Grogan & Company | The Fine Art Auction | Saturday, November 5, 2022

FINE ART

FINE ART

MICHAEL B. GROGAN

President & Chief Auctioneer michael@groganco.com

GEORGINA C. WINTHROP

Vice President & Fine Art Director georgina@groganco.com

TAYLOR P. SEE

Jewelry Director taylor@groganco.com

CLAUDIA E. DEELEY

Gallery Director claudia@groganco.com

BID LIVE ONLINE

B id live on auction day! The sale will be live–streamed on our website.

FINE ART

WAYS TO BID

MOBILE APP

P articipate on the go on auction day through our mobile app.

TELEPHONE BID

B id live on auction day with our experienced telephone clerks.

ABSENTEE BID

L eave bids with the gallery or on our website in advance of the sale.

MONDAY, OCTOBER 31 FRIDAY, NOVEMBER 4

To schedule an auction preview appointment, please contact: info@groganco.com | 617.720.2020

AMERICAN PAINTINGS

Page 12 . Lots 1 — 119

SCULPTURE

Page 110 . Lots 120 — 137

BRITISH & EUROPEAN PAINTINGS

Page 132 . Lots 138 — 184

PRINTS

Page 168 . Lots 185 — 210

PHOTOGRAPHS

Page 188 . Lots 211 — 245

AMERICAN PAINTINGS

Giorgio Cavallon was a pioneer of the American Abstract Expressionist movement and a charter member of the American Abstract Artists group. Born in Sorio, near Vicenza, Italy, in 1904, the artist immigrated to the United States in 1920. He began his formal training at the National Academy of Design in New York in 1926 and spent two summers in Provincetown studying with Charles Hawthorne. The artist described Hawthorne’s approach as “much more open, much more free than the other Academicians…He never believed in drawing; he believed that if you put the right color in the right place you didn’t need to draw.” In the 1930s, Cavallon was contracted by the Works Progress Administration to work as Arshile Gorky’s assistant in the Easel and Mural Division while simultaneously studying under Hans Hofmann in the evenings and in the summer.

Cavallon exhibited with the American Abstract Artists group from its inception in 1936. He had a long and celebrated career, never departing from his commitment to the exploration of color and form. Cavallon’s signature white pigment and chalky patches of interlocking color slabs are constants in his work, and present a more luminous and softer composition in comparison to many of his American Abstract Expressionist peers.

1

GIORGIO CAVALLON

(American, 1904–1989) Untitled 1979, oil on canvas signed and dated Giorgio Cavallon 79 lower right 68 x 60 in., frame: 68 1/2 x 60 3/4 in. $20,000–30,000

Provenance: The Collection of the Late John and Marilyn Keane, Boston and Cohasset, Massachusetts.

2

GIORGIO CAVALLON

(American, 1904–1989) Untitled 1977, oil on canvas signed and dated Giorgio Cavallon 77 lower right signed and dated Giorgio Cavallon 1977 verso 60 x 52 in., frame: 60 1/2 x 52 1/2 in.

$20,000–30,000

Provenance: The Collection of the Late John and Marilyn Keane, Boston and Cohasset, Massachusetts.

Other Notes: Gruenebaum Gallery (New York) label verso.

GYÖRGY KEPES

(American, 1906–2001)

Tinkertoy Orchard 1982, oil and sand on canvas signed, titled, dated, and numbered G. Kepes Tinkertoy Orchard 1982 16 verso 40 x 30 in. frame: 41 3/4 x 31 3/4 in. $2,000–4,000

György Kepes explored the interconnectedness of art and science as a photographer, filmmaker, graphic designer, and painter. He embraced 20th century modernity and was influenced by the technological advances and turmoil in his society. He was a member of the European Bauhaus before emigrating from Hungary to the United States in 1937 to join the New Bauhaus in Chicago, upon the invitation of Laszlo Maholy–Nagy. At the New Bauhaus (later the School of Design), Kepes developed light and color workshops to research the psychological impact of color, technique, and forms. Following the attack on Pearl Harbor, the school offered a full program of “National Defense Courses” including a course designed by Kepes entitled “Principles of Camouflage.” In 1945, Kepes was invited to create a series of design courses in the School of Architecture and Planning at the Massachusetts Institute of Technology (MIT). He subsequently founded and was the director of the Center for Advanced Visual Studies (CAVS) at MIT, promoting art as a vital component of interdisciplinary study. Kepes ultimately spent the bulk of his career at MIT, working as a scholar and professor from 1946-1974. This collection of six important Kepes paintings come to auction from the estate of a notable Massachusetts architect, who was for many years a close friend of the artist.

GYÖRGY KEPES

(American, 1906–2001)

Perplexed Glow 1968, oil and sand on canvas signed, titled, and dated G. Kepes Perplexed Glow 1968 verso 47 3/4 x 47 3/4 in., frame: 50 x 50 in. $3,000–5,000

5

GYÖRGY KEPES

(American, 1906–2001)

Note 1983, oil and sand on canvas signed, titled, dated, and numbered G. Kepes Note 1983 verso 42 x 44 in., frame: 43 3/4 x 46 in.

$3,000–5,000

6

GYÖRGY KEPES

(American, 1906–2001) Far East, Monument 1950, oil and sand on canvas signed and dated GK 50 upper left 72 x 36 in. frame: 72 3/4 x 37 in.

$3,000–5,000

Exhibitions: Busch–Reisinger Museum/ Harvard Art Museums loan label verso.

GYÖRGY KEPES

(American, 1906–2001) Roma

1961, oil and sand on canvas signed, dated, and titled G. Kepes Roma 1961 verso 27 3/4 x 17 3/4 in., frame: 28 1/2 x 18 1/2 in.

$1,500–2,500

8

GYÖRGY KEPES

(American, 1906–2001)

Untitled 1956, oil and sand on canvas signed and dated G. Kepes 1956 verso 24 x 24 in. frame: 24 3/4 x 24 3/4 in.

$2,000–4,000

WALTER TANDY MURCH (American,

1907–1967)

Clock Face oil on canvas board signed Walter Murch upper right 23 1/2 x 19 1/2 in., frame: 24 1/2 x 20 1/2 in. $3,000–5,000

Provenance: Betty Parsons Gallery, New York (label verso); The Estate of a Massachusetts Lady.

10

JENNIE

HADDAD

(American, 1906–1996)

Untitled oil on canvas signed Jennie Haddad verso 50 x 35 1/3 in., frame: 52 1/4 x 37 1/4 in. $5,000–8,000

Provenance: Estate of the Artist; Collection of Pat Houseman, Dallas, TX; Private Texas Collection.

11

GERALD COARDING (American, 1911–1986)

Untitled 1954, oil on canvas signed and dated Coarding 54 upper right 55 1/2 x 35 in., frame: 56 3/4 x 36 in.

$5,000–8,000

12

CHARLES GREEN SHAW (American, 1892–1974)

The House in the Woods 1950, oil on board signed Shaw lower right 22 x 30 in., frame: 26 3/4 x 34 3/4 in.

$5,000–8,000

JOAQUIN TORRES–GARCIA (Uruguayan, 1874–1949) Untitled (Abstract Figure) 1947, gouache and watercolor signed JTG lower left dated 47 lower right sheet: 7 x 5 in. frame: 9 1/2 x 7 1/2 in $2,000–4,000

Provenance: Katherine Urquhart Warren (1897–1976); by descent to the current owner. Katherine Warren, of New York City and Newport, RI, was an avid art collector who was elected a trustee of the Museum of Modern Art (New York) in 1943.

Other Notes: Rose Fried Gallery (New York) label verso.

14

OSCAR FLORIANUS BLUEMNER (American, 1867–1938) Stack graphite on paper initialed OFB lower left sheet: 4 1/2 x 5 5/8 in. frame: 10 1/2 x 9 1/2 in.

$1,000–1,500

Provenance: The Collection of John Davis Hatch; Sid Deutsch Gallery (New York), 1987; The Collection of a Newport, Rhode Island Lady.

15

PETER ALEXANDER (American, 1939–2020) Venice 1 1989, monoprint 39 x 45 5/8 in., frame: 34 x 45 3/4 in.

$5,000–7,000

Provenance: Property of a Private Maine Collection.

Other Notes: Works Gallery (Long Beach, California) label verso.

MORRIS GRAVES

(American, 1910–2001)

A Collection of Drawings and Watercolors ca. 1930s, comprising: A sketchbook (11 3/4 x 8 3/4 in) with: - pencil sketches of birds on the interior cover - watercolor flower studies; the verso a watercolor of a flicker and a pileated woodpecker, with extensive color notes - double sided pencil studies of geese - pencil and watercolor studies of ducks; a watercolor landscape with a sketch of a duck with color notes

- a watercolor of a trout with sketches of ducks with color notes; pencil sketches of ducks, a house, and a seated girl - watercolor and pencil sketches of ducks on the interior back cover One framed watercolor of a bird, painted on wallpaper 19 loose sheets (each approx. 11 7/8 x 8 7/8 in.), most double sided, with watercolor and pencil sketches of birds, horses, bulls, goats, and plants, and five paper fragments with watercolor and pencil studies of birds

$8,000–12,000

Provenance: Sotheby's New York, American Paintings, Drawings, and Sculpture, September 16, 2005, Lot 5; The Collection of an Oregon Gentleman.

17

LYONEL

FEININGER

(American, 1871–1956)

Dunes, Rain 1944, watercolor signed Feininger lower left dated 27.8.44 lower right sheet: 12 1/4 x 19 in. frame: 20 1/2 x 25 1/2 in.

$10,000–20,000

Provenance: The collection of Mr. and Mrs. G. Holmes Perkins, Philadelphia; by descent within the family to the current owner.

Exhibitions: Philadelphia Museum of Art, Philadelphia Collects 20th Century, October 3–November 17, 1963 (exhibition label verso).

Achim Moeller, Managing Principal of The Lyonel Feininger Project LLC, New York–Berlin has confirmed the authenticity of this work, which is registered under no. 1804–07–27–22. A certificate of authenticity accompanies the work.

GERTRUDE ABERCROMBIE

(American, 1909–1977)

Slaughterhouse 1937, oil on canvas signed and dated Abercrombie 37 lower center 28 3/4 x 40 in., frame: 30 3/4 x 42 in.

$15,000–25,000

Gertrude Abercrombie’s illusory landscapes reflect her involvement in Chicago’s Hyde Park arts scene as well as the influence of the European movement of Surrealism. Her strong American and female voice was celebrated within the otherwise European and male-dominated Surrealist genre. The artist famously said, “It is always myself that I paint” and in many ways her entire oeuvre can be seen as a collection of self-portraits. Her eerily desolate landscapes often include self-portraits and other recurring personal objects such as cats, brooms, ladders and hats which Abercrombie identifies with herself. In this way, her practice is rooted in both realism and dream. As she remarked, “Surrealism is meant for me because I am a pretty realistic person but don’t like all I see. So I dream that it is changed. Then I change it to the way I want it. It is almost always pretty real. Only

mystery and fantasy have been added. All foolishness has been taken out. It becomes my own dream.” After completing her undergraduate studies in romance languages in 1929, Abercrombie studied figure drawing at the School of the Art Institute of Chicago. By 1932, she had focused her efforts on painting, and exhibited her work with independent Chicago galleries in the first half of the decade.

Slaughterhouse was painted in 1937, while Abercrombie was employed as a Works Progress Administration artist (1934-1940), a significant period during which she found new creative and financial freedom. This work is a key example of her early style, for which she won prizes in 1936 and 1938 at the Art Institute of Chicago’s Annual Exhibition of Works by Artists of Chicago and Vicinity, and it relates closely to the 20 x 24 in. view of the same subject, now in the collection of the Smithsonian. Both works depict the same slaughterhouse ruins in Aledo, Illinois, a small town where Abercrombie lived as a child. Though it is much larger in scale than the miniscule works typical of her mature period, Slaughterhouse’s desolate motif and muted color palette can be understood as direct precursors to these later works. The newly re-discovered work has been in the collection of a friend and fellow artist of Abercrombie’s since soon after it was painted.

19

WOLF KAHN (American, 1927–2020) Untitled (Landscape) 1988, oil on canvas signed W Kahn lower left 22 x 28 in., frame: 24 x 30 in.

$5,000–8,000

Provenance: The Collection of a Brookline, Massachusetts Couple.

The Brillhart Collection

Grogan & Company is pleased to bring to market six works from the collection of the late Mr. & Mrs. Herbert Clair Brillhart, Jr. of Perryton, Texas. These works, all lovingly displayed in the Brillhart's home for the past six decades, reflect the couple’s deep interest in and connection with the top American artists of the mid 20th century.

In the mid 1950s, Lena Mae Brillhart met Dord Fitz (1914-1989), an artist, educator, and gallerist who had founded the Dord Fitz School of Art and the Dord Fitz Gallery in Amarillo, Texas, in 1953. In 1954, he established the Creative Arts Association, a group of art students and patrons from the Texas panhandle, Kansas, and Oklahoma. Fitz and his group (including Brillhart) would travel to New York to exhibit their work, and it was on one of these trips in 1956 that Fitz met the Abstract Expressionist Milton Resnick. Through Resnick he soon met Willem and Elaine deKooning, John Grillo, Mark Rothko, and others. By 1957, the enterprising Fitz arranged to put on an exhibition of his Abstract Expressionist friends’ works in Amarillo, thereby cementing the creative exchange between the contemporary New York art scene and the Texas panhandle. This exchange continued throughout the 1960s, as Fitz maintained close relationships with many of the leading New York artists, inviting them to lecture, teach, and exhibit at his gallery with the support of the Area Arts Foundation.

