Schwarz Gallery, February 1994, plate 44. $1,500-2,500
14 WILLIAM TROST RICHARDS (american 1833–1905) CRASHING SURF Signed and dated ‘Wm. T Richards. 01.’ bottom left, watercolor on heavy paper Sheet size: 14 1/8 x 20 1/8 in. (35.9 x 51.1cm) provenance: Newman Galleries, Philadelphia, Pennsylvania. $2,000-3,000
15 CHARLES JAMES THERIAT (american 1860-1937) “OASIS SCENE” Signed and inscribed illegibly bottom left, oil on canvas 13 x 18 in. (33 x 45.7cm) provenance: Schwarz Gallery, Philadelphia, Pennsylvania. Private Collection, Delaware. literature: Charles James Theriat in North Africa, Philadelphia Collection LV, Schwarz Gallery, Philadelphia, Pennsylvania, November 1993, plate 3. $1,000-1,500
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16 GEORGE COCHRAN LAMBDIN (american 1830-1896) NASTURTIUMS Signed with artist’s initial ‘L’ bottom left, oil on panel 12 x 5 5/8 in. (30.5 x 14.3cm) provenance: Avery Galleries, Bryn Mawr, Pennsylvania. Acquired directly from the above. Private Collection, Pennsylvania. $1,500-2,500
17 JOHN F. FRANCIS (american 1808–1886) STILL LIFE WITH APPLES, WALNUTS, GRAPES AND A LIQUOR GLASS Signed ‘J.F. Francis’ bottom right, oil on canvas 9 1/4 x 11 3/8 in. (23.5 x 28.9cm) provenance: Godel & Co. Inc., New York, New York. Acquired directly from the above. Private Collection, Pennsylvania. $3,000-5,000
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ainting in the tradition of fellow artists Charles Willson Peale and his son Raphaelle, John Haberle and William Harnett (the latter with whom he was closely associated) Philadelphia born and New Jersey raised John Frederick Peto was a master of trompe l'oeil painting in the second half of the 19th century. Generally working on a small scale, Peto presented objects such as salt-glazed mugs, pipes, books, matches (the latter four objects all included in the present painting), pistols, newspapers, oranges, tobacco boxes and letter racks in their true sizes. The present piece, a horizontal arrangement which essentially relies on the pairing of a mug, a pipe and a book, shows the artist’s unpretentious concern with pure, almost abstracted, shapes and designs. The objects are arranged in a compact space, encompassed by important shadows which provide an overall sense of depth to the picture. Everything appears to rest in place together, held down as much by the gravity of light as of the group’s mass. The painting is part of a series of works both intimate in feeling and small in size, in which, as Thomas Quick points out, “Peto carries the tone of reserve and isolation.” While Peto's paintings were shown at the Pennsylvania Academy of the Fine Arts and the artist had a studio in Philadelphia, he surprisingly never had a gallery exhibition during his lifetime. While closely associated with William Harnett, Peto's work was, for quite a while, less revered. In fact, a group of Peto's paintings were 'discovered' in 1905 bearing false Harnett signatures, though Peto's trompe l'oeil oils are generally characterized by having less defined contours, more prosaic objects, greater focus on the effects of light and a softer atmosphere than Harnett's works. It is noteworthy that there has been somewhat of a resurgence in interest in this oft-forgotten still life painter, and Still Life with Salt-Glazed Mug, Book, Pipe and Match is a fine addition to the artist's corpus, particularly with its distinguished exhibition history and provenance, having been in the private collection of Mr. Albert Frankenstein, the leading scholar on the work of John F. Peto, for several years.
18 JOHN FREDERICK PETO (american 1854–1907) “STILL-LIFE WITH SALT-GLAZED MUG, BOOK, PIPE AND MATCH” Signed ‘J.F. Peto’ upper left, oil on artist’s board 6 x 9 in. (15.2 x 22.9cm) Executed in the 1880s. provenance: Howard Keyser, Philadelphia, Pennsylvania. Collection of Mr. and Mrs. Alfred Frankenstein, San Francisco, California. Acquired directly from the above in 1971. Hirschl & Adler Galleries, Inc., New York, New York. Acquired directly from the above in 1975. Craig & Tarlton Gallery, Raleigh, North Carolina. Collection of Charles Lee Smith III, Raleigh, North Carolina. Collection of Robert P. Coggins, Marietta, Georgia. Berry-Hill Galleries, Inc., New York. Acquired directly from the above in 1983. Private Collection, New York. Christie’s, New York, sale of December 5, 2013, lot 163. Acquired directly from the above sale. Private Collection, Pennsylvania. exhibited: “American Still Lifes of the Nineteenth Century,” Hirschl & Adler Galleries, Inc., New York, New York, December 1-31, 1971, no. 35. literature: American Still Lifes of the Nineteenth Century, an exhibition catalogue, Hirschl & Adler Galleries, Inc., New York, New York, 1971, p. 27, no. 35 (illustrated). J. Wilmerding, Important Information Inside: The Art of John F. Peto and the Idea of Still-Life Painting in Nineteenth-Century America, Washington, D.C., 1983, fig. 40, pp. 62-63 (illustrated). $8,000-12,000
Ethel Page as Undine, 1885
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roclaimed “the greatest woman painter of modern times” by William Merritt Chase, Cecilia Beaux led a fascinating and unconventional life, rising from her difficult childhood in Philadelphia to a triumphant entry into the male-dominated art worlds of Paris and New York. The present work, Ethel Page as Undine (1885), is one of the artist’s most successful paintings, an early dazzling portrait of Beaux’s life-long friend dressed as the mythological water nymph, Undine.
Above: Seated in her studio in front of her painting, the smiling Ethel Page poses for Cecilia. Ethel Page poses for Cecilia, photograph, circa 1883 - 1884. Illustrated in Henry S. Drinker, History of the Drinker Family. Philadelphia. Privately printed, 1961.
In her article entitled “Under the Skin: Reconsidering Cecilia Beaux and John Singer Sargent,” scholar Sarah Burns reflected: “Beaux came to maturity at a time when women were entering the art world in unprecedented numbers, for the first time constituting a visible threat to the male-dominated establishment.” Because of this accomplishment, one might imagine today’s feminists viewing Beaux as a fierce symbol of rebellion against 19th century patriarchy. Yet Beaux was not a rebel, and did not embrace feminist values, and that may be why she remains under-recognized today. Her portraits flattered her successful male sitters, and according to scholar Tara Leigh Tappert, Beaux regarded her artistic gifts as “unique” for a 19th century woman. However, Beaux’s professional achievements parallel those of other women artists of the time – namely, she rose to success independently, with a self-cultivated stubbornness, declaring “I can say I have a passionate determination to overcome every obstacle.”
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ecilia Beaux was born in Philadelphia in 1855 to Cecilia Leavitt, a New York City native, and Jean-Adolphe Beaux, a silk manufacturer who immigrated to the United States from Nimes, in the south of France. Following the tragic death of her mother, her grieving father returned to France, and Cecilia and her older sister Aimée Ernesta were raised by their strong maternal relatives – their grandmother and two aunts. Following art lessons with Catharine Ann Drinker, a family friend, Beaux studied perspective and copied antique masters with Francis Adolf Van der Wielen. She began classes at the Pennsylvania Academy of the Fine Arts in 1876, and while she admired Philadelphia’s most controversial artist, Thomas Eakins, Beaux steered clear of his teaching methods and instead attended Christian Schussele’s costume and portrait classes. Beaux did not regret her education at P.A.F.A, but she later claimed her only important artistic training had been two years of private study – 1881 to 1883 – with Philadelphia-born, New York painter William Sartain. It was in fact under Sartain’s supervision that she began Les Derniers Jours d’Enfance, her first great success inspired by James McNeill Whistler’s famous portrait of his mother. The painting brought her instant recognition on both sides of the Atlantic. Ethel Page as Undine immediately follows this major achievement. It belongs to a productive moment in Beaux’s career, when she completed over fifty portraits in just three years, including watercolors of close friends, crayon portraits of family members as well as representations based on photographic reference, and several commemorative likenesses. The artist met Ethel Page (1864-1934) in 1876, when Ethel was eleven years old and Cecilia was twenty-one. The daughter of Samuel David and Isabella Graham (Wurtz) Page, Ethel came from a distinguished Philadelphia family that traced its lineage back to Roger Williams, the founder and first governor of Rhode Island. When the present work was completed in 1885, Beaux had already captured the features of her friend in a rich, dark-toned portrait now at the National Museum of Women in the Arts, Washington D.C – her “first portrait entirely from life without criticism” which she executed in her large Chestnut Street studio, where Les Derniers Jours d’Enfance had been painted. Typical of Beaux’s early style and dark painting of Philadelphia in the 1880s, the portrait acknowledged the artist’s awareness, and reverence, of the European portrait painting traditions of Germany and France. James Abbott McNeill Whistler and the Aesthetic movement served as the main inspiration for Ethel Page as Undine, an “idealized representation of womanhood” according to Tara Leigh Tappert. The painting features Page in a brightly illuminated three-quarter length profile set against a “tap background,” most likely a Japanese fabric decorated with undulating streams of silvery water and a crescent moon – an echo to the water deity Page is impersonating. Her magnificent aquamarine dress (a Victorian-revival costume for a fancy ball) and the creamy white of the fine laces, contrast with the overall muted palette of the work. The richness of the fabric, along with Beaux’s masterful rendition of the sitter’s pensive psychology, demonstrate the influence of major Philadelphia portraitists, including Thomas Eakins. It also witnesses Beaux’s emerging style and developing confidence in her artistic skills. Contrary to Beaux’s first portrayal of her childhood friend, the Undine depiction was not a commission. Painted in Beaux’s new studio on Chestnut Street, the portrait was created for exhibition. Eager to repeat her triumph with Les Derniers Jours d’Enfance, Beaux sent Ethel Page as Undine to the 1886 American Art Association Prize Fund Exhibition in New York, where it was noticed by editor and critic Clarence Cook. In his magazine The Studio, Cook declared that Beaux’s work, while reminiscent of renown [sic] Philadelphia portrait painter Thomas Sully, in fact surpassed it. “It recalls the late Mr. Sully’s work” he said. “Though certainly Mr. Sully never painted so well as this.” The same year, a journalist in the Evening Telegraph positively reviewed the work: “Miss Cecilia Beaux who is now the occupant of a studio in the Baker Building No. 1520 Chestnut Street
has just completed a large and charming portrait of a young lady. This is a seated three-quarter length, and the pale blue-green tints of the soft silk robe, the creamy white of the laces and ruddy paleness of a peculiarly delicate complexion, and the greys and grey-greens of the background of Japanese draperies make a peculiarly fascinating harmony. There is some admirable painting in this portrait, and Miss Beaux who is certainly one of the few strong painters of Philadelphia, has never done anything finer.” When her painting was returned to her the following year, Beaux entered it in the Pennsylvania Academy’s annual exhibition, where she once again triumphed over her female peers, receiving the Mary Smith Prize for the best work by a local woman - the second time in two years. In 1889-90, Cecilia Beaux depicted the features of her friend again in a charming pastel (the last known portrayal of Ethel Page, now at the Philadelphia Museum of Art). Ethel, then Mrs. James Large, sits in a throne-like chair, facing the artist. Wrapped in a blue velvet coat with a white fluffy lining and collar, she smiles – aware of her beauty and confident in Beaux’s ability to accurately capture it. Even today, Beaux’s motivation for depicting her friend as Undine remains unclear. Considering the artist’s complex imagination and fascination for “secrets hidden from the ordinary mind,” the answer may never be found. Yet, one can speculate about the underlying meaning of such an enigmatic portrait. If the literary reference to Undine may appear slightly unconventional in today’s world, the mythological nymph was in fact a popular figure back in the 1880s, and the subject of many tales, novels, poems and operas. The subject of the painting may have originated from Ethel herself, then a well-established socialite in Philadelphia. Along with Queen Esther, Empress Theodora, and Marie-Antoinette, Undine was a popular figure among the rich who indulged in fancy masquerades, impersonating famous historical and mythological characters. Large fancy balls usually opened with tableaux vivants (or living pictures), in which costumed attendees posed and recreated famous scenes. Undine might be viewed as a strategic choice for the ingẻnue in search of a mate. According to the legend, Undine was a water spirit who married a knight in order to gain a soul. With her seductive long hair and revealing flowy dress, Beaux may very well have wished to present her friend as a suitable bachelorette at the height of her beauty, patiently waiting for a suitor. Beaux’s Ethel Page as Undine is an idealized creation of womanhood, and fits the artist’s archetype of physical beauty (dark-hair and dark-eyed features). The portrayal also reaches a new level of authenticity – a woman captured as both aesthetically ethereal and socially expectant, the perfect harmony as defined by the members of the Aesthetic movement. Below: Letter from Cecilia Beaux to Pauline Bowie, dated May 19, 1934. See full transcription, next page.
19 CECILIA BEAUX (american 1855-1942) “ETHEL PAGE AS UNDINE” Signed and dated ‘Cecilia Beaux ‘85’ bottom left, oil on canvas 39 x 31 in. (99.1 x 78.7cm) provenance: Collection of Pauline D. Bowie, cousin of Ethel Page, Chestnut Hill, Pennsylvania. By descent in the Page-Cox family. Estate of Ms. Vidal S. Clay, Westport, Connecticut. exhibited: American Art Association Prize Fund Exhibition, New York, New York, 1886. Pennsylvania Academy of The Fine Arts, Philadelphia, Pennsylvania, 1887 (awarded the Mary Smith Prize). “Cecilia Beaux And The Art of Portraiture,” National Portrait Gallery, Smithsonian Institute, Washington, D.C., October 6, 1995-January 28, 1996; and the Westmoreland Museum of Art, Greensburg, Pennsylvania, February 25-May 5, 1996 (traveling exhibition). “Cecilia Beaux, American Figure Painter,” High Museum of Art, Atlanta, Georgia, May 12-September 9, 2007. literature: Tara Leigh Tappert, Cecilia Beaux and the Art of Portraiture, an exhibition catalogue, published for the National Portrait Gallery by the Smithsonian Institution Press, Washington D.C. and London, plate 2 (illustrated in color), no. 4, pp. 14-15. Tara Leight Tappert, Out of the Background: Cecilia Beaux and the Art of Portraiture, an online publication with Traditional Fine Arts Organization, 1994 (with 2009 edits), discussed in chapter II, “Direction”. Sylvia Yount, Cecilia Beaux: American Figure Painter, an exhibition catalogue, University of California Press, Berkeley, Los Angeles, London, 2007, no. 10, illustrated p. 109, commented pp. 25, 63 and 177. note: We wish to thank Dr. Alice Carter and Dr. Sylvia Yount for their assistance in cataloguing the present portrait. Special thanks to Dr. Tara Leigh Tappert for her generosity in researching the present piece, and her thoughtful input on the preceding note. The present painting will be offered with an assortment of period photographs of Ethel Page. It was also be accompanied by a letter from Cecilia Beaux to Pauline Bowie, the cousin of Ethel Page, dated May 19, 1934, which reads as transcribed below: My dear Pauline, I heard day before yesterday, quite accidentally from Thornton Oakley, that my beloved Ethel was gone, and this morning I had your address from him and am writing at once. March 23rd - so long ago. It seems as if I should have felt it. For neither time nor separation could dim my love for her. How thankful I am that I had that visit last summer. She seemed just the same. Youth was always effulgent in her – in her voice - her walk - her exquisite smile and in that strength of character and will to do what she saw before her - lay under the almost imponderable buoyancy of her physique. I feel that she has floated away from earth and us all—but that, how beautiful, is no comfort to those who wanted her presence here. She was only eleven when I first knew her—but so wise, even then. Dear Pauline, I hope we may meet, for I am not satisfied not to hear from you—of her last days and I long to talk with someone—of her, and all we loved in her— No one can possibly imagine - who did not know her - her personality – unique, precious caring, ordinary humanity. This address will always find me—but Gloucester Mass. after the middle of June for I have had an ill sister (Mrs. Drinker) Thank God better now—I hope for a letter from you soon and please tell me everything—also what your plans are. You are so associated with her in my mind. How I sympathize with you… Affectionately Yours, Cecilia Beaux $60,000-80,000
20 HERMANN DUDLEY MURPHY (american 1867–1945) “IRIS” Signed with artist’s cypher and ‘H. Dudley Murphy’ bottom right; also titled and signed verso, oil on canvas 30 x 25 in. (76.2 x 63.5cm) provenance: Private Collection, Georgia (acquired in 1939). By descent in the family. Private Collection, New York. Stair Galleries, sale of October 24, 2015, lot 245. Acquired directly from the above sale. Godel & Co Inc., New York, New York. Acquired directly from the above. Private Collection, Pennsylvania. $6,000-10,000
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n addition to painting tonalist landscapes, portraits and figural studies, Hermann Dudley Murphy earned a solid reputation for his thoughtfully rendered and elegant floral still lifes executed at the turn of the 20th century. A graduate of Boston’s Chauncey School , he enrolled in the Boston Museum School in 1886, studying under Otto Grundmann and Joseph DeCamp, before traveling to Paris in 1891, where he made an influential friendship with James Abbott McNeill Whistler. Murphy became an Associate (1930) and an Academician (1934) of the National Academy, and was a member of the Boston Art Club, among other Massachusetts institutions. The artist was also a skilled frame maker, and in an attempt to elevate the poor level of craftsmanship at the time, decided to establish the Carrig-Rohane frame shop in 1903, which American artists and fellow expert carvers Charles Prendergast and Walfred Thulin later joined. The beautiful Still Life presented here, serves a reminder that, according to Murphy, a handcarved picture frame should have a harmonious relationship with the picture it contains. With its Aesthetic movement inspired frame indeed, the delicate piece appears not only complimented, but finished as a whole. Very much in the tradition of Whistler, Japanesque motifs dominate Still Life: the center of the composition features a decorative Asian panel flanked by a vase and blue and white jar. Similar in composition, a censer and Shou Lao figurine with deer flank a bowl of white and violet irises in Iris.
