The Kenneth and Betty Lay Collection

Guyette & Deeter, Inc. present

The Kenneth and Betty Lay Collection August 7 - 9, 2023 | Portsmouth, New Hampshire

Guyette & Deeter, Inc.

The Kenneth and Betty Lay Collection

Kenneth and Betty Lay were lifetime appreciators of art and would be excited to know that their collection would be cherished by a new generation of collectors.

August 7 - 9, 2023 The Venue at Portwalk Place 22 Portwalk Place Portsmouth, New Hampshire 03801

Guyette & Deeter, Inc. Founded in 1984, and built on a foundation of trust and customer satisfaction, Guyette and Deeter is an auction house proud to represent the finest of North American decoys and sporting art, fine sporting arms, American folk sculpture, and now fine American art. Presented with the opportunity to represent the Lay Family collection of American paintings, we sought the knowledge and expertise of Mehves Lelic, our fine art consultant and essayist. We have approached this opportunity the way we always have when entrusted with the marketing of fine art objects, transparency and communication are imperative, research and the presentation of as much information as possible is paramount, and providing a fun and exciting live auction event is a must.

Jon & Leigh Ann Deeter 1210 S Talbot St, Unit A St. Michaels, Md 21663 Tel: 440-610-1768 jdeeter@guyetteanddeeter.com

Lacey & Zac Cote PO Box 347 Freeport, ME 04032 Tel: 207-321-8091 zcote@guyetteanddeeter.com

Essays and Descriptions written by Mehves Lelic Mehves Lelic is a curator, writer and artist based on the Eastern Shore of Maryland. She holds a BA from the University of Chicago and an MFA from Bard College, and serves as Curator at the Academy Art Museum in Easton, MD, where she has curated over 20 exhibitions, including Mary Cassatt: Labor and Leisure; Miro in New York, 1947: Miro, Hayter and Atelier 17; Norma Morgan: Enchanted World; A More Abundant Life: Works Progress Administration Works from the Permanent Collection; In Praise of Shadows: Jun’ichiro Tanizaki and Modern and Contemporary Art; and Fickle Mirror: Dialogues in Self-Portraiture. She has been awarded the Faith Flanagan Fellowship, the Turkish Cultural Foundation Cultural Exchange Fellowship, and the Association of Art Museum Curators Conference Fellowship.

The Lay Family Collection

Every family collection tells a story.

MP Naud, Richard York, Paul Worman,

The Lay Family Collection consists of

Berry Hill Gallery, Jill Newhouse, Clyde

an admirable group of works by some

Newhouse, Christie’s, Sotheby’s, Stalker

of the most renowned American artists.

and Boos, DuMouchelle’s, and Wolfe’s.

Betty and Kenneth Lay, from Toledo,

The couple were longtime supporters of

Ohio, collected with dedication and

the Toledo Museum of Art and belonged

commitment, and demonstrated true

to the Apollo Society, a high-level

stewardship – starting with an early

fundraising circle. In the 1980s, they

interest in Edmund Osthaus in the 70s,

donated to the museum one of the most

they grew their collection to include

significant works in their collection, a

great examples of Impressionism,

print of George Bellows’ well-known

including works by Mary Cassat, and

painting, Stag at Sharkey’s.

Realism, as well as significant works from art historically-significant schools, among them the Hudson River School and the Association of Advancement of Truth in Art. The Lays also collected the American PreRaphaelites, including Henry Roderick Newman, John Henry Hill, John William Hill, and Henry Farrer. The Hudson River School is represented by three David Johnson drawings and an oil

by James Renwick Brevoort. From the late 1970s until their passing, the Lays worked with Hirschl and Adler Gallery, Spanierman Gallery, Martha Parrish,

The collectors’ interests seem to lie in frank, thoughtful representations of nature, children, and people at work, all important social, familial and economic facets of life in America.

They were also interested in the artistic process, as evidenced by several etchings in the collection made before or after better-known paintings by their respective artists: a unique, previously-unrecorded state of Mary Cassatt’s Sketch for the Bath and Winslow Homer’s Eight Bells, as well as Chalfant’s Study for the Shoemaker are great examples.

Kenneth and Betty Lay were lifetime appreciators of art and would be excited to know that their collection will be cherished by a new generation of collectors, who will recognize the works’ importance and help preserve them. Their continuous efforts to build a well-rounded collection of 19th and 20th century American Art have allowed for the appreciation and safekeeping of these paintings and created wonderful opportunities for them to be shared with the public, including loans to a Mary Cassatt exhibition at the Academy Art Museum in Easton, Maryland, and several interviews and articles.

Mary Cassatt (b. 1844, Allegheny, PA; d. 1926, Le Mesnil-Theribus, France)

Mary Cassatt was an American painter and printmaker who lived most of her life in France. As a member of the Impressionist movement, Cassatt’s paintings often featured mothers and children in intimate domestic settings. The artist’s use of nuanced color, combined with delicate brushwork created a timeless combination. As an advocate for women’s rights and supporter of Suffrage, Cassatt became known as one of few American artists associated with the Impressionists. Even though she wasn’t a mother herself she often depicted maternal love as well as children frequently; showing the complexity of women’s roles within society.

Mary Cassatt was born in 1844 in Allegheny City, Pennsylvania to a wealthy family. She received her early education at home and quickly displayed an aptitude for drawing. In 1865, she entered the Pennsylvania Academy of the Fine Arts in Philadelphia to study with renowned American artist Thomas Eakins. After four years, she left PAFA, with the goal of traveling abroad. Cassatt moved to Paris in 1866 and studied under Jean-Leon Gerôme, as women were not permitted to enroll at Ecole des BeauxArts then. While studying under Gerôme, Cassatt was deeply inspired by the works of European masters she saw displayed in museums throughout Europe. As many artists of her generation, her life was profoundly shaped by wars: the Civil War had just ended as she was growing up; her early professional development as an artist in Paris was interrupted by the Franco-Prussian War of 1870; and towards the end of her life, she was required to flee her countryside estate north of Paris when World War I broke out. Scholars and viewers may characterize Cassatt’s vibrant yet subtle colors, naturalistic lighting, and psychological complexity as sentimental; in many ways, this was revolutionary at the time.

Cassatt was an accomplished printmaker renowned for her drypoint etchings. Cassatt was drawn to etchings for their delicate lines and subtle tonal variations, which suited her painting style. These powerful images capture the emotional bond between mothers and children beautifully. Cassatt and her work are notable for their influence over printmaking, as she was one of best-known female artists working in this medium during her lifetime. Cassatt often made monochromatic etchings, as well as pioneering color prints created through the aquatint technique. Additionally, she

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often hand-colored her drypoints. Influenced by Japanese woodblock printmaking (ukiyo-e), she devised an elegant method of producing seamless color fields in her etchings using the a la poupée method. Cassatt was inspired by the stark geometric simplicity and bold use of color found in Japanese art, and she adopted these elements into her own artwork, fusing bold compositions with Japanese aesthetic innovations. Her etchings and aquatints became permanent fixtures in major museums throughout America during her lifetime and are celebrated and exhibited globally for their remarkable demonstration of her skill.

Cassatt’s work is often described as sentimental, intimate, and focused on women’s worlds - qualities which made her a groundbreaking artist in her day. Her depiction of women in everyday settings as well as children as individuals were important developments in art history. Mary Cassatt’s daring personality and defiance of convention allowed her to achieve perfection in her art, furthering Modernism both internationally and in America. Today, her work can be found in numerous prestigious museum collections around the globe. Notable institutions that house her work include the Metropolitan Museum of Art in New York, the National Museum of Women in the Arts in Washington D.C., The Art Institute of Chicago in Chicago, Boston’s Museum of Fine Arts and The National Gallery of Art.

Mary Cassatt (1844 - 1926) Study for the Bath, c. 1890 Drypoint on laid paper Plate: 10 3/4 x 7 3/4 in.

Sheet: 15 3/8 x 9 3/8 in.