It is in this rich creative context that Lena Mae Brillhart built her collection, buying the works of artists whom she knew personally. For example, Louise Nevelson’s Moon Garden wall sculpture was the first work the Area Arts Foundation purchased upon its incorporation in 1960, and Nevelson came to Amarillo to personally install the sculpture. Brillhart’s Nevelson, Petite Delight (Lot 21), also dates to this period.

In March 1960, Fitz mounted The Women, an exhibition of “17 of the top women artists of New York City.” Artists represented included Louise Nevelson, Helen Frankenthaler, and Elaine de Kooning. The show was billed as “the world’s first contemporary all-woman art and sculpture show,” and was met with both local and national critical acclaim. Six artists, including de Kooning and Nevelson, as well as Nevelson’s gallerist Martha Jackson, traveled to Amarillo for the opening, speaking on a panel “to discuss womens’ place in the creative development of the world today.” According to Brillhart’s reminiscences, Jackson stayed with Area Arts Foundation Vice President Betty Childers while in Amarillo for the opening. When Brillhart and Childers traveled to New York the following year, Jackson returned the favor, inviting them to stay with her at her apartment above her East 69th Street gallery.

These relationships only strengthened throughout the 1960s. For example, in 1966, Fitz hosted an arts festival at his gallery, the highlight of which was a panel discussion about contemporary art moderated by the critic Harold Rosenberg, with Elaine de Kooning, Louise Nevelson, and Larry Rivers as panelists. Rivers fell ill shortly before the festival, but de Kooning saved the day by recruiting the promising artist Alex Katz to replace Rivers on the panel. Katz brought six small paintings with him to the festival, and all of the works, one of which may have been Brillhart’s Ada (Lot 20), were purchased by Fitz’s students. The ever-savvy de Kooning convinced Fitz to waive his commission on these sales, noting that Katz “had dropped everything and had come out at a day’s notice.”

The legacy of Dord Fitz can be felt in this selection of six works from the Brillhart’s collection, which includes the Nevelson and Katz works alongside paintings by Milton Resnick, John Grillo, and Charles Bunnell. The collection speaks to the progressive world of Dord Fitz, who championed women artists and women collectors, and, most importantly, it represents Lena Mae Brillhart's keen eye for the top Abstract Expressionist artists of her time.

20

ALEX KATZ

(American, b. 1927) Ada 1964, oil on board signed and dated Alex Katz 64 lower right inscribed "Ada" Alex Katz–No. 1–Fischback [sic] 29 West 51st St NYC verso 10 x 12 in., frame: 10 3/4 x 12 3/4 in. $50,000–80,000

21

LOUISE

NEVELSON

(American, 1899–1988)

Petite Delight 1959, black painted wood construction signed and dated Nevelson 1959 along top edge 17 3/4 x 13 x 6 1/2 in.

$30,000–50,000

Exhibitions: Scottsdale Fine Arts Commission, Scottsdale, AZ, Nevelson Festival Exhibition, November 11 - December 10, 1973, cat. no. 16.

Other Notes: Pace Gallery (New York) exhibition label verso; Scottsdale Fine Arts Commission exhibition label verso.

22

MILTON RESNICK (American, 1917–2004)

Untitled 1957, oil on canvas signed and dated Resnick 57 lower left signed and dated Resnick 1957 verso 25 x 24 in., frame: 27 x 26 in.

$15,000–25,000

JOHN GRILLO (American, 1917–2014)

Untitled 1959, oil on board signed and dated Grillo 59 lower left 10 1/4 x 17 1/2 in., frame: 15 1/4 x 22 3/4 in. $4,000–8,000

24

CHARLES BUNNELL

(American, 1897–1968)

Untitled 1955, oil on board signed and dated Bunnell 55 lower right

16 x 20 in. frame: 21 1/2 x 24 1/2 in.

$2,000–3,000

25

CHARLES BUNNELL

(American, 1897–1968)

Untitled 1957, oil on masonite signed and dated Bunnell 57 lower left

16 x 20 in. frame: 23 1/2 x 27 1/2 in.

$1,500–2,500

26

JOHN HELIKER (American, 1909–2000) Glen oil on canvas 26 x 26 in. frame: 27 x 27 in. $1,500–2,500

Other Notes: Kraushaar Galleries (New York) label verso.

27

JOHN MARIN (American, 1870–1953) Landscape 1914, watercolor signed and dated Marin 14 lower left sheet: 16 1/4 x 19 1/4 in., frame: 21 3/8 x 24 5/8 in.

$30,000–50,000

Provenance: Katherine Urquhart Warren (1897–1976); by descent to the current owner. Katherine Warren, of New York City and Newport, RI, was an avid art collector who was elected a trustee of the Museum of Modern Art (New York) in 1943.

Exhibition: Museum of Fine Art, Rhode Island School of Design, Providence, RI, 1900 to Now: Modern Art from RI Collections, January 22 to May 1, 1988 (exhibition label verso).

RICHARD ESTES (American, b. 1932) Mount Desert VII 1996, oil on wood signed and dated Richard Estes 96 lower right 19 7/8 x 15 7/8 in., frame: 22 5/8 x 18 5/8 in. $40,000–60,000

Provenance:

29

STEPHEN MORGAN ETNIER

(American, 1903–1984)

Harbor View 1962, oil on canvas signed and dated Stephen Etnier 62 lower left 20 x 30 in., frame: 29 1/2 x 39 1/2 in.

$3,000–5,000

30

STEPHEN MORGAN ETNIER (American, 1903–1984)

The Cradle 1964, oil on canvas signed and dated Stephen Etnier 64 lower left; titled verso 16 x 26 in. frame: 26 1/4 x 36 1/2 in.

$2,000–3,000

JAMES EDWARD FITZGERALD (American, 1899–1971) Fisherman

watercolor, double sided 20 x 26 in., frame: 28 3/4 x 34 3/4 in. $12,000–18,000

Provenance: The Estate of the Artist; Property of a Private Maine Collection.

Literature: James Fitzgerald Catalogue Raisonné nos. 1029 and 1028.

33 PAUL DOUGHERTY (American, 1877–1947) The Harbor, Monhegan oil on board signed Paul Dougherty lower left 12 x 16 in. frame: 17 3/4 x 21 3/4 in.

$3,000–5,000

Provenance: The Estate of a Gloucester, Massachusetts Couple.

34 MARGARET

JORDAN

PATTERSON (American, 1867–1950) Monhegan woodcut in colors signed Margaret J. Patterson lower right titled lower center sight: 7 3/4 x 10 3/4 in. frame: 19 1/4 x 23 1/4 in.

$1,000–1,500

35

CHARLES HENRY EBERT (American, 1873–1959) Horns Hill Road, Monhegan 1918, oil on canvas 20 1/8 x 25 1/8 in. frame: 25 1/2 x 30 1/2 in.

$1,500–2,500

36

ANDREW WINTER (American, 1892–1958) Monhegan Island oil on board signed A. Winter lower right titled Monhegan Island verso 12 x 13 in. frame: 16 1/2 x 17 1/2 in.

$1,500–2,500

Provenance: Property of a Private Maine Collection.

37

WILLIAM THON (American, 1906–2000)

The Waterfall oil on masonite signed Thon lower right 22 x 36 in., frame: 27 x 41 in.

$5,000–10,000

Provenance: Property of a Private Maine Collection.

Exhibitions: The Ogunquit Museum of American Art (Ogunquit, Maine), Creatives Lives, July 1–September 30,1996 (exhibition label verso).

Other Notes: Midtown Payson Galleries (New York) label verso; Frost Gully Gallery (Portland, Maine) label verso.

WILLIAM THON (American, 1906–2000)

Sardine Boat in Fog gouache on paper signed Thon lower right titled and signed verso sight: 20 x 27 in. frame: 28 1/2 x 35 in.

$1,500–2,500

Provenance: The Estate of a Massachusetts Lady.

Other Notes: Midtown Galleries (New York) label verso.

39

WILLIAM THON (American, 1906–2000)

The Boatyard 1935, oil on canvas board signed William Thon lower right titled and dated verso, with Thon Estate no. 2699 16 x 20 in.

frame: 21 1/2 x 25 1/2 in.

$5,000–10,000

Provenance: Property of a Private Maine Collection.

Other Notes: Caldbeck Gallery (Rockland, Maine) label verso; Portland Museum of Art (Portland, Maine) exhibition label verso.

40

ROBERT VICKREY (American, 1926–2011)

Snow and Rocks gouache on paper signed Robert Vickrey lower right sight: 21 x 28 1/4 in. frame: 31 x 38 1/2 in.

$3,000–5,000

Provenance: The Collection of an Ohio Gentleman.

Other Notes: Midtown Galleries (New York) label verso.

41

THOMAS CROTTY (American, 1923–2014)

First Snow, Freeport, Maine watercolor on paper signed Thomas Crotty lower right 27 1/4 x 40 1/2 in. frame: 34 x 47 1/2 in.

$3,000–5,000

Provenance: Property of a Private Maine Collection.

42

JAY HALL CONNAWAY (American, 1893–1970) Rain and Sea, Maine oil on board signed Connaway lower right 16 x 20 in., frame: 21 1/4 x 25 1/4 in.

$2,000–4,000

Provenance: Property of a Private Maine Collection.

Exhibitions: Portland Museum of Art (Portland, Maine), Moods of Nature: Jay Connaway and the Landscape of New England, September 19–December 6, 2009.

43

CHARLES

JAY TAYLOR

(American, 1855–1929)

After the Rain, Spruce Point, Maine 1923, oil on board signed C. J. Taylor lower right signed, titled, and dated verso 11 x 14 1/4 in. frame: 16 1/2 x 19 1/2 in.

$2,000–3,000

44

WALDO PIERCE

(American, 1884–1970)

Floral Still Life in Ceramic Jug 1963, oil on canvas dedicated and signed For Annie. WP. 63 lower left 18 x 28 in., frame: 35 x 25 in.

$2,000–4,000

Provenance: Property of a Private Maine Collection.

45

WALDO PIERCE

(American, 1884–1970)

Floral Still Life in a White Pitcher 1958, oil on canvas signed and dated WP '58 lower left 28 x 18 in., frame: 35 x 25 in.

$2,000–4,000

Provenance: Property of a Private Maine Collection.

ERNEST LEE MAJOR

(American, 1864–1950)

Still Life with Sunflowers oil on canvas signed Ernest L. Major upper left 36 x 29 in. frame: 40 1/2 x 33 1/2 in.

$1,000–2,000

Provenance: The Collection of a Brookline, Massachusetts Couple.

47

MATILDA BROWNE

(American, 1869–1947)

Still Life with Flowers oil on canvas signed Matilda Browne lower right 36 x 30 in. frame: 40 1/2 x 34 1/2 in.

$5,000–7,000

48

WALT FRANCIS KUHN (American, 1877–1949)

Still Life 1936, oil on canvas board signed and dated Walt Kuhn 1936 lower left 14 x 10 in., frame: 17 1/2 x 13 1/2 in. $4,000–6,000

Provenance: Property of a Private Maine Collection.

LAURA COOMBS HILLS

(American, 1859–1952)

Floral Still Life pastel on paper signed Laura Hills lower right sight: 21 x 16 3/4 in., frame: 30 x 26 1/2 in. $3,000–5,000

50

LOUIS OSCAR GRIFFITH (American, 1875–1956) Landscape oil on board signed L.O. Griffith lower left 12 1/2 x 14 1/2 in. frame: 16 1/2 x 18 1/2 in.

$1,500–2,000

Provenance: By descent to a Massachusetts Couple.

51

HERMAN DUDLEY MURPHY (American, 1867–1945) Landscape oil on board signed H. Dudley Murphy lower right 12 x 15 3/4 in. frame: 17 5/8 x 21 5/8 in.

$2,000–3,000

52

WILLIAM LESTER STEVENS (American, 1888–1969)

Westfield River in Winter oil on canvas signed W Lester Stevens lower right, titled verso 30 x 36 in. frame: 34 1/2 x 40 1/2 in.

$4,000–6,000

Provenance: The Collection of a Brookline, Massachusetts Couple.

53

ANTONIO CIRINO

(American, 1889–1983)

The Town Church oil on board signed A. Cirino lower right 8 x 10 in. frame: 14 7/8 x 16 7/8 in.

$1,000–2,000

FELICIE WALDO

HOWELL

(American, 1877–1968) Day at the Beach, Gloucester 1916, gouache on paper signed and dated Felicie Waldo Howell 1916 lower right sight: 19 x 24 3/4 in., frame: 28 1/2 x 34 1/4 in. $3,000–5,000

55

CARL WILLIAM PETERS (American, 1897–1980) View of the Town Church oil on canvas estate stamped verso 20 x 24 in. frame: 25 1/4 x 29 1/2 in.

$3,000–5,000

56

CARL WILLIAM PETERS (American, 1897–1980)

Boats in the Harbor oil on canvas board estate stamped; titled verso 16 x 20 in.

frame: 21 5/8 x 25 1/2 in.

$2,000–3,000

57

WALTER FARNDON

(American, 1876–1964)

Harbor View oil on canvas signed Walter R. Farndon lower right 18 x 13 in. frame: 22 1/2 x 17 1/2 in.

$2,000–3,000

Other Notes: Partial Doll & Richards (Boston) label verso.

58

PAUL STRISIK

(American, 1918–1998)

Gloucester Harbor 1963, oil on canvas board signed Strisik lower right; titled, dated, and signed verso 12 x 16 in., frame: 18 1/2 x 22 1/2 in.

$2,000–4,000

Provenance: Property of a Private Maine Collection.

