Ilya Bolotowsky (Russian-American, 1907-1981)

Ilya Bolotowsky (Russian-American, 1907-1981)

Geometric Abstraction, 1953

Signed lower right “”I. Bolotowsky / 53″”
Mixed media on cardboard
7 1/2 x 10 inches

Estimate: $3,000-5,000

John M. Johansen (American, b. 1916)

John M. Johansen (American, b. 1916)

Modernist Edifice, 1953

Signed and dated lower left “”John MacL. Johansen / ’53″”
Watercolor and gouache on paper
26 x 19 inches (sight)

“

Provenance: Acquired directly from the artist;
By decent in the Family
“

Estimate: $2,000-4,000

Robert Arthur Goodnough (American, 1917-2010)

Robert Arthur Goodnough (American, 1917-2010)

Abduction By Boat, 1963 (A Tondo)

Signed and dated lower right “”Goodnough / ’63″”
Signed, dated and inscribed with title verso
Oil on canvas
47 inches, diameter

Estimate: $2,000-4,000

Property of Various Owners

Jean-Paul Riopelle (Canadian, 1923-2002)

Jean Paul Riopelle (Canadian, 1923-2002)

Folâtre, 1957

Signed lower right “Riopelle”
23 1/2 x 28 1/2 inches

”

Provenance: Jane Kahan Gallery;
Purchased by the present owner from above, 1992

Literature: Michel Waldberg, Yseult Riopelle, Monique Brunet-Weinmann, François Odermatt (Editor), Jean Paul Riopelle : catalogue raisonné, Montreal : Hibou Éditeurs, 1999, Cat No. 1957-059, illustrated

Other Notes: Riopelle was a member of the group Les Automatistes (founded by Montreal artist Paul-Emile Bourduas, the group was influenced by Surrealism and its theory of automatism). This movement was seen as the beginning of Canadian Modern Art. Many of this group worked in Paris and New York. In Paris in the early 1950s he was known as the “Wild Canadian”, not only because of his exuberant artistic style, but also because of his lifestyle. In the 1960s-80, he had a relationship with Joan Mitchell, who had a great influence on his work.

Affiliated with the post war modernists, he created works of heavy impasto and quite often squeezed paint directly from the tube onto the canvas. In the 50s and 60s, he frequently used a palette knife; this work Foltare is emblematic of that which is considered his best period.
”

Estimate: $80,000-120,000

Property of a Long Island Collector
Purchased from the above by the present owner

Nicola Hicks (British, 1960)

Nicola Hicks (British, 1960)

Wild Boar

Charcoal on brown wrapping paper
39 1/2 x 51 inches

“

Provenance: Sold Sotheby’s London, Wed., Nov.26, 1997, Lot 126
“

Estimate: $4,000-6,000

Lester F. Johnson (American, 1919-2010)

Lester F. Johnson (American, 1919-2010)

Three Women Walking

Signed lower right “Lester Johnson”
Oil on Canvas
30 x 20 inches

Estimate: $5,000-10,000

Property of Various Owners

Raphael Soyer (American, 1899-1987)

Raphael Soyer (American, 1899-1987)

The Bathrobe

Signed lower right “”RAPHAEL SOYER”"
Oil on canvas
24 1/2 x 16 inches

Estimate: $2,000-3,000

Property of a New Jersey Collection

Roberto Anotonio (Echaurren) Matta (Chilean, 1911-2

Roberto Anotonio (Echaurren) Matta (Chilean, 1911-2002)

Topologie de I’illusion, 1990
Signed lower right
Signed again, inscribed with title verso
Acrylic on canvas 74 1/2 x 82 3/4 inches

Please Note: A certificate of authenticity is in process with Germana Matta Ferrari and will be delivered to the successful bidder. We guarantee this work as being by the artist.

Provenance: Riva Yares Gallery, Scottsdale, Arizona, circa 1991

Other Notes: Matta left Chile as a young man, for Paris to study, New York to work and Rome to live his mature years. He did not like to be thought of as a “Latin American” artist. He was one of the few Surrealist artists to take on political, social, and spiritual themes directly and without abandoning the biomorphic mutations for which he was known. His most characteristic works border on abstraction and evoke fantastic subjective landscapes. This work Topologie de Illusion from 1990 has an otherworldly fantastic aura which is the hallmark of his work.

Estimate: $50,000-100,000

Riva Yares Gallery, Scottsdale, Arizona, circa 1991
Purchased from the above by the present owner

Lodewijk Karel Bruckman (Dutch, 1913 – 1980)

Lodewijk Karel Bruckman (Dutch, 1913 – 1980)

Egg, 1960

Signed upper right “”Lodewijk / Bruckman / f ’60 t”"
Signed, inscribed and dated verso “”Lodewijk Bruckman / Providence / Cape Cod / Mass. / 1960
Tempera on canvas
20 1/2 x 14 1/2 inches

Estimate: $2,000-4,000

Property of a New Jersey Collection

Aaron Bohrod (American, 1907-1992)

Aaron Bohrod (American, 1907-1992)

Mother Earth

Signed and dated indistinctly lower right 19..?
Oil on masonite
12 x 16 inches

”

Provenance: A distinguished Midwest collection.

Other Notes: This work is a commentary on organic and inorganic substances-completely has to do with ecology-commentary on our material society and the passage of time.

Bohrod studied at the Art Institute of Chicago and Art Students League, he returned to Chicago working as an illustrator in the 1940s. In 1948 he replaced John Stuart Curry as professor of art at the University of Wisconsin, during that time he pursued work in a Magic Realist style. He remained there until his death in 1992. Magic realism a trend from the 1930′s through the 1960s, has been defined as a “”hyper-realistic setting is invaded by something too strange to believe”". In Mother Earth Bohrod addresses ecological issues early in the movement “”Green Movement”" though the use of magic realist style.”