Signed Mary Cassatt on recto, in excellent condition

Provenance:

Cassatt’s interest in Japanese woodblock printmaking (ukiyo-e) is noticeable in some of her greatest paintings. The etching on the left was a study Cassatt made prior to embarking on her 1893 oil painting, The Child’s Bath, and Cassatt only made one impression of this state. The flat yet circular composition, achieved through the depiction of the arms of the mother around her child, bears resemblance to the pictorial plane of a traditional Japanese print. Cassatt uses a total of six different decorative patterns in the painting, creating a harmonious but dynamic backdrop to the intimate, nurturing moment that appears in the foreground. The etching, which does not include any of the patterns, colors, or the background, is an interesting counterpart. Often, due to the laborious process of printmaking, an etching takes several progressive states, color trials, and even burnishing to complete. The Bath, however, signifies an exploration before Cassatt moves on to her canvas.

juniper, mauve and ashen blue in the painting. The pronounced linework forming the subjects’ features and especially the child’s body marks the beginning of a simple inverted pyramid composition, and develops into the subjects’ flushed cheeks, shiny dark hair, and downturned gaze towards the child’s feet. The painting is an Impressionist triumph, as it favors the dimly-lit room and beautifully recalls soft voices, the occasional splashing of water, and the rustling of fabric. The piece is also significant because it likely pictures a middle-class woman who fulfills domestic duties on her own. The beautiful, striped dress Cassatt adorns her with in the painting indicates that she is not a domestic worker. The etching has its own unique qualities, as the absence of color and background allows the viewer to focus exclusively on the mother and child. It is thought that Cassatt only pulled one impression from the plate.

It is not difficult to imagine the artist at work on this etching, wondering whether her vision for the scene would bear fruit.

Once deciding that she should develop the sketch into a piece, she conjures the same quiet, intimate moment in the drastically different medium of oil painting: the receded lighting she conveys through the soft definition on the child’s right shoulder in the etching translates into tones of rosy brown,

Roger Marx, Cleveland, Ohio; Hirscl and Adler Galleries; Mr. and Mrs. Kenneth J. Lay, Sr., to the estate of Kenneth J. Lay, Sr.

Cassatt was known for her skill in creating drypoints, as she was masterful dynamic textures and well-toned figures through the medium. She utilized printmaking techniques to experiment with different compositions, color combinations, and subject matters. She would often make preparatory drawings and create several versions (states) of her etchings, adjusting and refining the compositions as she went, and would sometimes use the final versions of her etchings as the basis for her oil paintings. This allowed her to transfer the spontaneous and fluid qualities of her printmaking into her painting, resulting in an insightful visual language.

$20,000 - 30,000

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Mary Cassatt (1844 - 1926) Mother Resting Her Cheek on Her Daughter’s Blond Head (also known as Maternite), 1913 Oil on canvas, 18 x 15 in.

Signed on recto, upper right corner

Provenance: André Urban, Paris; Arthur Tooth & Sons, London; Findlay Gallery, New York, 1957; Consignment to Hirschl & Adler from Richard Smart, January 1977; Mr. and Mrs. Kenneth J. Lay, Sr., Toledo, Ohio, 19822010; (Mr. Kenneth Lay) to the estate of Kenneth J. Lay, Sr. By the 1910s, Mary Cassatt was in her 70s and largely recognized as a major figure of the Impressionist movement, and this painting is one of the finest examples of her intimate and tender subject matter: mothers and children. She often portrayed the bonds between mother and child, capturing the warmth, love, and care that define these relationships. Unlike her Japanese-inspired paintings that innovatively disrupt spatial conventions and insert beautiful patterns into the scene, this painting presents a simple, strippeddown moment from everyday life, and features the soft, muted colors that create the atmosphere in many of her works. Cassatt was a master at capturing the subtle gestures and expressions that convey emotion, and her paintings of women and children are considered some of the most beautiful and intimate depictions of the genre.

The brushwork in Mother Resting Her Cheek on Her Daughter’s Blond Head is exquisite, with emotion culminating in the warm physical contact between the pair. Cassatt pays attention to the unique facial features of the child and conveys intimacy while awarding the two subjects their individuality. The clothing and accessories on both the mother and the child are depicted with great attention to detail, as these elements often allowed Cassatt to indicate the social status and roles of her subjects. In this case,

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the unknown pair of sitters appear to belong to the upper class, and are likely among Cassatt’s family or friends at her country estate in France.

This painting is understated yet masterful when compared with the more ambitious paintings in the pinnacle of Cassatt’s mature period, which included well-known works such as the Child’s Bath and Little Girl in Blue Armchair. The open composition in Mother Resting Her Cheek on Her Daughter’s Blond Head leads the viewer’s eye from the mother’s loving gaze onto the daughter’s face, and the close pose reflects the intimate emotional nature of the work.

Cassatt was prolific throughout her career, until the last years of her life. Mother Resting Her Cheek on Her Daughter’s Blond Head is one of Cassatt’s later paintings, as by 1914, Cassatt had lost her eyesight almost completely due to advancing diabetes. In the last years leading up to this, Cassatt began etching, drawing and painting more observationally, to capture certain moments, which opposed her longer process of producing numerous states (working proofs) when making prints. Estimates suggest that Cassatt made around 200 paintings, drawings and pastels in her lifetime.

$400,000 - 600,000

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Mary Cassatt (1844 - 1926) The Barefooted Child, c. 1896-97 Drypoint and aquatint on cream laid paper Plate: 9 ½ x 12 ½ in. Sheet: 12 5/8 x 15 5/8 in.

Signature on recto, lower right corner Watermarked “derle” on verso.

Provenance: Breeskin: 160 Mathews/Shapiro 22 Part of Cassatt’s last known suite of color prints, the Barefooted Child pictures a baby with cherubic curls and his mother, who appear to be playing patty-cake. Cassatt experiments with definition and color throughout the five states of the print, with the fourth state printed in yellow and gray.

The definition in the mother’s scarf and skirt, as well as both subjects’ hair, is striking, and represents the virtuosic combination of Cassatt’s inspirations and unique visual language: although the fabrics and the sudden, flat transitions between various surfaces resemble Japanese woodblocks, the composition and rendering is Cassatt at the pinnacle of her printmaking prowess.

The full effect of the colors in this print is elevated by Cassatt’s simple yet rich lines.

She often experimented with introducing color to unetched areas of the plate, and she did this through a combination of applying the colors directly onto the paper and using color plates. The level of experimentation across different composition methods, color palettes, and printmaking techniques indicate Cassatt’s mastery. Cassatt stopped making color prints long before she had to stop painting, etching and drawing due to her failing eyesight. After producing the suite of prints that included the Barefooted Child, she traveled from her country home in France to America for the first time since 1875.

The mint and yellow pastels of the mother’s outfit and the child’s hair contrasts beautifully with the teal of the mother’s sleeves, framing the child in white and leading the eye to the center of the composition. Their pose bears a strong resemblance to Madonna and child paintings

by European Masters such as Raphael and

Known impressions of this etching are in the collections of the Metropolitan Museum of Art, New York; the Art Institute of Chicago, and the Museum of Fine Arts Houston.

Because of Cassatt’s use of the a la poupée method to introduce color to the work, each impression (and state) are slightly different.

This impression was acquired by the Lay

Velazquez, whom Cassatt studied as a young painter during her travels in Italy and Spain.

The blue and white color pair is often used in traditional depictions of Saint Mary and Jesus, as blue symbolizes divinity. Unlike some of Cassatt’s meticulously-developed interiors, the muted, monochrome background in this print suggests the subjects symbolize the archetypal image of mother and child.

Family in the 1980s and would benefit from conservation work. There are three acid stains as well as mat stains around the borders.

$15,000 - 20,000

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Winslow Homer, American (b. 1836, Boston, MA; d. 1910, Scarborough, ME) Charles Savage Homer, Jr., 1880 Watercolor on paper 20 ½ x 15 in.

Initialed and dated on recto, lower left

Provenance: The artist, Charles Savage Homer Jr. (sitter and the artist’s brother), Mrs. Charles Savage Homer Jr. (the artist’s brother’s widow), Charles Lowell Homer (son of the artist’s brother Arthur Homer and nephew of Winslow Homer and Charles Savage homer, Jr.), Alice Homer Willauer (daughter of Charles Savage Homer, Jr.), Peter O. Willauer (Alice homer Willauer’s son), private collection, Washington, D.C., Spanierman Gallery, NYC, the Lay Family, Toledo, OH. In this stunningly atmospheric watercolor, Winslow Homer portrays his older brother Charles Savage Homer Jr., who was a chemist and a partner at a paint and varnish company.

Charles supported his younger brother’s arts career enthusiastically and was an avid collector of his work throughout his life. The artist’s admiration and respect for his older brother is apparent in the way that he depicts him as a subject. Dignified and austere, Charles poses in a gray pinstripe suit, leaning slightly backwards onto the drape. The simplicity of the background and surroundings allow the viewer to focus on the sitter’s features and follow his sidelong posture from his face to his shoes.

Winslow Homer was a talented watercolorist.