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21 HERMANN DUDLEY MURPHY (american 1867–1945) “STILL LIFE” Signed with artist’s cypher bottom left, oil on canvas laid down to board 14 x 10 in. (35.6 x 25.4cm) Executed in 1905. In a Carrig-Rohane frame. provenance: Estate of Ms. Vidal S. Clay, Westport, Connecticut. exhibited: (Possibly) Saint Botolph Club, Boston, Massachusetts, n.d. (per partially-torn label verso). (Possibly) “100th Annual Exhibition,” Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, 1905, no. 753. “Eighteenth Annual Exhibition of American Paintings and Sculpture,” Art Institute of Chicago, Chicago, Illinois, October 19-November 26, 1905, no. 231. $8,000-12,000
the
faultless starch / bon ami corporate collection Featuring works by Mary Smith & Ben Austrian, among others
lots 22-53
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reeman’s is pleased to present a selection of thirty two paintings from the renowned collection of the Faultless Starch/Bon Ami Corporation, in Kansas City, Missouri.
Bon Ami (meaning “good friend” in French) has been a line of popular cleaning products in America since the late 19th century. The company’s famous slogan, “Hasn’t Scratched Yet!” is a reference to the cleanser’s non-abrasive properties, and was popularized by Ben Austrian, whose painting of the same name became the company’s trademark, depicting a chick emerging from an egg. Along with Mary Russell Smith and Arthur Fitzwilliam Tait, Reading artist Ben Austrian is the most represented artist of the collection, with thirteen oils featured in the following section. Austrian worked directly with Bon Ami as early as 1902 on a series of advertisements featuring paintings of his chicks – already a modern tie between art and commerce. In such advertisements, which included trade cards, Austrian’s depiction of the softness of the chicks, helped to emphasize Bon Ami’s nonscratching productions, a revolution in the soap industry at the time. The artists represented in the following collection succeeded in painting farm birds, sometimes in the company of other animals like puppies and squirrels, with great care, detail, and a sense of intimacy. At their best, they instilled a dose of sensibility, often reminiscent of our own human reactions. In early 1999, a selection of paintings from the Faultless Starch/ Bon Ami Corporate Collection was exhibited at the Reading Public Museum, Pennsylvania. The exhibition, entitled “Warm, Soft & Fuzzy,” presented the artwork within the context of mid-19th to 20th century painting as a sub-genre of depicting domesticated animals in American life, with an adherence to the truth-to-nature dictum popularized by John Ruskin. As opposed to the works of famed bird painter John James Audubon, or even the Dutch/Flemish Old Masters who often depicted fowl with an emphasis on scientific or anatomical study, Ben Austrian, Mary Russell Smith, Samuel S. Carr, Howard Hill and the others whose paintings are in the collection portray a farmyard menagerie through a softer, gentler, almost sympathetic lens.
Lot 53 (detail)
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22 SAMUEL S. CARR (american 1837-1908) CHICKS SPILLED FROM A RECTANGULAR BASKET Signed ‘S.S. CARR’ bottom left, oil on canvas 9 x 12 1/4 in. (22.9 x 31.1cm) provenance: A. H. Abott & Co. Fine Arts, Chicago, Illinois (per label verso). Acquired directly from the above in 1988. The Faultless Starch/Bon Ami Company Corporate Collection, Kansas City, Missouri. $2,500-4,000
23 MARY RUSSELL SMITH (american 1842–1878) MICE SPYING ON CHICKS Signed ‘Mary Smith’ bottom left, oil on canvas 10 1/8 x 14 in. (25.7 x 35.6cm) provenance: The Faultless Starch/Bon Ami Company Corporate Collection, Kansas City, Missouri (acquired in 1990). $3,000-5,000
24 ARTHUR FITZWILLIAM TAIT (american 1819–1905) CHICKS IN A LANDSCAPE Signed, located and dated ‘A.F. Tait/N.A./ N.Y./1883’ bottom right, oil on panel 9 7/8 x 11 7/8 in. (25.1 x 30.2cm) provenance: Schillay & Rehs, Inc., New York, New York. Acquired directly from the above in 1985. The Faultless Starch/Bon Ami Company Collection, Kansas City, Missouri. $4,000-6,000
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the
faultless starch / bon ami corporate collection
25 BEN AUSTRIAN (american 1870–1921) HEN WITH CHICKS Signed and dated ‘Ben Austrian/1912’ bottom right, oil on canvas 20 x 26 in. (50.8 x 66cm) provenance: Schwarz Gallery, Philadelphia, Pennsylvania. Acquired directly from the above in 1984. The Faultless Starch/Bon Ami Company Collection, Kansas City, Missouri. literature: Philadelphia Paintings 1795-1930, Philadelphia Collection XXII, Schwarz Gallery, Philadelphia, Pennsylvania, January 1984, plate 11. $7,000-10,000
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26 BEN AUSTRIAN (american 1870-1921) CHICKS IN A ROUND BASKET Signed and dated ‘Ben Austrian/1910’ bottom right, oil on canvas 10 1/8 x 12 in. (25.7 x 30.5cm) provenance: The Faultless Starch/Bon Ami Company Collection, Kansas City, Missouri (acquired in 1982). exhibited: “Ben F. Austrian, 1870-1921,” Reading Public Museum and Art Gallery, Reading, Pennsylvania, November 3-December 1, 1968, no. 65. $3,000-5,000
27 ARTHUR FITZWILLIAM TAIT (american 1819–1905) “SPRING PETS” Signed and dated ‘A. F. Tait. N.A./1895’ bottom right; also dated, titled, signed and located ‘53 E. 56th St./New York’ verso, oil on canvas 8 1/8 x 10 1/8 in. (20.6 x 25.7cm) provenance: Schillay & Rehs, Inc., New York, New York. Acquired directly from the above in 1987. The Faultless Starch/Bon Ami Company Collection, Kansas City, Missouri. $4,000-6,000
28 HOWARD L. HILL (american, DIED 1870) KITTEN ON THE LOOKOUT Signed ‘Howard Hill’ bottom right, oil on canvas 12 1/8 x 16 1/8 in. (30.8 x 41cm) provenance: Schillay & Rehs, Inc., New York, New York. Acquired directly from the above in 1986. The Faultless Starch/Bon Ami Company Corporate Collection, Kansas City, Missouri. $1,000-1,500
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29 BEN AUSTRIAN (american 1870-1921) SEVEN YELLOW CHICKS IN A ROUND BASKET Signed and dated ‘Ben Austrian/1910’ bottom right, oil on canvas 10 x 12 1/8 in. (25.4 x 30.8cm) provenance: The Faultless Starch/Bon Ami Company Corporate Collection, Kansas City, Missouri. exhibited: “Ben F. Austrian, 1870-1921,” Reading Public Museum and Art Gallery, Reading, Pennsylvania, November 3-December 1, 1968 (per label verso). $3,000-5,000
30 ARTHUR FITZWILLIAM TAIT (american 1819–1905) “BORN YESTERDAY” Signed, located and dated ‘A.F Tait/M. N.Y./1859’ bottom right, oil on canvas laid down to Masonite 9 1/2 x 12 1/2 in. (24.1 x 31.8cm) provenance: Schillay & Rehs, Inc., New York, New York. Acquired directly from the above in 1986. The Faultless Starch/Bon Ami Company Collection, Kansas City, Missouri. $4,000-6,000
31 HOWARD L. HILL (american, DIED 1870) CHICKS IN A CLOUDY LANDSCAPE Signed ‘Howard Hill’ bottom right, oil on canvas 10 x 15 in. (25.4 x 38.1cm) provenance: Schillay Fine Art, Inc. New York, New York. Acquried directly from the above in 1982. The Faultless Starch/Bon Ami Company Corporate Collection, Kansas City, Missouri. $1,000-1,500
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32 MARY RUSSELL SMITH (american 1842–1878) MOTHER HEN AND CHICKS IN A BARN Signed and dated ‘Mary Smith/1876’ bottom left, oil on canvas 20 x 24 in. (50.8 x 61cm) provenance: Schwarz Gallery, Philadelphia, Pennsylvania. Acquired directly from the above in 1988. The Faultless Starch/Bon Ami Company Corporate Collection, Kansas City, Missouri. literature: A Century of Philadelphia Artists, Philadelphia Collection XXXVII, Schwarz Gallery, Philadelphia, Pennsylvania, July 1988, plate 27. $7,000-10,000
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faultless starch / bon ami corporate collection
33 BEN AUSTRIAN (american 1870–1921) CHICK WITH BOSTON TERRIER Signed, inscribed and dated ‘Ben Austrian/©/1906’ bottom right, oil on canvas 15 x 20 in. (38.1 x 50.8cm) provenance: Red Fox Fine Art, Middleburg, Virginia. Acquired directly from the above in 1987. The Faultless Starch/Bon Ami Company Corporate Collection, Kansas City, Missouri. $6,000-10,000
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34 BEN AUSTRIAN (american 1870–1921) “NATURE’S UMBRELLA” Signed ‘Ben Austrian’ bottom right, oil on board 12 1/4/x 10 in. (31.1 x 25.4cm) provenance: The Faultless Starch/Bon Ami Company Collection, Kansas City, Missouri. literature: Geoffrey D. Austrian, Ben Austrian, Artist, Garrigues House Publishers, Laurys Station, Pennsylvania, 1997, p. 98 (illustrated). $3,000-5,000
36 WILLIAM BAPTISTE BAIRD (american 1847–1899) COCK AND HENS IN A FARMYARD Signed and located ‘BAIRD/PARIS’ bottom right, oil on panel 9 x 6 3/4 in. (23.3 x 17.1cm) provenance: Kurt E. Schon, Ltd., New Orleans, Louisiana. Acquired directly from the above in February 1982. The Faultless Starch/Bon Ami Company Collection, Kansas City, Missouri. $1,000-1,500
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35 WILLIAM BAPTISTE BAIRD (american 1847–1899) HEN AND HER CHICKS IN A FARMYARD Signed and located ‘BAIRD/PARIS’ bottom right, oil on panel 9 x 6 3/4 in. (23.3 x 17.1cm) provenance: Kurt E. Schon, Ltd., New Orleans, Louisiana. Acquired directly from the above in February 1982. The Faultless Starch/Bon Ami Company Collection, Kansas City, Missouri. $1,000-1,500
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faultless starch / bon ami corporate collection
clockwise from top: 37 MARY RUSSELL SMITH (american 1842–1878) CHICKS WITH A ROSE Signed and dated ‘Mary Smith/1876’ center right, oil on canvas 10 1/8 x 14 in. (25.7 x 35.6cm) provenance: The Faultless Starch/Bon Ami Company Corporate Collection, Kansas City, Missouri (acquired in 1990). $3,000-5,000
38 WILLIAM BAPTISTE BAIRD (american 1847–1899) A HEN AND HER CHICKS Signed ‘BAIRD’ bottom right, oil on panel 7 7/8 x 5 1/8 in. (20 x 13cm) provenance: Red Fox Fine Art, Middleburg, Virginia. Acquired directly from the above in 1989. The Faultless Starch/Bon Ami Company Collection, Kansas City, Missouri. $1,000-1,500
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39 WILLIAM BAPTISTE BAIRD (american 1847–1899) “MOTHERLY CARE” Signed ‘BAIRD’ bottom right, oil on panel 9 x 6 3/4 in. (23.3 x 17.1cm) provenance: Kurt E. Schon, Ltd., New Orleans, Louisiana. Acquired directly from the above in February 1984. The Faultless Starch/Bon Ami Company Collection, Kansas City, Missouri. $1,000-1,500
40 MARY RUSSELL SMITH (american 1842–1878) CHICKENS IN A PICNIC BOX Dedicated and signed ‘To Mr. and Mrs. J.H. Cockstaler/A Merry Christmas/I wish some of you would write/Mary’, oil on board 11 x 15 in. (27.9 x 38.1cm) provenance: Schwarz Gallery, Philadelphia, Pennsylvania. Acquired directly from the above. The Faultless Starch/Bon Ami Compan, Kansas City, Missouri. literature: Philadelphia Paintings 1795-1930, Philadelphia Collection LXXI, Schwarz Gallery, Philadelphia, Pennsylvania, January 1984. $3,000-5,000
41 BEN AUSTRIAN (american 1870–1921) TAN MOTHER HEN WITH TEN CHICKS Signed and dated ‘Ben Austrian/1908’ bottom right, oil on canvas 16 1/8 x 20 in. (41 x 50.8cm) provenance: The Faultless Starch/Bon Ami Company Collection, Kansas City, Missouri (acquired in 1987). $5,000-80,000
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faultless starch / bon ami corporate collection
42 BEN AUSTRIAN (american 1870–1921) ELEVEN CHICKS AND HEN Signed ‘Ben Austrian’ bottom right, oil on canvas 20 1/8 x 26 1/8 in. (51.1 x 66.4cm) provenance: Schillay & Rehs Inc., New York, New York. Acquired directly from the above in 1989. The Faultless Starch/Bon Ami Company Collection, Kansas City, Missouri. $7,000-10,000
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43 BEN AUSTRIAN (american 1870-1921) PUPPY AND CHICK Signed, inscribed and dated ‘Ben Austrian/Copyright 1906.’ bottom right, oil on canvas 15 x 20 in. (38.1 x 50.8cm) provenance: Red Fox Fine Art, Middleburg, Virginia. Acquired directly from the above in 1990. The Faultless Starch/Bon Ami Company Corporate Collection, Kansas City, Missouri. $6,000-10,000
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faultless starch / bon ami corporate collection
44 MARY RUSSELL SMITH (american 1842-1878) “FLEDGLINGS” Signed and dated ‘Mary Smith/1877’ bottom left, oil on canvas 12 1/4 x 10 1/8 in. (31.1 x 25.7cm) provenance: Schwarz Gallery, Philadelphia, Pennsylvania. Acquired directly from the above. The Faultless Starch/Bon Ami Company Corporate Collection, Kansas City, Missouri. $3,000-5,000
45 BEN AUSTRIAN (american 1870-1921) CHICKS Signed and dated ‘Ben Austrian/1915’ bottom right; also signed and inscribed ‘Painted by Ben Austrian/ Int. Penn. P.A./Studio Clovelly’ verso, oil on canvas 11 5/8 x 14 5/8 in. (29.5 x 37.1cm) provenance: Schillay & Rehs Inc., New York, New York. Acquired directly from the above in 1987. The Faultless Starch/Bon Ami Company Collection, Kansas City, Missouri. $5,000-8,000
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46 BEN AUSTRIAN (american 1870–1921) A HEN AND HER CHICKENS Signed and dated ‘Ben Austrian/1913’ bottom right, oil on canvas 20 1/8 x 26 1/8 in. (51.1 x 66.4cm) provenance: Schillay & Rehs Inc., New York, New York. Acquired directly from the above in 1987. The Faultless Starch/Bon Ami Company Collection, Kansas City, Missouri. $7,000-10,000
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faultless starch / bon ami corporate collection
47 BEN AUSTRIAN (american 1870-1921) FIVE CHICKS IN A STRAW HAT Signed and dated ‘Ben Austrian/1903’ bottom right, oil on canvas 12 1/8 x 16 1/4 in. (31 x 41.3cm) provenance: The Faultless Starch/Bon Ami Company Collection, Kansas City, Missouri (acquired in 1989). $5,000-8,000