Estimate: $5,000-8,000

Esteban Vicente (American, 1903-2001)

Esteban Vicente (American, 1903-2001)

On Space, 1987

Signed, dated and inscribed with title verso “”Esteban Vicente”"
Oil on Canvas
54 x 64 inches

Provenance: Riva Yares Gallery, Scottsdale, Arizona, circa 1988. Purchased by the present owners from the Riva Yares Gallery.

Estimate: $30,000-60,000

Paul A Grimm (American, 1891-1974)

Paul A Grimm (American, 1891-1974)

San Jacinto’s Front Yard

Signed lower right “”Paul Grimm”"
Signed and inscribed with title verso
Oil on canvas
24 x 30 inches

Estimate: $2,500-4,500

Property from Various Owners

Milton Avery (American, 1885-1965)

Milton Avery (American, 1885-1965)

Red Reflections, 1959

Signed and dated lower left “”Milton Avery 1959″”
Oil crayon on paper
15 x 22 inches

”

Provenance: The Avery Trust;
David Barnett gallery;
Private Collection”

Estimate: $8,000-12,000

Property of Various Owners

Charles Demuth (American, 1883-1935)

Charles Demuth (American, 1883-1935)

Two Men and a Woman on the Beach
1912
Signed and dated lower right “”C. Demuth 1912″”
Watercolor over pencil on paper on board
8 1/2 x 5 1/4 inches (sight)

”

Provenance: Durlacher Brothers, New York
Purchased from the above by the Estate of a Midwestern collector

Exhibitions: New York, NY, The Museum of Modern Art, Charles Demuth, 1950, cat. no. 10

New York, New York, The Museum of Modern Art, Charles Demuth, sometime in 1950, catalogue no. 10-A Retrospective Exhibition March – June 11, 1950

Other Notes: Charles Demuth was born in 1883 in Lancaster, Pennsylvania to a prosperous family in the tobacco business, who encouraged his artistic pursuits. He studied at the School of Industrial Art in Philadelphia from 1903 to 1905. He traveled to Paris frequently from 1904 till 1914, living the bohemian life and associating with Gertrude and Leo Stein in Paris and absorbing the many aspects of Modernism. By 1914, he became one of the modernist artists associated with Alfred Stieglitz. He was friends with Marcel Duchamp; they spent time together in Harlem jazz clubs and Greenwich Village bars, which became the subject of many of his watercolors.

Demuth’s works, primarily, in watercolor are characterized with an economy of sinuous line, and controlled application of watercolor. Two Men and a Woman on the Beach, from 1912 is typical of his offbeat world view and humor, with a woman fully clothed in a fox stole conversing with male bathers.
”

Estimate: $12,000-18,000

Milton Avery (American, 1885-1965)

Milton Avery (American, 1885-1965)

Beach Photographer, 1930

Signed lower left center “”Milton Avery”"
Watercolor and gouache on black paper
17 1/2 x 24 inches (sight)

Provenance: Riva Yares Gallery, Scottsdale, Arizona
Purchased from the gallery by the present owner.

Estimate:$20,000-40,000

Property of a Private American Collection

George Ford Morris (American, 1873-1960)

George Ford Morris (American, 1873-1960)

Byerly Turk, circa 1943

Unsigned
Oil on board
23 1/2 x 30 inches

Provenance:
Collection of the artist, 1943
Thence by descent to Mrs. Patricia Morris Davis, daughter of the artist;
Purchased by the current owner from the above, circa 1981

Exhibitions:
Washington County Museum of Fine Art, Hagerstown, MD

Estimate: $8,000-12,000

Other Notes: George Ford Morris was known for painting famous horses, their owners and their riders. He was largely influenced by artists such as George Stubbs and Benjamin Marshall, and strove to elevate the painting of animal portraits and capture the horse’s true and innate characteristics. He wrote in Portraitures of Horses, an autobiographical treatise on his work that “[artists who portray horses] seem to think that a ground to stand on and a blank space, or distant trees and a straight line fence for a background, are all that an animal portrait needs to perfect it. That may be allowable as far as commercial or advertising pictures are concerned, but the total composition of a painting of a finely bred animal can be such, in both color and arrangement, as to make it a work of art and thing of beauty to all that behold it, suitable for hanging on the walls in homes of culture and discrimination.”

This painting, Byerly Turk, depicts the Byerly Turk breed, one of three horses bred to create the modern day thoroughbred. “Imported into England in 1618, his name (Byerly Turk) has come down through the ages with those the Darley and Godolphin Arabians, forming the great triumvirate of sires of Oriental blood to which practically all our stocks of good horse flesh trace.” Originating in the east, the horse was first brought to England in the 17th century. Here, Morris captures the animal’s typical characteristics that include the dark hair, an arched neck and the high carriage of the tail. Morris corroborates, “the portraits of these three foundation sires of Oriental blood; the Darley and Godolphin Arabians, and the Byerly Turk, to which practically all of our modern breeds or racing, saddle and light harness stocks of authentic registered breeding can be traced…”

A similar painting of the Byerly Turk, illustrated in Portraitures of Horses, depicts the horse in a similar composition. The painting was commissioned by a private client who specified the animal be depicted without his mane. Morris painted the present work illustrating the mane for his personal collection, which he later gave to his daughter, Mrs. Patricia Morris Davis. The current owner purchased the painting from Mrs. Davis circa 1981.

Morris also painted the two other breeds that brought the modern day thoroughbred into existence. The artist writes that capturing these ancient breeds of horses that were the sires of many modern breeds was one of the most interesting phases of his work.

For further information on the Byerly Turk:

http://www.tbheritage.com/Portraits/ByerleyTurk.html

http://www.tbheritage.com/Breeders/FoundBreeders/York/Yorketc.html

Jerome Myers (American, 1867-1940)

Jerome Myers (American, 1867-1940)

Carousel, 1930

Signed and dated lower right “”Jerome Myers 1930″”
Oil on canvas
25 x 30 inches

”

Provenance: Vose Galleries, Boston, MA

Other Notes: Myers studied at in Paris and in NY at the Art Students League but his main classroom was the streets of New York’s lower East Side. His strong interest and feelings for the new immigrants and their life resulted in hundreds of drawings, paintings, etchings and watercolors. He capturing the whole panorama of their lives as found outside of the crowded tenements which were their first homes in America.