He produced a number of works in the medium, especially during his later years, that are known for their strong sense of light, color, and atmosphere, including Blackboard (1875), The Gulf Stream (1899), and Midnight, Approaching a Shipwreck (1885). These works showcase Homer’s skill in the watercolor medium and his ability to convey mood and emotion. In Charles Savage Homer, Jr., Winslow Homer displays the entire range of his ability by using soft washes of color over his brother’s suit and the background, rather than saturating the paper with pigment. This contributes emotion to the overall mood and allows for a psychological interpretation of the work by equipping it with a very subtle dreamlike quality that perhaps reflects Winslow Homer’s complete and tender admiration of his older brother. The shades of gray are muted in comparison to his boldly-colored landscapes and marine scenes,

and the work retains its Realism influence through skillfully-executed details, such as the pinstripes on the sitter’s suit and the shiny texture of his shoes.

Winslow Homer’s brothers posed for him often as stand-ins for his marine and sportsthemed works. This quiet and formal moment represents an exception, as Winslow Homer was not widely-known for his portraits as some other artists in his time. He did create a few noted portraits throughout his career, including The Fair Prima Donna (1865), The Peacemaker (1880), and Snap the Whip (1872), which depict his subjects in highlydeveloped, realist settings. These portraits all convey a strong sense of the individuality and the personal character of the sitter, and signal a level of sentimental intimacy Homer rarely afforded his subjects.

$300,000 - 500,000

Charles Savage Homer, Jr. and Winslow Homer in 1900.

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Winslow Homer (1836 - 1910) Winslow Homer was an American painter and printmaker celebrated for his marine paintings and illustrations. Born in Boston, Massachusetts, he spent his youth growing up near the seashore at Cambridgeport. While still young, Homer worked as an illustrator for several magazines such as Harper’s Weekly while traveling extensively, sketching landscapes and the people he encountered. By the 1870s, Homer focused on painting marine subjects inspired by New England’s rugged coastline and power of the ocean, eventually moving to a remote fishing village in Maine where he spent several years capturing fishermen’s lives alongside stunning landscapes.

Homer was renowned for his ability to capture the mood and atmosphere of his subjects, whether they were bustling cities or tranquil landscapes. His paintings and illustrations are noted for their dramatic use of light and color as well as how well they convey motion and energy. A self-taught artist, Homer earned widespread acclaim during his lifetime; today, his works remain among the finest examples of American painting. Homer passed away in 1910 at Prouts Neck, Maine; however, many of his works can be found housed at Winslow Homer Studio at Portland Museum of Art. Winslow Homer was a relatively private person who traveled frequently for his work as a Civil War illustrator and to find inspiration for his paintings. Homer’s earlier works often have an episodic quality, while his more mature paintings demonstrate psychological depth that showcases his growth as

an artist. While some of Homer’s earliest artworks depicted the war, he preferred not to depict battle scenes. As an illustrator, he was asked to create artwork which documented both events of the conflict and soldiers’ lives. His illustrations are anecdotal, but his paintings stand out for their vibrant use of color and light - providing a powerful visual record of the Civil War and its lasting impact on Americans. Homer’s artwork spans many genres, such as marine paintings, landscapes, portraits and sports. Regardless of the subject matter he tackles in these works, Homer’s pieces are all distinguished by their dramatic use of light and color and bold outlines that create an atmospheric and narrative quality.

Homer’s mastery of wood engraving and etching allowed him an extensive oeuvre, with the latter used to illustrate magazines and books. His skill in wood engraving intricate and detailed images earned him widespread recognition as a talented printmaker. Many of his wood engravings are iconic examples of American printmaking from the 19th century. Winslow Homer’s artwork can be found in several permanent collections of art museums and institutions, including the Metropolitan Museum of Art in New York, Museum of Fine Arts in Boston, National Gallery of Art in Washington D.C., Brooklyn Museum, New York, Art Institute of Chicago, Philadelphia Museum of Art, and the Smithsonian Museum of American Art.

Winslow Homer (1836 - 1910) Eight Bells, c. 1889 Etching in black ink on light beige, medium-thick, laid paper 19 1/2 x 25 1/2 in.

Signed on recto, lower left corner (“Winslow Homer sculpt 1889”)

Provenance: Wolf’s Auctioneers and Appraisers (1990) The Lay Family Homer made this etching one year after his eponymous, well-known marine painting picturing two sailors taking bearings of the ship’s position with octants. The title refers to a ship’s bell, which strikes once for each 30 minute-interval to mark the time for keeping watch. Eight bells would be heard at four, eight, and twelve AM and PM. The crew seem to be taking the noon sight to determine the

a contemplative mood and sense of solitude, the etching’s strong lines, dramatic contrasts, and intricate details make it a masterpiece unto itself. Like the painting, the Eight Bells etching is considered a masterpiece of Homer’s work and is highly valued.

ship’s position, and the dark clouds, contrasted with the bright, foam-green sea, indicate bad weather might be arriving. Homer developed the idea for painting this scene as he was painting empty panels on his younger brother Arthur Homer’s sloop, on which he spent a considerable amount of time.

medium for him. The richness of printing ink and the bold, monochromatic lines he used heightened to the realist yet dramatic storytelling of American life he so masterfully conveyed in his works. The cross-hatched lines and the adjacent systems of parallel lines in the etching endow the work with richness and mastery, as they create the movement and flow that relay the drastically different textures of water, the soldiers’ beards, clothing and hats, the wooden ship, and the clouds.

Editions of this etching are in the collections of the National Gallery of Art and the Clark Art Institute. This work is in good condition with few white spots on left bottom quadrant caused by dust on the plate, as well as minor mat stains along the sides and fraying paper edges.

Homer was self-taught in etching, and he created Eight Bells during a prolific period in his life for this medium, between 1887-1889.

Etching was enjoying a revival throughout the art world, and many artists were showing interest in it as an art form. Homer often used his paintings as a basis for the etchings and remarked that he had made fine pieces. He stopped making etchings because they weren’t very successful in the market, but they remain demonstrative of his mastery and interest in conveying atmosphere, movement, and dramatic light.

The painting and the subsequent etching were well-received by critics, as the colors and the mood indicated Homer transcended a naturalistic approach and captured the feeling of isolation and introspection that can be experienced at sea, as well as the sailor’s deep connection to the sea and the natural world.

This effect is very much conveyed by the wide tonal range and contrast in the etching. From a simple task repeated throughout the day, Homer created a scene of importance and anticipation, especially by removing some of the details on the ship, the sky and the waves that are present in the painting. While the painting expands on the relationship between the sailors and the sea, the etching truly focuses on the pair of sailors. Characterized by

Although Homer was most experienced in wood engraving, etching proved to be a fruitful

$40,000 - 60,000

Winslow Homer, Eight Bells, oil on canvas Addison Gallery of American Art, 1930.37g Gift of an anonymous donor

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George Bellows (b. 1882, Columbus, Ohio, d. 1925, New York) George Bellows was an American Realist painter and illustrator. He is best known for his realistic depictions of urban life and boxing matches, as well as his contributions to the Ashcan School, a group of artists who focused on capturing the gritty realism of American cities in the early 20th century. The Ashcan School advanced his interest in portraying working-class life in the city, as the group focused on deprivation and injustice at a time when paintings still depicted elevated, idealized subjects. Bellows studied at Ohio State University and later at the New York School of Art. Bellows is widely recognized for his powerful and dynamic images of boxing matches and city life, as well as his series of dramatic and often moving images of World War I. In his early years, he was an athlete and received offers to play semi-professional and professional sports at various points during his educational career, which he declined. Despite his untimely death at the age of 42, he left behind a rich legacy of paintings and illustrations.

George Bellows was a versatile artist who worked in several mediums. He is best known for his bold and dramatic oil paintings, which capture the energy and excitement of urban life in New York City. He was also a skilled lithographer, and he produced a number of prints that showcased his ability to convey movement and emotion. He produced over one hundred lithographs between 1921 and 1924 using a lithography press he installed in his studio. Throughout his career, Bellows worked as an illustrator for magazines and newspapers, and his illustrations are characterized by their strong graphic quality and dramatic compositions.

Unlike some other artists of his period, Bellows enjoyed recognition during his lifetime. Even though he was focused on urban realism, he also accepted portrait commissions from the upper echelons of New York society. However, he never fully embraced this lifestyle, as he was associated with the Lyrical Left and wrote for a socialist journal, the

George Bellows, Stag at Sharkey’s, 1909, oil on canvas Cleveland Museum of Art, 1922.1133

editors of whom he also disagreed with. Bellows painted a staggeringly wide range of subjects, from gruesome illustrations of World War I and critical illustrations of government censorship to boxing matches, his wife and daughters, and marine scenes. He accomplished the brooding quality of these paintings through bold brushstrokes and powerful images.