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48 BEN AUSTRIAN (american 1870–1921) WHITE HEN WITH CHICKENS Signed and dated ‘B. Austrian/1913’ bottom right, oil on canvas 20 x 26 in. (50.8 x 66cm) provenance: Schwarz Gallery, Philadelphia, Pennsylvania. Acquired directly from the above in 1987. The Faultless Starch/Bon Ami Company Collection, Kansas City, Missouri. literature: American Paintings, Philadelphia Collection XXXIII, Schwarz Gallery, Philadelphia, Pennsylvania, December 1986, plate 23. $7,000-10,000
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49 HENRY DUTTON MORSE (american 1826–1888) REACHING FOR BERRIES Signed and dated ‘Henry D. Morse/1863’ bottom right, oil on panel 9 7/8 x 12 in. (25.1 x 30.5cm) provenance: Schillay & Rehs Inc. New York, New York. Acquired directly from the above in 1986. The Faultless Starch/Bon Ami Company Corporate Collection, Kansas City, Missouri. $1,000-1,500
50 FRANKLIN WHITING ROGERS (american 1854–1917) BROWN HEN WITH SIX CHICKS AND A POT Signed with conjoined letters and dated ‘FW Rogers/1886’ upper right, oil on canvas 25 1/4 x 30 in. (64.1 x 76.2cm) provenance: The Faultless Starch/Bon Ami Company Corporate Collection, Kansas City, Missouri (acquired in 1989). $2,500-4,000
51 WILLIAM BAPTISTE BAIRD (american 1847–1899) IN THE BARNYARD Signed ‘W. BAIRD’ bottom right; also signed and located ‘18 Impasse du Maine/Paris’ verso, oil on canvas laid down to panel 9 3/8 x 13 in. (23.8 x 33cm) provenance: Red Fox Fine Art, Middleburg, Virginia. Acquired directly from the above in 1989. The Faultless Starch/Bon Ami Company Collection, Kansas City, Missouri. $1,500-2,500
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52 BEN AUSTRIAN (american 1870-1921) TWENTY ONE CHICKS AND A BUG Signed and dated ‘Ben Austrian/1908’ bottom right, oil on canvas 16 x 20 1/8 in. (40.6 x 51.1cm) provenance: Schillay & Rehs, Inc., New York, New York. Acquried directly from the above in 1989. The Faultless Starch/Bon Ami Company Corporate Collection, Kansas City, Missouri. $6,000-10,000
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53 MARY RUSSELL SMITH (american 1842-1878) HEN, TWELVE CHICKS AND A SQUIRREL EATING CORN Signed and dated ‘Mary Smith/1872’ bottom right, oil on canvas 20 x 24 in. (50.8 x 61cm) provenance: The Faultless Starch/Bon Ami Company Corporate Collection, Kansas City, Missouri (acquired in 1992). $8,000-12,000 end of collection
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54 CHARLES WARREN EATON (american 1857–1937) FALL SUNSET Signed and dated ‘Chas Warren Eaton/1896’ bottom right, oil on canvas 16 x 22 in. (40.6 x 55.9cm) provenance: Doyle, New York, sale of December 3, 2003, lot 182. Acquired directly from the above sale. Private Collection, Ohio. $3,000-5,000
55 BRUCE CRANE (american 1857–1937) “DECEMBER MORNING” Signed ‘BRUCE CRANE’ bottom right, oil on canvas 18 x 24 in. (45.7 x 61cm) Executed circa 1915. provenance: Lagakos Turak Gallery, Philadelphia, Pennsylvania. The Estate of Mark Bojanowski, Philadelphia, Pennsylvania. $5,000-8,000
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homas Anshutz was a pupil and colleague of Thomas Eakins. During his distinguished career, he taught at the Pennsylvania Academy of the Fine Arts, later becoming its Director, as well as serving as President of the Philadelphia Sketch Club. Amongst his well-known students were Daniel Garber, John Sloan, George Luks, Robert Henri, Charles Sheeler, William Glackens, John Marin and Charles Demuth. A realist painter celebrated for his formal portraits of figures in interiors, Anshutz was also a gifted and accomplished landscapist, as evidenced by the painterly Summer House on the Marsh, depicting a moored boat on a placid marsh in the foreground, grassy marsh banks in the mid ground, and cottages in the distance.
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56 THOMAS ANSHUTZ (american 1851–1912) “SUMMER HOUSE ON THE MARSH” Signed ‘Thos. P. Anshutz’ bottom right, oil on canvas 16 x 23 in. (40.6 x 58.4cm) provenance: Private Collection, Connecticut. Shannon’s Fine Art Auctioneers, Milford, sale of October 20, 2005, lot 56. Acquired directly from the above sale. Kendall Art Advisory, Atlanta, Georgia. Acquired directly from the above. Private Collection, Pennsylvania. $15,000-25,000
57 WALTER LAUNT PALMER (american 1854–1932) “JANUARY” Signed and dated ‘W L Palmer/1887’ bottom center left, oil on canvas 25 1 /8 x 35 in. (63.8 x 88.9cm) provenance: Grady & McKeever, New York, New York. Acquired directly from the above. Collection of Andrew Carnegie, Skibo Castle, Scotland. By descent in the family. Acquired directly from the descendents of Andrew Carnegie. Private Collection, United Kingdom. exhibited: “Annual Exhibition,” National Academy of Design, New York, New York, 1887 (won the Hallgarten Price). American Art Galleries, New York, New York, 1899, no. 67. Louisiana Purchase Exposition, Saint Louis, Missouri, April 30-December 1, 1904. literature: Maybelle Mann, Walter Launt Palmer: Poetic Reality, Exton, Pennsylvania, 1984, no. 113, fig. 21, pp. 46 (illustrated) and 113. $40,000-60,000
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D
ubbed “one of the last members of that group of nineteenth-century artists whose work is in no small measure responsible for the evolution of the American landscape school of painting,” Walter Launt Palmer made himself a reputation in the history of American art by mastering the winter landscape, which he almost exclusively painted entirely from memory. Born in Albany, New York, to a sculptor father, Palmer studied under portraitist Charles Elliott and Hudson River School landscapist Frederic Edwin Church, who taught him a certain sense of grandeur, which he brilliantly instilled in the present work. Dated 1887, January depicts a serene landscape blanketed in the snow devoid of any form of human life. It is marked by a certain timelessness, the sole focus of the composition being a majestic reflection of a bare tree on a frozen puddle in the foreground. Through his energetic brushwork, the artist is able to capture the ever-changing effects of light and color, similar to Claude Monet’s technique, which he is still experimenting with, at the same time in France. Like the French Master, Palmer adopts revolutionary Impressionistic codes, especially through his rendering of shadows on the snow-covered prairie via a myriad of glistening pastel colors, including bold blues, delicate pinks and soft greens. Such a technique was noted and praised by many critics for imbuing his canvas with a certain subtlety. When he exhibited January at the National Academy of Design in 1887, Palmer was indeed awarded the Hallgarten prize, given to the best work by an artist younger than thirty five years old. When Palmer won the Hallgarten prize, he was also elected an Associate of the National Academy of Design. Next to a review of January in his scrapbook, Palmer wrote: “First oil since one sold at N.A.D. in 1876.” He meant that is was the first winter painting he had done in oil since 1875. It would be the beginning of a trend in Palmer’s oeuvre that emphasized the quiet solitude of the winter season. The present painting comes fresh to the American market all the way from Scotland, after having been in the prestigious private collection of Andrew Carnegie and his heirs, through which the piece was acquired.
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58 KENNETH HAYES MILLER (american 1876–1952) “THE RIVER” Signed ‘Hayes Miller’ bottom right, oil on canvas 20 1/8 x 17 1/8 in. (51.1 x 43.5cm) Executed in 1919. provenance: The Artist. Macbeth Gallery, New York, New York. Acquired directly from the above in 1919. Collection of Mr. and Mrs. Martin A. Ryerson. A gift from the above in 1937. The Art Institute of Chicago, Chicago, Illinois. Acquired directly from the above, once deacessioned by order of the Board of Trustees. Private Collection, Nova Scotia, Canada. exhibited: “Kenneth Hayes Miller: A Memorial Exhibition,” The National Academy of Design, New York, New York, sponsored by the Art Students League of New York, September 23-October 11, 1953, no. 18. literature: Art Students League, A Memorial Exhibition: Kenneth Hayes Miller, an exhibition catalogue, New York, New York, 1953, no. 18. Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection, The Art Institute of Chicago, Chicago, Illinois, 1961, p. 312. Lincoln Rothschild, To Keep Art Alive, The Effort of Kenneth Hayes Miller, American Painter (1876 - 1952), The Art Alliance Press, Philadelphia, 1974, fig. 21 (illustrated). $3,000-5,000
59 ROBERT VONNOH (american 1858–1933) “IN THE CONNECTICUT HILLS” Oil on canvas 24 1/4 x 30 1/8 in. (61.6 x 76.5cm) provenance: The Estate of Irene & Richard Gachot, New York. $2,000-3,000
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short lived Massachusetts-based painter, John Leslie Breck was among the first American artists of the 1880s to work and settle in the French village of Giverny, home to Impressionist master Claude Monet. Alongside other artists including Willard LeRoy Metcalf, Theodore Wendel, Blair Bruce and Theodore Robinson, Breck founded a small colony in this tiny village of Normandy about fifty miles northwest of Paris, and eventually developed close ties to Claude Monet, experimenting with the artist’s aesthetic principals. On his return to his native Boston in 1890, Breck exhibited paintings, including the present work, at the Botolph Club in 1890, thus helping to introduce Impressionism to an American audience. Painted just one year prior to his return to Boston, Fog and Sun in Giverny is characterized by Claude Monet’s inspired loose, dappled brushwork and atmospheric effects. Here, the artist introduces us to a foggy landscape in the early hours of the morning. It combines the artist’s delicate impressionist touch with a bold composition. The viewer is looking at the roofs of several cottages from a low vantage point, located at the bottom of a hill. The subtle contrasts between the pastel hues of the painting, and the radiating milky sky in the background demonstrate the artist’s interest in recording the transient effects of light, at which he excelled.
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60 JOHN LESLIE BRECK (american 1860–1899) “FOG AND SUN IN GIVERNY” Signed and dated ‘BRECK 89’ bottom left; also with French preparer’s stencil verso, oil on canvas 18 1/4 x 22 in. (46.4 x 55.9cm) provenance: Collection of George Whitfield Chadwick and Ida Mae Brooks Chadwick, Boston. By descent in the family. Skinner, Marlborough, sale of November 10, 2000, lot 195. Acquired directly from the above sale. Private Collection, Washington D.C. exhibited: “Paintings by John Leslie Breck,” Saint Botolph Club, Boston, Massachusetts, 1890, no. 5. $40,000-60,000
61 RICHARD HAYLEY LEVER (american 1876–1958) “BASS ROCKS, NEW GLOUCESTER” Signed ‘Hayley Lever’ bottom right, oil on canvas laid down to board 6 1/4 x 9 in. (15.9 x 22.9cm) Executed circa 1930. provenance: Private Collection. Bonham’s, Knightsbridge, sale of November 26, 2013, lot 105. Acquired directly from the above sale. Private Collection, Pennsylvania. exhibited: “Hayley Lever: Selected Works,” Bernard Black Gallery, May 1967, no. 41 (illustrated). The Minnneapolis Institute of Arts, Minneapolis, Minnesota, n.d. (per label verso, lent by Bernard Black). $3,000-5,000
62 RICHARD HAYLEY LEVER (american 1876–1958) “CORNWALL, ENGLAND” Signed ‘Hayley Lever’ bottom left, oil on canvas 10 x 13 in. (25.4 x 33cm) provenance: Campanile Galleries Inc., Chicago, Illinois. Private Collection, Nova Scotia, Canada. $3,000-5,000
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illiam McGregor Paxton studied painting at various academies in Paris, including École des Beaux Arts, where he studied under famed Orientalist painting Jean-Léon Gérôme. Through his career he became an integral part of the Boston School, which included artists such as Edmund Tarbell and Frank Weston Benson. Pictured in the present lot is a charmingly quotidian scene of shoppers and pedestrians in the streets of Provincetown, a part of Cape Cod, Massachusetts. This lovely town, replete with shops and markets to this day, is not far from the city Boston itself, to which Paxton had strong ties.
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63 WILLIAM MCGREGOR PAXTON (american 1869-1941) “PROVINCETOWN STREET - THE CORNER GROCERY” Signed ‘PAXTON’ bottom right, oil on canvas 22 x 27 1/4 in. (55.9 x 69.2cm) provenance: Vose Galleries, Boston, Massachusetts. Collection of Richard M. Scaife, Pittsburgh, Pennsylvania. $10,000-15,000
64 JOHANN BERTHELSEN (american 1883–1972) FOGGY NIGHT, NEW YORK Signed ‘Johann Berthelsen’ bottom right; also illegibly dedicated, signed and dated ‘To Mrs. Allen/1965’ verso, oil on canvas 12 x 16 in. (30.5 x 40.6cm) provenance: Private Collection, Pennsylvania. $2,000-3,000
65 FREDERICK JUDD WAUGH (american 1861–1940) “LONDON BY NIGHT” Inscribed with artist and title verso, oil on board 7 x 5 1/2 in. (17.8 x 14cm) provenance: Anderson Galleries LLC, Beverly Hills, California. Waterhouse & Dodd, New York, New York. Acquired directly from the above. Private Collection, Ohio. $2,000-3,000
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epicting 5th Avenue at 59th Street, near the bottom East side of Central Park, the present painting is a perfect example of one of Wiggins’s classic wintry scenes. The composition features the distinguished Pulitzer Fountain which is situated in Manhattan’s Grand Army Plaza and was donated by famed publisher Joseph Pulitzer (1847-1911) in 1916. The basin of the fountain as well as the surrounding ground has been covered by snowfall, as people trudge through the streets. Wiggins shows that city life continues on regardless of weather, as a horse-drawn carriage takes passengers to their destination, and a woman walks her two dogs. The blustery weather skews any distinguishable facial features of the pedestrians depicted here, lending and element of anonymity to the vignette. Nevertheless, the artist is able to relay a sense of relatability and camaraderie as well, as most of the subjects featured walk in pairs and closely together.