In Carousel
, he captures the mothers and children of the working class enjoying the carefree festival atmosphere of the carousel and the park. The arrangement of colorful and active figures plays off against the broad sweep of grey ground, highlighting the buoyant environment.
”

Estimate: $7,000-12,000

Reginald Marsh (American, 1898-1954)

Reginald Marsh (American, 1898-1954)

Two Women on a Boardwalk, 1943

Signed and dated lower right “”R. Marsh 1943″”
Watercolor on paper
11 x 9 1/2 inches

Provenance: Hudson’s Department Store, Detroit, Michigan

Other Notes: Reginald Marsh was known for his depictions of life in New York City in the 1920s through 1950s. Crowded Coney Island beach scenes, popular entertainments such as vaudeville and burlesque, women, and jobless men on the Bowery are subjects that reappear throughout his work. Two Women on the Boardwalk
is an iconic example of Marsh’s watercolors from the depression era, his women are voluptuous and powerful. The work is infused with rich color and bold pen and ink lines, which attest to his love of Tiepolo drawings, and energize the watercolor. Please note: the reverse of this watercolor has a pencil sketch of figures on a train.

Estimate: $6,000-10,000

George Benjamin Luks (American, 1867-1933)

George Benjamin Luks (American, 1867-1933)

Children of the Street

Signed lower right “”George Luks”"
Inscribed with title verso
Oil on canvas
20 x 16 1/8 inches

”

Other Notes: Luks made many paintings of working class subjects and scenes of the urban street. Luks’s representations of immigrant shoppers, pushcart peddlers, casual strollers and curious onlookers of the ethnic variety characterized metropolitan, turn-of-the century New York. It was very important for the artists associated with the Ashcan school to depict real life.

Luks’s work typifies the ‘real-life’ scenes painted by the Ashcan School artists, in Children of the Street
, Luks paints a three young children, a blond adolescent , a dark haired youth and an Asian child, huddled together in a red blanket for warmth. His bold brush and thick impasto together with his social consciousness are hallmarks of his best work.
”

Estimate: $12,000-18,000

Hayley Lever (American, 1876-1958)

Hayley Lever (American, 1876-1958)

Pears Still Life, 1943

Signed and dated lower right “”Hayley Lever 1943″”
Signed again, inscribed and dated verso
Oil on board
16 x 24 1/2 inches

Estimate: $4,000-6,000

Property of a New Jersey Collection

Frederick R. Wagner (American, 1864-1940)

Frederick R. Wagner (American, 1864-1940)

Path to the Barn

Signed lower right “”F. Wagner”"
Pastel on paper
6 1/2 x 7 3/4 inches

Estimate: $1,000-2,000

Property of Another Owner

Frederick R. Wagner (American, 1864-1940)

Frederick R. Wagner (American, 1864-1940)

Sunrise

Signed lower right center “”F. Wagner”"
Pastel on paper
7 1/2 x 6 1/4 inches

Estimate: $1,000-2,000

Property of Another Owner

John LaFarge (American, 1835-1910)

John LaFarge (American, 1835-1910)

Flower Study: Cobaea Scandens (Cup and Saucer Vine)
, circa 1906
Unsigned
Watercolor and gouache on brown toned paper
7 1/2 x 5 1/2 inches

Provenance: Vance Jordan Fine Art Inc., New York, NY

Estimate: $5,000-7,000

John LaFarge (American, 1835-1910)

John LaFarge (American, 1835-1910)

Study on the Reef at Tautira, Tahiti
, 1891
Unsigned
Watercolor and gouache on paper
8 x 9 inches (sight)

”

Provenance: Vance Jordan Fine Art, Inc., circa 2002

Exhibitions: Records of Travel, New York, no. 170; Paris, no. 169

John LaFarge’s Second Paradise, Voyages in the South Seas 1890-1891: Yale University Art Gallery, New Haven, Connecticut, Oct. 19, 2010- January 2, 2011; Addison Gallery of American Art, Andover, Massachusetts, January 22- March 27, 2011, Catalogue number 38

Other Notes: In February of 1891, John LaFarge and Henry Adams were traveling from Papara along the Isthmus to the island of Taiarapu, where they met Ori the chief of the Teva clan, who Robert Louis Stevenson had met in 1888. Stevenson had written a letter of introduction for La Farge and Adams.

LaFarge painted just two watercolors of the reefs, this being the crisper more detailed of the two. Lafarge wrote in his Record of Travel, “”to go to the reef which runs along exactly like a great coastway… and to see the great waves break against this wall, then run in innumerable ripples over the edge in to the quiet water inside the reef.”"
”

Estimate: $15,000-30,000

Theodore Wores (American, 1859-1939)

Theodore Wores (American, 1859-1939)

The Shrine in Spring

Signed lower right “”Theodore Wores”"
Watercolor and gouache on paper laid down on board
13 x 19 1/2 inches

”

Other Notes: Wores was one of the best-known and most admired artists of California, based primarily in San Francisco during his long career. After entering the first classes at the California School of Design in 1874, he went the following year to Munich, Germany, which was second only to Paris for the artistic education of American painters in the 1870′s and ’80′s. Wores trained in the academic manner of the Royal Bavarian Academy, but he also came under the influence of Frank Duveneck, the foremost exponent of the expressive Munich style initiated by Wilhelm Leibl, emphasizing dramatic tonal contrasts of neutral tones. In 1879, Wores joined a group of other American students and followed Duveneck to Florence where he set up his own school, and in the summer Duveneck and his “”Boys,”" including Wores, travelled to Venice, where they came into contact with James McNeill Whistler. On his return to San Francisco in 1881, Wores’ palette took on a bright and varied coloration, which suited his pictorial investigation of San Francisco’s Chinese population-their habits, costumes, and life style; one of the first artist to investigate this subject, he immediately gained local acclaim.