The Amon Carter Museum of Art holds 220 of his lithographs, while the Boston Public Library and the Cleveland Museum of Art also have significant holdings. The National Gallery of Art, Washington, D.C., the Columbus Museum of Art, Columbus, Ohio, the Whitney Museum of American Art, New York, and the Museum of Modern Art, New York, have notably acquired his work during his career.

He died unexpectedly in 1925 from a ruptured appendix, at a time when he was regarded as one of the country’s most notable artists. The Metropolitan Museum of Art celebrated his accomplishments and acknowledged his promise by organizing an exhibition of his work in the same year.

George Bellows (1882 - 1925) Bleak Hills, 1920 Oil on canvas 16 1/2 x 24 in.

1920 Unsigned, inscribed Bleak Hills twice on verso, recorded in artist’s Record Book B Excellent condition, with dense paint textures and wellpreserved varnish

Provenance: Photograph of Overlook Mountain, Woodstock, NY

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Estate of the artist (1925), Emma S. Bellows, his wife, Estate of Emma S. Bellows (1959), (gallery that sold to Lay Family) Private Collection

Although Bellows is best-known for his urban scenes and social realist paintings, he painted landscapes often. His landscapes depict a range of rural areas from Maine to the Adirondack Mountains, the New Jersey coastline, and the undeveloped surroundings of New York City. These works demonstrate Bellows’ mastery of the landscape genre and his ability to convey the beauty and majesty of nature.

Village on the Hill, Camden, Maine, an oil painting by Bellows from 1916, bears striking compositional similarities to Bleak Hills, but incorporates a lively color scheme and movement. Bleak Hills, on the other hand, conveys austerity through brown hues and bold, expressive brushstrokes, which demonstrate the influence of European Modernists, Post-Impressionists, and Flauvinists, from Francisco de Goya to Paul Cezanne. The dramatic vantage point, from a mountaintop looking down, underlines the geographic majesty of the surrounding nature, as well as the smallness of the houses in comparison. The painting depicts a landscape in Woodstock, NY.

is Bleak Hills, which very much reflects the recession the American economy experienced in 1920 and 1921 following World War I. Rural and agricultural communities would feel the impact of this in an isolated manner. Bleak Hills differs from many of Bellows’ landscapes because of the complete lack of figures and the plainness of the sky: often, he depicts farming or fishing families as heroic but hardened figures, sometimes with the clouds breaking apart above them to reveal an ethereal, gold, sunny hue. Bleak Hills on the other hand is curiously unassuming, with Bellows selecting elements of the natural landscape as his most dramatic characters.

Bellows expertly marries a sordid depiction of the natural world with subtle drama. The dense layers of paint add to the dimensionality of the painting, as it conveys the lush, unabiding flora and fauna that make the scene so moving.

The viewer is invited to imagine driving through the hills to a destination tucked away while considering the dark tree cover and an openness to the elements. Even though the title

In addition to the Metropolitan Museum of Art, many of Bellows’ landscape paintings are housed in the Whitney Museum of American Art, Museum of Fine Arts Boston, Art Institute of Chicago, and the National Gallery of Art.

Bellows first visited Woodstock in the spring of 1920 with his friend and fellow artist Eugene Speicher. He came back in the fall searching for a summer home for his family. Most of his paintings of Woodstock are colorful and depict the changing colors of the foliage through the seasons and were made in the Plein Air style.

$120,000 - 180,000 17

Childe Hassam (b. 1859, Boston, MA; d. 1935, East Hampton, NY) Frederick Childe Hassam (1859-1935) was an American painter and printmaker renowned for his Impressionist-style paintings of urban and coastal scenes. Born in Boston, Hassam studied art abroad before returning home to pursue a career as a painter. Hassam was part of an influential group of American Impressionist artists known as “The Ten,” who held annual exhibitions of their work. He was renowned for his loose brushwork, vibrant colors and focus on light and atmosphere in his subjects ranging from urban street scenes and landscapes to coastal views - often featuring New York City or Gloucester, Massachusetts. In addition to his paintings, Hassam was also an accomplished printmaker, creating numerous etchings and lithographs. These works often featured similar subjects as his artworks and showcased his fascination with light and atmosphere.

for the Louisiana Purchase Exposition, another significant international exhibition. He painted several views of the fairgrounds and city, including his iconic painting St. Louis from the Roof of the Palace of Education. Overall, Hassam’s trips to the Midwest were essential in his development as an artist, providing him with new subject matter and honing his Impressionist technique.

Hassam’s work can be found in major museums throughout America, such as the Metropolitan Museum of Art in New York City and the National Gallery of Art in Washington D.C. He is considered one of America’s greatest Impressionist painters and a pivotal figure in American art history.

Hassam’s landscape paintings often featured urban scenes, breaking away from the pastoral imagery that was popular at that time. His paintings of New York City in particular captured the energy and vitality of the city and helped it gain recognition as an artistic subject worthy of study. The artist’s use of color and brushwork in his landscapes was highly innovative. He was renowned for using bright, bold hues combined with loose impressionistic brushstrokes that gave his works a vibrant sense of movement and vitality.

Childe Hassam made several trips to the Midwest over his career, beginning in the 1880s. One of his earliest excursions there was 1886 when he visited Iowa and Minnesota with fellow artist J. Alden Weir; this journey proved pivotal for Hassam as it exposed him to new subject matter and helped shape his Impressionist aesthetic. Hassam next visited the Midwest in 1890, when he traveled to Chicago for the World’s Columbian Exposition - an important international exhibition. While there, he painted several views of Chicago and its fairgrounds, including his renowned painting The Flag Parade, Chicago. In 1904, Hassam traveled to St. Louis Self-portrait by Childe Hassam, c. 1915-16.

Private collection

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Childe Hassam (1859 - 1935) Northbend, Nebraska, September 14, 1908 Watercolor and gouache 6 1/4 x 9 in.

Provenance: The artist, 1908; (Childe Hassam), Mr. Harry G. Salsinger, Detroit, Michigan, by 1925-58; (Mr. Harry G. Salsinger) to his son, Mr. Harry G. Salsinger, Jr., Northville, Michigan, 1958-76; (Mr. Harry G. Salsinger, Jr.) to the estate of Harry G. Salsinger, Jr., 1976; (Mr. Harry G. Salsinger, Jr.) to sale, DuMouchelle Art Galleries, Detroit, Michigan, October 27, 1976; (Du Mouchelle Art Galleries) to Mr. and Mrs. Paul Windorf, Mt. Clemens, Michigan, 1976-82; (Mr. Paul Windorf) to [sale, Stalker & Boos, Birmingham, Michigan, 1982, bought in]; (Stalker & Boos) to Mr. and Mrs. Kenneth J. Lay, Sr., Toledo, Ohio, 1982-2010; (Mr. Kenneth Lay) to the estate of Kenneth J. Lay, Sr.

This intimate watercolor and gouache piece departs from Hassam’s cityscapes, and instead focuses on North Bend, a small town in Eastern Nebraska. It is possible that Hassam made this work while traveling, as it is made on the back of a page of a Farmer’s Almanac. In addition to his decidedly Impressionistic brushstrokes, Hassam conveys the flatness of the landscape before him by using subtle shading and flat stacks of color for the fields and the sky. Understated, especially when compared to his paintings and watercolors depicting rocky, coastal landscapes, North Bend, Nebraska presents a quaintness. Hassam’s earthy hues of beige, brown and terracotta red, as well as his quick, loopy outlines, make for a wonderful scene that he may have painted from the window of a moving train.

$15,000 - 25,000 19

John Frederick Peto (b. 1854, Philadelphia, PA; d. 1907, Island Heights, NJ)

John Frederick Peto was a painter known for his still life paintings of everyday objects such as books, pipes, and bottles. He was born in Philadelphia and began his artistic career as an apprentice to a sign painter. Later, he studied at the Pennsylvania Academy of the Fine Arts under Thomas Eakins. Peto is associated with the American trompe l’oeil school of painting, which aimed to create highly realistic illusions

Peto was interested in informal, worn-out objects and his color palette contained earthy browns and grays compared to the fuller range other trompe l’oeil painters. His brushwork was looser, and in the majority of his paintings, he used softer light. In addition to more conventional still lives, which presented objects arranged on a surface, he painted letter racks, a popular sub-genre of still life painting

of three-dimensional objects on a twodimensional surface, such as the artist’s canvas or board. Peto’s paintings often included objects with sentimental or nostalgic value, such as old books, photographs, pipes, pistols, and shoes, which conveyed a sense of the passage of time and the transience of human life.

that presented written materials, such as newspapers, postcards, and notes, to showcase the painter’s full technical ability to create trompe l’oeil illusions.