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66 GUY CARLETON WIGGINS (american 1883-1962) “ON 5TH AVENUE ON A WINTER’S AFTERNOON” Signed ‘Guy Wiggins NA’ bottom left; also titled, signed and dated ‘1961’ verso, oil on canvas 25 x 30 in. (63.5 x 76.2cm) provenance: W.R. Fine Galleries, Dallas, Texas. Acquired directly from the above circa 1970. Collection of Dr. Carl and Mrs. Cherry Rainone, Arlington, Texas. Rainone Galleries, Arlington, Texas. Acquired directly from the above in 2006. Private Collection, Los Angeles, California. note: The present lot will be accompanied by a letter of authenticity from Guy A. Wiggins, the son of the artist, written on the back of a photograph of the painting, dated March 27, 2006. $50,000-80,000
67 WILLIAM GLACKENS (american 1870-1938) GIRL WITH A FRUIT BASKET Oil on canvas 10 1/2 x 7 in. (26.7 x 17.8cm) provenance: The Artist. The Estate of the Artist. Sansom Foundation, Inc., Florida. Debra Force Fine Art, New York, New York. Acquired directly from the above in 2015. Private Collection, Delaware. $10,000-15,000
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68 ALBERT LAESSLE (american 1877-1954) TORTOISE ON A ROCK Signed ‘ALBERT LAESSLE’ on the right side of the rock; also dated and located ‘1908 PHILA’ on the other side, and inscribed with ‘Roman Bronze Works No. 9’ on the back, bronze with dark greenish brown patina on a red marble stand Height (including base): 3 1/4 in. (8.3cm) provenance: Estate of Ms. Vidal S. Clay, Westport, Connecticut. $1,500-2,500
69 ALBERT LAESSLE (american 1877–1954) TURTLE EATING A FROG Signed ‘LAESSLE’ (twice) on each side of the base; also inscribed ‘ROMAN BRONZE WORKS N.Y.’ on the back, bronze with dark greenish brown patina on a red marble stand Height (including base): 3 in. (7.6cm) provenance: Newman Galleries, Philadelphia, Pennsylvania. $1,500-2,500
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Charles Ephraim Burchfield lots 70-74
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ariously described as a ‘mystic,”, a “visionary,” an “inlander” and “a painter of transcendental landscapes,” Charles Burchfield was, by the late 1930s, hailed by Life Magazine as one of America’s greatest painters and most talented watercolorist. Best known for his depictions of Midwestern townscapes, Burchfield imbued his compositions with his very own distinctive sensitivities and avantgarde learnings, producing a form of abstracted realism that evokes feeling, fantasy and mood. The artist’s expressive imagination is particularly evident in The East Wind, the highlight of the forthcoming series of works by the artist. Burchfield executed this impactful watercolor in 1915, an important moment for the artist who often declared that his career officially began that year, when the ideas that formed the basis of his inspiration took root. In this work, Burchfield presents us with isolated houses dominated by the overwhelming power of Spring, namely a bitter wind and a cold rain.
opposite: 70 CHARLES BURCHFIELD (american 1893–1967) CACTUS IN BLOOM Signed with artist’s initials ‘C/E/B’ bottom right, watercolor on paper card Sheet size: 11 3/4 x 8 7/8 in. (29.8 x 22.5cm) provenance: The Artist. A Gift from the above. Collection of Helene Iungerish, Philadelphia, Pennsylvania. By descent in the family. Private Collection, Minnesota. $8,000-12,000
71 CHARLES BURCHFIELD (american 1893–1967) UNTITLED (THE WINTER TREE) Signed ‘CEB’ in the plate upper left, lithograph on paper Image size: 13 1/4 x 9 5/8 in. (33.7 x 24.4cm) Sheet size: 16 1/4 x 12 1/2 in. (41.3 x 31.8cm) Unframed. [Unrecorded impression of an unknown edition size] provenance: The Artist. A Gift from the above. Collection of Helene Iungerish, Philadelphia, Pennsylvania. By descent in the family. Private Collection, Minnesota. $2,000-3,000
72 CHARLES BURCHFIELD (american 1893–1967) UNTITLED (SPIRALING PALM TREES) Signed ‘CEB’ in the plate upper right, lithograph on paper Image size: 12 1/4 x 10 1/2 in. (31.1 x 26.7cm) Sheet size: 16 x 14 in. (40.6 x 35.6cm) Unframed. [Unrecorded impression of an unknown edition size] provenance: The Artist. A Gift from the above. Collection of Helene Iungerish, Philadelphia, Pennsylvania. By descent in the family. Private Collection, Minnesota. $2,000-3,000
73 CHARLES BURCHFIELD (american 1893–1967) GREEN BUSH Signed and dated ‘Chas Burchfield/ April-1915-’ bottom left; also dated verso, watercolor and pencil on paper Sheet size: 11 3/4 x 8 7/8 in. (29.8 x 22.5cm) provenance: Collection of Thomas and Nadia Williams (acquired in New York in the 1940s). By descent in the family. Private Collection, Minnesota. $6,000-10,000
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74 CHARLES BURCHFIELD (american 1893–1967) “THE EAST WIND” Signed and dated ‘CE BURCHFIELD/1916’ bottom left; also titled bottom right and dated ‘Jan 1916’ verso, watercolor and pencil on paper Sheet size: 11 7/8 x 8 7/8 in. (30.2 x 22.5cm) provenance: Collection of Thomas and Nadia Williams (acquired in New York in the 1940s). By descent in the family. Private Collection, Minnesota. $6,000-10,000
75 PRESTON DICKINSON (american 1891-1930) STUDY FOR INDUSTRIAL LANDSCAPE Signed and dated ‘P. Dickinson 28’ in margin bottom right, charcoal on paper Image size: 8 x 10 1/8 in. (20.3 x 25.7cm) Sheet size: 10 7/16 x 13 1/8 in. (26.5 x 33.3cm) provenance: Private Collection, New Jersey, D. Wigmore Fine Art, New York, New York. Private Collection. $4,000-6,000
76 JOSEPH STELLA (american 1877–1946) MOONLIT LANDSCAPE Signed ‘Stella Joseph’ bottom left, watercolor and gouache on paper Sheet size: 36 1/8 x 25 in. (91.8 x 63.5cm) provenance: Henri Antoville Art Galleries, New York, New York. Acquired directly from the above. Private Collection. By descent in the family. Private Collection, Maryland. $10,000-15,000
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77 EMILE ALBERT GRUPPE (american 1896–1978) SEAGULLS Signed ‘Emile A Gruppé’ [sic] bottom right, oil on canvas laid down to board 16 x 12 in. (40.6 x 30.5cm) provenance: Private Collection, Pennsylvania. $3,000-5,000
78 EMILE ALBERT GRUPPE (american 1896–1978) “FIRST SNOW” Signed ‘Emile A. Gruppé’ [sic] bottom right; also inscribed with artist and title verso, oil on canvas 36 x 30 in. (91.4 x 76.2cm) provenance: Pennsylvania Art Conservatory, Pennsylvania. Acquired directly from the above. Private Collection, Pennsylvania. $3,000-5,000
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orn in Norway in 1833, Jonas Lie is best known for his depictions of harbors, rocky coasts and seascapes with boats, sometimes seen through clusters of birch trees, as in the present painting. While realistically depicted, the shimmering blue sea, cloud-filled sky, sailboats, birches and rocky shore here reveal Lie's tendencies toward impressionism - in particular, Claude Monet's work, which greatly influenced Lie’s use of color, atmospheric light effects and bold compositions. The trees in Sea and Birches serve as a device to divide the picture plane into several parts, each interestingly containing only fragments of the sailing vessels, rather than any one yacht in its entirety. This not only serves as a visually interesting pictorial device, but also helps to create the effect of the vessels moving between the trees along the serene waters, the upper portion of the latter being darker in palette and more placid, the lower portion being lighter in palette and gently broken by soft ripples. Regarding the importance of color in his paintings, Lie said, "color is the chief medium through which we attain pictorial expression; but color must be interpretive, not imitative." While Lie is better known today in the U.S. than in Norway, his Norwegian roots influenced his art, as Lie stated "All the keys and chords and harmonies of my work come from the North, and each year, when I know the midnight sun will soon be shining, I feel a pull which makes me go there and see it." The artist's predilection for painting birch and pine trees as shown here is further evidence of his attachment to his Norwegian roots.
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79 JONAS LIE (american/norwegian 1880–1940) SEA AND BIRCHES Signed ‘JONAS LIE’ bottom left, oil on canvas 25 x 36 in. (63.5 x 91.4cm) provenance: Private Collection, New Jersey. $15,000-25,000
80 FRANK STICK (american 1884–1966) IN THE MARSHES Signed ‘FRANK STICK’ bottom right, oil on canvas 35 x 26 in. (88.9 x 66cm) provenance: The Estate of Mark Bojanowski, Philadelphia, Pennsylvania. $5,000-8,000
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ric Sloane is best known for his realistic paintings of clouds, barns and covered bridges, often working in relatively large scale format and painting on Masonite. Born Everard Jean Hinrichs (he changed his first name to Eric, from the middle letters of 'America,' and changed his last name to Sloane from his mentor, Ashcan School painter John Sloan), Sloane was somewhat of a Renaissance man. He was not only a very prolific painter - said to have executed over 15,000 works - but was also a noted sign painter, book illustrator, author of thirty-five books, and expert on historic tools.
Following studies at the Art Students League and Yale University School of Art, Sloane traveled across America before ultimately settling in Milford, Connecticut (though he also had a home near Santa Fe, which he called 'Las Nuevas' - clouds), its green environs serving as a source of great inspiration as exemplified in Farm Outbuildings, which depicts the rear of quiet stone-brick farmhouse in the middle of a lush forest of Connecticut. Bold in his composition, Sloane captures the scene from a high vantage point located on top of a surrounding hill, so as to completely immerse his viewer in the picture frame. Sloane’s keen interest in sky and weather is also clearly evident in Cloudy Beach Day, Line Squall and Coming In, which all paved the way to commissioned works for the U.S. Air Force and a large mural for the National Air and Space Museum.
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81 ERIC SLOANE (american 1905–1985) “LINE SQUALL” Signed ‘Sloane’ bottom right; also titled bottom right, oil on canvas 30 x 40 in. (76.2 x 101.6cm) provenance: The Estate of Irene & Richard Gachot, New York. $6,000-10,000
82 ERIC SLOANE (american 1905–1985) “COMING IN” Signed ‘SLOANE’ bottom right; also titled bottom left, oil on Masonite 15 3/4 x 22 in. (40 x 55.9cm) provenance: The Estate of Irene & Richard Gachot, New York. $1,500-2,500
83 ERIC SLOANE (american 1905–1985) CLOUDY BEACH DAY Signed “Sloane’ bottom right, oil on Masonite 12 x 16 in. (30.5 x 40.6cm) provenance: The Estate of Irene & Richard Gachot, New York. $1,500-2,500
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84 ERIC SLOANE (american 1905–1985) “FARM OUTBUILDINGS” Signed ‘SLOANE’ bottom left; also titled, inscribed illegibly and dated ‘1964’ bottom left, and located ‘New Milford/Conn.’ verso, oil on Masonite 26 x 34 (66 x 86.4cm) provenance: The Artist. Acquired directly from the above. Private Collection, Bucks County, Pennsylvania. By descent in the family to the present owner. $6,000-10,000
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“T
he huge monster soon came in sight, part of his body appearing above the waves and part concealed. Angelica, half dead with fear, abandoned herself to despair.�
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onsidered one of America's greatest illustrators of the 20th century, Newell Convers Wyeth pursued his creative calling at an early age, leaving his native Massachusetts in 1902 to enroll at the Howard Pyle School of Art in Wilmington, Delaware. There, he studied along other eager young artists under the tutelage of the “Father of American Illustration,” far surpassing his expectations. After graduating, Wyeth started his career as a commercial painter, working on several advertisement campaigns before finally receiving his first commissions for popular magazines of the time, such as Century and Harper’s Monthly. N.C. Wyeth garnered considerable acclaim for his work with the publishing company Charles Scribner's Sons, particularly for his compelling illustrations of Robert Louis Stevenson's Treasure Island in 1911 - his first commission for Scribner's popular series of classical stories. Dated 1924, Angelica and the Sea-Serpent follows this important milestone. It is one of nearly a dozen illustrations which Wyeth designed for Thomas Bulfinch’s The Legends of Charlemagne, an iconic collection of European fables and legends from the Middle Ages, all compiled under the reign of Charlemagne, also known as Charles the Great, who ruled over Europe during the eighth century. Published in 1863 by the Cosmopolitan Book Corporation in New York, Legends of Charlemagne follows the author’s popular Stories of Gods and Heroes and his chronicles of King Arthur and His Knights, respectively published in 1855 and 1858. The book is divided into twenty-six chapters, all of which follow the adventures of a heroic character involved in a fight of good versus evil. Accordingly, Wyeth’s illustrations for The Legends of Charlemagne always show the stories’ protagonists battling against a powerful human force or a mythological creature, such as dragons, giants or, as shown here, a sea-serpent.
stretches infinitely into the distance. “His jaws, filled with long fierce teeth, are wide open, ready to rip and consume this tender morsel. She has only a few seconds left to live.” The result is a powerful image that brings to life the tragic demise of one of literature’s most iconic princesses. The present work was gifted by N.C. Wyeth to the son of Ralph Graves, then high-ranking editor at the National Geographic. The two met while the artist was working on a series of murals set to adorn the walls of the new main building of the company in Washington D.C.. His son, Ralph Graves Junior, recalls: “Over the course of the project, my father and Wyeth became good friends. When the murals were completed, my father asked Wyeth if he would paint my portrait”. Although N.C. politely declined blaming a heavy schedule, he suggested his daughter Henrietta, well-versed in portraits of young children, to take on the project. The artist’s daughter successfully completed the portrait. The story could have ended there, but after a while “N.C. Wyeth returned to the stage.” Ralph Graves explains: “I can only speculate about his motive. Did he feel guilty because he himself hadn’t painted my portrait, as requested by his friend? (…) Or was he just overwhelmed with relief that Henrietta had brought off the portrait to my parents’ complete satisfaction? (…) For whatever reason, N.C. Wyeth gave me his painting of The Sea-Serpent and Angelica [sic] (…) He also gave me the book, legends of Charlemagne in which the painting appears, with the modest inscription “Signed by the illustrator of this book especially for Ralph A. Graves Jr.”