59

PAUL STRISIK (American, 1918–1998)

The Wharf watercolor on paper signed P. Strisik lower right 11 x 17 in., frame: 18 x 24 in.

$1,000–2,000

Provenance: Property of a Private Maine Collection.

Other Notes: Paul Strisik Gallery (Rockport, MA) label verso.

60

JACOB GREENLEAF (American, 1887–1968)

Lobster Market, Rockport oil on canvas board signed J. Greenleaf lower right 9 x 12 in. frame: 13 1/2 x 16 1/2 in.

$800–1,200

61

ALSON SKINNER CLARK

(American, 1876–1949)

The Red Buttes 1936, oil on board signed and dated Alson Skinner 36 lower left titled verso 18 1/2 x 22 in., frame: 25 3/4 x 28 1/8 in. $3,000–5,000

Provenance: The Estate of a Gloucester, Massachusetts Couple.

62

JOHN FRANCIS MURPHY (American, 1853–1921) Landscape oil on panel signed J. Francis Murphy lower left 12 1/2 x 15 3/4 in. frame: 17 5/8 x 21 in.

$2,000–3,000

63

BERNARD COREY (American, 1914–2000) Fall and Winter oil on canvasboard, double sided signed Bernard Corey verso 9 x 13 in. housed in a 14 3/4 x 18 3/4 in. Goodnow frame

$800–1,200

64

JOHN WHORF

(American, 1903–1959) Bridge, Toledo 1931, watercolor signed and dated John Whorf '31 lower left sight: 20 1/2 x 28 7/8 in. frame: 29 x 37 1/2 in.

$3,000–5,000

65

JOHN WHORF

(American, 1903–1959) Rolling from the East watercolor signed John Whorf lower right sight: 14 1/2 x 21 1/2 in., frame: 23 1/2 x 29 1/2 in.

$2,000–4,000

66

ROSS STERLING TURNER (American, 1847–1915)

Isles of Shoals 1881, watercolor titled, signed, and dated The Shoals. Ross Turner. Aug 81. lower left sight: 12 1/2 x 18 1/2 in., frame: 22 1/2 x 28 in. $1,000–1,500

Frank Weston Benson

Grogan & Company is pleased to bring to auction this impressive collection of sixteen works by Frank Weston Benson, assembled by a New England collector over the past 30 years. Born in Salem, Massachusetts, Benson is a favorite of many New England collectors for his astounding abilities across watercolor, etching, and oil. The fifteen watercolors in this collection encompass Benson's highly regarded sporting art as well as his esteemed landscapes, painted in Canada, Maine, New Hampshire, and the Bahamas. Benson’s superior ability to capture movement, subtle coloration, and dramatic subjects in watercolor is well represented in the collection. Three remarkable sporting works, Scoters Over Water (Lot 67), The Trophy Catch (Lot 68), and Swift Water (Lot 69) are impactful depictions of Benson’s lifelong interest in outdoor pursuits, while his love of nature is aptly captured in Fox Island Thoroughfare (Lot 77), a view from his beloved North Haven, Maine. Casting his eye further inland in Mt. Monadnock (Lot 81), Benson depicts the majestic mountain in an intimate scale. Meanwhile, the collection is completed by the oil painting Portsmouth Harbor (Lot 82), a view of one of America’s most historic harbors, that perfectly captures Bensons's iconic Impressionist style.

67

FRANK WESTON BENSON (American, 1862–1951) Scoters Over Water 1924, watercolor signed and dated F.W. Benson '24 lower left; inscribed No. 2 Scoters verso sheet: 14 1/8 x 20 in., frame: 25 1/4 x 31 1/4 in. $15,000–25,000

Other Notes: E. & A. Milch, Inc. (New York) label verso; Childs Gallery (Boston) label verso.

FRANK WESTON BENSON (American, 1862–1951)

The Trophy Catch 1928, watercolor on paper signed and dated F. W. Benson '28 lower left sheet: 20 x 25 1/8 in., frame: 30 1/2 x 35 in. $20,000–25,000

69

FRANK WESTON BENSON (American, 1862–1951)

Swift Water 1929, watercolor on paper signed and dated F. W. Benson '29 lower left sheet: 20 3/4 x 29 in., frame: 27 1/2 x 36 in.

$20,000–25,000

Exhibitions:

– Grand Central Art Galleries, New York, Call of the Wild: The Primal Adventure, October 18–November 10, 1984

– Coe Kerr Gallery, New York, American Impressionism II, May 9–June 23, 1988

– Vose Galleries, Boston, Frank W. Benson Watercolor Exhibition, October 7–December 1, 1997

70

FRANK WESTON

BENSON

(American, 1862–1951) Marsh View watercolor en grisaille signed F. W. Benson lower right and dated indistinctly ['14?] sheet: 20 1/4 x 14 1/4 in., frame: 32 3/4 x 26 3/4 in. $8,000–12,000

FRANK WESTON BENSON (American, 1862–1951) From the Marsh watercolor en grisaille sight: 12 x 18 in., frame: 20 x 25 1/2 in.

72

FRANK WESTON BENSON (American, 1862–1951)

Duck Shooting watercolor en grisaille signed F.W.B twice lower right sheet: 14 x 20 in. frame: 20 3/4 x 26 3/4 in.

$5,000–10,000

73

FRANK WESTON BENSON (American, 1862–1951)

Three Dead Geese watercolor en grisaille initialed F. W. B. lower right sheet: 12 3/4 x 16 in. frame: 20 x 23 1/4 in.

$5,000–10,000

74

FRANK WESTON

BENSON

(American, 1862–1951)

Nassau Fisherman 1922, watercolor signed and dated F. W. Benson '22 lower right; dedicated and dated to Gertrude Fiske. 1927 lower left sheet: 20 x 14 1/4 in., frame: 28 x 22 1/4 in.

$8,000–12,000

75

FRANK WESTON BENSON (American, 1862–1951)

Sea Grapes

1922, watercolor signed and dated F. W. Benson '22 lower right sheet: 12 x 16 in. frame: 23 3/4 x 28 3/4 in.

$5,000–8,000

76

FRANK WESTON BENSON (American, 1862–1951) Shoreline with Tree 1915, watercolor signed and dated F.W. Benson 15 E.B.R. lower right sheet: 14 3/4 x 21 in. frame: 23 1/2 x 30 in.

$7,000–10,000

77

FRANK WESTON BENSON (American, 1862–1951)

Fox Island Thoroughfare 1923, watercolor signed and dated F.W. Benson '23 lower left sheet: 14 7/8 x 21 in., frame: 24 1/2 x 30 1/4 in.

$15,000–25,000

Exhibitions: Vose Galleries (Boston), Watercolor Exhibition, October 7–December 1, 1997.

With note verso indicating the painting depicts the view across the Fox Island Thoroughfare, looking toward the village of North Haven, Maine, from Frank Benson's barn.

78

FRANK WESTON BENSON (American, 1862–1951) Tree with Dappled Light watercolor signed F. W. Benson and dated indistinctly lower left sheet: 21 x 14 1/2 in., frame: 31 5/8 x 24 3/4 in. $7,000–10,000

FRANK WESTON BENSON (American, 1862–1951)

Autumn Stream 1922, watercolor signed and dated F. W. Benson '22 lower left sheet: 20 1/8 x 16 1/8 in., frame: 25 1/2 x 21 1/2 in. $7,000–10,000

80

FRANK WESTON BENSON (American, 1862–1951)

The Lone Pine 1933, watercolor signed and dated F.W. Benson '33 lower left sheet: 24 x 20 in., frame: 34 1/2 x 30 in.

$5,000–10,000

Exhibitions: Vose Galleries (Boston, MA), Watercolor Exhibition, October 7–December 1, 1997 label verso.

81

FRANK WESTON BENSON (American, 1862–1951)

Mount Monadnock watercolor signed and dedicated F.W. Benson to Mrs. Bush lower left sheet: 8 3/4 x 15 1/4 in., frame: 22 1/4 x 29 1/4 in.

$7,000–10,000

82

FRANK WESTON BENSON (American, 1862–1951) Portsmouth Harbor 1895, oil on canvas signed and dated F.W. Benson '95 lower left 24 1/8 x 20 1/8 in., frame: 28 x 24 in. $15,000–25,000

JAMES GUY EVANS (American, 1810–1860) Loss of the Schooner Cora oil on canvas signed Evans lower right inscribed Loss of the Schooner Cora on Brazos Bar. July 20th 1846. Capt. S.M.Read along lower margin 29 x 36 in., frame: 35 x 42 in. $10,000–20,000

84

WILLIAM GAY YORKE (Canadian, 1817–1892)

The Schooner Hannah Coomer of Plymouth 1874, oil on canvas signed and dated Wm. G. Yorke May 1874 Brooklyn lower left 26 x 36 in., frame: 31 3/4 x 41 3/4 in. $5,000–10,000 Provenance: The Collection of the Late John and Marilyn Keane, Boston and Cohasset, Massachusetts.

SOLON FRANCIS MONTECELLO BADGER

(American, 1873–1919)

The Allanwide Under Full Sail off Minot's Light 1897, oil on canvas signed and dated S.F.M. Badger '97 lower right; signed and dated verso 22 x 36 in., frame: 28 x 42 in. $5,000–8,000 Provenance: The Collection of a Massachusetts Gentleman.

86

WILLIAM PIERCE STUBBS (American, 1842–1909)

The Joshua Lovett oil on canvas signed W. P. Stubbs lower left 22 x 36 in., frame: 25 3/4 x 39 3/4 in. $3,000–5,000

Provenance: By descent within a Massachusetts family.

New England artist Alfred Thompson Bricher was inspired to make painting his career in 1858, after meeting Charles Temple Dix and William Stanley Haseltine while sketching on Mount Desert Island, Maine. Growing up in Newburyport, Massachusetts, Bricher was never far from the sea, keeping studios in Boston and later New York City. Largely self-taught, the artist spent his summers traveling the northeastern coastline from Canada to Rhode Island. Bricher painted the Atlantic coastal scenes at different times of day and in various weather conditions, and his works are at once sublime and naturalistic. He was fascinated by the rugged beauty of Grand Manan Island (off the coast of Northern Maine), and spent seventeen years studying, sketching, and painting its coastal views. In this work, the transcendent beauty of Bricher’s compositions can be seen in his luminous treatment of light and atmosphere and his exquisitely detailed depiction of seabirds dancing in front of the cliffs and above the capped waves.

88

ALFRED THOMPSON BRICHER

(American, 1837–1908)

By the River oil on canvas signed A.T. Bricher lower left 16 x 24 in., frame: 26 1/2 x 34 1/2 in.

$10,000–20,000

Provenance: The Collection of a Massachusetts Gentleman.

(American, 1828–1901)

Cows Grazing Under the Oaks 1893, oil on canvas signed and dated E.M. Bannister 93 lower right 24 x 36 in., frame: 35 3/4 x 47 3/4 in.

$50,000–80,000

Provenance: Private Pennsylvania Collection; Christie's New York, September 15, 2005, Fine American Paintings, Lot 61; The Collection of a Rhode Island Doctor.

Literature: This work will be included in the forthcoming E.M. Bannister Catalogue Raisonne by Anne Louise Avery.

Providence artist Edward Bannister caused a sensation when his painting Under the Oaks won first prize at the Philadelphia Centennial Exposition in 1876, the first work by an African-American artist to win such an award. The present work, Cows Grazing Under the Oaks, relates directly to Bannister's 1876 Under the Oaks. Though that work has been lost since the turn of the 20th century, sketches of it remain, and many of the qualities that made it a prizewinning painting can be understood through a visual analysis of Cows Grazing Under the Oaks, one of only two extant Bannister works to depict discernable oak leaves. In this work, Bannister uses varied areas of light and shadow to draw the viewer’s eye through his painting. The cows grazing at the center of the composition are gently encircled by the dark arms of mature oak trees, a symbol of strength. The ground in front of the cows is in the shadow of the oaks, while a golden pasture is illuminated beyond, with a second herd just visible. A patch of blue sky completes the composition, separated from the bright meadow by a layer of dark trees on the horizon. This harmonious composition demonstrates how Bannister imbued the artistic tradition of the French Barbizon school with the philosophical ideals of New England’s Transcendentalist movement, creating paintings that push the viewer to pause and consider the relationship between man, nature, and the divine.

EDWARD MITCHELL BANNISTER

91 FRANKLIN D. BRISCOE (American, 1844–1903)

Crashing Waves oil on board signed F. D. Briscoe lower left 10 x 14 in. frame: 15 1/2 x 19 1/4 in.

$1,000–2,000

Provenance: Property of a Private Maine Collection.

92

GEORGE HATHAWAY (American, 1852–1903) Harbor View 1897, oil on board signed and dated GM Hathaway 1897 lower right 16 x 20 in. frame: 24 1/2 x 30 1/2 in.

$1,500–2,500

Provenance: Property of a Private Maine Collection.

93

WILLIAM AIKEN WALKER (American, 1838–1921) Cabin oil on board signed W.A.Walker lower left; titled verso 6 1/4 x 12 1/2 in., frame: 8 3/4 x 14 3/4 in. $7,000–10,000

Provenance: Property of a Connecticut Estate.

94

THOMAS LECLEAR (American, 1818–1882) Marcus and Mary Swift oil on canvas each signed Thos. LeClear N.A. lower right each 24 x 20 in., frame: 29 1/2 x 25 1/2 in.

$2,000–3,000

Provenance: The Collection of a Massachusetts Gentleman.

Other Notes: Marcus Swift (1848–1902) was a prominent attorney in Fall River, Massachusetts.