Peto’s work was not widely recognized during his lifetime, but he has since gained recognition as a significant figure in American still life painting. His paintings are now held in major museums and collections throughout the United States, including the Metropolitan Museum of Art, the National Gallery of Art, and the Philadelphia Museum of Art.

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Peto’s technical ability is unmistakable: he achieves the illusion of reality successfully even in his darker still life scenes, and the high contrast and directional light bestows his paintings with a powdery appearance. His array of objects appears both nostalgic and timeless, and he expertly conveys diverse textures. His still life set-ups have a subtly photographic quality, which is not surprising given he took up the medium towards the end of his life.

John Frederick Peto (1854 - 1907) Pipe Tobacco Books Oil on canvas 6 x 8 3/4 in.

A lovely, small piece by Peto, Pipe, Tobacco and Books is a livelier painting with lighter colors, including warm whites, orange, and green. The delicate tobacco pot with gold leafing provides excellent contrast with the bound books. The burnt matches in the foreground provides an excellent opportunity for Peto to demonstrate his skill as he depicts the texture of the brittle head. The matches also provide an opportunity for storytelling that verges on the cinematic: someone has just been here, smoking and reading.

The painting and the frame are both in excellent condition.

The distinctive colors and the range of shadows showcase Peto’s characteristic visual language at its best.

$15,000 - 25,000

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John Frederick Peto (1854 - 1907) Ginger Pot, Cake, Lemons Oil on canvas 5 x 6 1/2 in.

Featuring an incredible level of detail in such an intimate painting, Ginger Pot, Cake, Lemons perfectly communicates the loveliness of teatime. Peto often looked at objects that held a nostalgic aura, rather than luxurious foods, but this painting is a wonderful exception that retains the emotions the objects and foods might evoke: sentimentality, familiarity, and coziness.

Demonstrating a wide range of consistency and texture, from the delineation between the icing and the spongy interior of the cake, to the shiny lemon slice, Peto excels at the challenge.

$12,000 - 18,000

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John Frederick Peto (1854 - 1907) Books and Ink Bottle Oil on canvas 5 1/2 x 9 in.

Books and Ink Bottle is an intimate, small painting that depicts a bookshelf. The lovely beam of light shining on the right side of the painting exposes the texture of the beautiful, if not slightly worn, pages. The anonymity of the books contributes a mysterious quality to the painting that makes its appeal universal: whether they are the oeuvre of the Brontë sisters or Edgar Allen Poe, the viewer is invited to unleash their imagination.

The painting and frame are both in excellent condition with rich colors and lively sheen. This painting is unique due to the unusually high contrast and dark tonality, which Peto often diffused in most of his other work.

$6,000 - 9,000

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Charles Burchfield (b. 1893 Ashtabula, OH; d. 1967, West Seneca, NY) Edge of the Woods, 1954 Watercolor on paper 11 x 17 in.

Charles Burchfield was an accomplished painter and watеrcolorіst who married rеalіst dеpictions of naturе with wondrous abstract еlеments. Born in Ohio, Burchfіeld studiеd at the Cleveland Instіtutе of Art and later at thе National Acadеmy of Dеsіgn in New York Cіty. Thе artіst’s work often dеpіctеd scеnеs from rural Amеrіca and introduced a sense of mystery to beautіful observations of thе natural world. Hе was particularly drawn to thе changіng seasons and іncluded fauna and flora to еxprеss thе passage of time.

Charles Burchfield, An April Mood, 1946-55, watercolor and charcoal on paper Whitney Museum of American Art, 55.39

Burchfield oftеn usеd bright, bold colors and exaggerated shapеs and patterns to create a sensе of movemеnt and enеrgy. The artist’s work іs oftеn associatеd with thе Amеrican Scеne Paіntіng movement, whіch sought to capturе the essence of Amеrican lіfе and culturе. Howevеr, hіs paіntings wеre more idіosyncratic and personal than thosе of many other Amеrіcan Scenе paіntеrs: highly individual and oftеn whimsіcal to prеsеrvе thе vеry sеnse of wonder that defines hіs vіsual language. Hіs dеpіctіons of wеathеr and use of lіght are particularly characterіstіc, straddlіng a fragіlе poіnt betwеen rеality and a dream world.

Burchfіeld іmbuеd his landscapes wіth a sеnsе of mystical or spirіtual sіgnificance. Burchfіеld’s paintings also frеquеntly іncludеd handwrittеn notes, which addеd an еxtra layer of meaning and personal еxpressіon to hіs work. In addіtion to his artіstіc accomplishmеnts, Burchfiеld was also an early fіgurе іn the devеlopment of Modernism іn Amеrica, as hіs dеviatіon from naturalіst form presеntеd the vіewer with a unіquе dіrection. Burchfield remaіns an innovativе fіgurе who еxpеrіmеnted wіth subject and form, as well as the painting convеntions of his tіmе.

The monochromatic work, simply titled the Edge of the Woods, has an illustrative quality. Picturing a house and a church in a clearing during the bleak winter months, the work almost has a photographic quality, with the trees forming a frame within the frame. The scraggly branches contribute a playful yet atmospheric element to the somber scene, and the artist’s exacting lines contribute an etchinglike quality. Burchfield’s tonal range is skilled, with deep tones in the shrubs contrasting with the low hills and cloudy sky. The artist was interested in canonical American authors such as David Henry Thoreau and Willa Cather, who would often project complex psychological characteristics unto nature. This is very much reflected in his work. The piece is in excellent condition with light mat stains and demonstrates Burchfield’s characteristic work, which has been rediscovered in the 2000s through retrospectives at the Whitney Museum of American Art and the Hammer Museum.

$10,000 - 15,000

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Henry Farrer (b. 1844, London, United Kingdom; d. 1903, Brooklyn, NY)

Henry Farrer was an American painter and etcher associated with the American PreRaphaelite movement. He was born in London and moved to the United States as a child.

Farrer studied at the Pennsylvania Academy of the Fine Arts and later in Europe, where he became influenced by the work of the PreRaphaelites. Farrer’s paintings were typically of landscapes and seascapes, often featuring the rugged coasts of Maine and Long Island.

His work is known for its atmospheric quality and luminous effects of light. Farrer was also a skilled etcher, and his etchings often depicted similar subjects as his paintings.

Farrer was a member of the American Watercolor Society and the Society of American Etchers, and his work was exhibited extensively in the United States and Europe during his lifetime. His paintings and etchings are held in the collections of the Metropolitan Museum of Art in New York City and the Smithsonian American Art Museum in Washington, D.C.

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Farrer’s work was influential in the development of the American Pre-Raphaelite movement, which sought to revive the principles of medieval art and rejected the academic traditions of the time. Farrer’s landscapes, with their detailed realism and attention to light and atmosphere, embodied these ideals and helped to establish a distinct American style. The artist’s work helped popularize the rugged coasts and landscapes of Maine and Long Island, and present them in a new, inspiring light. The rich luminous effects and atmospheric quality was characteristic of his depictions of this geography. Farrer was also a pioneer in the use of color etching, a technique that allowed for greater tonal range and subtlety in his prints.

Henry Farrer (1844 - 1903) Sunrise Watercolor 12 x 15 in.

A small, delicate watercolor, Sunrise demonstrates the best qualities of Farrer’s understated landscapes. Even though American PreRaphaelites pushed forward a radical subversion of the painting conventions of the time, the common qualities of their visual language were often subtle and keenly focused on naturalism.

Sunrise is no exception: the painting captures the moment before the sun appears on the horizon, its red glow emerging from among the parting clouds. Farrer’s skill as a watercolorist allows for this exceptional work to take on a solemn quality: his colors are dense, with dynamic ranges in dark greens and browns. The reflection of the sky on the lake carefully recreates the dewy, fresh moments of early morning, but stops short of a truly dramatic depiction. The influence of author John Ruskin, who recommended that readers and artists alike “go to nature,” is evident in the work. As many Pre-Raphaelites favored inserting allegory in their landscapes, this painting can be interpreted as rebirth and hope for a new day.