The story of Angelica and the sea-serpent, although loosely based on the Greek myth of Andromeda and Perseus, comes directly from Orlando Furioso, a sixteenth century Italian epic poem written by Ludovico Ariosto. It tells the story of Angelica, Queen of Cathay, who is abducted by local inhabitants while running away from a jilted lover, to be left alone on a deserted rock washed by the sea as a human sacrifice to a serpent known as the Orc. Although in the tale, Angelica happens to be saved by King Roger, who miraculously emerges from the sky on a hippogriff to defeat the monster, N.C. Wyeth choses to depict the moment prior to the rescue of the Queen, right when the seaserpent emerges from the ocean and charges full speed toward his prey. The drama of the scene is brilliantly captured through the vivid palette that Wyeth employs. The striking turquoises, oranges and purples applied in the artist’s characteristically stylized, yet painterly brushstroke, suggest the movement in both the intense swelling of the oily green waves, and the seaserpent himself. The clouds in the background add a theatrical layer to the scene, parting to reveal the monster, just like theater drapes would open to reveal the main character on the stage. The composition in fact closely follows Pyle’s ingenious, methodic, teachings. Angelica, naked to the waist, is positioned in the foreground. Frozen with fear and bound to a rock by three heavy chains, she acts as a strong visual anchor of the scene. Her full mane of red hair, flung far back in the sky, and her clasped hand suggest the terror of the moment. Opposite from her is the monster, whose enormous size is suggested by his tail, which
Above: Frontispiece page of the first edition of The Legends of Charlemagne, dedicated by N.C. Wyeth to Ralph Graves Jr. To be offered alongside the painting
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85 NEWELL CONVERS WYETH (american 1882–1945) “THE HUGE MONSTER SOON CAME IN SIGHT, PART OF HIS BODY APPEARING ABOVE THE WAVES AND PART CONCEALED” (ANGELICA AND THE SEA-SERPENT) Signed ‘N.C. Wyeth’ bottom left; also dedicated and dated ‘TO RALPH GRAVES/From N.C.W./1927’ below, oil on canvas 34 1/8 x 25 in. (86.7 x 63.5cm) Executed in 1924. provenance: The Artist. A Gift from the above in 1927. Collection of Ralph Graves, Jr., New York, New York. By descent in the family. Private Collection, New York, New York. literature: Thomas Bulfinch, “The Orc,” in Legends of Charlemagne, Cosmopolitan Book Corporation, New York, 1924, pp. 97-104, (illustrated between pp. 98 and 99). Douglas Allen, Jr. N. C. Wyeth, The Collected Paintings, Illustrations and Murals, Crown Publishers, Inc., New York, 1972, p. 200. Ralph Graves, Objects of Desire, Tiasquam Press, New York, New York, 2003, pp. 88-94. Christine B. Podmaniczky, N. C. Wyeth, A Catalogue Raisonné of Paintings, Scala, London, 2008, I.983, p. 473 (illustrated). $250,000-400,000
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86 ANDREW WYETH (american 1917–2009) PERSONALIZED STATIONARY WITH ACCOMPANYING ENVELOPE, AND ARTIST’S ORIGINAL PAINTBRUSH The letter dated ‘July 12 1975’ upper left; also inscribed ‘I have used this brush’ and signed ‘Andrew Wyeth’ bottom right Letter and envelope, overall: 7 1/16 x 7 in. (17.9 x 17.8cm) Paintbrush: 7 in. long (17.8cm) provenance: The Artist. Acquired directly from the above. Private Collection, Massachusetts. $3,000-5,000
87 ANDREW WYETH (american 1917–2009) “CRANBERRIES” 1981. Edition of 300. Pencil signed ‘Andrew Wyeth’ and numbered ‘28/300’ bottom right; also with printer’s blindstamp bottom left, color collotype on glossy paper Image size: 18 x 12 in. (45.7 x 30.5cm) Sheet size: 23 1/2 x 16 in. (59.7 x 40.6cm) Printed by Triton Press Inc. in 1981. provenance: Chadds Ford Publications, Chadds Ford, Pennsylvania Acquired directly from the above on October 2, 1981. Private Collection, Massachusetts. $2,000-3,000
88 ANDREW WYETH (american 1917–2009) CHRISTMAS CARD WITH COLONIAL CARRIAGE Inscribed and signed ‘Merry Christmas/from/Betsy and Andy’ verso, ink on paper Sheet size: 3 3/8 x 5 3/8 in. (8.6 x 13.7cm) provenance: The Artist. A gift from the above. Private Collection, Pennsylvania. By descent in the family. Private Collection, Massachusetts. $2,500-4,000
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ndrew Wyeth often found his greatest inspiration in the peaceful surroundings of Brinton’s Mill, his home in Chadds Ford (PA), which he bought and restored with his wife Betsy in 1958. Frozen Wash is no exception in that regard, as it depicts an icy wash hanging behind the house of Alexander Chandler who lived at the small, early crossroads of Dilworthtown, just a couple of miles up the road from the artist’s home. The buildings in the background of Frozen Wash are the same ones that appear in many other major watercolors Wyeth created in the 1950s, especially the ones related to the Chandler family. In fact, Alexander Chandler was a close friend of the artist. In 1955, Wyeth painted his portrait (Alexander Chandler, Private collection), and the year later he depicted his granddaughter Cathy Hunt (Granddaughter, 1956, Wadsworth Athenaeum, Hartford, Connecticut). Wyeth had always been attracted to the stone buildings of his friend’s house. On the particular day he executed Frozen Wash, he was struck by the icy quality of the floating blankets left on the laundry line - a subtle indication of human life in this cold, quiet, winter world. Through his delicate touch and his overall mastery of the medium, Wyeth successfully renders the subtle effects of light and shadow at play in the work. By leaving the top and bottom edges of the watercolor completely untouched, he is able to capture the famous winter light that is so dazzling to the eye, and which here vividly contrasts with the brown facades that are almost completely encompassed by deep shadows. Generally speaking, the work reveals Wyeth’s interest in winter scenes, and his obsession with the atmospheric consequences such cold weather could have on the landscape. Although the artist started experimenting with watercolor as early as 1920, Wyeth only
relied on the medium and began painting winter scenes after the sudden passing of his father and nephew in 1945 as an expression of his grief . His installation in Chadds Ford and the work he produced between 1945 and 1955 seem deeply connected with the death of his father, memories of his childhood, and the uncertainty of his own future, suggesting both a fascination with the morbidity of death and a second chance at life. As he explained himself: “I prefer winter and fall, when you feel the bone structure of the landscape—the loneliness of it—the dead feeling of winter. Something waits beneath it—the whole story doesn’t show.” In Frozen Wash, through long-experimented technique, brilliant use of color and mastery of details, Wyeth transforms an overlooked, common scene of rural Pennsylvania into a quiet masterpiece of sensibility and poetry.
89 ANDREW WYETH (american 1917–2009) “FROZEN WASH” Signed (twice) ‘Andrew Wyeth’ and with artist’s initials ‘AW’ bottom right, watercolor and gouache on paper Sheet size: 21 x 29 1/2 in. (53.3 x 74.9cm) Executed in 1955. provenance: The Artist’s Studio. Acquired directly from the above in May 1979. Private Collection, Massachusetts. exhibited: “Andrew Wyeth: Something of the Artist,” William A. Farnsworth Library and Art Museum, Rockland, Maine, July 7-October 17, 1988. $80,000-100,000
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Š2019 Andrew Wyeth / Artists Rights Society (ARS), New York
90 FRANZ ARTHUR BISCHOFF (american 1864–1929) BOUQUET OF ROSES Signed ‘Franz A Bischoff’ bottom right, handpainted porcelain plaque 11 1/4 x 14 3/4 in. (28.6 x 37.5cm) provenance: Private Collection, Pennsylvania. $1,500-2,500
91 MARY STUARD TOWNSEND MASON (american 1886-1964) “OLD GOLD AND BLUE” Signed and dated ‘Mary T. Mason 1918’ bottom right, oil on canvas 32 1/4 x 28 in. (81.9 x 71.1cm) provenance: Estate of Ms. Vidal S. Clay, Westport, Connecticut. exhibited: “Annual Exhibition,” Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, no. 56, 1919. $1,500-2,500
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lthough he was born in Leesburg, Virginia in 1870, Hugh Henry Breckenridge has long been associated with the city of Philadelphia, having studied at the Pennsylvania Academy of the Fine Arts from 1887 to 1892, before subsequently teaching there for forty years. At the end of his life, Breckenridge established his own school of art in Gloucester, Massachusetts a popular destination for young artists of the time, which inspired the present work. Breckenridge worked in several styles and explored different currents ranging from Impressionism to Expressionism, to purest Abstraction; his sole focus being the expressive power of color. Contrary to Arthur B. Carles, one of his most talented students, also enamored with color play, Hugh Breckenridge thought of color as a “structural force” capable of reaching a harmony of form and space. As exemplified by Gloucester Street, the artist used his deep understanding of color theory and chemistry to approach his compositions, applying each dot of color in a loose, yet careful and precise manner, similar to Paul Signac’s pointillism which officially emerged several years after.
92 HUGH HENRY BRECKENRIDGE (american 1870–1937) GLOUCESTER STREET Signed ‘Hugh H. Breckenridge’ bottom left, oil on canvas 30 1/4 x 25 1/4 in. (76.8 x 64.1cm) provenance: McClees Galleries, Pennsylvania. Private Collection, California. $12,000-18,000
93 ALICE KENT STODDARD (american 1885–1976) “PORTRAIT OF ISAAC STARR, VIII” Signed ‘STODDARD’ bottom right, oil on canvas 30 x 25 in. (76.2 x 63.5cm) In a Harer frame. provenance: Estate of Ms. Vidal S. Clay, Westport, Connecticut. $3,000-5,000
94 MARTHA WALTER (american 1875–1976) “BOY WITH A JUG” Oil on canvas 32 x 23 5/8 in. (81.3 x 60cm) Executed in 1904. provenance: Jim’s Antiques Fine Art Gallery, Lambertville, New Jersey. Acquired directly from the above on May 14, 1999. The Estate of Mark Bojanowski. exhibited: “Impressionist Jewels: The Paintings of Martha Walter: A Retrospective,” Woodmere Art Museum, Philadelphia, Pennsylvania, September 22-November 17, 2002; and Jim’s Antiques Fine Art Gallery, Lambertville, New Jersey, November 22, 2002-January 31, 2003 (traveling exhibition). literature: Impressionist Jewels: The Paintings of Martha Walter: A Retrospective, an exhibition catalogue, Woodmere Art Museum, Philadelphia, Pennsylvania, 2002. $4,000-6,000
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95 MARTHA WALTER (american 1875–1976) “KIOSK FOR TOYS” (PARIS, LUXEMBOURG GARDENS) Signed ‘Martha Walter’ bottom right; also titled and located verso, watercolor on paper Sheet size: 15 x 19 1/4 in. (38.1 x 48.9cm) provenance: The Estate of the Artist. David David Gallery, Philadelphia, Pennsylvania. Private Collection, New York, New York. $2,000-3,000
96 MARTHA WALTER (american 1875–1976) “TUCKS POINT;” WITH BATHERS STUDY VERSO Signed ‘Martha Walter’ bottom center left, watercolor on paper Sheet size: 15 3/8 x 19 5/8 in. (39.1 x 49.78cm) provenance: David David Gallery, Philadelphia, Pennsylvania. Acquired directly from the above in 1976. Collection of Mr. Thoroughgood Jr., Philadelphia, Pennsylvania. Freeman’s, Philadelphia, sale of December 2, 2007, lot 105. Acquired directly from the above sale. The Estate of Mark Bojanowski, Philadelphia, Pennsylvania. $2,500-4,000
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97 ROBERT KULICKE (american 1924–2007) “TWO YELLOW AND TWO GREEN APPLES ON A LIGHT GREY-TAN BACKGROUND” Signed and dated ‘Kulicke 95’ bottom center, oil on arched-top panel 7 x 10 1/2 in. (17.8 x 26.7cm) In a Kulicke frame. provenance: Davis & Langdale Company Inc., New York, New York. Collection of David “Jay” Hellyer Jr., Pennsylvania. His sale, Alderfer Auction, Hatford, sale of August 23, 2018, lot 245. Acquired directly from the above sale. Private Collection, Pennsylvania. exhibited: “Robert Kulicke: Recent Paintings,” Davis & Langdale Company Inc., New York, New York, November 18-December 21, 1995. $3,000-5,000
98 RICHARD ALAN SCHMID (american b. 1934) WINTER SCENE Signed and dated ‘Schmid/60’ bottom left; also signed, located and dated ‘1960’ verso, oil on Masonite 11 7/8 x 11 1/4 in. (30.2 x 28.6cm) provenance: Private Collection, New York, New York. $2,000-3,000
99 RICHARD ALAN SCHMID (american b. 1934) WOODLAND PATH Signed ‘Schmid’ bottom left; also signed verso, oil on Masonite 11 7/8 x 15 7/8 in. (30.2 x 40.3cm) provenance: Private Collection, New York, New York. $2,500-4,000
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100 ROBERT WEAVER (american 1914–1991) “BACK DOOR” Signed ‘R. Weaver’ bottom right; also signed and dated ‘Nov. 15, 1939’ verso, oil on Masonite 34 x 30 in. (86.4 x 76.2cm) provenance: Grand Central Art Galleries, Inc., New York, New York. Acquired directly from the above. Private Collection. By descent in the family. Private Collection, New York. Sotheby’s, New York, sale of October 2, 2014, lot 99. Acquired directly from the above sale. Private Collection, New York, New York. $5,000-8,000
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101 ARNOLD WILTZ (american 1889–1937) “THE NOVA SCOTIA MAN; EASTWOOD BOUND” Signed and dated ‘Arnold Wiltz/June 1922’ bottom right, oil on canvas 18 1/8 x 22 in. (46 x 55.9cm) provenance: Private Collection, Richmond, Virginia. exhibited: Woodstock Art Association, n.d (per label verso). $3,000-5,000
102 HARRY RUSSELL BALLINGER (american 1892–1993) “EAST RIVER” Signed ‘HR Ballinger’ bottom right; also inscribed with title and artist on upper stretcher verso, oil on canvas 20 x 30 in. (50.8 x 76.2cm) provenance: The Estate of Paul and Clara Kellner. Stair Galleries, sale of October 29, 2016, lot 144. Acquired directly from the above. Private Collection, New York, New York. $1,000-1,500
103 MAX ARTHUR COHN (american 1903–1998) UNTITLED (NEW YORK VISTA) Signed ‘Max Arthur Cohn’ bottom right, oil on canvas 24 1/8 x 19 7/8 in. (61.3 x 50.5cm) provenance: Private Collection, New York. Rago Auctions, Lambertville, sale of May 17, 2014, lot 69. Acquired directly from the above sale. Private Collection, New York, New York. $2,000-3,000
104 ALFRED S. MIRA (american 1900–1981) “ON CHARLES STREET” Signed ‘A. Mira’ bottom right; also titled and signed on upper stretcher verso, oil on canvas 30 x 24 in. (76.2 x 61cm) provenance: Private Collection, Pennsylvania. $6,000-10,000
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105 HAROLD STERNER (american 1895–1976) “ICARUS I” Oil on panel 31 x 37 in. (78.7 x 94cm) Executed circa 1940. provenance: FAR Gallery, New York, New York. Collection of Mr. Randall Carter, New York, New York. Walter F. Maibaum Fine Arts, New York, New York. Acquired directly from the above in 1992. Collection of Harrie F. and Margaret Lewis, New York. exhibited: “Painting in the United States,” Carnegie Institute of Art, Pittsburgh, Pennsylvania, October 14-December 12, 1948. note: The present painting is among the artist’s most significant works. A second version of it, Icarus II, was included in the “Surrealism in American Art” exhibition, held at the Rutgers University Art Gallery (now Zimmerli Art Museum, New Brunswick, New Jersey) in 1977 as no. 143 $3,000-5,000
106 PAUL RAPHAEL MELTSNER (american 1905–1966) “DOCK SCENE, GLOUCESTER” Signed ‘Paul Meltsner’ bottom left, oil on canvas 24 x 30 in. (61 x 76.2cm) provenance: Private Collection, New Jersey. Freeman’s, Philadelphia, sale of December 5, 2010, lot 98. Acquired directly from the above sale. Private Collection, New York, New York. $3,000-5,000
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107 ROBERT GWATHMEY (american 1903–1988) “SHUCKING PEAS” Signed ‘Gwathmey’ bottom left, oil on canvas 16 x 10 in. (40.6 x 25.4cm) Executed circa 1950. provenance: Michael Rosenfeld Gallery, New York, New York. Acquired directly from the above in 2003. Private Collection, Philadelphia, Pennsylvania. By descent in the family. Private Collection, Pennsylvania. $5,000-8,000
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“F
or me, art should not be too cerebral. It is for rejoicing.” - Lee Gatch