95

BENJAMIN WEST

(American, 1738–1820)

Master Copley and His Elder Sister ca. 1777, ink on paper signed Benj.n West lower left; titled lower center sight: 4 5/8 x 7 3/4 in., frame: 7 5/8 x 10 1/8 in.

$4,000–6,000

Provenance:

John Singleton Copley (1738–1815)

Likely to his widow, Susanna Clarke Copley (1745–1836)

And thence to their son, John S. Copley, Jr., Lord Lyndhurst (1772–1863)

Likely to Lord Lyndhurst’s widow, Georgiana Goldsmith Copley (1801–1901)

And thence to their daughter, Georgiana Susan Copley, Lady Du Cane (1838–1926)

Sold at the Rt. Hon. Lord Aberdare and Other Collections Sale Christie’s, London, June 3, 1932, Lot 70* Purchased by Copley Amory, Jr. (1890–1964), the painter’s great–great–great grandson Descended to his sister, Katherine Amory Smith (1908–1996)

To her daughter, Mary Smith Wilcox (1933–2015), the painter’s great–great–great–great granddaughter And to her son, the present owner.

The work depicts two young children seated closely together with a gameboard on a table in front of them. The girl wears a dress with sash and a wide–brimmed hat with ribbon and bow; the boy wears his hair in long bangs and is looking at the game pieces on the table. The crest rail of a chair is partially visible behind him to the right. The sister is Elizabeth (Betsy) Copley (1770–1866), John Singleton Copley’s eldest child who later married Gardiner Greene of Boston. Next to her sits her younger brother, John Singleton Copley, Jr. (1772–1863) , who as an adult remained in England, becoming the 1st Baron of Lyndhurst. In this drawing, Betsy appears to be wearing the same dress she wears in John Singleton Copley’s large group portrait, The Copley Family, 1776–77, now in the collection of the National Gallery of Art, Washington, D.C.

Affixed to a wood panel on the reverse is an old, typed excerpt from Martha Babcock Amory's 1882 book The Domestic and Artistic Life of John Singleton Copley, R.A., reading: “We can scarcely imagine a more congenial sphere for a man of genius than this London House; every resource for art, study, and society without; reposes without dullness within. It was the favorite resort during and after the Revolution of all Americans of any repute who visited England; of those who leaned to the doctrine of liberty which agitated the public mind of Europe as well as in America, and also of those who like the venerable patriarch of the family considered it no less than a holy command to do honor unto Caesar. Among those were the Olivers and Hutchinsons, connections of Mrs. Copley through her Winslow ancestry, many of whom had been distinguished in the aristocratic circles of the colonial court, like the first minister in his diplomatic dignity, scantily paid and coldly received. There came also those distinguished in art, whether of the Academy or not; many a sketch thrown off in the carelessness of social intercourse is preserved; among them a pen and ink drawing of “Master Copley and his Sister –– the daughter above alluded to, ––by Benjamin West, hung on the walls of Lord Lyndhurst’s bed–room until the last days of his life. (p. 100–101 Life of J.S.C. by Martha B. Amory)." Further inscribed in ink in the righthand margin: “This drawing was bought by me at [the] Aberdare sale at Christie’s – 1932/ (To Lord Aberdare from? his grandmother, a daughter of Lord Lyndhurst) C.A. Jr.”

Literature:

– For a reference to this drawing as having hung on Lord Lyndhurst’s bedroom wall, see Martha Babcock Amory, The Domestic and Artistic Life of John Singleton Copley, R.A., Boston, 1882, pp. 100–101.

– Benjamin West’s 1777 drawing of Miss Susannah Copley was illustrated in Jane Kamensky, A Revolution in Color: The World of John Singleton Copley, New York: W.W. Norton & Co., 2016, p.340.

* Lord Aberdare was John Singleton Copley’s great–great grandson. According to records in the Frick Art Reference Library, Lot 70 in the Aberdare Sale consisted of three items: West’s drawing of Master Copley and his Elder Sister; another West drawing of Miss Susannah Copley (1776–1785), signed and dated 1777; and a third unidentified piece. They apparently sold for £6.6.

Grogan & Company thanks Monica Reuss for her assistance in cataloging this lot.

96

JAMES JEBUSA SHANNON (American, 1862–1923)

Portrait of a Little Girl Holding a Toy 1895, oil on canvas signed and dated J. J. Shannon 1895 upper right 37 5/8 x 27 3/8 in., frame: 47 1/2 x 37 1/2 in.

$5,000–8,000

Provenance: Private Collection, England; Sotheby's London, January 19, 2005, Lot 81; Messums London; acquired from Messums by a private London collector, ca. 2007.

Exhibitions: (possibly) Society of Portrait Painters, London, 1895, cat.no. 70.

The subject of this work is likely Marian Frances Charles (b. 1888), the daughter of artist James Charles (1851–1906).

97

JULIAN

ALDEN WEIR

(American, 1852–1919)

Portrait of Caro 1887, oil on canvas signed and dated J. Alden Weir 1887 lower left 49 3/8 x 36 1/8 in. frame: 64 1/2 x 51 1/4 in.

$5,000–10,000

Provenance: The artist by descent to his daughter, Mrs. George Page Ely (née Caroline Weir), 1919; by descent to her daughter, Mrs. Gregory Smith (née Anne Weir Ely); by descent within the family to a private California collection; private collection, New York.

Exhibitions:

– Palais des Beaux–Arts, Paris, Exposition Universelle, May 5–November 5, 1889, no. 326, as Portrait of Artist's Child.

– Metropolitan Museum of Art, New York, Memorial Exhibition of the Works of Julian Alden Weir, March 17–April 20, 1924, no. 7 (illus)., as Portrait of a Child.

– Metropolitan Museum of Art, New York, J. Alden Weir: An American Impressionist, October 13,1983–January 8, 1984, no. 3 (illus)., as Portrait of a Child. [This exhibition also traveled to The Los Angeles County Museum of Art, February 9–May 6, 1984, and The Denver Art Museum, June 13–August 19, 1984]. (label verso).

– Pennsylvania Academy of the Fine Arts, Philadelphia, The Paris Universal Exhibition of 1889: American Artists at the World's Fair, September 15, 1989–July 30, 1990, pp. 225–6, 296, no. 326 (illus), as Portrait of Caro. (label verso).

– The William Benton Museum of Art, University of Connecticut, J. Alden Weir–A Place of His Own, June 4–August 18, 1991, as Portrait of Caro. (label verso).

Literature:

– Harold Frederic, "American Art in Paris," New York Times, June 16, 1889, p. 11

– Theodore Child, "American Artists at the Paris Exhibition," Harper's New Monthly Magazine 79, September 1889, p. 520

– Hildegard Cummings, "Art and Nature in the Landscapes of Nod, in Nicolai Cikovsky Jr. et al, A Connecticut Place: Weir Farm–An American Painter's Rural Retreat (Wilton, Connecticut: Weir Farm Trust, 2000) p. 82, no. 72 (illus), as Portrait of a Child.

99

WALTER GAY

(American, 1856–1937)

Interior Scene watercolor sight: 9 3/4 x 6 1/2 in. frame: 21 1/4 x 17 3/4 in.

$2,000–4,000

100

MSTISLAV DOBUZHINSKY (Russian/American, 1875–1957)

Foyer, Bellevue House, Newport gouache on paper sight: 18 x 13 1/2 in. frame: 27 x 22 3/4 in.

$1,500–2,500

101

RICHARD EDWARD

MILLER

(American, 1875–1943)

Black Mantilla oil on canvas signed Miller lower right 36 1/4 x 34 1/4 in., frame: 45 x 43 in $20,000–30,000

Provenance: Grand Central Art Galleries, New York (label verso); Christie's New York: May 26, 1988, Lot 262; Sam and Marion Lawrence, Orlando, Florida; acquired from the above by the present owner.

Exhibitions: Museum of Fine Arts, St. Petersburg, Florida, In the American Spirit: Realism and Impressionism from the Lawrence Collection, 1999, cat. no. 27, pp. 30, 58, 84, illustrated (label verso).

102

EDWARD ALFRED CUCUEL (American, 1875–1954)

Das Erwachen (The Awakening) oil on canvas laid on board signed Cucuel lower left; signed Cucuel verso 28 1/4 x 31 1/2 in., frame: 35 x 38 in.

$30,000–50,000

Provenance: Christie's New York, 19th/20th Century American Pictures, September 28, 1989, Lot 278; The Collection of a New England Lady.

103

EDWARD ALFRED CUCUEL (American, 1875–1954) The Tea Party oil on board 8 1/2 x 11 1/2 in. frame: 13 1/2 x 16 1/2 in.

$4,000–6,000

Provenance: The Collection of a New England Lady.

104

EDWARD ALFRED CUCUEL (American, 1875–1954) Still Life with Teacups oil on canvas laid on board signed Cucuel lower right 8 1/2 x 14 1/2 in. frame: 16 1/2 x 22 1/2 in.

$2,000–4,000

Provenance: The Collection of a New England Lady.

105

JOSEPH SOLMAN (American, 1909–2008)

Subway Rider gouache on newspaper signed J. Solman lower right sight: 12 1/2 x 8 1/2 in. frame: 18 1/4 x 14 in.

$1,000–2,000

Provenance: The Collection of a Beacon Hill, Boston Gentleman.

106

JOHANN BERTHELSEN (American, 1883–1972)

Columbus Circle oil on canvas signed Johann Berthelsen lower right; titled verso 12 x 16 in. frame: 17 x 21 in.

$3,000–5,000

107

ARTHUR

BIEHL

(American, 1926–2004)

Pasture

1964, tempera on board signed and dated Biehl '64 lower right 23 1/4 x 23 1/4 in. frame: 23 3/4 x 23 3/4 in.

$1,000–1,500

Provenance: The Collection of a Massachusetts Gentleman.

Other Notes: The Corcoran Gallery of Art (Washington, D.C) museum label verso.

108

LUCY L'ENGLE

(American, 1889–1978)

The Artist's Property at Long Nook Road, Truro oil on canvas 30 x 24 in. frame: 32 1/2 x 26 1/2 in.

$1,000–2,000

111

EMILY BUCHANAN

(American, b. 1966)

Mountain View 2004, oil on panel signed and dated Buchanan '04 lower left 8 x 24 in., frame: 13x 29 in.

$2,000–3,000

112

EMILY BUCHANAN

(American, b. 1966)

Beach Path oil on board signed Emily Buchanan lower right 24 x 36 in., frame: 29 1/2 x 41 1/2 in.

$5,000–8,000

113

GEORGE DUREAU (American, 1930–2014)

Behind the Beach 1989, oil on canvas signed Dureau lower right 68 x 90 in.

$7,000–10,000

114

ANNE PACKARD (American, b. 1933) Dunes 1997, oil on canvas signed and dated A. Packard '97 lower right 30 x 40 in., frame: 36 x 46 in.

$10,000–15,000

Provenance: Packard Gallery, Provincetown, Massachusetts, 1997; The Collection of an Indiana Gentleman.

115

ANNE PACKARD (American, b.1933) Storm Brewing oil on canvas signed A. Packard lower right 11 x 20 in., frame: 18 7/8 x 27 3/4 in.

$4,000–8,000

116

ANNE PACKARD (American, b. 1933) MacMillan Wharf oil on canvas signed A. Packard lower left 5 x 10 in. frame: 7 1/2 x 12 1/4 in.

$2,000–3,000

117

ANNE PACKARD (American, b. 1933) Beach Path oil on canvas signed A. Packard lower left 7 x 5 in., frame: 9 3/8 x 7 3/8 in.

$1,000–2,000

118

ANNE PACKARD (American, b. 1933) Crashing Waves oil on canvas signed A. Packard lower right 5 x 7 in., frame: 7 3/8 x 9 3/8 in. $1,500–2,500

119

MARY SIPP GREEN (American, b. 1947) Up Island Farm 2001, oil on canvas signed and dated M. Sipp Green '01 lower right 36 x 44 in., frame: 38 x 46 in. $5,000–10,000

Provenance: Arden Gallery (Boston, Massachusetts), 2002; Private New York Collection.

SCULPTURE

120

DALE CHIHULY (American, b. 1941)

Mallard Blue Persian Set with Morocco Red Lip Wraps 2001, handblown glass signed Chihuly 1 on base of disc 13 x 27 x 24 in.

$10,000–20,000

Provenance: Foster/White Gallery, Seattle, Washington, 2006; The Collection of a New Hampshire Couple.

121

DALE

CHIHULY

(American, b. 1941)

Ming Green Seaform Set with Scarlet Lip Wraps 2001, handblown glass the oval form signed Chihuly 01 11 x 20 x 10 in.

$8,000–12,000

Provenance: Foster/White Gallery, Seattle, Washington, 2009; The Collection of a New Hampshire Couple.

122

DALE CHIHULY (American, b. 1941)

Imperial Purple Seaform Set with Red Lip Wraps 1998, handblown glass signed Chihuly '98 on round globe 8 x 18 x 13 in.

$8,000–12,000

Provenance: Foster/White Gallery, Seattle, Washington, 2007; The Collection of a New Hampshire Couple.

123

DALE CHIHULY

(American, b. 1941)

Lapis Persian Pair 2006, handblown glass inscribed PP06 on base of interior piece 6 x 12 x 12 in.

$3,000–5,000

Provenance: Foster/White Gallery, Seattle, Washington, 2006; The Collection of a New Hampshire Couple.

LINO TAGLIAPIETRA (American, b. 1934) Vessel 1996, handblown glass signed and dated Tagliapietra 1996 on base height: 15 1/2 in. width: 14 1/2 in.