The watercolor is in excellent condition with lively, well-preserved color and contrast.

$2,500 - 3,500

Henry Farrer (1844 - 1903) Sunset Watercolor 12 x 15 in.

A lovely pair with Sunrise, Sunset presents the moment after the sun has dipped below the horizon in a slightly deeper color scheme. The bend in the river catches the richest red-pink hue, while the clouds range from this bold color to gray. In line with the Pre-Raphaelites’ careful naturalistic style, the watercolor allows the viewer to feel immersed deeply in the landscape, centering the beauty of the scene rather than its overt symbolism. Sunrise and Sunset depict two scenes with subtle differences, and the muted colors help unify them elegantly. Farrer’s attention to detail is evident in the rendering of the countryside, as his brushstrokes on the leaves, smaller shrubs, and clouds help introduce the wide variety of textures found in a scene such as this. Reminiscent of New England landscapes in spring and early summer, the cooling scene successfully evokes a tender moment between the viewer and their beautiful surroundings. The

watercolor is in excellent condition with lively, well-preserved color and contrast.

$2,500 - 3,500 27

John William Hill (b. 1812, London, United Kingdom; d. 1879, West Nyack, NY) John William Hill was an American artist born in London, who moved to Philadelphia with his family as a child. The son of an engraver, John William Hill was a prolific technical illustrator who began to paint landscapes and still lives after joining the Pre-Raphaelite movement. Working across watercolor and several printmaking techniques, Hill began exhibiting his work as a young man in New York. He is best known for understated technique and his focus on objective realism, borne from some of the skills he acquired as a geological surveyor for the state of New York.

Hill indeed has a keen eye for accuracy rather than for romanticism, which allows for the natural beauty of his subjects to come alive through his technical prowess.

Many of John William Hill’s works employ the hatch and spittle technique, often seen in miniatures. For this, the artist uses numerous subtle brushstrokes to build gradients up or down, thus attaining the undramatic, objective nature in his work that made it appear photographic and suppressed the brushstrokes. The artist would work outdoors under natural daylight. Hill became an ardent supporter of the Pre-Raphaelites after discovering John Ruskin’s Modern Painters in the 1850s, and in 1863, he co-founded the Society of Advancement of Truth in Art. Hill’s works are in the collections of the Brooklyn Museum, the Amon Carter Museum, Fogg Museum at Harvard University, the National Gallery of Art, the Hudson River Museum, and the Metropolitan Museum of Art New York.

John William Hill (1812 - 1879) Landscape Arched top oil on paper, mounted on board 5 3/4 x 6 in.

This extraordinarily intimate depiction of a tree pictured in fall is an unusual work for Hill, who favors rectangular compositions. The arched top gives the work the quality of a beautiful vignette, and the deep tonality of the oil is a lovely departure from Hill’s muted greens and yellows. The background depicts a line of trees in rich fall colors, placing the red-brown hues in contrast with the lone green tree in the foreground.

This work is in excellent condition with rich colors and texture.

$800 - 1,200

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John William Hill (1812 - 1879) Croton on Hudson, 1867 Watercolor on paper 11 1/2 x 16 1/2 in.

Croton-on-Hudson is one of the most scenic points on the Hudson River, and was unincorporated at the time Hill made this painting. The winding banks of the Hudson and the hills that rise straight from the water make for a majestic view that is balanced by Hill’s muted yet nuanced colors. Hill chooses to contrast the lush green foliage on the foreground with the purple-brown mountains in the back, meanwhile delineating these areas with expert depiction of textures. The inlet’s calm waters provide an opportunity for Hill to demonstrate his technical skill in depicting a glassy reflection of the sky.

$2,000 - 3,000

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John William Hill (1812 - 1879) Landscape by a Lake Oil on paper 3 x 6 7/8 in.

This delicate landscape is an oil on paper mounted on board. Measuring a little larger than the palm of a hand, the colors and detailing demonstrates John William Hill’s mastery of the medium in painting, as he is able to include so many visual

elements in such a small composition. The high point of the painting is the rock hill on the left, as the softly descending curve of the landscape leads the viewer’s eye throughout the work. The yellow overtones evoke farmland and prairies, which is an unusual topic for Hill, who most frequently depicted the taller, denser forests of Northeast United States.

The painting is in great condition with lively, dense colors and intact mounting.

$800 - 1,200

John William Hill (1812 - 1879) Spray of Apple Blossoms Watercolor on paper 8 x 11 in.

Prior to devoting his career to depicting nature through landscapes, John William Hill was an avid technical illustrator and made zoological and botanical drawings noted for their accuracy.

Spray of Apple Blossoms is no exception: Hill focuses on a lovely view of the flowers of an apple tree from an unusual angle. The detail in the individual petals, juxtaposed against the beautiful blue sky, makes for a truly special piece. John William Hill was noted for his virtuosity in subtle brush strokes, as evident in this work – the oftromanticized, gradiented textures of traditional watercolor painting are quite undetectable in this piece. Instead, Hill presents the viewer with exacting realism that brings the details of the plant alive.

$2,000 - 3,000 30

John William Hill (1812 - 1879) Esopus Near Shokan Watercolor on paper 9 3/4 x 13 3/4 in.

Picturing the Esopus Creek near the town of Shokan in the Hudson Valley, this intimate watercolor depicts an idyllic boathouse and yellow-green trees.

Hill’s exploration of the relationship between man and the environment through the lens of objective

but emotional storytelling is evident in this work: the nature is its own character in the painting. With lively, unmuted colors, the watercolor is in good condition with minor mat stains. The work was recorded in a 1917 catalogue of John William Hill’s work at the West Nyack Art Gallery in New York, where the artist spent his final years before his passing.

$2,500 - 3,500

John William Hill (1812 - 1879) Sketch for the Brook Pencil on paper 6 3/4 x 12 1/2 in.

A quiet, muted sketch of a brook and the surrounding landscape, most likely located in New England or New York, this piece demonstrates Hill’s dedication to the Pre-Raphaelites. The artist’s lines are understated and delivers a straightforward yet warm look at the banks of the brook. Most likely made for a painting, the sketch makes expert use of perspective as the water moves into the curvy banks.

The piece is in good condition with minor creases and mat stains, as well as slight discoloration in the center-left.

$1,200 - 1,800

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John William Hill (1812 - 1879) White Mountains, New Hampshire (Landscape with Grazing Sheep), 1864 Watercolor on paper 9 1/2 x 17 in.

One of the larger pieces on offer, Landscape with Grazing Sheep is a lovely view of a high plain near the peak of White Mountains in New Hampshire. Hill creates a winding leading line that takes the viewer straight to the peak of the mountain in the middle of the composition. The human presence, indicated through grazing sheep, points to Hill’s interest in exploring the relationship between man and the environment, while the even lighting allows for a lovely color scheme evocative of early spring.

The lone tree to the right, present in many of Hill’s landscapes, balances the horizontal elements. This work demonstrates many elements of Hill’s visual language, from the focus on the

objective presentation of nature, to an almost-photographic sense of realism.

The piece is in excellent condition with light mat stains.

$2,000 - 3,000

John William Hill (1812 - 1879) Below the Palisades, 1867 Watercolor on paper 11 1/2 x 18 1/2 in.

The palisades on the Hudson River was a fascinating subject for John William Hill, and the featured them in his landscapes several times.

Most notably, a view of the palisades across the Hudson River can be seen in his 1870 watercolor and gouache, now in the collection of the Metropolitan Museum of Art. Below the Palisades, much like Hill’s other landscapes, employs a continuous horizon line that allows the viewer access to the entire landscape before Hill. The lone tree balances the flat composition of the well-toned hills rising from the banks of the Hudson River. This work is one of the best examples of Hill’s landscapes, with subtle brushstrokes that gives the

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landscape a flowing yet realistic quality. It is in excellent condition.

$2,000 - 3,000

John Henry Hill (b. 1839, West Nyack, NY; d. 1922) Son of watercolorist and printmaker John William Hill, John Henry Hill was born and lived all his life in West Nyack, New York. Belonging to the PreRaphaelite School like his father, John Henry Hill was deeply inspired by John Ruskin and David Johnson, and made paintings, watercolors and engravings that embraced a realistic yet emotional style. He focused closely on the landscapes of New York and his subject matter aligned with the Hudson River School and White Mountain art, the general name of a movement that over 400 painters living and making work in the White Mountains of New Hampshire belonged to.

In addition to watercolors of landscapes and zoological specimens, Hill also made drawings and graphites, contributing monochromatic depictions of the beautiful vistas around his home.