108 LEE GATCH (american 1902–1968) ON THE BALCONY Signed ‘GATCH’ bottom right, oil on canvas laid down to panel Image: 12 7/8 x 7 1/2 in. (32.7 x 19.1cm) Overall: 23 1/4 x 18 in. (59 x 45.72cm) provenance: Freeman’s, Philadelphia, sale of June 25, 2006, lot 178. Acquired directly from the above sale. Dr. Tom Folk’s Art Gallery, Far Hills, New Jersey. Private Collection, Pennsylvania. $1,000-1,500
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109 LEE GATCH (american 1902–1968) “FETISH OAK” Signed and dated ‘GATCH/65’ bottom right; also with artist’s stamp and titled verso, oil and stone with nails and fabric collage on canvas laid down to panel 21 1/2 x 38 3/4 in. (54.6 x 98.4cm) provenance: Staempfli Gallery, New York, New York. Acquired from the above in February, 1967. Private Collection, New York. Sotheby’s, New York, sale of September 13, 2006, lot 86. Acquired directly from the above sale. Private Collection, Pennsylvania. $2,500-4,000
110 LEE GATCH (american 1902–1968) “CHRISTMAS SPECTATOR” Signed ‘GATCH’ bottom center right, oil on panel with gold leaf 6 3/4 x 7 3/4 in. (17.1 x 19.7cm) provenance: Collection of Mr. and Mrs. Phillip A. Bruno, New York, New York. Christie’s, New York, n.d. (per label verso) Private Collection, Pennsylvania. $1,500-2,500
111 LEE GATCH (american 1902–1968) “TAWNY GARDEN” Signed and dated ‘GATCH/61’ bottom right; also with artist’s stamp verso, oil and canvas collage on panel Image: 8 x 15 in. (20.3 x 38.1cm.) Overall: 15 x 22 in. (38.1 x 55.8cm.) provenance: World House Galleries, New York, New York Collection of Mrs. Josiah Marvel, Greenville, Delaware. Freeman’s, Philadelphia, sale of June 27, 2004, lot 140. Acquired directly from the above sale. Private Collection, New Jersey. Alferfer Auction, Hatfield, sale of June 8, 2005, lot 445. Acquired directly from the above sale. Private Collection, Pennsylvania. exhibited: “14-1965-7,” Philadelphia Museum of Art, Philadelphia, Pennsylvania, 1965. $1,500-2,500
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Lot 122 (detail)
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P E NN SY L V A N I A I M P R E SS I O N I STS lots 112-159
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112 WALTER EMERSON BAUM (american 1884–1956) “THE DELAWARE” Signed ‘BAUM’ bottom left; also titled, signed, and located ‘Sellersville, PA’ verso, oil on canvasboard 16 x 20 in. (40.6 x 50.8cm) provenance: Collection of Mr. Roedal, Pennsylvania (per inscription verso). Private Collection, California. exhibited: (Possibly) Woodmere Art Museum, Philadelphia, Pennsylvania, 1935. $2,000-3,000
113 HARRY LEITH-ROSS (american 1886–1973) “MORNING IN THE BAY” Signed ‘Leith-Ross’ bottom left, oil on board 8 1/4 x 10 in. (21 x 25.4cm) provenance: Private Collection, Colorado. exhibited: “Tenth Annual Exhibition,” Allied Artists of America, New York, New York, 1923. $3,000-5,000
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114 FERN ISABEL COPPEDGE (american 1883–1951) THE SOLITARY HOUSE Signed ‘Fern I. Coppedge.’ bottom left, oil on canvas 24 1/8 x 24 in. (61.3 x 61cm) provenance: Collection of Marion and Pierre Ancona, Pennsylvania (by 1940). Collection of Helen Ancona Fair (until 2015). By descent in the family. Private Collection, Pennsylvania. $30,000-50,000
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115 ANTONIO PIETRO MARTINO (american 1902–1989) “THE WINTER CREEK” Signed ‘A.P. Martino’ bottom left; also titled, signed and dated ‘1928’ on stretcher verso, oil on canvas 30 x 32 in. (76.2 x 81.3cm) provenance: Harry Eichleay Art Company, Pittsburgh, Pennsylvania. Private Collection, Pennsylvania. $4,000-6,000
116 ANTONIO PIETRO MARTINO (american 1902–1989) “SUMMER SHADE” Signed and dated ‘A.P Martino/1929’ bottom left; also titled, signed and dated on stretcher verso, oil on canvas 30 x 32 in. (76.2 x 81.3cm) provenance: Harry Eichleay Art Company, Pittsburgh, Pennsylvania. Private Collection, Pennsylvania. $3,000-5,000
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117 ELIZABETH FISHER WASHINGTON (american 1871–1953) ON THE OTHER SIDE OF THE BRIDGE Signed ‘E.F. Washington’ bottom right, oil on canvas 32 1/4 x 38 in. (81.9 x 96.5cm) provenance: Newman Galleries, Philadelphia, Pennsylvania. $3,000-5,000
118 ELIZABETH FISHER WASHINGTON (american 1871–1953) UNDER THE TREE SHADE Signed ‘E.F. Washington’ bottom right, oil on canvas 34 x 36 in. (86.4 x 94.1cm) provenance: Private Collection, Philadelphia, Pennsylvania. $2,500-4,000
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119 WALTER EMERSON BAUM (american 1884–1956) “WILD HONEY SUCKLE” Signed ‘W.E. Baum’ bottom left; also titled and signed verso, oil on canvas 32 x 40 in. (81.3 x 101.6cm) provenance: Private Collection, Pennsylvania. Freeman’s, Philadelphia, sale of June 24, 2007, lot 118. Acquired directly from the above sale. Private Collection, Pennsylvania. $7,000-10,000
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120 GEORGE WILLIAM SOTTER (american 1879–1953) CLOUDS IN THE VALLEY Signed and dated ‘Sotter/1932’ bottom right, oil on board 10 x 12 in. (25.4 x 30.5cm) provenance: Private Collection, Vermont. $15,000-25,000
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121 EDWARD WILLIS REDFIELD (american 1869–1965) “THE FROZEN CREEK” Signed ‘E.W. Redfield’ bottom left; also titled and signed on upper stretcher verso, and inscribed with title (twice) on labels verso, oil on canvas 38 1/4 x 50 1/8 in. (97.2 x 127.3cm) provenance: The Artist. The Estate of the Artist. Collection of Frances Gale Hume, the Artist’s grand daughter. Private Collection, Virginia. note: The present painting will be included in the forthcoming Catalogue Raisonné of Edward Redfield’s work, compiled by Dr. Thomas Folk. $150,000-250,000
94
(detail)
95
122 WALTER EMERSON BAUM (american 1884–1956) WINTER VALLEY Signed ‘W E Baum’ bottom left, oil on Masonite 5 x 7 in. (12.7 x 17.8cm) provenance: Private Collection, Pennsylvania. $1,500-2,500
123 ROY CLEVELAND NUSE (american 1885–1975) “NESHAMINY AUTUMN” Signed with artist’s conjoined initials ‘RN’ bottom left; also inscribed with artist, title, and date ‘1943’ verso, oil on board 12 x 16 in. (30.5 x 40.6cm) provenance: Private Collection, New Jersey. Freeman’s, Philadelphia, sale of December 6, 2015, lot 124. Acquired directly from the above sale. Private Collection, Pennsylvania. $2,000-3,000
96
124 HENRY BAYLEY SNELL (american 1858–1943) “ON THE YONDER SEA” (NEW YORK) Signed ‘Henry B. Snell’ bottom right, oil on canvas laid down to board 6 5/8 x 8 3/4 in. (16.8 x 22.2cm) provenance: Alderfer Auction, Hatfield, sale of June 7, 2006, lot 2292. Acquired directly from the above sale. Private Collection, Pennsylvania. $2,000-3,000
125 WALTER EMERSON BAUM (american 1884–1956) “ROAD TO KOUMSVILLE, NORTH OF KUTZTOWN, PA” Signed W E Baum’ bottom left; also titled and signed verso, oil on canvas 16 x 20 in. (40.6 x 50.8cm) provenance: Private Collection, Pennsylvania. $3,000-5,000
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126 FERN ISABEL COPPEDGE (american 1883–1951) THE DELAWARE RIVER IN WINTER Signed indistinctly ‘Fern I. Coppedge’ bottom left, oil on canvas 14 x 16 in. (35.6 x 40.6cm) provenance: Pedersen Gallery, Lambertville, New Jersey. Acquired directly from the above in 1996. Private Collection, New Jersey. $15,000-25,000
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127 FERN ISABEL COPPEDGE (american 1883–1951) “LAKE WINNIPESAUKEE AT TWILIGHT” Signed ‘Fern I. Coppedge’ bottom right; also titled, signed and dated ‘1937’ on upper stretcher verso, oil on canvas 12 x 12 in. (30.5 x 30.5cm) provenance: Pedersen Gallery, Lambertville, New Jersey. Acquired directly from the above in 1998. Private Collection, New Jersey. $10,000-15,000
99
128 ALBERT VAN NESSE GREENE (american 1887–1971) FALL IN THE VILLAGE Signed ‘A.V. Greene’ bottom left, oil on canvas laid down to Masonite 8 1/2 x 10 5/8 in. (21.6 x 27cm) In a Laughlin frame. provenance: Private Collection, Pennsylvania. $2,000-3,000
129 WALTER EMERSON BAUM (american 1884–1956) SNOWY ROAD Signed ‘W E Baum’ bottom left, oil on canvas laid down to board 5 3/8 x 7 1/8 in. (13.7 x 18.1cm) provenance: Private Collection, Pennsylvania. $1,500-2,500
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130 VIRA B. MCILRATH SCHEIBNER (american 1889–1956) TWO SCHOONERS Signed ‘V. SCHEIBNER’ bottom left, oil on board 6 x 4 in. (15.2 x 10.2cm) provenance: The Artfull Eye Gallery, Lambertville, New Jersey. Acquired directly from the above. Private Collection, Pennsylvania. $1,000-2,000
131 ANTONIO PIETRO MARTINO (american 1902–1989) THE BOAT RACE Signed ‘Antonio P. Martino’ bottom right, oil on canvas 30 x 45 in. (76.2 x 114.3cm) provenance: The Estate of Mark Bojanowski, Philadelphia, Pennsylvania. $2,000-3,000
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132 GEORGE WILLIAM SOTTER (american 1879–1953) “DELAWARE CANAL” Signed ‘G. Sotter’ bottom left; also titled and signed verso, oil on canvasboard 9 7/8 x 11 7/8 in. (25.1 x 30.2cm) provenance: Private Collection, Ohio. $5,000-8,000
133 GEORGE WILLIAM SOTTER (american 1879–1953) “RAND HOUSE;” WITH A BEACH SCENE STUDY VERSO Signed ‘G W Sotter’ bottom right; also titled and dated ‘1925’ verso, oil on board 7 1/2 x 9 1/4 in. (19.1 x 23.5cm) provenance: The Artist. Acquired directly from the above. Private Collection, Pennsylvania. By descent in the family. Private Collection, Bucks County. $6,000-10,000
102
A
major figure in Pennsylvania Impressionist painting, Walter Elmer Schofield was born in Philadelphia and studied under Thomas Anshutz at the Pennsylvania Academy of the Fine Arts. His career was marked by extensive travel between America and Europe, with he and his family moving to St. Ives, Cornwall in 1903, but with Schofield spending a portion of the year painting back in Pennsylvania. In addition to his highly coveted often large scale oils of the Pennsylvania countryside, an important part of the plein-air artist's oeuvre is his English scenes, including Devon and Cornwall, of which Road to the Moors is an excellent example. Bold, expressive and colorful, the present work invites the viewer to enter, at bottom center, a panoramic English country landscape, with its winding road framed by cottages and localized clusters of trees, all under a blue sky dotted with clouds. The bold palette of blues and greens, strong shadows and light, as well as broad brushwork all give the painting a sense of great energy, as if the little hamlet, although deserted, is vibrating with life.
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134 WALTER ELMER SCHOFIELD (american 1867–1944) “ROAD TO THE MOORS” Signed ‘Schofield’ bottom left; also signed and titled (twice) on stretcher verso, oil on canvas 30 x 36 in. (76.2 x 91.4cm) provenance: Collection of Mrs. George Whitney (née Martha Beatrix Bacon), New York, New York (per label verso). Kendall Art Advisory, Atlanta, Georgia. Acquired directly from the above. Private Collection, Pennsylvania. $25,000-40,000
135 MELVILLE F. STARK (american 1903–1987) “FREEMANSBURG” Signed and dated ‘M. Stark/85’ bottom right; also signed, titled and dated on upper stretcher verso, oil on canvas 16 x 20 in. (40.6 x 50.8cm) provenance: The Estate of the Artist (#113). Private Collection, Pennsylvania. $1,500-2,500
136 HENRY BAYLEY SNELL (american 1858–1943) “THE OLIVE GROVE” Signed ‘Henry B. Snell’ bottom right, oil on canvas laid down to board 11 1/4 x 13 1/4 in. (28.6 x 33.7cm) provenance: Plymouth Meeting Gallery, Pennsylvania. Acquired directly from the above. Private Collection, Pennsylvania. $2,000-3,000
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137 MELVILLE F. STARK (american 1903–1987) BROOK SCENE, EARLY WINTER Signed and dated illegibly ‘M. Stark/**’ bottom right, oil on canvas 25 x 30 in. (63.5 x 76.2cm) provenance: The Estate of the Artist (#118). Paul Gratz Gallery, Doylestown, Pennsylvania. Private Collection, Pennsylvania. $1,500-2,500
138 GEORGE WILLIAM SOTTER (american 1879–1953) FOOTPRINTS IN THE SNOW Oil on board 5 7/8 x 8 in. (14.9 x 20.3cm) provenance: The Artist. A Gift from the above. Private Collection, Pennsylvania. By descent in the family. Private Collection, Bucks County. $4,000-6,000
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139 EDWARD WILLIS REDFIELD (american 1869-1965) “EVENING AT THE FARM” Signed ‘E. W. Redfield’ bottom right; also inscribed with title on bottom stretcher verso, oil on canvas 23 3/4 x 28 7/8 in. (60.3 x 73.3cm) Executed circa 1900. provenance: Estate of Ms. Vidal S. Clay, Westport, Connecticut. exhibited: “An Exhibition of Landscapes by Mr. Edward W. Redfield of Philadelphia,” Saint Botolph Club, Boston, Massachusetts, April 1-April 20, 1901, no. 30. note: The present work will be included in the forthcoming Catalogue Raisonné of Edward Redfield’s work, compiled by Dr. Thomas Folk. $30,000-50,000
106
140 JOHN FABIAN CARLSON (american/swedish 1875–1947) “MOUNTAIN GLOOM” Signed ‘John F. Carlson’ bottom left; also titled (twice) verso; also with Vose Galleries authentication stamp verso, oil on canvas laid down to board 8 x 10 in. (20.3 x 25.4cm) provenance: The Estate of the Artist (#270). Vose Galleries, Boston, Massachusetts. Louis Katz, New York, New York (per label verso). The Estate of Mark Bojanowski, Philadelphia, Pennsylvania. $1,500-2,500
141 JOHN FABIAN CARLSON (american/swedish 1875–1947) “MORNING LYRIC” Signed ‘John F. Carlson’ bottom right; also titled and signed verso, oil on canvas laid down to board 12 x 16 in. (30.5 x 40.6cm) provenance: Private Collection, Virginia. $4,000-6,000
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142 PAULETTE VICTORINE J. VAN ROEKENS (american 1896–1988) “NEW YEAR’S EVE (MUMMERS) Signed ‘P. VAN ROEKENS’ bottom right; also titled, signed and dated ‘1954’ on upper stretcher verso, oil on canvas 12 x 14 in. (30.5 x 35.6cm) provenance: Newman Galleries, Philadelphia, Pennsylvania. $3,000-5,000
143 PAULETTE VICTORINE J. VAN ROEKENS (american 1896–1988) “BOAT RACE” Signed ‘P. VAN ROEKENS’ bottom right; also titled, signed and dated ‘68’ verso, oil on canvas laid down to Masonite 8 x 10 in. (20.3 x 25.4cm) provenance: Private Collection, Pennsylvania. $3,000-5,000
108
144 FERN ISABEL COPPEDGE (american 1883-1951) THE OLD GRIST MILL, BUCKS COUNTY Signed ‘Fern I. Coppedge.’ bottom right, oil on canvas 30 x 30 in. (76.2 x 76.2cm) provenance: Private Collection, Pennsylvania. $50,000-80,000
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A
long with Fern Coppedge, Mary Elizabeth Price is considered one of the most important women artists associated with the Pennsylvania Impressionists. Although she was born in Virginia to Quaker parents, Price spent all her childhood on a farm in Solebury Township, Bucks County, where her mother who was born. She remained there all her life, until her death in 1965. The sister of a famous gallery owner in New York, a reputed frame maker in Bucks County and the sister-in-law of Rae Sloan Bredin, Mary Elizabeth Price evolved in a family with close ties to the art world. From 1896 to 1904, she studied at the Pennsylvania Museum School of Industrial Art (now the University of the Arts). She then attended the Pennsylvania Academy of the Fine Arts, where he studied still life painting and drawing under the tutelage of Hugh Breckenridge and Daniel Garber. Today, Price is best known for her floral panels and screens, which she started to explore gradually after 1928, using the irises, peonies, poppies, lilies, delphiniums and hollyhocks that she grew in her cottage garden as her main source of inspiration. Through her capitavating still lifes, Price revived an old technique of the Italian Renaissance. Like Florentine and Sienese artists of the 15th century before her, she used a full palette of oil color, which she richly applied on a gilded surface of gesso (sometimes covered by no less than sixteen different shades of gold and silver leaf), preliminary incised with intricate designs. As exemplified by Hollyhock and Oriental Poppy the result consists in a dazzling representation of unusually colorful flowers magically set against a glistening background, charging it with an ethereal, almost timeless quality. In addition to her well-known floral works, Price also produced landscapes, scenes of village and farm life, as well as a series of sixteenth-century Spanish galleons, one of which won the Carnegie Prize in 1927. Vessel From the Spanish Treasure Fleet is a charming example of one of the numerous boats affiliated with the legendary West Indies Fleet.