From San Francisco’s Chinatown, it was probably a smooth transition for Wores to travel to Japan in 1885; he may also have been influenced to do so by the general contact the Duveneck Boys had had with Whistler, though Wores was not to meet the great expatriate artist formally until 1889. After Japan had opened up to the West for commercial and political exchanges, it was only logical that artists from both Europe and America, painters such as John La Farge, would travel to Japan in search of unusual and exotic subject matter, but Wores was the first to actually live in Japan for several years. Wores first resided in Yokohama, in the compound reserved for foreigners, but wishing to get to know the “”real”" Japan, he arranged to give art lessons to the sons of a high official, and therefore was able to remove to a suburb of Tokyo. The onset of Japanese interest in Western ways had no place in Wores’s Japan, though Wores was sought out by Japanese painters interested in his methodology and techniques. In November of 1887, at the end of his stay, he held an exhibition of his Japanese paintings in Tokyo, and his return to America the following month, his Japanese paintings were exhibited to great acclaim at the San Francisco Art Association, and then in New York City, Boston, Chicago, and Washington, D. C. before arriving in London in April of 1889 for a two-year stay where his work was, again, well received; some of his Japanese paintings were also shown in Glasgow and sent to the Paris Salon in 1890. A year after returning to San Francisco in 1891, Wores travelled back to Japan for another two-year residence there, producing many more Japanese views: paintings of the distinctive appearance, activities, and costumes of the Japanese people. And he also almost always depicted both the distinct foliage of the Japanese landscape and an emphasis upon Japanese architecture-secular buildings, both exterior and interior views, and religious temples and shrines.
Wores followed up, after his Japanese stays, with trips to Hawaii and Samoa in 1901 and 1902 respectively, and in 1903 he travelled throughout Spain. He was especially drawn to the Alhambra in Granada, and later painted the Native American, both in the Canadian Rockies and especially in the American Southwest which he visited each year from 1915 to 1917, when he joined the Taos, New Mexico art colony. In California, Wores created a good many paintings of the wild flowers along the crests of the shores surrounding San Francisco Bay in a colorful and Impressionist manner, and a series of flowering fruit trees in the area around his summer home in Saratoga, California. While Wores was a brilliant colorist from his Chinatown years on, his ethnic works had necessarily to be more specific than his very Impressionist California landscapes. But while during his many active decades he essayed a great variety and diversity of subjects, it was the Japanese paintings which won him international celebrity.
The Shrine at Spring is an unusual work by Wores, because it is painted in watercolor. The vast majority of Wores’s Japanese paintings are done in oils, but there is also a small body of watercolors. Some of these are depictions of scenes in Yokohama where Wores and the foreign community were restricted, and a number of them are dated to 1886, the artist’s first year living in Japan. The present work is also unusual in that the figural element is not of great significance, but rather offers a sense of scale to the majestic architecture of the shrine and the soaring trees in the left foreground. The subject here offers free reign to Wores’s preference for bright sunlight and rich coloration, while the vertical format both echoes the verticals of the trees, the staircase, and the columnar structure of the shrine, while also suggesting inspiration from Japanese kakemono, or vertical scroll paintings. When Wores’s Japanese paintings were first shown in New York City at the Reichard Gallery in the spring of 188B, the reviewer for The Studio noted that “”The most striking of Mr. Wores’ pictures are the views of the temples, shrines and monuments…..”" Bringing Western art traditions of form, structure, and perspective to Japan, at a time when it was opening up to the West, Wores’s paintings impacted upon Japanese artists as well as bringing a wealth of pictorial information back to America and Europe.

William H. Gerdts
Professor Emeritus of Art History, Graduate School of the City University of New York
”

Estimate: $2,500-4,500

Mabel May Woodward (American, 1877-1945)

Mabel May Woodward (American, 1877-1945)

Sketching By the Sea

Signed lower left “”M. Woodward”"
Oil on canvas
10 x 8 inches

Estimate: $4,000-6,000

Property of a New Jersey Collection

Alexander Helwig Wyant (American, 1836-1892)

Alexander Helwig Wyant (American, 1836-1892)

Summer Stream

Unsigned
Oil on canvas

Retains the original frame
30 1/8 x 40 1/4 inches

Estimate: $5,000-10,000

Walter Farndon (American, 1876-1964)

Walter Farndon (American, 1876-1964)

The Old Grist Mill

Signed lower left “”Walter Farndon NA”"
Inscribed with title and Roslyn, New York verso
also inscribed “”From Marie and Walter”" verso
Oil on masonite

14 x 18 inches

Estimate: $1,500-3,000

Property of Various Owners

Charles Marion Russell (American, 1864-1926)

Charles Marion Russell (American, 1864-1926)

The Burning of the Tonquin

Unsigned
Oil on canvas

Byron Price (Director, Charles M. Russell Center for the Study of the American West, University of Oklahoma) has authenticated this painting.
7 7/8 x 12 1/2 inches

”

Provenance: Trails End Gallery, Pasadena, California;
The Hammer Brothers, New York, New York by 1957
To Private Collection, circa 1972

Exhibitions: Los Angeles, California, Department of Municipal Art, August 29- September 13, 1957; San Francisco California palace of the Legion of Honor (September ’57); Fine Art Gallery, October 1-12, 1957; Great Falls Montana, The C.M. Russell Foundation, Inc., Oct 14-26, 1957, catalogue number 77
Calgary Allied Art Council

The Historical Society of Montana label verso

Other Notes: We are grateful to Byron Price, Director, Charles M. Russell Center for the Study of the American West, University of Oklahoma for preparing the following essay:

The oeuvre of Montana artist Charles M. Russell contains only a handful of works devoted to maritime subjects. The Burning of the Tonquin
, said to have been one of Russell’s personal favorites, hung over his bed at Bull Head Lodge, the artist’s summer retreat on Lake McDonald. Nancy Russell retained the work after her husband’s death and airline executive, C.R. Smith, purchased it in 1941, as part her estate.