Hill exhibited his work in galleries and art clubs in New York and Boston, and his works are in the collections of the New York Public Library, the National Gallery of Art, and the Smithsonian American Art Museum.

John Henry Hill (1839 - 1922) Geraniums Watercolor on paper 6 3/4 x 6 1/2 in.

An example of John Henry Hill’s masterful technical illustration, Geraniums pictures the popular garden flower in full bloom. Scaled to life-size, the piece serves as a vignette with rich reds in the middle and green leaves wrapped around the flower as background. Hill pays attention to the differing textures within the single plant: from the buds to the petals and the leaves, the artist carefully depicts realistic properties while retaining the fresh beauty of his subject. The piece is in great condition with minimal fading and mat stain around the edge.

$1,500 - 2,500

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John Henry Hill (1839 - 1922) Red and White Flowers Watercolor on paper 3 1/4 x 3 x 1/4 in.

Provenance: Hirschl & Adler Galleries, New York, 1982; to George Ablah, Wichita, Kansas, 1982-84; to the Lay Family.

Much like Geraniums, John Henry Hill’s Red and White Flowers offer a vignette that resembles the botanical illustration of its subject. The small watercolor packs admirable detail in the life-size depiction of the flower, with the white and red complementing each other beautifully. John Henry Hill was known for his excellent botanical and zoological illustrations, and a watercolor he made of a bird lying on the grass is in the collection of the National Gallery of Art. The watercolor is in good condition with lively colors and slight yellowing.

$800 - 1,200

John Henry Hill (1839 - 1922) View of the Hudson River Steel engraving 10 1/4 x 13 3/4 in.

A steel engraving made after the artist’s father John William Hill’s watercolor Croton on Hudson, also on offer in this auction, the piece depicts the site of the then-unincorporated village of Croton-on-Hudson, at one of the most scenic points in the Hudson Valley.

John Henry Hill demonstrates his mastery of the engraving medium by contributing nuance and tonality to the monochromatic piece. The lovely gradient of light in the water as the inlet opens up to the river is beautifully executed and grabs the viewer’s attention almost immediately. The engraving is in good condition with slight creases along the edges of the paper and mat stains.

$300 - 500

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John Henry Hill (1839 - 1922) The Picnic Pencil and gouache on paper 11 1/2 x 14 in.

The picnic depicts a light-hearted commune with nature, as the figures and dog in the center are beautifully surrounded by the tall trees. Hill’s expert delivery of tonality and contrast through gray-brown pencil and his gouache touches make the piece a compelling, detailed moment from daily life of the place and time. Hill includes small but crucial details in the work that provides valuable context for the viewer, such as the women’s dress and caps.

The piece is in good condition with light mat stains and subtle fading.

$3,000 - 5,000

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John George Brown (b. 1831, Durham, United Kingdom; d. 1913 New York, NY) John George Brown was an American painter known for his genre scenes depicting everyday life in New York City during the late 19th and early 20th centuries. He was born in Durham, England, and immigrated to the United States in 1853. Brown settled in New York City and became one of the prominent painters of the Ashcan School, a group of artists who focused on portraying urban life and its working-class inhabitants. Prior to his career as a painter, he worked as a glassblower.

of childhood through darker, richer oil tones, which could be interpreted as the artist’s way of expressing the difficulty of these children’s circumstances. In the Victorian era, paintings that showed sympathy towards children of the Industrial Revolution were quite popular, and made Brown very successful.

Labor laws were non-existent or lax, and many poorer families often pushed their children into working for manufacturers and factories as soon as they were old enough.

John George Brown primarily painted scenes of newsboys, peddlers, bootblacks, and other children engaged in various activities. His works often conveyed a sentimental and sympathetic view of these young subjects, highlighting the hardships and struggles they faced in the growing city. Brown’s attention to detail and his ability to capture the spirit of the times made his visual language unique, as he was communicating the innocence and playfulness

Throughout his career, Brown exhibited his works extensively, receiving numerous awards. He became an associate of the National Academy of Design in 1860 and a full member in 1863. Brown’s paintings are now held in various collections, including the Metropolitan Museum of Art, New York and the Brooklyn Museum.

John George Brown (1831 - 1913) Can’t Raise the Wind, 1867 Oil on canvas 18 1/4 x 14 1/4 in.

Can’t Raise the Wind pictures a recognizable moment from childhood: there isn’t enough wind to fly a kite.

Brown’s composition of the small band of children playing outside is delightful as it is detailed: from the downtrodden expression on the boys’ faces to the echarpe and full skirt the little girl in the background is wearing, there are many clues to what urban life was like for these children. Brown himself grew up middle class in England as the son of a lawyer father who did not want him to become an artist, and sympathized deeply with children like himself, as evidenced by his nuanced way of depicting them.

Brown’s yellow-brown tones across the painting gives a lightly melancholic feel to the fall scene, which is then offset by the litany of colors on the children’s clothing and kites. Brown was an expert on including a full range of color in his paintings and still preserving the overall tonality – in Can’t Raise the Wind, the reds, greens and blues are wonderfully balanced with the brick, concrete and stone of the urban scene.

This is a painting in excellent condition with rich colors and lively varnish.

$30,000 - 40,000

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Henry Roderick Newman (b. 1843, Easton, NY; d. 1917, Florence, Italy) Henry Roderick Newman was an American still life and landscape painter influenced by the PreRaphaelites. He was born in New York and initially attended medical school, later switching to art after his father, a doctor, passed away. He studied with Jean-Léon Gérôme.

Henry Roderick Newman’s paintings are primarily landscapes, at times depicting scenes from his travels, and he is known for his skillful use of color and light. He became a member of Association for the Advancement of the Cause of Truth in Art in 1864, which emphasized realism and attention to detail. His paintings were characterized by their intricate details and rich colors, and he often used a warm, golden

tone in his works. Newman was one of the first artists to move to Florida and become known to paint there.

Starting in 1887, he began spending his winters in Egypt, and made watercolors of ancient structures there. His work is distinctive because he adopted a realist, observational style of depicting landscapes of the Near East rather than the Orientalist style, which blurred the line between reality and fantasy.

Newman’s paintings are in the collections of the Museum of Fine Arts, Boston, the Metropolitan Museum of Art, New York, and the Amon Carter Museum of Art, among other institutions.

Henry Roderick Newman (1833 - 1918) Abu Simbel Watercolor 25 1/2 x 16 1/2 in.

Abu Simbel is an ancient temple complex located in Nubia, in southern Egypt. The complex is famous for its two temples, the Great Temple of Ramses II and the Temple of Hathor, which were both built during the New Kingdom era of Ancient Egypt. The interior of the temples are adecorated with intricate carvings and paintings depicting various scenes from Ancient Egyptian mythology. Abu Simbel was rediscovered in the 19th century by European explorers, and it is not unusual that Newman, who traveled to Egypt every year, would have been intrigued by the site.

Newman’s watercolor is delightfully skilled and precise in its use of Cartesian perspectivalism: the long, decorated hallway exudes golden light and culminates in a window overlooking the vista. Newman likely made this work after visiting the temple during one of his stays in Egypt. The American Pre-Raphaelite influence on the work is evident: Newman is equally moved by the beauty of the architecture of the temple as his desire to depict it realistically and in great detail. His bold, saturated use of watercolor heightens the lifelike quality of the space, while conveying its timelessness.

The piece is in great condition with light mat stains on the back.

$8,000 - 12,000 38

Henry Roderick Newman (1833 - 1918) Temple at Abu Simbel Watercolor 25 1/2 x 16 1/2 in.

This watercolor depicts an interior scene within the Temple. The slightly upturned point of view contributes to the majesty of the structure: Newman simultaneously conveys the height of the walls and columns as well as the intricate relief carvings of hieroglyphs on the walls. The composition allows for the viewer to imagine what is beyond the doorway: Newman’s fascination with the structure is evident in the work.

Newman is meticulous in his depiction of the desert light and the sandy color scheme.

The watercolor has a golden hue that reflects the ethereal quality of the scene to the viewer.

The piece is in great condition with lively, saturated colors.

$8,000 - 12,000

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William A. Brown (b. 1947; d. ?, lived and worked in Toledo, Ohio) Shoeshine Boys Oil on canvas 14 x 10 in.

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Shoeshine Boys is a beautifully-toned painting depicting a group of shoeshine boys attending to a customer. Much like John George Brown, William A. Brown focused on working or street children and painted them in a lively, nuanced manner.