$3,000–5,000

Provenance: By descent within a Massachusetts family.

125

BENNETT BEAN (American, b. 1941) Untitled painted and gilded earthenware each component marked 398H on base height: 13 in. $1,500–2,500

Provenance: The Collection of the Late John and Marilyn Keane, Boston and Cohasset, Massachusetts.

JUDY KENSLEY MCKIE (American, b. 1944)

Proud Dogs

1985, carved and painted wood, glass both dogs signed JKM 1985 on base height: 17 in., length: 56 1/4 in., width: 18 in.

$70,000–100,000

Massachusetts native Judy Kensley McKie is a leading figure in the American Studio Furniture movement. She received her BFA in painting from the Rhode Island School of Design in 1966 before turning her attention to the three dimensional arts. In 1971, she joined the New Hamburger Cabinetworks cooperative in Roxbury (later Cambridge) and, over time, taught herself woodworking. In the early years, her furniture was unadorned, but she soon began to combine the decorative and structural elements of her designs , drawing inspiration from the motifs of Native American, pre-Columbian, and Egyptian art. By the early 1980s, she spoke of her desire to make “inanimate objects that are animated,” applying zoomorphic designs to “a formal vocabulary of furniture-making.” Similarly, the exhibition catalog for her 1987 solo show at Pritam & Eames noted, “It has been said that McKie is a modernist, working within a long tradition of animal imagery usage in furniture, such as the ball and claw foot. However, her work has more in common with the spirit-imbued carving of African and Eskimo cultures and other animist traditions. McKie says this is the work that inspires her. She describes her first experience of working with animal form as coming from a state akin to daydreaming, where the mind is drifting and freely associating. She also says that at the time, she was reacting against the strict rectangularity of '60s furniture.”

McKie’s creative integration of animal imagery and the formal furniture tradition is clearly reflected in Proud Dogs. The dogs’ outstretched paws, elongated necks, and pointed ears are reminiscent of statues depicting the Egyptian god Anubis, while their curved tails echo the form of traditional bentwood furniture. There is an additional element of creativity hidden in this sophisticated table: the dogs can be arranged either in corresponding or opposing directions, depending on the owner’s preference. Furthermore, this 1985 piece marks the pinnacle of McKie’s work with wood, as, by 1987, she began using bronze as her primary medium. The table was purchased directly from the artist by a Cambridge, Massachusetts couple, and it has remained in their home since that time.

127

MAX KUEHNE (American, 1880–1968)

Coffee Table

gilded, carved, and decorated wood inscribed Max Kuehne lower right length: 58 1/4 in., height: 17 in., width: 24 in. $5,000–8,000

128 Attributed to JEAN DUNAND (Swiss, 1877–1942) A Low Table lacquered wood inlaid with eggshell numbered 1740 3 774; stamped Made in France twice on underside length: 32 in., height: 16 in., width: 20 in.

$20,000–30,000

Provenance: Katherine Urquhart Warren (1897–1976); by descent to the current owner. Katherine Warren, of New York City and Newport, RI, was an avid art collector who was elected a trustee of the Museum of Modern Art (New York) in 1943.

GASTON

LACHAISE

(American, 1882–1935) Equestrienne polished bronze modeled in 1917, cast ca. 1930-31 inscribed Gaston Lachaise 1918 on base stamped Roman Bronze Works N.Y. on base height: 10 1/2 in.

$120,000–180,000

Provenance:

Erhard Weyhe, New York, 1931; Katherine Urquhart Warren (1897–1976), from the above, 1938; by descent to the current owner. Katherine Warren, of New York City and Newport, RI, was an avid art collector who was elected a trustee of the Museum of Modern Art (New York) in 1943.

Exhibitions:

– Portland Museum of Art, Portland, ME, A New American Sculpture 1914–1945, Lachaise, Laurent, Nadelman, and Zorach, May 26–September 8, 2017; Memphis Brooks Museum of Art, Memphis, TN, October 14, 2017–January 7, 2018; Amon Carter Museum of American Art, Fort Worth, TX, February 17–May 13, 2018. pp. 34, 114-15, 173, cat. no. 33 (illus).

– Bruce Museum, Greenwich, CT, Face & Figure: The Sculpture of Gaston Lachaise, September 22, 2012–January 6, 2013. pp. 18, 19, cat. no. 7 (illus).

– Rhode Island School of Design Museum of Art, Providence, RI. The Katherine Urquhart Warren Collection, March 11–27, 1983. cat. no. 25 (illus).

– Warren Apartment, New York, auspices of the Radcliffe Club of New York, 1966

– Warren Apartment, New York, auspices of the Museum of Modern Art, 1956

Gaston Lachaise’s delightful Equestrienne (Woman on Horseback) [LF 22], which represents a shapely nude woman astride a similarly shapely horse, was evidently inspired by a childhood visit to Buffalo Bill Cody’s famous circus (this would have been in 1889), where, among the “thrills to a little boy,” he saw a “wonderful bosomed and round hipped lady tossing herself up and down from a beautifully decorated big horse galloping gently in circles.” (Autobiographical manuscript [1931], p.2; Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library). The rhythmically composed statuette appears to capture and distill this childhood memory.

According to Lachaise’s records, the statuette was modeled by 1917, not, as is often stated, 1918 (the date inscribed on the model). Thirteen bronze casts, including the present example, were produced during his lifetime. The first, made for his first solo show, at the Bourgeois Galleries, New York City, in 1918, was exhibited there as Amazone (the dealer’s title). It was illustrated in Henry McBride’s laudatory review of the exhibition in the Fine Arts Journal, and sold to the theatrical dressmaker Eda Hartman (1884–1934), the sister of painter Bertram Hartman, wife of Lawrence Boyle from 1921, and subject of both a portrait created by Lachaise in 1922 and a Masque derived from the portrait. The second cast of Equestrienne, produced in December 1923 and illustrated in A.E. Gallatin’s book on Lachaise published in 1924, was consigned by Lachaise to his dealer, John Kraushaar and later owned for a time by the Museum of Modern Art in New York City. Neither cast is located today.

Eleven other casts of the statuette are known to have been made during Lachaise’s lifetime. Ten were produced in 1930–31 by the Roman Bronze Works for Erhard Weyhe, owner of the Weyhe Gallery, New York City. The first was delivered to Weyhe in September 1930. The other nine were ordered in the same month and delivered in April 1931. Six were returned to the foundry for refinishing in April 1936, six months after Lachaise’s unexpected death. The present cast, purchased by Katherine Urquhart Warren (1897–1976) in 1938 from the Weyhe Gallery, is likely one of these six. Five of the other casts made for Weyhe are presently located; these in the National Gallery of Art, Washington, D.C. (Corcoran Collection, Gift of the Honorable Francis Biddle) and the San Diego Museum of Art, California (Bequest of Earle W. Grant), and three in private collections.

Grogan & Company thanks Virginia Budny, author of the forthcoming catalogue raisonné sponsored by the Lachaise Foundation, for her assistance in cataloging this lot.

BYRON GALVEZ (Mexican, 1941–2009)

On Stage 1989, bronze signed, dated, and numbered Byron 89 42/100 on base edition produced by Fingerhut Group, California stamped Fingerhut on base height: 20 in., width: 17 1/2 in., depth: 12 1/2 in.

$3,000–5,000

Provenance: The Collection of a San Diego, California Lady.

DIMITRI

HADZI

(American, 1921–2006) Thermopylae V bronze inscribed and numbered D. Hadzi V/VI height: 8 1/2 in., mounted on a 1 in. base

$3,000–5,000

Provenance: The Collection of an Ohio Gentleman.

133

DIMITRI HADZI

(American, 1921–2006)

River Styx

bronze with granite base inscribed For Tom D. Hadzi III/VII on end overall height: 16 in., width: 28 in.

132

DIMITRI HADZI (American, 1921–2006)

Propylaea bronze with granite base inscribed D. Hadzi III/VII on foot overall height: 17 in., width: 15 1/2 in. $2,000–4,000

Provenance: The Collection of the Late John and Marilyn Keane, Boston and Cohasset, Massachusetts.

$2,000–4,000

Provenance: The Collection of the Late John and Marilyn Keane, Boston and Cohasset, Massachusetts.

134

CABOT LYFORD (American, 1925–2016) Woman 1976, granite signed and dated Lyford 76 on reverse height: 19 in., width: 11 in., depth; 6 in. mounted on a 10 1/2 in. base.

$1,500–2,500

Provenance: Property of a Private Maine Collection.

135

JONATHAN KENWORTHY

(English, b. 1943) Cheetah 2003, bronze signed, dated, and numbered Kenworthy 2003 8/9 on base length: 20 in., height: 8 in. $7,000–10,000

Provenance: The Estate of a Massachusetts Lady.

JONATHAN KENWORTHY

(English, b. 1943)

Pokot Herdsman 1986, bronze signed, dated, and numbered Kenworthy 1986 8/8 on base length: 20 in., height: 24 in.

$7,000–10,000

Provenance: The Estate of a Massachusetts Lady.

JONATHAN KENWORTHY

(English, b. 1943)

Man with Cup of Tea 2002, bronze signed, dated, and numbered Kenworthy 2002 1/9 on base length: 12 1/2 in., height: 14 1/2 in.

$5,000–8,000

Provenance: The Estate of a Massachusetts Lady.

BRITISH & EUROPEAN PAINTINGS

138

JONATHAN KENWORTHY

(English, b. 1943)

Ostrich and Jumping Figure crayon and gouache wash on Arches paper Ostrich signed Kenworthy lower left Jumping Figure signed Kenworthy lower right each 10 1/2 x 14 1/2 in., frame: 18 1/2 x 22 1/2 in.

$500–800

Provenance: The Estate of a Massachusetts Lady.

139

JONATHAN KENWORTHY (English, b. 1943)

Nomad Girl and Nomad Boy gouache wash on Arches paper Nomad Girl signed Kenworthy lower left Nomad Boy signed Kenworthy lower right each sight: 8 x 5 1/2 in., frame: 15 1/2 x 13 in.

together with an ink sketch of a warthog signed Kenworthy lower right 6 x 5 1/2 in., frame: 12 x 11 in.

$500–800

Provenance: The Estate of a Massachusetts Lady.

140

JACQUELINE MARVAL (French, 1866–1932)

L'enfant au renard oil on canvas signed Marval lower left 31 1/2 x 25 1/2 in., frame: 47 x 41 in. $10,000–20,000

Provenance: The Collection of a New England Lady.

JACQUELINE MARVAL

(French, 1866–1932) La Belle Gretchen oil on canvas

signed Marval lower right 24 x 19 1/2 in. frame: 34 1/2 x 30 in.

$10,000–20,000

Provenance: Claude Aguttes (Paris), June 18, 2002, Lot 58; Select Fine Arts, Palm Beach; Property of a Private Collector; Sotheby's New York, Impressionist & Modern Art, November 11, 2011, Lot 45; The Collection of a New England Lady.

142

JACQUELINE MARVAL

(French, 1866–1932) L'enfant au chat noir oil on canvas 23 1/2 x 36 in. frame: 33 1/2 x 46 in.

$5,000–10,000

Provenance: The Collection of a New England Lady.

143

CHARLES CAMOIN

(French, 1879–1965)

Nature morte aux pommes et à la soupière 1948, oil on canvas signed Ch Camoin lower right 26 x 32 in., frame: 35 x 41 1/2 in.

$15,000–25,000

Provenance: Sotheby's Paris, Art Impressionniste et Moderne, December 10, 2015, Lot 101; The Collection of a Massachusetts Gentleman.

144

HUGO SCHEIBER (Hungarian, 1873–1950)

Gesturing Woman

mixed media on paper signed Schieber H. lower left 18 3/4 x 13 1/2 in. frame: 26 3/8 x 21 1/8 in.

$3,000–5,000

Provenance: The Collection of a Beacon Hill, Boston Gentleman.

145

HUGO SCHEIBER (Hungarian, 1873–1950)

Walking Figure

mixed media on paper signed Scheiber H lower center sight: 17 x 12 1/4 in. frame: 24 1/2 x 19 1/4 in.

$3,000–5,000

Provenance: The Collection of a Beacon Hill, Boston Gentleman.

FERNAND LÉGER

(French, 1881–1955) Abstraction (A546) 1943, watercolor on paper signed and dated F.L. 43 lower right sheet: 7 x 8 3/8 in., frame: 18 x 19 in.

$15,000–25,000

Provenance: The Canadian art historian Maurice Gagnon; to Dominion Gallery, Montreal, 1947; Private Collection, Toledo, Ohio, April 7, 1953; Sotheby's New York, May 14, 1997, Lot 394; The Collection of a Newport, Rhode Island Lady.

147 ANDRÉ MASSON (French, 1892–1987)

Femme Labouree gouache on paper titled Femme Labouree lower center sheet: 13 x 10 1/4 in., frame: 17 x 15 3/4 in.

$10,000–15,000

Provenance: Simon/Neuman Gallery, New York, 1986; The Collection of a Newport, Rhode Island Lady.

Accompanied by a signed and stamped letter of authenticity from Andre Schoeller, dated 1985.

148

ANDRÉ MASSON (French, 1896–1987)

Mangeur de Feu crayon on paper titled Mangeur de Feu lower right sheet: 12 7/8 x 10 in., frame: 19 3/4 x 14 1/2 in.

$10,000–15,000

Provenance: Simon/Neuman Gallery, New York, 1986; The Collection of a Newport, Rhode Island Lady.

Accompanied by a signed and stamped letter of authenticity from Andre Schoeller, dated 1985.