The work’s title and style suggests that Russell may have painted the unsigned and undated oil about 1922, the year he produced The Last of the Tonquin
, a pen and ink illustration for a story in the syndicated newspaper series, “”Back Trailing on the Old Frontiers.”"

A commercial bark in the service of John Jacob Astor’s Pacific Fur Company, the historical Tonquin
carried 33 passengers and a crew of 23, around the horn to the mouth of the Columbia River in Oregon Territory in 1810-11. There the company established a depot from which pelts and skins acquired inland could be shipped to the East.

Although not a military vessel, Astor’s Tonquin
boasted ten cannon for protection and was commanded by a U.S. Naval officer on leave from the service.

While part of the arriving contingent built Fort Astoria, the Tonquin
sailed north, along the coast, trading for furs with native tribes as they went. After anchoring at an Indian village on Nootka Sound, near Vancouver Island, a group of Indians came aboard to trade. A heated dispute arose among the parties and as the ship’s captain attempted to get underway, tribesmen attacked and killed him and most of his crew. When the Indians returned to the ship the following day, something or someone ignited the powder magazine, blowing up the vessel and killing many of those onboard. In the end only the crew’s interpreter made it back to Astoria to report the vessel’s fate.

By portraying the Tonquin’s
demise as the result of a classic naval battle, Russell gave the ill-fated ship’s story a more heroic ending than that accorded by history.

B. Byron Price

”

Estimate: $20,000-40,000

Property from a Private Collection

Charles Marion Russell (American, 1864-1926)

Charles Marion Russell (American, 1864-1926)

Wood Nymph with Rabbit

Unsigned
Oil on canvas

Byron Price (Director, Charles M. Russell Center for the Study of the American West, University of Oklahoma) has authenticated this painting.
9 x 5 1/4 inches

“

Provenance: Trails End Gallery, Pasadena, California;
The Hammer Brothers, New York, New York by 1957
To Private Collection, circa 1972

Exhibitions: Los Angeles, California, Department of Municipal Art, August 29- September 13, 1957; San Francisco California palace of the Legion of Honor (September ’57); Fine Art Gallery, October 1-12, 1957; Great Falls Montana, The C.M. Russell Foundation, Inc., Oct 14-26, 1957, catalogue number 77
Calgary Allied Art Council

The Historical Society of Montana label verso
“

Estimate: $15,000-25,000

Property from a Private Collection

Other Notes: We are grateful to Byron Price, Director, Charles M. Russell Center for the Study of the American West, University of Oklahoma for preparing the following essay:

Although best known for his vibrant paintings and sculptures of cowboys, Indians and other figures from the Old West, Charles M. Russell’s oeuvre included a much broader cast of characters, some drawn from his travels, others from literature and still others from his own active imagination. Over the years, for example, he sketched, painted and modeled a bevy of mythical characters including nymphs and sprites, mostly for his own amusement and as a change of pace from his better known western subjects. Russell’s inspiration for some of these figures undoubtedly came from the canvases of his favorite artist, Maxfield Parrish.

The Montana artist probably painted the small oil titled, Nymph, sometime after 1916, the year he and his wife Nancy adopted their son Jack. Said to have hung in the boy’s room, this unsigned work reflects the superb draftsmanship, mature brushwork and celebration of color that characterized Russell’s painting at the height of his aesthetic powers. The subject not only represents a childhood fantasy but also the echoes the artist’s unending love of nature, its creatures and its mysteries.

B. Byron Price

American School, circa 1850

American School, circa 1850

Holding the Fort

Unsigned
Oil on canvas

Unframed
20 x 16 inches

Estimate: $800-1,200

Property from Various Owners

Bruce Crane (American, 1857-1937)

Bruce Crane (American, 1857-1937)

Spring Walk

Signed lower right “”BRUCE CRANE”"
Oil on canvas
22 x 32 inches

Estimate: $8,000-12,000

Property of a New Jersey Collection

Chauncey Foster Ryder (American, 1868-1949)

Chauncey Foster Ryder (American, 1868-1949)

Egremont, Massachusetts

Signed lower left “”Chauncy F Ryder”"
Oil on canvas
12 x 16 inches

Estimate: $2,000-4,000

Property of a New Jersey Collection

John Fabian Carlson (American, 1874-1945) , “May Mo

John Fabian Carlson (American, 1874-1945)

Sunrise on the Shore

Signed lower right “”John F. Carlson”"
Signed again dated “”jan, 7th 1917″” and inscribed “”To Susan and Boardman Tyler/ In memory of a very/ wonderful day/ From Margaret G. and John F. Carlson/ with affectionate regard”"
Oil on board mounted to paperboard
Unframed

8 1/4 x 10 1/4 inches
Together with May Morning
, Oil on canvasboard, 8 1/4 x 10 1/4 inches.