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145 MARY ELIZABETH PRICE (american 1877–1965) VESSEL FROM THE SPANISH TREASURE FLEET Signed ‘M ELIZABETH PRICE’ in a cartouche bottom right, oil with gold and silver leaf on board 9 5/8 x 14 3/8 in. (24.4 x 36.5cm) provenance: Private Collection, Pittsburgh, Pennsylvania. By descent in the family. Private Collection, Washington D.C. $1,500-2,500
146 MARY ELIZABETH PRICE (american 1877–1965) “HOLLYHOCK AND ORIENTAL POPPY” Signed ‘M ELIZABETH PRICE’ bottom left; also titled and signed verso, oil with gold and silver leaf on Masonite 40 x 30 in. (101.6 x 76.2cm) provenance: Private Collection, Pittsburgh, Pennsylvania. By descent in the family. Private Collection, Washington D.C. $30,000-50,000
147 WALTER EMERSON BAUM (american 1884–1956) PENNSYLVANIA VILLAGE IN THE SNOW Signed ‘W.E. Baum’ bottom right, oil on canvas laid down to board 5 x 7 in. (12.7 x 17.8cm) provenance: Private Collection, Pennsylvania. Rago Auctions, Lambertville, sale of May 15, 2010, lot 35. Acquired directly from the above sale. Private Collection, Pennsylvania. $1,500-2,500
148 MELVILLE F. STARK (american 1903–1987) FISHING BOATS Signed and dated illegibly ‘-M. Stark-/*5’ bottom right, oil on Masonite 24 x 30 in. (61 x 76.2cm) provenance: The Estate of the Artist (#115). Private Collection, Pennsylvania. $2,000-3,000
112
149 ALFRED NUNAMAKER (american 1915–1988) “TONY’S PLACE” Signed ‘A. Nunamaker’ bottom right; also inscribed with artist, title and location ‘Center Bridge/Solebury, PA.’ verso, oil on canvasboard 7 7/8 x 10 in. (20 x 25.4cm) provenance: Home Art Gallery, Doylestown, Pennsylvania. Collection of Mrs. Frank Graff (per inscription verso). McCarty Gallery, Chestnut Hill, Pennsylvania. Acquired directly from the above. Private Collection, Pennsylvania. $3,000-5,000
150 HARRY H. HORN (american 1901–1982) AFTERNOON NAP Signed ‘H. Horn’ bottom right, oil on canvas 16 x 20 in. (40.6 x 50.8cm) provenance: Raymond James, Florida. Acquired directly from the above. Private Collection, Pennsylvania. $2,000-3,000
113
151 FRED WAGNER (american 1861–1940) NEW YORK SKYLINE Signed ‘F. Wagner’ bottom right, oil on canvasboard 12 x 16 in. (30.5 x 40.6cm) provenance: Private Collection, Bucks County, Pennsylvania. $3,000-5,000
152 FRED WAGNER (american 1861–1940) “SCHOONER DOCKED ON THE DELAWARE” Oil on board 8 x 10 in. (20.3 x 25.4cm) provenance: Newman Galleries, Philadelphia, Pennsylvania. $2,000-3,000
114
P
olperro is a village and fishing harbor on the southeast Cornwall coast in the southwest of England. Cornwall was a popular destination for the Pennsylvania Impressionists, particularly Walter Elmer Schofield and Harry Leith-Ross.
115
153 HARRY LEITH-ROSS (american 1886-1973) “LOW TIDE, POLPERRO” Signed ‘Leith-Ross’ bottom right; also inscribed with artist and title on stretcher verso, oil on canvas 24 x 30 in. (61 x 76.2cm) Executed in 1931. provenance: Private Collection, Pennsylvania. exhibited: “Pennsylvania Impressionists,” The James A. Michener Art Museum, Doylestown, Pennsylvania, June 16, 1990-August 26, 1990. “Poetry in Design: The Art of Harry Leith-Ross,” The James A. Michener Art Museum, Doylestown, Pennsylvania, May 12-October 10, 2006; and Della Penna Gallery, New Hope, Pennsylvania, October 28, 2006-February 18, 2007 (traveling exhibition). literature: Erika Jaeger-Smith, Poetry in Design: The Art of Harry Leith-Ross, The James A. Michener Museum of Art and University of Pennsylvania, 2006, p. 41 (illustrated). $12,000-18,000
“C
obb’s Creek is recorded as having been painted in February 1913, yet the trees in this landscape would appear to be in summer foliage. In the following spring the artist employed a similar composition in Grey Day -March (cat. P 319), based on the oil sketch March Day, from March 1913 (cat. P 309). All three landscapes feature tall, thin trees in the middle ground set against a background that has been simplified into strong horizontal bands across the center of the picture.” - Lance Humphries, Daniel Garber Catalogue Raisonné, Hollis Taggart Galleries, New York, 2006, Vol II. p. 101.
154 DANIEL GARBER (american 1880-1958) “COBB’S CREEK” Signed ‘Daniel Garber’ bottom right, oil on canvas 30 x 25 in. (76.2 x 63.5cm) Executed in February 1913. provenance: The Artist. Acquired directly from the above in 1918 through Vose Galleries, Boston, Massachusetts. Collection of Charles D. Armstrong, Pittsburgh, Pennsylvania Private Collection, Connecticut. exhibited: Art Club of Philadelphia, Philadelphia, Pennsylvania, 1913, no. 14 American Federation of Arts Tour, New York State and Midwest, 1913. American Federation of Arts Tour to Nashville, Tennessee, Summer 1914. “Exhibition of Present Day American Art,” Montreal, Canada, October 18-November 6, 1915, no. 29 Carnegie Institute, Pittsburgh, Pennsylvania, January 1918. literature: Artist’s Record Book I, lines 25-26, p. 11 Artist’s Record Book II, p. 84 Robert C. Vose, Vose to Daniel Garber, July 8, 1915, LF Robert C. Vose, Vose to Daniel Garber, July 20, 1915, LF Robert C. Vose, [Vose] to Daniel Garber, February 5, 1918, LF Robert C. Vose, Vose to Daniel Garber, February 14, 1918, LF Robert C. Vose, Vose to Daniel Garber, April 23, 1918, LF Robert C. Vose, Vose to Daniel Garber, August 23, 1918, LF Robert C. Vose, Vose to Daniel Garber, October 18, 1918, LF Lance Humphries, Daniel Garber: Catalogue Raisonné, Hollis Taggart Galleries, New York, 2006. Vol. I pp. 49-50, and Vol. II cat. P 305, p. 101 (illustrated). $100,000-150,000
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155 DANIEL GARBER (american 1880-1958) “SAND WHARF” 1926. Edition of 32. Pencil signed ‘Daniel Garber’ bottom right; also titled bottom center and inscribed ‘Da Imp’ bottom left; also numbered ‘#29’ in the margin bottom left, etching and drypoint on paper Plate size: 3 3/8 x 6 1/4 in. (8.6 x 15.9cm) Sheet size: 5 5/8 x 7 5/8 in. (14.3 x 19.4cm) provenance: The Artist. Collection of John Franklin Garber, son of Daniel Garber. Collection of Madeleine B. Garber, wife of John Franklin Garber, and the Estate of John Franklin Garber (in 1993). A Gift from the above in 1994. James A. Michener Art Museum, Doylestown, Pennsylvania. Private Collection, Bucks County. literature: Artist’s Etching Register, p. 7 (etched from a drawing made in Paris, near Pont Neuf). Kathleen A. Foster, Daniel Garber: 1880-1958, Philadelphia: Pennsylvania Academy of the Fine Arts, 1980, p. 73. Lance Humphries, Daniel Garber: Catalogue Raisonné, Volume II, Hollis Taggart Galleries, 2006, cat. E 16, p. 412 (illustrated). $1,200-1,800 156 MARY ELIZABETH PRICE (american 1877–1965) WOMEN AT THE FOUNTAIN Signed ‘M ELIZABETH PRICE’ bottom left, oil on canvas 20 x 16 in. (50.8 x 40.6cm) Unframed. Executed circa 1920. provenance: Private Collection, Pennsylvania. $2,000-3,000
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157 ADOLPHE BORIE (american 1877–1934) STILL LIFE WITH FLOWERS Signed ‘Borie’ bottom right; also signed verso, oil on board 20 3/4 x 19 3/8 in. (52.7 x 49.2cm) provenance: Private Collection, Oregon. $2,000-3,000
158 RAD MILLER (american 1905–1966) STILL LIFE WITH IRISES Signed ‘R.A.D. Miller’ bottom left, oil on canvas 28 x 21 in. (71.1 x 53.3cm) provenance: Collection of Martha Jean Benjamin, Pennsylvania. A Gift from the above. Private Collection, Pennsylvania. $2,500-4,000
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159 FERN ISABEL COPPEDGE (american 1883–1951) WINTER AT NEW HOPE Signed ‘Fern I. Coppedge.’ bottom left, oil on canvas 12 x 12 in. (30.5 x 30.5cm) provenance: The Estate of Mary Rule, New Jersey. Freeman’s, Philadelphia, sale of June 26, 2005, lot 150. Acquired directly from the above sale. Private Collection, Ohio. $20,000-30,000
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INDEX ANSHUTZ, T.
56
KULICKE, R.
97
SMITH, M.R.
23, 32, 37, 40, 44, 53
AUSTRIAN, B.
25, 26, 29, 33, 34, 41, 42, 43, 45-48, 52
LAESSLE, A.
68, 69
SNELL, H.B.
124, 136
LAMBDIN, G.C.
16
SOTTER, G.W.
120, 132, 133, 138
BAIRD, W.B.
35, 36, 38, 39, 51
LEITH-ROSS, H.
113, 153
SPRUANCE, B.M.
6-8
BALLINGER, H.R.
102
LEVER, R.H.
61, 62
STARK, M.F.
135, 137, 148
BAUM, W.E.
112, 119, 122, 125, 129, 147
LEWIS, M.
1, 2
STELLA, J.
76
BEAUX, C.
19
LIE, J.
79
STERNER, H.
105
BENSON, F.W.
4
LIPPINCOTT, W.H.
13
STICK, F.
80
BENTON, T.H.
5
MARTINO, A.P.
115, 116, 131
STODDARD, A.K.
93
BERTHELSEN, J.
64
MASON, M.S.T.
91
TAIT, A.F.
24, 27, 30,
BISCHOFF, F.A.
90
MELROSE, A.
10
TANNER, H.O.
75
BORIE, A.
157
MELTSNER, P.R.
106
THERIAT, C.J.
15
BRECK, J.L.
60
MILLER, K.H.
58
TROST RICHARDS, W.
14
BRECKENRIDGE, H.H.
92
MILLER, R.
158
VAN ROEKENS, P.V.J.
142, 143
BURCHFIELD, C.E.
70-74
MIRA, A.S.
104
VONNOH, R.
59
CARLSON, J.F.
140, 141
MORSE, H.D.
49
WAGNER, F.
151, 152
CARR, S.S.
22
MURPHY, H.D.
20, 21
WALTER, M.
94-96
COHN, M.A.
103
NUNAMAKER, A.
149
WASHINGTON, E.F.
117, 118
COPPEDGE, F.I.
114, 126, 127, 144, 159
NUSE, R.C.
123
WAUGH, F.J.
65
CRANE, B.
55
PALMER, W.L.
57
WEAVER, R.
100
DICKINSON, P.
75
PAXTON, W.M.
63
WHISTLER, J.A.M.
3
EATON C.W.
54
PETO, J.F.
18
WIGGINS, G.C.
66
FRANCIS, J.F.
17
PRICE, M.E.
145, 146, 156
WILTZ, A.
101
GARBER, D.
154, 155
REDFIELD, E.W.
121, 139
WYETH, A.
86-89
GATCH, L.
108-111
ROGERS, F.W.
50
WYETH, N.C.
85
GLACKENS, W.
67
SCHEIBNER, V.B.M.
130
GREENE, A.V.N.
128
SCHMID, R.A.
98, 99
GRUPPE, E.A.
77, 78
SCHOFIELD, W.E.
134
GWATHMEY, R.
107
SEGAL, G.,
111, 113
HERZOG H.
9
SHATTUCK, A.D.
12
HILL, H.
28, 31
SLOANE, E.
81-84
HORN, H.H.
150
SMITH, F.H.
11
GLOSSARY any statement as to authorship, attribution, origin, date, age, provenance and condition is a state of opinion and is not to be taken as a statement or representation of face. freeman’s reserves that right, in forming their opinion, to consult and rely upon any expert or authority considered by them to be reliable. names
attributed to
school of
Forename(s) and surname of painter is in our
School accompanied by the name of a place or country
opinion a work by that artist; e.g. Charles Willson
and a date means that we believe the picture was
Peale. When an artist’s forename(s) is not known, a
executed at that time and in that location; e.g. Italian
series of asterisks followed by the surname of the
School, 18th Century. After an artist is in our opinion a
artist, wether preceded by an initial or not, indicates
copy of any date after a work by that artist; e.g. After
that in our opinion the work is by the artist named.