149 RAOUL DUFY (French, 1877–1953)

Paysage gouache on cardboard signed Raoul Dufy lower left 10 x 8 1/4 in.

$30,000–50,000

Provenance: Katherine Urquhart Warren (1897–1976); by descent to the current owner. Katherine Warren, of New York City and Newport, RI, was an avid art collector who was elected a trustee of the Museum of Modern Art (New York) in 1943.

150

RIK WOUTERS

(Flemish, 1882–1916) Landschap, Boitsfort watercolor on paper numbered a106 , with studio stamp lower left 16 3/4 x 19 3/4 in., frame: 24 3/4 x 28 in.

$15,000–25,000

Provenance: By descent within a New York family.

Other Notes: Monsieur Olivier Bertrand has kindly confirmed the authenticity of this work.

151

ROGER MÜHL

(French, 1929–2008) Beach Scene oil on canvas signed Muhl lower right 21 1/2 x 28 3/4 in., frame: 30 x 37 1/2 in.

$2,500–3,500

152

RICHARD EURICH

(English, 1903–1992) Sandbanks in the Solent 1976, oil on board signed and dated R. Eurich. '76 lower right 16 x 36 in., frame: 22 3/4 x 42 3/4 in.

$3,000–5,000

153

ZORAN ANTONIO MUSIC (Slovenian, 1909–2005) Moltivo Dalmata (Two Horses)

1950, gouache on paper laid on canvas signed and dated Music 1950 lower center 7 1/4 x 10 in. frame: 15 x 17 3/4 in.

$5,000–7,000

154

GIUSEPPE SANTOMASO (Italian, 1907–1990)

Abstraction

1962, oil on paper signed and dated Santomaso '62 lower left 26 1/2 x 26 1/2 in. frame: 35 x 35 in.

$5,000–8,000

155

GIUSEPPE 'BEPPE' CIARDI (Italian, 1875–1932) Sunset in Venice oil on board signed Beppe Ciardi lower right 11 1/4 x 16 1/4 in. frame: 14 1/2 x 18 1/4 in. $1,000–1,500

156

CARMEN LAFFÓN

(Spanish, 1934–2021)

Floral Still Life oil on board

10 1/2 x 12 in. frame: 14 1/2 x 15 1/2 in.

$2,000–3,000 Other Notes: Galeria Juana Mordo (Madrid) label verso.

157 SUE FITZGERALD

(English, 20th Century)

Pair of Floral Still Lifes oil on canvas each signed Sue Fitzgerald lower right each: 23 1/2 x 23 1/2 in., frame: 31 x 31 in.

$1,000–1,500

158

FRIEDRICH JUNGLING (American/German, 1846–1889)

Pair of Floral Still Lives Amidst Classical Ruins gouache on paper each signed J. F. Jungling fecit lower right each: 11 x 7 in., each frame: 15 1/2 x 11 3/4 in. $3,000–5,000

Provenance: By descent within a Newport, Rhode Island Family.

JULES

CHÉRET

(French, 1836–1932)

Woman in Pink oil on canvas signed Chéret lower right 21 1/2 x 13 in. frame: 27 1/4 x 18 1/2 in.

$2,000–3,000

Provenance: The Estate of a Massachusetts Lady.

160

ANTOINE BLANCHARD (French, 1910–1988) Theatre du Vaudeville oil on canvas signed Antoine Blanchard lower right 13 x 18 in., frame: 24 1/4 x 27 3/4 in.

$3,000–5,000

Provenance: The Collection of an Ohio Gentleman. This work is included in the Antoine Blanchard Virtual Checklist under number VAUBC1318.0011 and is accompanied by a letter of authenticity from Rehs Galleries.

161

KONSTANTIN ALEXIEVITCH KOROVIN

(Russian, 1861–1939)

Monte Carlo 1930, oil on board signed, titled, and dated lower left 11 x 14 3/4 in. frame: 12 1/4 x 15 3/4 in.

$4,000–6,000

162

KONSTANTIN

KOROVIN

ALEXIEVITCH

(Russian, 1861–1939)

Street View oil on board signed lower left 13 x 16 in. frame: 14 3/4 x 17 3/4 in.

$2,500–3,500

163 Attributed to VICTOR DE GRAILLY (French, 1804–1889) Promenade Through the Park oil on canvas 16 3/4 x 23 1/2 in. frame: 22 3/4 x 29 1/4 in. $2,000–4,000

Provenance: Property of a Private Maine Collection.

164

JOHN

INIGO RICHARDS

(English, 1731–1810)

The Bathing Pool 1795, oil on canvas signed and dated J Richards 1795 lower left 20 x 25 1/2 in., frame: 24 1/8 x 30 in. $4,000–6,000

Provenance: By descent within a New York family.

165

WILLIAM JOSEPH SHAYER (English, 1811–1892)

Resting in Dover oil on canvas laid on board 25 x 30 in. frame: 31 1/2 x 37 1/2 in.

$3,000–5,000

166

JOHN ARNOLD ALFRED WHEELER (English, 1821–1903)

Miss Jummy oil on canvas signed Wheeler lower right 19 3/4 x 28 in. frame: 28 x 35 3/4 in.

$1,000–2,000

167

HEYWOOD HARDY

(English, 1843–1933)

Portrait of Henry W. Forester 1929, oil on canvas signed and dated Heywood Hardy 1929 lower left 17 1/2 x 15 1/2 in., frame: 18 3/4 x 16 3/4 in. $1,500–2,500

168

THIERRY

PONCELET

(Belgian, b. 1946)

A Gentleman Dog oil on canvas signed Th. Poncelet lower right 32 1/2 x 26 1/4 in., frame: 38 x 31 1/4 in. $4,000–6,000

Provenance: Property of a Private Maine Collection.

169

ELEANORE FRANCES ESMONDE–

WHITE

(South African, 1914–2007)

The Spinner oil on canvas signed Esmonde–White lower right 24 x 16 in., frame: 30 x 22 in.

$2,000–4,000

170

FRANCISCO ZÚÑIGA

(Mexican, 1912–1998)

Seated Figure 1970, pencil on paper signed and dated lower right 20 x 25 3/4 in., frame: 21 x 27 in.

$2,000–3,000

171

PARK HYUNG JIN (South Korean, b. 1970) Chaemin 2011, oil on canvas signed, titled, and dated verso 35 5/8 x 25 5/8 in., frame: 37 x 30 in. $5,000–10,000

Provenance: Property of a Private Maine Collection.

Other Notes: Bernarducci.Meisel Gallery (New York) label verso.

172

NICOLA SIMBARI (Italian, 1927–2012)

Olbia oil on canvas signed Simbari lower right 39 x 47 in. frame: 47 1/2 x 54 1/2 in.

$4,000–6,000

173

NICOLA SIMBARI (Italian, 1927–2012)

The Tempest oil on canvas signed Simbari lower right 24 x 36 in., frame: 32 x 44 in.

$3,000–5,000

174

LEONARD JOHN

(English, b. 1932)

PEARCE

The Run Down The Wind: Puritan Leads in America's Cup Race, 1885 oil on canvas signed LJ Pearce lower right 18 x 27 in frame: 22 1/2 x 31 1/2 in. $3,000–5,000

Other Notes: Mystic Maritime Gallery (Mystic, Connecticut) label verso.

175

LEONARD JOHN PEARCE (English, b. 1932)

Old Ironsides in Boston Harbor oil on canvas signed LJ Pearce lower right 24 x 30 in. frame: 27 3/4 x 33 3/4 in.

$4,000–6,000 Other Notes: Mystic Maritime Gallery (Mystic, Connecticut) label verso.

176

BARRY MASON (English, b. 1947)

Witch of the Waves oil on canvas signed Barry Mason lower left 28 x 39 in., frame: 33 x 44 in.

$2,000–3,000

177

SAMUEL WALTERS (English, 1811–1882)

The Dogger Bank oil on panel

12 x 11 1/4 in. frame: 16 1/2 x 16 in.

$2,000–4,000

Provenance: The Estate of a Massachusetts Lady.

Other Notes: N. R. Omell (London) label verso; Bootle Museum and Art Gallery (London) label verso.

178

ROBERT WOODCOCK (English, 1690–1728)

Dutch Shipping in a Calm oil on panel

7 1/2 x 6 in. frame: 12 x 10 1/2 in.

$2,000–4,000

Provenance: The Estate of a Massachusetts Lady.

Other Notes: N. R. Omell (London) label verso.

179

JAMES HARRIS OF SWANSEA (English, 1810–1887) Merchantman Running Into Swansea oil on canvas signed J. Harris lower left 20 x 29 in., frame: 29 1/2 x 38 1/2 in.

$4,000–6,000

Provenance: The Estate of a Massachusetts Lady.

Other Notes: The Tryon & Swann Gallery Ltd. (London) label verso.

180

JOHN WARD OF HULL (English, 1789–1849) Shipping in a Calm oil on panel 4 1/2 x 6 3/4 in., frame: 7 3/4 x 9 3/4 in. $1,500–2,500

Provenance: The Estate of a Massachusetts Lady.

Other Notes: N. R. Omell (London) label verso.

181

PETER MONAMY (English, 1681–1749) Smack Rigged Yacht oil on canvas signed P Monamy lower left 8 x 11 1/2 in., frame: 11 1/2 x 15 in. $2,000–4,000

Provenance: The Estate of a Massachusetts Lady.

182

CHARLES MARTIN POWELL (English, 1775–1824)

Ships off a Jetty oil on panel 10 x 12 1/2 in. frame: 13 x 15 1/2 in.

$2,000–3,000

Provenance: The Estate of a Massachusetts Lady.

183

CHARLES MARTIN POWELL (English, 1775–1824) Shipping in a Calm oil on panel 13 x 18 in. frame: 17 1/2 x 21 1/2 in.

$1,500–2,500

Provenance: The Estate of a Massachusetts Lady.

Other Notes: N.R. Omell (London) label verso.

184

GEORGE CHINNERY

(English, 1774–1852)

A Chinese Blacksmith at Work pen and ink over pencil on paper 5 1/2 x 5 1/2 in., frame: 11 x 11 in. $2,000–3,000

Provenance: The Estate of a Massachusetts Lady.

Exhibitions: Martyn Gregory, London Jubilee Exhibition of China Trade Paintings, catalogue 78, no. 25 (label verso).

185

REMBRANDT VAN RIJN (Dutch, 1606–1669)

The Rat Catcher (B.121) etching and drypoint 5 1/2 x 5 in., frame: 14 x 11 1/2 in.

$4,000–6,000

Provenance: Property of a Maine Collector.

186

JAMES

ABBOTT M c NEILL WHISTLER

(American, 1834–1903)

The Traghetto, No. 2 1880, etching and drypoint signed with the butterfly and inscribed imp in pencil on tab lower left sheet: 9 1/2 x 12 in., frame: 17 1/2 x 20 in.

$10,000–15,000

187

CAMILLE PISSARRO (French, 1830–1903)

Self–Portrait (Camille Pissarro, par lui–même) ca. 1890, etching signed C. Pissarro in pencil lower right plate: 7 3/8 x 7 in., frame: 23 x 20 3/4 in. $7,000–10,000

188

GEORGES BRAQUE (French, 1882–1963)

Theogonie I color aquatint and etching signed G Braque in pencil lower right and numbered 2/10 in pencil lower left plate: 9 1/4 x 11 1/2 in. frame: 19 1/2 x 21 in.

$2,000–3,000

Provenance: Property of a Maine Collector.

189

PABLO PICASSO (Spanish, 1881–1973) Femme, the frontispiece for: Picasso Oeuvres 1920–1926 etching with drypoint signed Picasso in pencil lower right; numbered 50 lower left plate: 4 1/2 x 3 in. frame:14 1/4 x 10 1/2 in.

$2,000–4,000

Provenance: Katherine Urquhart Warren (1897–1976); by descent to the current owner. Katherine Warren, of New York City and Newport, RI, was an avid art collector who was elected a trustee of the Museum of Modern Art (New York) in 1943.

PABLO PICASSO (Spanish, 1881–1973)

L'arrivée du chevalier 1951, lithograph in colors signed Picasso lower right; numbered 26/350 lower left sheet: 19 x 29 3/4 in. frame: 27 x 37 1/4 in.

$2,000–4,000

Provenance: Katherine Urquhart Warren (1897–1976); by descent to the current owner.

191

PABLO PICASSO (Spanish, 1881–1973)

Nature morte devant une fenetre a Saint–Raphael ca. 1925, engraving and pochoir in colors signed Picasso in pencil lower right; numbered epreuve d'artiste in pencil lower left plate: 14 1/2 x 10 1/2 in. frame: 25 1/2 x 20 3/4 in.

$2,000–4,000

Provenance: Katherine Urquhart Warren (1897–1976); by descent to the current owner.

192

PAUL KLEE (German, 1879–1940) Park 1914, lithograph signed Klee in pencil lower right plate: 5 x 4 in. frame: 13 1/4 x 11 3/4 in.

$3,000–5,000

Provenance: Katherine Urquhart Warren (1897–1976); by descent to the current owner.

Other Notes: Buchholz Gallery/Curt Valentin (New York) label verso.

193

FERNAND LÉGER (French, 1881–1955)

Paysage 48 (S. 23) 1948, lithograph in color signed Léger lower right numbered 63/75 lower left plate: 17 x 14 in. frame: 26 1/2 x 22 in.

$1,500–2,000

Provenance: Katherine Urquhart Warren (1897–1976); by descent to the current owner.

194

FERNAND LÉGER (French, 1881–1955)

La Vachère (S. 133) lithograph in colors signed in ink and numbered 66/75 in pencil 20 1/4 x 16 1/2 in., frame: 32 1/2 x 28 1/4 in.