Estimate: $3,000-5,000

The property of a Prominent New England Family

Hendrik Willem Mesdag (Dutch, 1831-1915)

Hendrik Willem Mesdag (Dutch, 1831-1915)

Morning Fishing Boats at Anchor

Signed lower right “”H W Mesdag”"
Oil on canvas

Inscribed with title on a label affixed to the stretcher
24 x 51 inches

This work retains its original frame

Provenance: Purchased by Eliza Hall Park McCullough and John G. McCullough circa 1900;
And by descent in the family;
The Park McCullough House Association, 1975

Other Notes: Hendrik Willem Mesdag was the first of the artists to move to The Hague in 1869, followed by Maris, Israels Mauve and Weissenbruch, amongst many others. The group became known as “”The Hague School”" and was characterized by paintings with muted tones in warm greys. The critic Jacob van Stanten Kolff described the work as “”intent to convey mood, tone takes precedence over color… almost exclusive preference for so-called…gray mood.”"
This work Morning: Fishing Boats at Anchor
, is one of Mesdag’s masterpieces, with its grand scale, and rhythmic arrangement of figures and boats. The subtle tonal quality of the greys pinks and blues are visible even under 100 years of surface grime and aged varnish.
”

Estimate: $40,000-80,000

Proceeds to Benefit Historic Park-McCullough Association, North Bennington, Vermont

Jean Francois Raffaelli (French, 1850-1924)

Jean Francois Raffaelli (French, 1850-1924)

Shoreline with a Fisherman in Foreground

Signed lower left “”JF. Raffaelli”"
Oil on board
25 x 30 inches

“

Other Notes: Jean Francois Raffaelli was born in Paris on April 20, 1850. He was accepted at the Paris Salon of 1870 despite his lack of formal training. He was known for picturesque views of quaint Paris neighborhoods and focused on scenes of middle-class life. He was associated with the Realists as well as the Impressionists, yet his work does not fall into either category. While in his earlier work his characterized by somber palette, which was contradiction to the impressionists, their influence is felt in his later work with a lighter palette.

Shoreline with Two Fishermen
is a classic subject for Raffaelli, with the expanding Middle Class and the growth of the Suburbs around Paris, the artist had innumerable subjects from which to paint. This work is representative of Raffaelli’s mature style. Lighter in color, but a broad brush, and small but strong energetic figures.
“

Estimate: $25,000-50,000

Property of Another Owner

Frederick Childe Hassam (American, 1859-1935)

Frederick Childe Hassam (American, 1859-1935)

Wintertime In New York
1893
Signed and dated lower left “Childe Hassam, New York 1893”
Watercolor and gouache with pen and ink on paper

Retains original gilt frame
2 1/2 x 8 1/2 inches

Provenance: Descended in a prominent New York family, to the present owner, a New Jersey gentleman

Literature: This painting will be included in Stuart P. Feld’s and Kathleen M. Burnside’s forthcoming catalogue raisonné of the artist’s works.

Other Notes: Frederick Childe Hassam was born in 1859, in Dorchester, Massachusetts. He married in 1884 and moved to Paris two years later. Hassam moved to New York in 1889 where he lived until his death on 1935.

Hassam, noted for his urban scenes, chronicled the constant flux of Boston, Paris and New York. While he was known to paint in a variety of art colonies outside of the cities, his best works are that of the streets and the many types of people that inhabit them. City life was an endless inspiration for him, from the fluttering of leaves as a carriage passes to the swoosh of skirts of the ladies as they cross the streets; he captures the bustle of the city. This work is particularly successful, even in its small scale, as it bursts with energy.”

Estimate: $30,000-60,000

Property of a New Jersey Gentleman

Frederick R. Wagner (American, 1864-1940)

Frederick R. Wagner (American, 1864-1940)

Inner Harbor

Signed lower right “”F. Wagner”"
Pastel on paper
4 1/2 x 6 inches

Estimate: $1,000-2,000

Property of Another Owner

Frederick R. Wagner (American, 1864-1940)

Frederick R. Wagner (American, 1864-1940)

Boys Fishing on a Seaside Dock

Signed lower left “”F. Wagner”"
Pastel on paper
5 x 6 inches

Estimate: $1,000-2,000

Property of Another Owner

John Henry Dolph (American, 1835-1903)

John Henry Dolph (American, 1835-1903)

Still Life with Grapes and Pears, Butterflies Fluttering, 1864
Signed with conjoined initials and dated lower right “”JHD, 1864″”
Oil on artists board
5 1/2 x 8 1/4 inches

Estimate: $800-1,200

Harriet Bowdoin (American, 1880-1947)

Harriet Bowdoin (American, 1880-1947)

Figures by Shore

Signed lower left “”Harriet Bowdoin”"
Oil on panel
9 x 11 inches

Estimate: $3,000-4,000

Property of Another Owner

William Trost Richards (American, 1833-1905)

William Trost Richards (American, 1833-1905)

Guernsey, Low Tide

Signed lower left “”Wm. T. Richards”"
Oil on artist’s board
9 x 16 inches

Estimate: $8,000-12,000

Property of a Private American Collection

David Johnson (American, 1827-1908)

David Johnson (American, 1827-1908)

On the Wa-wa-yan-da Orange Co. NY
, 1875
Signed with conjoined initials and dated ’75 lower right
Signed again verso and dated DJ. 1875
Inscribed with title and Orange Co. NY on the stretcher
Inscribed indistinctly on the stretcher
Oil on canvas
9 1/4 x 12 inches

Provenance: Curtis H. Moyer Pictures and Framers, Hartford Conn

Estimate: $3,000-5,000

Property from a Prominent New England Family

George W. Seavey (American, 1841-1916)

George W. Seavey (American, 1841-1916)

Fresh Cut Roses

Signed lower right
Oil on canvas
10 x 14 inches

Provenance: Mrs. Delia Fissora, Watertown, Massachusetts

Estimate: $600-800

Property of Various Owners

Frederick R. Wagner (American, 1864-1940)

Frederick R. Wagner (American, 1864-1940)

Public Building with American Flags

Signed lower left “”F. Wagner”"
Pastel on paper
9 x 11 1/2 inches

Estimate: $1,000-2,000

Property of Another Owner

Frederick R. Wagner (American, 1864-1940)

Frederick R. Wagner (American, 1864-1940)

Mother and Child Reading

Signed upper right “”F. Wagner”"
Pastel on paper
8 x 10 1/2 inches

Estimate: $1,000-2,000

Property of Another Owner

Hamilton Hamilton (American, 1847-1928)

Hamilton Hamilton (American, 1847-1928)

Sierras
1873
Signed and dated and inscribed with title lower right “”Hamilton Hamilton ’73 / Sierras S****”" (indistinct)
Oil on canvas
18 x 29 7/8 inches

Other Notes: Hamilton Hamilton was largely self-taught, however, in 1870; he traveled to Europe studying in Paris. After two years, he returned home opening a portrait studio in 1872. In 1873 he made a sketching trip west to Colorado and spent much of the summer and winter there, completing forty-seven paintings, filled with brilliant and luminous color. Few of these works are known to exist today. His Colorado paintings were chosen for exhibition in the 1876 Centennial Exhibition in Philadelphia, PA. He later turned to impressionism, but his Western Landscapes stood the test of time being his most sought after works.