Charles Willson Peale. after an artist
Refers to probably a work by the artist; e.g. Attributed to Charles Willson Peale.
Signed and/or dated and/or inscribed means that we believe the signature and/or date and/or inscription are from the hand of the artist. Bears a signature and/
studio of
circle of
Refers to a work from the studio of the artist which
or a date and/or an inscription means that we believe
may or may not have been executed under his
the artist’s name and/or date and/or inscription have
direction; e.g. Studio of Charles Willson Peale.
been added by another hand.
Circle of..... refers to a work of the period of the
signatures & dates
artist executed under his immediate influence; e.g.
All references to signature, inscriptions and dates refer to the present state of the work.
Circle of Charles Willson Peale. measurements follower of
Follower of..... refers to a work by a painter working in the artist’s style, contemporary or nearly contemporary, but not necessarily his pupil; e.g. Follower of Charles Willson Peale.
manner of
Manner of..... refers to a work in a style related to that of the artist, but of a later date; e.g. Manner of Charles Willson Peale.
121
Dimensions are given height before width.
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A. Mastrocco Jr. Moving & Storage Roseanne Gebler 1060 Louis Drive Warminster, PA 18991 215.491.0346 | Fax: 215.444.9327 mastroccomovers@snip.net
Aiston Fine Art Service ‡ Mark Aiston P.O. Box 3434 Grand Central Station New York, NY 10163 212.715.0629 | Fax: 718.361.8569 info@aistonart.com
The Packaging Store ‡ Alex Long 2333 Welsh Road Lansdale, PA 19446 215.361.6940 | Fax: 215.361.6941 hello@packandshipnow.com
Cadogan Tate Fine Art ‡ Stacey Ferguson Cadogan House 41-20 39th Street Sunnyside, NY 11104 718.706.7999 | Fax: 718.707.2847 s.ferguson@cadogantate.com Crozier Fine Arts ‡ Catherine Erickson New York, NY 10011 212.741.2024 / Fax: 212.741.5513 shipping@crozierarts.com
U.S. Art ‡ Jessica Pierce 37-11 48th Avenue Long Island City, NY 11101 800.472.5784 | Fax:718.472.5785 jpierce@usart.com FURNITURE & LARGE ITEMS For larger pieces where delivery time is not the primary concern, we suggest getting your items freighted: www.plyconvanlines.com www.freightquote.com
‡ Shippers that can fulfill international deliveries
IMPORTANT INFORMATION FOR BUYERS Registration All potential buyers must register for the sale prior to placing a bid. Registration information may be submitted in person at our reception desk, by fax or through our website at www.freemansauction.com. We will require proof of identification and residence and may require a credit card and/or a bank reference. By registering for the sale, the buyer acknowledges that he or she has read, understood and accepted Freeman’s Terms and Conditions of Sale. Buyer’s Premium A Buyer’s Premium will be added to the successful bid price and is payable by the buyer as part of the total purchase price. The Buyer’s Premium shall be: 25% on the first $200,000 of the hammer price of each lot, 20% on the portion from $200,001 through $3,000,000, and 12% thereafter. Sales Tax All items in the catalogue are subject to the 8% Pennsylvania and Philadelphia sales tax. Dealers purchasing for resale must register their tax numbers on current PA forms. Forms should be submitted to our Client Services office on the second floor. Catalogue Descriptions All item descriptions, dimensions and estimates are provided for guidance only. It is the buyer’s responsibility to inspect all lots prior to bidding to ensure that the condition is to their satisfaction. If potential buyers are unable to inspect lots in person, our specialists will be happy to prepare detailed Condition Reports on individual lots as quickly as possible. These are for guidance only, and all lots will be sold “as is” as per our Terms and Conditions of Sale. Bidding At the sale Registered bidders will be assigned a bidder number and given a paddle for use at the sale. Once the first bid has been placed, the auctioneer asks for higher bids in increments determined by the auctioneer. To place your bid, simply raise your paddle until the auctioneer acknowledges you. The auctioneer will not mistake a random gesture for a bid. By phone A limited number of telephone lines are available for bidding by phone through a Freeman’s representative. Phone lines must be reserved in advance. Requests must be submitted no later than 24 hours prior to the scheduled start of the sale. In writing Bid forms are available in the sale room and at the back of the catalogue. These should be submitted in person, by mail or by fax no later than one hour prior to the scheduled start of the sale. The auctioneer will bid on your behalf up to the limit. On the internet A fully-illustrated catalogue is available on-line at www.freemansauction.com. Registered bidders may leave absentee bids through the website and will receive email confirmation of their bid. Freeman’s is not responsible for errors or failure to execute bids. Payment Payment is due within ten (10) working days of the sale. Lots purchased will not be released until we have received full payment. Payment may be made in cash, by check, money order, or debit card. Payments by check must clear the bank before goods will be released. Removal of Purchases Deliveries will not be made during the time of the sale unless otherwise indicated by the auctioneer. All items must be paid for and removed within ten (10) working days of the sale. Purchases not so removed may be turned over to a licensed warehouse at the expense and risk of the purchaser. Shipping and Packing Responsibility for packing, shipping and insurance shall be exclusively that of the purchaser. Upon request, Freeman’s will provide the purchaser with names of professional packers and shippers known to us. Endangered Species Lots marked * are manufactured in whole or in part of restricted materials that may include tortoiseshell, ivory, mother-of-pearl, coral, rhinoceros horn, whalebone or marine ivory. Such materials may require specific licenses, certificates, or CITES documentation for import, export, moving between states in the U.S., or resale. Obtaining these documents may require scientific, laboratory or other expert analysis, in order to establish which species or genus the material came from. Freeman’s is unable to provide this information, and the obligation is on the purchaser of a lot containing any of these materials to ensure that they are able to obtain all the necessary or required documents should they need to, prior to bidding on the lot. If proper documentation or licenses etc. cannot be obtained for a purchased lot, the purchaser will still be required to make an on time payment for the lot as per our standard terms and conditions. Freeman’s cataloguing of the lots marked with this symbol * represents the best of our opinion, and the absence of this symbol from any lot description does not form a warranty that the lot will be free from any licensing or certification restrictions.
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TERMS & CONDITIONS All property offered and sold (“property”) through Samuel T. Freeman & Co, (“Freeman’s”) shall be offered and sold on the terms and conditions set forth below which constitutes the complete statement of the terms and conditions on which all property is offered for sale. By bidding at the auction, whether present in person or by agent, by written bid, telephone, internet or other means, the buyer agrees to be bound by these terms and conditions.
1 Unless otherwise indicated, all Property will be offered by Freeman’s as agent for the Consignor. 2 Freeman’s reserves the right to vary the terms of sale and any such variance shall become part of these Conditions of Sale. 3 Buyer acknowledges that it had the right to make a full inspection of all Property prior to sale to determine the condition, size, repair or restoration of any Property. Therefore, all property is sold “ASIS”. Freeman’s is acting solely as an auction broker, and unless otherwise stated, does not own the Property offered for sale and has made no independent investigation of the Property. Freeman’s makes no warranty of title, merchantability or fitness for a particular purpose, or any other warranty or representation regarding the description, genuineness, attribution, provenance or condition to the Property of any kind or nature with respect to the Property. 4 Freeman’s in its sole and exclusive discretion, reserves the right to withdraw any property, at any time, before the fall of the hammer. 5 Unless otherwise announced by the auctioneer at the time of sale, all bids are per lot as numbered in the printed catalogue. Freeman’s reserves the right to determine any and all matters regarding the order, precedence or appropriate increment of bids or the constitution of lots. 6 The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer has the right to reject any bid, to advance the bidding at his absolute discretion and in the event of any dispute between bidders, the auctioneer shall have the sole and final discretion either to determine the successful bidder or to re- offer and resell the article in dispute. If any dispute arises after sale, the Freeman’s sale record shall be conclusive in all respects. 7 If the auctioneer determines that any opening or later bid or any advance bid is not commensurate with the value of the Property offered, he may reject the same and withdraw the Property from sale.
8 Upon the fall of the hammer, title to any offered lot or article will immediately pass to the highest bidder as determined in the exclusive discretion of the auctioneer, subject to compliance by the buyer with these Conditions of Sale. Buyer thereupon assumes full risk and responsibility of the property sold, agrees to sign any requested confirmation of purchase, and agrees to pay the full price, plus Buyer’s Premium, therefore or such part, upon such terms as Freeman’s may require. 9 No lot may be removed from Freeman’s premises until the buyer has paid in full the purchase price therefor including Buyer’s Premium or has satisfied such terms that Freeman’s, in its sole discretion, shall require. Subject to the foregoing, all Property shall be paid for and removed by the buyer at his/her expense within ten (10) days of sale and, if not so removed, may be sold by Freeman’s, or sent by Freeman’s to a public warehouse, at the sole risk and charge of the buyer(s), and Freeman’s may prohibit the buyer from participating, directly or indirectly, as a bidder or buyer in any future sale or sales. In addition to other remedies available to Freeman’s by law, Freeman’s reserves the right to impose a late charge of 1.5% per month of the total purchase price on any balance remaining ten (10) days after the day of sale. If Property is not removed by the buyer within ten (10) days, a handling charge of 1% of the total purchase price per month from the tenth day after the sale until removal by the buyer shall be payable to Freeman’s by the buyer; Freeman’s shall charge 1.5% of the total purchase price per month for any property not so removed within 60 days after the sale. Freeman’s will not be responsible for any loss, damage, theft, or otherwise responsible for any goods left in Freeman’s possession after ten (10) days. If the foregoing conditions or any applicable provisions of law are not complied with, in addition to other remedies available to Freeman’s and the Consignor (including without limitation the right to hold the buyer(s) liable for the bid price) Freeman’s, at its option, may either cancel the sale, retaining as liquidated damages all payments made by the buyer(s), or resell the property. In such event, the buyer(s) shall remain liable for any deficiency
in the original purchase price and will also be responsible for all costs, including warehousing, the expense of the ultimate sale, and Freeman’s commission at its regular rates together with all related and incidental charges, including legal fees. Payment is a precondition to removal. Payment shall be by cash, certified check or similar bank draft, or any other method approved by Freeman’s. Checks will not be deemed to constitute payment until cleared. Any exceptions must be made upon Freeman’s written approval of credit prior to sale. In addition, a defaulting buyer will be deemed to have granted and assigned to Freeman’s, a continuing security interest of first priority in any property or money of, or owing to such buyer in Freeman’s possession, and Freeman’s may retain and apply such property or money as collateral security for the obligations due to Freeman’s. Freeman’s shall have all of the rights accorded a secured party under the Pennsylvania Uniform Commercial Code. 10 Unless the sale is advertised and announced as “without reserve”, each lot is offered subject to a reserve and Freeman’s may implement such reserves by bidding through its representatives on behalf of the Consignors. In certain instances, the Consignor may pay less than the standard commission rate where Freeman’s or its representative is a successful bidder on behalf of the Consignor. Where the Consignor is indebted to Freeman’s, Freeman’s may have an interest in the offered lots and the proceeds therefrom, other than the broker’s Commissions, and all sales are subject to any such interest. 11 No “buy” bids shall be accepted at any time for any purpose. 12 Any pre-sale bids must be submitted in writing to Freeman’s prior to commencement of the offer of the first lot of any sale. Freeman’s copy of any such bid shall conclusively be deemed to be the sole evidence of same, and while Freeman’s accepts these bids for the convenience of bidders not present at the auction, Freeman’s shall not be responsible for the failure to execute, or, to execute properly, any pre-sale bid.
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13 A Buyer’s Premium will be added to the successful bid price and is payable by the buyer as part of the total purchase price. The Buyer’s Premium shall be: 25% on the first $200,000 of the hammer price of each lot, 20% on the portion from $200,001 through $3,000,000, and 12% thereafter. 14 Unless exempted by law from the payment thereof, the buyer will be required to pay any and all federal excise tax and any state and/or local sales taxes, including where deliveries are to be made outside the state where a sale is conducted, which may be subject to a corresponding or compensating tax in another state. 15 Freeman’s may, as a service to buyer, arrange to have purchased property posted and shipped at the buyer’s expense. Freeman’s is not responsible for any acts or omissions in packing or shipping of purchased lots whether or not such carrier is recommended by Freeman’s. Packing and handling of purchased lots is at the responsibility of the buyer and is at the entire risk of the buyer. 16 In no event shall any liability of Freeman’s to the buyer exceed the purchase price actually paid. 17 No claimed modification or amendment of this Agreement on the part of any party shall be deemed extant, enforceable or provable unless it is in writing that has been signed by the parties to this Agreement. No course of dealing and no delay or omission on the part of Freeman’s in exercising any right under this Agreement shall operate as a waiver of such right or any other right and waiver on any one or more occasions shall not be construed as a bar to or waiver of any right or remedy of Freeman’s on any future occasion. 18 These Conditions of Sale and the buyer’s, the Consignor’s and Freeman’s rights under these Conditions of Sale shall be governed by, construed and enforced in accordance with the laws of the Commonwealth of Pennsylvania and Consignor and Buyer agree to the exclusive jurisdiction of the Philadelphia, Pennsylvania Court of Common Pleas and the United States District Court for the Eastern District of Pennsylvania.
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DIRECTORY Officers
Specialist Departments
Representatives
Alasdair Nichol Chairman
20th Century Design Tim Andreadis tandreadis@freemansauction.com
New England Darren Winston dwinston@freemansauction.com
American Art & Pennsylvania Impressionists Alasdair Nichol
Mid-Atlantic Samuel T. Freeman III sfreeman@freemansauction.com
Margaret D. Freeman Director Emeritus Paul S. Roberts President Hanna Dougher Chief Operating Officer Samuel T. Freeman III Senior Vice President
Departments Appraisals Amy Parenti aparenti@freemansauction.com Business Development Thomas B. McCabe IV tmccabe@freemansauction.com Client Services Mary Maguire Carroll mmaguire@freemansauction.com Finance Whitney Long wlong@freemansauction.com Marketing & Communications Whitney Bounty wbounty@freemansauction.com Museum Services Thomas B. McCabe IV tmccabe@freemansauction.com Photography Thomas Clark tclark@freemansauction.com Shipping & Receiving Jake Gravelding jgravelding@freemansauction.com Trust & Estates Thomas B. McCabe IV tmccabei@freemansauction.com
anichol@freemansauction.com
Southeast Colin Clarke cclarke@freemansauction.com
American Furniture, Folk & Decorative Arts Lynda Cain
West Coast Michael Larsen mlarsen@freemansauction.com
lcain@freemansauction.com Antiquities & Tribal Art Tessa Laney tlaney@freemansauction.com
Main Line Sarah Riley, GG sriley@freemansauction.com
Asian Arts Benjamin Farina bfarina@freemansauction.com Books, Maps & Manuscripts Darren Winston dwinston@freemansauction.com British & European Furniture & Decorative Arts Tessa Laney tlaney@freemansauction.com European Art & Old Masters David M. Weiss dweiss@freemansauction.com Jewelry & Watches Virginia Salem, GIA GG vsalem@freemansauction.com Modern & Contemporary Art Dunham Townend dtownend@freemansauction.com Musical Instruments Sawyer Thomson sthomson@freemansauction.com Oriental Rugs & Carpets David M. Weiss dweiss@freemansauction.com Prints Dunham Townend dtownend@freemansauction.com Silver & Objets de Vertu Tessa Laney tlaney@freemansauction.com
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