$2,000–4,000

Provenance: The Collection of a Beacon Hill, Boston Gentleman.

Other Notes: The Print Club (Philadelphia, PA) label verso.

195

JOAN MIRÓ

(Spanish, 1893–1983)

Surrealist Composition, for Cahiers d'Art (1934) pochoir on paper signed and dated Miro 1934 and numbered 17/48 lower left sight: 12 1/2 x 9 3/4 in. frame: 21 1/2 x 18 1/2 in.

$1,500–2,500

Provenance: Katherine Urquhart Warren (1897–1976); by descent to the current owner.

196

JOAN MIRÓ

(Spanish, 1893–1983)

One Plate from Le lezard aux plumes d'or 1971, lithograph in colors signed Miro lower right and numbered e.a. lower left plate: 13 1/8 x 18 3/4 in., sheet: 16 x 22 in., frame: 24 1/2 x 30 in.

$3,000–5,000

197

SONIA DELAUNAY (French, 1885–1979) Lille #2 1971, lithograph in colors signed Sonia Delaunay lower right and numbered 57/150 lower left 18 x 18 in., frame: 30 x 29 1/2 in. $2,000–4,000

Provenance: The Collection of the Late John and Marilyn Keane, Boston and Cohasset, Massachusetts.

b.

200

ROY LICHTENSTEIN

(American, 1923–1997)

Shipboard Girl (C. II.6) 1965, lithograph in colors signed Roy Lichtenstein lower right 27 x 20 in. $20,000–30,000

201

RICHARD ESTES (American, b. 1932)

Airport, from Urban Landscapes No. 3 1981, screenprint in colors signed Richard Estes lower right and numbered 234/250 lower left plate: 14 x 20 1/8 in., frame: 23 3/4 x 29 3/4 in.

$1,000–2,000

202

YARDE, RICHARD and ALEXANDER ELIOT

Richard Yarde's The Savoy Ballroom

Boston: Hampshire Typothetae for Savoy Associates, 1986. Folio edition, housed in original grey cloth box with black morocco spine; the letterpress and plates loose and housed in black paper chemise with debossed lettering. The complete suite, with two sets of 14 prints hand signed by the artist.

$1,000–1,500

Provenance: The artist, to a supporter of the artist; by descent within her family. This example is a partner copy from the intended edition of 400; however, it is not known whether the full edition was ever printed.

203

MARINO MARINI

(Italian, 1901–1980)

Marino from Shakespeare I: Plate VII (G. A193) 1977, etching and aquatint in colors signed Marino lower right numbered PA lower left plate: 19 x 15 in., sheet: 30 x 22 1/2 in.

$800–1,200

204

MARINO MARINI

(Italian, 1901–1980)

Marino from Shakespeare I: Plate I (G. A187) 1977, etching and aquatint in colors singed Marino lower right numbered PA lower left plate: 19 x 15 in., sheet: 30 x 22 1/2 in.

$800–1,200

205

MARINO MARINI (Italian, 1901–1980)

Marino from Shakespeare I: Plate V (G. A191) 1977, etching and aquatint in colors signed Marino lower right; numbered PA lower left plate: 18 3/4 x 13 in., sheet: 30 x 22 in.

$800–1,200

206

MARINO MARINI (Italian, 1901–1980)

Marino from Shakespeare II: Plate I (G. A211) 1978, etching and aquatint in colors signed Marino lower right numbered PA lower left plate: 19 x 15 in., sheet: 30 x 22 1/2 in.

$800–1,200

207

MARINO MARINI (Italian, 1901–1980)

Marino from Shakespeare II: Plate I (G.360) 1978, etching and aquatint in colors signed Marino lower right numbered PA lower left plate: 19 x 15 in., sheet: 30 x 22 1/2 in.

$800–1,200

208

MARINO MARINI (Italian, 1901–1980)

Primavera (Six Examples) (G. A223) 1979, etching and aquatint in colors each initialed M.M. lower right; each bearing artist stamp and signature, verso three numbered PA lower left plate: 12 3/4 x 10 1/4 in., sheet: 22 1/4 x 15 in. $1,500–2,500

JOHN JAMES AUDUBON (American, 1785–1851)

The Birds of America, from Drawings Made in the United States and their Territories. New York and Philadelphia: Published by J.J. Audubon and J.B. Chevalier, 1840–44. seven volumes, octavo edition, with 500 hand–colored lithographs printed and colored by J.T. Bowen, after Audubon by W.E. Hitchcock, R. Trembly, et al.; all volumes with half titles and subscriber lists. $15,000–25,000

210

After KARL BODMER (Swiss–French, 1809–1893)

Three Plates from 'Travels in the Interior of North America' aquatint and engravings each approx. 20 x 15 in. each frame: 30 x 24 1/2 in.

$3,000–5,000

Provenance: The Collection of the Late John and Marilyn Keane, Boston and Cohasset, Massachusetts.

PHOTOGRAPHS

211

STEVE M c CURRY

(American, b. 1950)

Father and Daughter at Home, Kamdesh, Afghanistan 1992, digital c–print signed Steve McCurry lower right image: 36 3/4 x 24 3/4 in., frame: 48 x 34 in.

$3,000–5,000

Provenance: The Collection of the Late John and Marilyn Keane, Boston and Cohasset, MA.

212

STEVE M c CURRY (American, b. 1950)

Dust Storm, Rajasthan, India 1983, c–print signed Steve McCurry lower right image: 17 1/2 x 11 /4 in., frame: 26 1/2 x 19 1/2 in.

$2,000–3,000

Provenance: The Collection of the Late John and Marilyn Keane, Boston and Cohasset, MA.

213

GEORGE A.

TICE

(American, b. 1938)

Porch, Monhegan Island silver gelatin print signed George A. Tice in pencil lower right plate: 19 1/4 x 12 7/8 in. frame: 28 1/2 x 21 3/4 in.

$1,000–2,000

Provenance: Property of a Private Maine Collection.

214

PAUL CAPONIGRO (American, b. 1932) Neptune's Harvest, Cushing, Maine gelatin silver print signed Paul Caponigro on mat sight: 7 1/8 x 9 in. frame: 17 x 21 in.

$1,000–1,500

Provenance: Property of a Private Maine Collection.

215

JOYCE TENNESON

(American, b. 1945)

Lola Santos, 76 inkjet print 24 x 18 in., frame: 32 x 26 in.

$1,000–1,500

Other Notes: Accompanied by a copy of Joyce Tenneson's 2002 book Wise Women: A Celebration of Their Insights, Courage, and Beauty. This work can be found on p. 22.

216

CHRISTOPHER MAKOS

(American, b. 1948)

Liza Minelli and Andy Warhol 1978, gelatin silver print signed, dated, and numbered Makos 78 2/30 verso sight: 7 1/2 x 11 1/2 in., frame: 17 x 21 3/4 in.

$800–1,200

ANNIE

LEIBOVITZ

(American, b. 1949)

Keith Haring, New York 1986, platinum print signed, titled, dated, and numbered 15/30 along lower margin plate: 18 5/8 x 23 in., frame: 28 x 32 in.

$20,000–40,000

Provenance: The Collection of a San Diego, California Lady.

Noted editorial photographer Annie Leibovitz was commissioned by a Florida magazine to shoot the artist Keith Haring in 1986. Though the magazine article was never published, this image remains one of Leibovitz’s most iconic photographs. In the 2008 book Annie Leibovitz at Work, the artist recalls,

“Keith and I talked on the phone and I asked him if he had ever painted himself. He said no, although a couple of years earlier Andy Warhol had arranged for him to paint Grace Jones and to have Robert Mapplethorpe photograph her when Keith was finished.

We decided that he would paint his torso for me. We shot it in the studio, on a set constructed to look like someone’s living room, then painted it white. When Keith arrived he painted the room with black lines in less than forty-five minutes. Then he painted his upper body in about five minutes. When he came out of the dressing room he was wearing white painters’ pants, but it just seemed obvious to both of us at that point that he should paint the rest of him.

It’s hard to paint yourself. Keith did only the front. I loved the way he painted his penis. It was so witty, with an elongated line. The pictures took only a few minutes, and when we finished, Keith didn’t want to stop. He said he felt dressed and wanted to go out. I suggested we go to Times Square, which was a few blocks away. This was 1986, and it was still pretty rough. The peep shows and the porn houses were still there. In the car on the way over I told my assistants that we were going to have to work fast because we’d probably get arrested.

I photographed Keith in back of the statue of George M. Cohan in Duffy Square and in front of a bank. It was a cold winter night and this painted, naked guy was walking around, and nobody, including a couple of policemen who were there, paid any attention to us.”

218 HERB RITTS

(American, 1952–2002)

Jump, Paradise Cove 1987, gelatin silver print numbered 13/25 verso plate: 18 1/2 x 15 1/8 in., frame: 24 5/8 x 20 5/8 in. $5,000–7,000

ROBERT MAPPLETHORPE (American, 1946–1989)

Ron Simms 1980, gelatin silver print titled, numbered 6/15, signed, and estate stamped verso sight: 13 3/4 x 13 3/4 in., frame: 23 5/8 x 23 5/8 in. $6,000–9,000

LIFE Photographers

220

ANDREAS FEININGER

(American, 1906–1999)

Billboard depicting Marlene Dietrich in 'Kismet,' Times Square gelatin silver print executed in 1944, printed in 1998 under the supervision of the artist signed A. Feininger lower right and numbered 8/40 lower left sight: 18 1/2 x 14 in., frame: 28 1/4 x 24 in. $2,000–3,000

221

ANDREAS FEININGER

(American, 1906–1999)

Midtown Fifth Avenue at Lunch Hour gelatin silver print executed in 1948, printed in 1998 under the supervision of the artist signed A. Feininger and numbered 9/50 +10 verso 13 1/4 x 10 1/4 in., frame: 27 1/2 x 22 in. $3,000–5,000

222

ANDREAS FEININGER (American, 1906–1999)

The Queen Elizabeth in New York Harbor gelatin silver print executed in 1958, printed in 1998 under the supervision of the artist signed A. Feininger in ink lower right and numbered 21/40 lower left 16 1/2 x 12 1/4 in., frame: 28 x 23 in. $3,000–5,000

MARGARET BOURKE–WHITE (American, 1904–1971)

A DC–4 Flying over New York City silver gelatin print executed in 1939, printed in 1996 estate signed; numbered 141/250 lower left 16 x 20 in., frame: 26 1/4 x 29 1/4 in. $4,000–6,000

224 ALFRED EISENSTAEDT (American, 1898–1995) President John F. Kennedy in the Oval Office gelatin silver print executed in 1961, printed in 1995 under the direct supervision of the artist signed Eisenstaedt lower right and numbered 124/250 lower left 17 x 13 1/2 in., frame: 27 x 23 in. $800–1,200

226

ALFRED EISENSTAEDT

(American, 1898–1995)

Albert Einstein gelatin silver print executed in 1949, printed in 1991 under the supervision of the artist signed Eisenstaedt lower right numbered 61/250 lower left 11 3/4 x 9 1/4 in. frame: 22 1/4 x 19 1/4 in.

$800–1,200

225

ALFRED EISENSTAEDT (American, 1898–1995)

Katharine Hepburn, New York City

gelatin silver print executed in 1938, printed in 1991 under the supervision of the artist signed Eisenstaedt lower right numbered 128/250 lower left sight: 15 x 14 1/2 in. frame: 24 1/4 x 24 in.

$800–1,200

227

ALFRED

EISENSTAEDT

(American, 1898–1995)

First Lesson at the Truempy Ballet School, Berlin gelatin silver print executed in 1933, printed in 1992 under the supervision of the artist signed Eisenstaedt lower right and numbered 164/250 lower left 16 x 12 1/2 in., frame: 26 1/2 x 22 3/4 in.

$2,000–4,000

228

ALFRED

EISENSTAEDT

(American, 1898–1995) Premiere at La Scala, Milan gelatin silver print executed in 1933, printed in 1991 under the supervision of the artist signed Eisenstaedt lower right and number 206/250 lower left 17 1/4 x 12 1/2 in., frame: 28 1/4 x 23 in.

$3,000–5,000

O. Winston Link

In 1955, photographer O. Winston Link embarked on a project to capture the waning days of steam-powered trains in America, photographing the Norfolk and Western Railway, the last rail line to convert from steam to diesel. Link chose to shoot these photographs at night, treating the rail yards and crossings like sets, lighting them with massive chains of flashbulbs that were set off just as the train steamed through. For five years Link traveled along the N&W lines, documenting a monumental technology in its twilight years. The dramatic images he created tell the story not just of the trains but of the communities that surrounded the rail lines.

229

O. WINSTON LINK (American, 1914–2001) Birmingham Special, Rural Retreat, Virginia gelatin silver print sight: 15 1/4 x 19 in., frame: 21 1/4 x 25 in. $5,000–7,000

O. WINSTON LINK (American, 1914–2001) Hawksbill Creek Swimming Hole, Luray, Virginia gelatin silver print signed and dated by artist verso 19 x 15 in., frame: 28 x 23 1/2 in. $5,000–7,000

O. WINSTON LINK (American, 1914–2001)

Boaz Pusher Siding, East of Roanoke 1958, bromoil gelatin silver print signed, dated, and stamped verso by artist sight: 15 1/8 x 19 in., frame: 21 1/2 x 27 1/2 in. $2,500–3,500

240

BERENICE ABBOTT (American, 1898–1991)

Willow and Poplar Street, Brooklyn gelatin silver print

8 x 10 in., frame: 14 3/4 x 16 1/4 in.