Estimate: $20,000-40,000

Property of a New Jersey Collection

Frederic Arthur Bridgman (American, 1847-1928)

Frederic Arthur Bridgman (American, 1847-1928)

Camel and Merchant at a Town Gate

Signed with initials and inscribed, “”To my friend WB”"
Oil on panel

22 x 16 1/2 inches

Estimate: $5,000-10,000

Property of a New Jersey Collection

Alexandre Defaux (French, 1826-1900)

Alexandre Defaux (French, 1826-1900)

Study of Cows and Chickens

Signed Lower Right “”A. DeFaux”"
Oil on canvas

21 1/4 x 25 1/2 inches

Estimate: $4,000-6,000

Salomon Leonardus Verveer (Dutch, 1813-1876)

Salomon Leonardus Verveer (Dutch, 1813-1876)

Figures by a Stream at Sunset, Windmill Beyond, 1861

Signed and dated lower right “”S. L. Verveer 1861″”
Oil on canvas
15 1/4 x 22 inches

Estimate: $4,000-8,000

Property of Various Owners

George Henry Hall (American, 1825-1913)

George Henry Hall (American, 1825-1913)

A Plea for Peace, 1861

Signed and dated lower left “”G.H. Hall / 1861″”
Oil on board
18 3/4 x 15 inches

”

Provenance: Late Ms. Delia P. Frissora of Watertown, Mass.

Other Notes: This work was purportedly loaned to the Museum of Fine Arts, Boston in 1972.

George Henry Hall’s A Plea for Peace
called into question the feminine qualities generally associated with floral still-lifes. Hall, who earlier in his career painted historical and allegorical subjects, managed to reflect the political turbulence of the times by depicting flowers in patriotic colors sitting in a rifle. In doing so Hall juxtaposed the fragility and vibrancy of the flowers with a sense of impending destruction. Painted in 1861 at the beginning of the American Civil War, A Plea for Peace
sent a clear message of what was at stake for a country newly at war.”

Estimate: $25,000-45,000

Property of Various Owners

George William Whitaker (American, 1841-1916)

George William Whitaker (American, 1841-1916)

An Opulent Fruit Still Life with Grapes, Oranges, Plums and Pears with a Silver Charger, 1899

Signed and dated lower left “”G. W. Whitaker ’99″”
Oil on canvas

26 x 22 inches

“

Provenance: On the remnants of a label, the artist inscribed the gift to the Dining Hall of the Moses Brown School, Providence, Rhode Island.

Gift from the artist to Moses Brown School, Providence, Rhode Island, 1902;
Gift to a custodian of the school, circa 1965;
Thence by descent;
Private Collection.”

Estimate: $3,000-5,000

Various Owners

Henri Rondel (French, 1857-1919)

Henri Rondel (French, 1857-1919)

Young Girl Fishing at a Stream

Signed lower right “”H Rondel”"
Oil on canvas
12 1/8 x 9 ¼ inches

Estimate: $1,500-2,500

Property of a New Jersey Collection

Edward Mitchell Bannister (American, 1828-1901)

Edward Mitchell Bannister (American, 1828-1901)

Sheep Grazing in a Newport, Rhode Island Landscape

Signed lower right “”E M Bannister”"
Oil on canvas

12 x 16 inches

Estimate: $8,000-12,000

Various Owners

William Trost Richards (American, 1833-1905)

William Trost Richards (American, 1833-1905)

The Otter Cliffs, Mount Desert Island, Maine
, 1866
Signed and dated lower right “”WM T Richards / 1866″”
Oil on panel backed canvas

36 1/4 x 29 inches

Other Notes: William Trost Richards returned from Germany in the spring of 1866. He traveled to Mount Desert Island, Maine, perhaps encouraged by fellow artists Thomas Cole, Frederic Edwin Church, Jervis McEntee and William Stanley Haseltine. This is one of the few paintings extant from that trip. It signifies an important transition from pure landscape painting to his signature coastal scenes, a subject that would occupy him for the rest of his prolific career.

Estimate: $40,000-100,000

The property of a Georgia Family

Alexander Lawrie (American, 1828-1917)

Alexander Lawrie (American, 1828-1917)

Mountain Lake with Rocky Shoreline in Autumn

Signed lower left, “”A. Lawrie”"
Oil on panel
An old label verso from Curtis H Moyer of Hartford, Connecticut
6 7/8 x 8 5/8 inches

Estimate: $500-700

Property from a Prominent New England Family

George William Whitaker (American, 1841-1916)

George William Whitaker (American, 1841-1916)

Rainbow After the Storm, 1898

Signed and dated lower right “G W Whitaker / -98-”
Oil on canvas
16 1/8 x 24 3/8 inches

Estimate: $3,000-5,000

19th Century American School

19th Century American School

Landscape with Native American Warrior

Signed on stretcher in chalk “”T J Jones (?)”" in early 19th C. script
Oil on canvas
20 x 26 3/4 inches

Estimate: $1,000-2,000

Various Owners

David Johnson (American, 1827-1908)

David Johnson (American, 1827-1908)

Sunset on the Unadilla River, New York,
1856
Signed and dated lower left, “”D Johnson 1856″”
Inscribed and titled on a label affixed to the frame
Oil on Canvas

Retains the original frame
19 x 28 1/8 inches

”

Other Notes: Johnson claimed to be self-taught, but records show he studied at the National Academy of Design, and with Hudson River artist Jasper Cropsey (a student of Frederic Edwin Church).