$1,500–2,500

Provenance: Property of a Private Maine Collection.

241

EDWARD STEICHEN (American, 1879–1973)

Flatiron Building photogravure

13 x 10 in., frame: 20 3/4 x 17 3/4 in.

$500–800

Provenance: Property of a Private Maine Collection.

Three Photographs from a Panorama depicting The Great Boston Fire of 1872 comprising three works inscribed:

Panorama, View No. 2, Taken from the New Post Office looking East. Photograph taken 3 days after the fire in Boston, Nov. 9/72

Panorama, View No. 4, from top of New Post Office, 3 days after the fire–Boston, Nov. 9 1872–looking South Panorama, View No. 5, from top of the New Post Office looking S.W. after the fire at Boston Nov 9 1872.

each approx. 13 x 17 in., each frame: 21 x 25 in.

$3,000–5,000

Provenance: The collection of Jeremy and Hanne Grantham, Boston.

243

EDWARD SHERIFF CURTIS (American, 1868–1952)

Piki Maker

gelatin silver print signed Curtis lower right 8 x 5 7/8 in., frame: 16 1/4 x 14 1/4 in.

$2,000–4,000

Provenance: Property of a Private Maine Collection.

244

EDWARD SHERIFF CURTIS

(American, 1868–1952)

Maid of Dreams

gelatin silver print plate: 7 1/2 x 5 3/4 in., frame: 18 x 15 3/4 in.

$2,000–3,000

Provenance: Property of a Private Maine Collection.

EDWARD SHERIFF CURTIS (American, 1868–1952)

Chief Hector–Assiniboin photogravure

plate: 17 1/4 x 13 in., frame: 23 1/2 x 19 in.

Launching the Whaleboat, Cape Prince of Wales photogravure plate: 13 1/2 x 17 in., frame: 24 x 26 1/2 in. $1,000–1,500

Provenance: Property of a Private Maine Collection.

INDEX

ABBOTT, BERENICE

ABERCROMBIE, GERTRUDE ALEXANDER, PETER

AUDUBON, JOHN JAMES BADGER, SOLON F. M. BANNISTER, EDWARD MITCHELL BEAN, BENNETT

BENSON, FRANK WESTON BERTHELSEN, JOHANN BIEHL, ARTHUR

BLANCHARD, ANTOINE BLUEMNER, OSCAR FLORIANUS BODMER, AFTER KARL BOURKE-WHITE, MARGARET BRAQUE, GEORGES BRICHER, ALFRED THOMPSON BRISCOE, FRANKLIN D. BROWNE, MATILDA BUCHANAN, EMILY BUNNELL, CHARLES

CAHOON, RALPH EUGENE CAMOIN, CHARLES CAPONIGRO, PAUL CAVALLON, GIORGIO CHÉRET, JULES CHIHULY, DALE CHINNERY, GEORGE CIARDI, GIUSEPPE ''BEPPE'' CIRINO, ANTONIO CLARK, ALSON SKINNER COARDING, GERALD CONNAWAY, JAY HALL COREY, BERNARD CROTTY, THOMAS CUCUEL, EDWARD ALFRED CURTIS, EDWARD SHERIFF DE GRAILLY, A ttr. VICTOR DELAUNAY, SONIA DOBUZHINSKY, MSTISLAV

ARTIST LOT 33 149 128 113 98 35 224–228 169 28, 201 29, 30 152 83 57 220–222 17 31 157 32 130 99 16 60 50 23 10 131–133 167 179 92 26 49 54 171 158 19 20 135–139 3–8 192

237–240 18 15 209 85 89 125 67–82 106 107 160 14 210 223 188 87, 88 91 47 111, 112 24, 25 109 143 214 1, 2 159 120–123 184 155 53 61 11 42 63 41 102–104 243–245 163 197 100

DOUGHERTY, PAUL DUFY, RAOUL DUNAND, Attr. JEAN DUREAU, GEORGE DUVENECK, FRANK EBERT, CHARLES HENRY EISENSTAEDT, ALFRED ESMONDE-WHITE, ELEANORE ESTES, RICHARD ETNIER, STEPHEN MORGAN EURICH, RICHARD EVANS, JAMES GUY FARNDON, WALTER FEININGER, ANDREAS FEININGER, LYONEL FITZGERALD, JAMES EDWARD FITZGERALD, SUE GALLAGHER, SEARS GALVEZ, BYRON GAY, Attr. WALTER GRAVES, MORRIS GREENLEAF, JACOB GRIFFITH, LOUIS OSCAR GRILLO, JOHN HADDAD, JENNIE HADZI, DIMITRI HARDY, HEYWOOD HARRIS OF SWANSEA, JAMES HATHAWAY, GEORGE HELIKER, JOHN HILLS, LAURA COOMBS HOWELL, FELICIE WALDO JIN, PARK HYUNG JUNGLING, FRIEDRICH KAHN, WOLF KATZ, ALEX KENWORTHY, JONATHAN KEPES, GYÖRGY KLEE, PAUL

KOROVIN, KONSTANTIN

KUEHNE, MAX KUHN, WALT FRANCIS L'ENGLE, LUCY LACHAISE, GASTON LAFFÓN, CARMEN LECLEAR, THOMAS LÉGER, FERNAND LEIBOVITZ, ANNIE LICHTENSTEIN, ROY LINK, O. WINSTON LYFORD, CABOT MAJOR, ERNEST LEE MAKOS, CHRISTOPHER MAPPLETHORPE, ROBERT MARIN, JOHN MARINI, MARINO MARVAL, JACQUELINE MASON, BARRY MASSON, ANDRÉ M c CURRY, STEVE M c KIE, JUDY KENSLEY MIRO, JOAN MONAMY, PETER MÜHL, ROGER MURCH, WALTER TANDY MURPHY, HERMAN DUDLEY MURPHY, JOHN FRANCIS MUSIC, ZORAN ANTONIO NEVELSON, LOUISE NICHOLS, WILLIAM PACKARD, ANNE PATTERSON, MARGARET JORDAN PEARCE, LEONARD JOHN PETERS, CARL WILLIAM PICASSO, PABLO PIERCE, WALDO PISSARRO, CAMILLE PONCELET, THIERRY POWELL, CHARLES MARTIN

161, 162 127 48 108 129 156 94 146, 193, 194 217 200 229–236 134 46 216 219 27 203–208 140–142 176 147, 148 211, 212 126 195, 196 181 151 9 51 62 153 21 110 114–118 34 174, 175 55, 56 189–191 44, 45 187 168 182, 183

RESNICK, MILTON RICHARDS, JOHN INIGO RITTS, HERB RONDEL, SR., FREDERIC SANTOMASO, GIUSEPPE SCHEIBER, HUGO SHANNON, JAMES JEBUSA SHAW, CHARLES GREEN SHAYER, WILLIAM JOSEPH SIMBARI, NICOLA SIPP GREEN, MARY SOLMAN, JOSEPH STEICHEN, EDWARD STELLA, FRANK STEVENS, WILLIAM LESTER STRISIK, PAUL STUBBS, WILLIAM PIERCE TAGLIAPIETRA, LINO TAYLOR, CHARLES JAY TENNESON, JOYCE THON, WILLIAM TICE, GEORGE A. TORRES-GARCIA, JOAQUIN TURNER, ROSS STERLING VAN RIJN, REMBRANDT VICKREY, ROBERT REMSEN WALKER, WILLIAM AIKEN WALTERS, SAMUEL WARD OF HULL, JOHN WARHOL, ANDY WEIR, JULIAN ALDEN WEST, BENJAMIN WHEELER, JOHN WHISTLER, JAMES A. M. WHORF, JOHN WINTER, ANDREW WOODCOCK, ROBERT WOUTERS, RIK YORKE, WILLIAM GAY ZÚÑIGA, FRANCISCO

22 164 218 90 154 144, 145 96 12 165 172, 173 119 105 241 198 52 58, 59 86 124 43 215 37–39 213 13 66 185 40 93 177 180 199 97 95 166 186 64, 65 36 178 150 84 170

FOR THE SPRING AUCTION SEASON

Contact us to learn more about the consignment process and to schedule your complimentary, confidential auction valuation.

FINE ART

GEORGINA C. WINTHROP

Fine Art Director georgina@groganco.com

John Marin, Stonington Harbor, 1924 watercolor, 17 x 21 in., SOLD $97,600

JEWELRY

TAYLOR P. SEE Jewelry Director taylor@groganco.com

Raymond Yard Platinum, Gold, Enamel, and Gemset House Brooch, SOLD $40,625

SILVER & RUGS

MICHAEL B. GROGAN

President

michael@groganco.com

Tiffany & Co. Colonial Pattern Flatware Service, SOLD $11,250

TERMS AND CONDITIONS OF SALE

PLEASE READ CAREFULLY AS YOU WILL BE BOUND BY THESE TERMS IF YOU BID AT AUCTION

The auction catalogue, if any, and the terms hereinafter set forth, as amended by any posted notices or oral announcements during the sale, is Grogan & Company’s (herein referred to as “we”, “us”, or “our”) and the consignor’s entire agreement with the purchaser relative to the property listed in our catalogue or otherwise offered for sale.

1. All property is sold “as is” and neither we nor the consignor make any guarantees, warranties or representations, expressed or implied, with respect to the property, merchantability, or correctness of the catalogue or other description of the authenticity of authorship, physical condition, size, quality, rarity, importance, provenance, exhibitions, literature or historical relevance of the property or otherwise. No statement anywhere, whether oral or written, shall be deemed such a guarantee, warranty or representation. Prospective bidders should inspect the property before bidding to determine its condition, size, and whether or not it has been repaired or restored. We and the consignor make no representation or warranty as to whether the purchaser acquires any copyrights, including but not limited to any reproduction rights, in the property. However, if within 14 days of the sale of any lot, the purchaser gives notice in writing to us that the lot is counterfeit and within 10 days after such notice, the purchaser returns the lot to us in the same condition as when sold, and demonstrates to our satisfaction that the lot is a counterfeit, we will refund the purchase price.

2. A buyer’s premium of 25% will be added to the successful purchase price and is payable by the purchaser as part of the total purchase price. Purchases made online through Invaluable or LiveAuctioneers will be subject to an additional 5% charge and Bidsquare a 3% charge.

3. Acceptable forms of payment include cash, check, or wire transfer. For personal checks over $3,000, property will not be released until the check clears, unless credit has been previously established with us, or if a bank letter has been received prior to the sale guaranteeing said personal check. All property must be paid for within 5 business days following the sale and removed from the gallery within 20 days. Property not removed from the gallery within 20 days will be sent to our warehouse where storage fees may be assessed. At our option, payment will not be deemed to have been made in full until we have collected funds represented by checks, or, in case of bank or cashier’s checks, we have confirmed authenticity.

4. We reserve the right to reject any bid. The highest bidder acknowledged by the auctioneer will be the purchaser. In the event of a dispute between bidders, or in the event of doubt on our part as to the validity of any bid, the auctioneer will have the final discretion either to determine the successful bidder or to re–offer and re–sell the article in dispute. If any dispute arises after the sale, our sale record is conclusive. Although at our discretion we will execute order bids or accept telephone bids as a convenience to clients who are not present at auctions, we are not responsible for any errors or omissions in connection therewith.

5. We reserve the right to withdraw any property before the sale.

6. If the auctioneer decides that any bid is below the value of the article offered, he may reject the same and withdraw the article

from sale, and if, having acknowledged an opening bid, he decides that any advance thereafter is insufficient; he may reject the advance and may thereafter withdraw the property.

7. On the fall of the auctioneer’s hammer, title to the offered lot will pass to the highest bidder acknowledged by the auctioneer, subject to fulfillment by such bidder of all of the conditions set forth herein, and such bidder thereupon assumes full risk and responsibility therefore.

8. If any applicable conditions herein are not complied with the purchaser, in addition to other remedies available to us and the consignor by law, including without limitation the right to hold the purchaser liable for the total purchase price, we at our option may either (a) cancel the sale, retaining as liquidated damages all payments made by the purchaser or (b) resell the property at public auction without reserve, and the purchaser will be liable for any deficiency, as well as costs, including handling charges, the expense of both sales, our commission on both sales at our regular rates, all other charges due hereunder and incidental damages.

9. Unless exempt by law, the purchaser will be required to pay the Massachusetts sales tax or any applicable compensating use tax of another state on the total purchase price. The rate of sales tax in Massachusetts is 6.25%. For those eligible, a Massachusetts exemption number may be applied for prior to the auction by contacting the Massachusetts Department of Corporations and Taxation, 100 Cambridge Street, Boston, Massachusetts.

10. These Conditions of Sale as well as the purchaser’s and our respective rights and obligation hereunder shall be governed by and construed and enforced in accordance with the laws of the Commonwealth of Massachusetts. By bidding at an auction whether present in person or by agent, order bid, telephone, or other means, the purchaser shall be deemed to have consented to the jurisdiction of the state courts, and the federal courts sitting in the Commonwealth of Massachusetts.

11. We are not responsible for the acts or omissions of carriers or packers of purchased lots, whether or not recommended by us. Packing and handling of purchased lots by us is at the entire risk of the purchaser. In no event will we be liable for damage to glass or frames, regardless of the cause.

12. In no event will our liability to a purchaser exceed the purchase price actually paid.

13. No invalidity or partial invalidity or unenforceability of any provision provided herein shall effect or impair the validity of enforceability of any other provision hereof.

14. Bidding at an auction, whether present, by proxy (agent, order, telephone, online bid), or by any other means, constitutes your acceptance of these terms and conditions of sale.