Johnson exhibited at the National Academy of Design regularly and became an associate in 1860 and a full academician the following year. His works also appeared in exhibitions at other major American art centers, including Chicago, Boston and Philadelphia, and Scenery on the Housatonic
was shown at the Paris Salon of 1877.

Johnson’s Sunset on the Unadilla River
from 1856 has the influence of Frederic Edwin Church in use of brilliant salmon colored ground in the sky, and meticulous detail in the foliage. This work is not only a classic painting of the Hudson River School, characteristic of the best of Johnson’s work, but has an engaging subtle narrative which leads the viewer through the landscape from the figure on the bridge to the homestead beyond.”

Estimate: $50,000-80,000

Samuel S. Carr (American, 1837-1908)

Samuel S. Carr (American, 1837-1908)

Picking Goldenrod

Signed lower left “”S.S. Carr”"
Oil on canvas
10 x 14 inches

Estimate: $5,000-8,000

Property of a New Jersey Collection

James Gale Tyler (American, 1855-1931)

James Gale Tyler (American, 1855-1931)

Busy Harbor

Signed lower left “”J. G. Tyler”"
Oil on canvas
22 x 18 1/8 inches

Estimate: $2,000-4,000

Property of a New Jersey Collection

James Brade Sword (American, 1839-1915)

James Brade Sword (American, 1839-1915)

Wish We Could Go Play, 1883

Signed and dated lower right “”J B Sword ’83″”
Inscribed with title verso
Oil on canvas
24 x 15 1/2 inches

Estimate: $3,000-5,000

Property of a New Jersey Collection

American School, 19th Century

American School, 19th Century

River Scene

Oil on canvas

18 1/2 x 32 inches

Estimate: $2,000-4,000

Thomas Doughty (American, 1793-1856)

Attributed to Thomas Doughty (American, 1793-1856)

Rushing River through a Ravine

Unsigned
Oil on canvas
Retains its original spandrel frame
34 1/4 x 44 1/4 inches

Estimate: $10,000-20,000

Edward Moran (American, 1829-1901)

Edward Moran (American, 1829-1901)

Unloading the Boat, Sunset

Signed lower left “Ed Moran”
Oil on canvas

18 x 14 inches

Estimate: $5,000-10,000

Harry Fenn (American, 1845-1911)

Harry Fenn (American, 1845-1911)

Rushing Forest Stream

Signed lower left “”H Fenn”"
Oil on canvas
24 x 20 inches

Provenance: Private collection, New York

Estimate: $4,500-6,500

Property of a New York Gentleman

Italian School, 18th Century

Italian School, 18th Century

Italian Ruins

Unsigned
Oil on canvas
30 x 40 1/4 inches

Estimate: $2,000-4,000

Attributed to Jost Amman (Swiss, 1539-1591)

Attributed to Jost Amman (Swiss, 1539-1591)

Sampson Carrying Off the Gates of Gaza

Ink on paper
10 x 6 1/2 inches

Other Notes: The drawing includes two collector’s marks. This first (Lugt L.2672), distinguished by the inclusion of a lion, belongs to the Austrian collector Ludwig Zatzka (b. 1857) whose collection included around 2,000 folios, European paintings and bronze sculptures. The other mark (Lugt L.2347), which includes the initials “SAG”, is unidentified but possibly belongs to Count Saint-Germain or the Artaria publishing house in Vienna.

Estimate: $5,000-10,000

Attributed to Roelof Koets, (1592-1653)

Attributed to Roelof Koets,(1592-1653)

Grapes, Quinces, Plums and Pears on a Tabletop

Unsigned
Oil on panel
20 1/2 x 32 5/8 inches

”

Provenance: Donald Antiques, London, England, October 1951;
By descent in the family
”

Estimate: $8,000-15,000

British School, early 18th Century

British School

Pair of early 18th Century Portraits of a Man
and a Woman

Oil on canvas
In early carved and gilt wooden frames (2)

30 x 24 inches (oval)

Provenance: Purchased by the present owner at Hubley’s Auction Gallery, Cambridge, Massachusetts, circa 1970

Estimate: $4,000-6,000

Property of a Massachusetts Gentleman

British School, late 16th Century

British School, late 16th Century

Edward Hastings, Baron Hastings of Loughborough (1512/15-1572)

Inscribed variously verso
Oil on cradled panel
35 x 27 inches

Provenance: Newhouse Galleries, circa 1960′s

Exhibitions: National Portrait Gallery, 1866

Other Notes: Edward Hastings, Baron Hastings of Loughborough (1512/15-1572) served as a privy to Queen Mary I. He was elected to the Order of the Garter in 1555, and is pictured here wearing the Order’s collar around his neck. The inscription surrounding his coat of arms, “Honi soit qui mal y pense” refers to the Order’s motto. This picture was exhibited at the First Special Exhibition of National Portraits in April 1866 at the South Kensington Museum in London, England, which was organized to display portraits of significant people in the history of England.

Estimate: $6,000-12,000

The property of a Distinguished American Collector

British School, late 16th Century

British School, late 16th Century

Portrait of Dorothy Petre, Lady Wadham (1534-1618), 1595

Inscribed with sitter and age upper right
Oil on Canvas
36 x 29 inches

Provenance: Newhouse Galleries, circa 1960′s

Other Notes: Dorothy Wadham (1534/4-1618), the daughter of Sir William Petre, co-founded Wadham College at Oxford University with her husband, Nicholas Wadham. A similar portrait of her is in the collection of Petworth House, in Petworth, West Sussex, England, where it is accompanied by a companion portrait of her husband.

Estimate: $5,000-10,000

The property of a Distinguished American Collector