While the gloomy overtones of the painting indicate the difficulties and business of urban life, the children’s smiling faces and entrepreneurial posture acknowledges their playful, innocent nature. The scene

is positively cinematic and presents dynamism, while indicating the diversity of city life across race and class. While not much is known about the painter, his masterful style of genre painting and strong lighting make Shoeshine Boys a gem.

The painting is in good condition with deep colors and slightly-faded varnish.

$2,000 - 3,000

Jefferson Davіd Chalfant (b. 1856, Chester County, PA; d. 1931, Wilmington, DE) Jefferson Davіd Chalfant was a Pеnnsylvanіaborn sеlf-taught realist paіnter who made still-lіfе and gеnrе paintіngs and portraіts.

Hе travеlеd to Europе latеr in lifе to study wіth Wіllіam Adolphe Bouguerеau at thе Acadеmіe Julіan, undеr the patronagе of Alfrеd Cornіng. Whіle hіs еarly oеuvrе contaіns many landscapеs and stіll lifе works, hіs maturе paіntings dеpict a wіde variety of subjеcts.

Likе John F. Pеto, whose work іs also in the Lay Collеctіon, Chalfant was іnfluеncеd by late 19th cеntury artіst Wіllіam Mіchaеl Harnett and madе trompe-l’œіl paіntіngs. In 2022, the Metropolitan Museum of Art producеd a sіgnіfіcant survey of latе 19th cеntury stіll lіfе іn thе Unіtеd Statеs and Europe, іncludіng important examplеs of the trompе-l’œіl genrе

Chalfant had rеmarkable tеchnіcal skіll and creatеd layеred still lіfе paintіngs that іncludеd observеd and fictіonal newspapеr tеxt, whіch contrіbuted complеx narratіvеs to hіs work.

In thе 1890s, hе abandonеd still lіfe paіntіng and еmbracеd acadеmіc rеalіsm morе closely, prеsеntіng hіs human subjеcts wіthіn theіr daily envіronment. Chalfant’s paіnstakіng attеntіon to dеtail allowеd for beautiful storytelling. In two prеlіmіnary drawіngs for hіs well-known oil paіntіng, The Shoemaker (1900), and Study for the Blacksmіth Shop, he dеmonstratеs hіs mastеry of іntеrіor pеrspеctіvе, and presents his working subjеcts іn a dіgnіfіеd mannеr. Chalfant’s work was еxhіbіtеd at thе Pеnnsylvanіa Academy of Fіnе Arts and thе Natіonal Acadеmy of Dеsign and іs

as well as artists influenced by it, by Samuеl hеld іn the collectіons of thе Natіonal Gallеry van Hoogstratеn, Jеan Etіenne Lіotart, Luіs of Art and the Dеlawarе Art Musеum.

Mеlеndеz, Gеorgеs Braquе, Juan Grіs, Jеffеrson Davіd Chalfant, and Pablo Pіcasso.

Jefferson David Chalfant, The Shoemaker, 1900, oil on canvas

Jefferson Davіd Chalfant (1856 - 1931) Study for the Shoemaker Pencil on paper 12 x 16 in.

Signed lower right (a second signature line erased but reads “Sketch by Jefferson David Chalfant” In this small, pencil on paper study for his oil painting The Shoemaker, Chalfant pictures a man deeply buried in his work as a cobbler.

The artist’s skill in architectural proportions and detail contribute an academic quality to the work. While some foreground surfaces and details are depicted in simplified, singleline drawing, the subject’s face, hands, and clothes are highly detailed. The work is in overall good condition with mat stains on the sides and faint creases.

$6,000 - 9,000

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Jefferson Davіd Chalfant (1856 - 1931) Large Study for the Shoemaker Pencil on paper 25 x 33 in.

Signed on verso on lower right, inscribed “D. Myers” confirm Like the smaller study, Large Study for the Shoemaker presents subtle but rich details and attention to texture. The shoemaker’s striped apron, the artwork hanging on his workshop’s wall that depicts a mother running after her children to spank them, and the gas lamp on the table contributes atmospheric detail to the piece. The sketch is in overall fair condition with creases and mat staining along the borders. There are faint acid stains on the back of the work.

$5,000 - 8,000

Jefferson Davіd Chalfant (1856 - 1931) Study for the Blacksmith Shop (inscribed Sketch for the Toolmaker, Samuel B. Hughes) Pencil on paper 15 x 18 in.

Scenes from labor shops are among Chalfant’s most intriguing works: demonstrating his interest in masters of their craft, these pieces are nuanced, dignified depiction of toolmakers.

This study is no exception. It pays close attention to the details found in a blacksmith’s shop and surrounds his busy subject with his life’s work. Including his sitter’s name in the sketch title indicates the artist’s interest in presenting the subject wholly, rather than depicting a type. Chalfant made the sketches from photographs, working with a J. Paul Brown in Delaware. Even though he did not copy all the details of the photograph, the sketch is quite loyal to the source image. The drawing brings the viewer into the atmospheric room through details small and large, rendered skillfully in pencil. For the final oil painting, titled the Blacksmith, Chalfant chose a slightly

different angle, centering the anvil rather than the blacksmith.

This study is in fair condition with yellowing, creases, and light mat stains.

$3,000 - 5,000

Edmund Osthaus (b. 1858, Hildesheim, Germany; d. 1928, Marianna, FL) Edmund Osthaus was a German-born American painter known for his realistic depictions of dogs, particularly hunting dogs, as well as his landscapes and portraits. Osthaus was born in Hildesheim, Germany. His family moved often: after fleeing Germany for Mexico and later the United States, they returned to Germany for some time, only to permanently settle in Wisconsin. Osthaus attended art classes in New York City and in Düsseldorf, Germany, and studied with Peter Janssen the Elder, Andreas and Karl Müller, Julius Roeting and Eduard Gebhardt. His greatest influence, however, was animal painter Christian Kroener. Osthaus focused on depicting hunting breeds in particular in oil, watercolor, and pencil, and became a celebrated painter of sporting art. He served as the Director of the Toledo Academy of Fine Arts in Ohio, where he

Osthaus became known in particular for his dog portraits, which were sold on calendars, postcards and lithographs by the DuPont Gunpowder Company from Wilmington, Delaware. As an illustrator he has worked for various newspapers and magazines such as the Saturday Evening Post, Field & Steam, Collier’s, McCall’s, the Literary Digest and Cosmopolitan.

Osthaus’ paintings are in the collections of the Toledo Museum of Art, the Oshkosh Public Museum, the Washington County Museum of Fine Arts, Hagerstown, Maryland, the Port Huron Museum, the Canton Museum of Art, the Butler Institute of American Art, and the American Kennel Club. He was an avid hunter and fisherman and bred dogs.

also taught.

Edmund Osthaus (1858 - 1928) Gordon Setter Pointing Watercolor 12 x 16 in.

Osthaus was a gifted watercolorist, and his subtle toning and energetic brushwork and rendering reflected the momentous, fleeting pace of the hunt. Gordon Setter Pointing pictures one of the most popular hunting dog breeds at work.

The textures of the fall leaves, the ground, and the beautiful coat of the setter come together

to create a beautiful scene, as the dog moves gracefully towards the prey.

The watercolor is in good condition with light mat stains.

$5,000 - 8,000

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Edmund Osthaus (1858 - 1928) Deer by the Stream Pencil on paper 9 1/2 x 13 1/2 in.

This pencil drawing shows Osthaus’ skill in depicting nature as well as communicating sentiment. The beautiful shading around the roots of the tree and the reflective textures of the water make the piece an excellent execution of realism, and the deer’s posture contributes an emergent sentiment, as if it might scuttle at any moment. For Osthaus, this would have been an enjoyable scene, as the young deer quietly moves through the landscape.

The drawing is in good condition with slight yellowing.

$800 - 1,200

Edmund Osthaus (1858 - 1928) Lake Scene Watercolor 15 x 19 1/2 in.

In addition to dogs, Osthaus painted landscapes, especially those associated with hunting. He owned a quail lodge that allowed him to enjoy his favorite sport, and he drew on his experience and observations to paint. Lake Scene depicts an idyllic boathouse or small shelter by a lake, with languid waves hitting the shore. The lovely green-blue overcast and delicate shadows create an intimate setting where the viewer can commune with nature.

The watercolor is in great condition with light mat stains. Two short tears on top edge.

$1,000 - 1,500

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Edmund Osthaus (1858 - 1928) Mother Saint Bernard Looking Down at her Five Pups Oil on canvas 30 x 34 in.

This beautiful oil depicts an intimate, personified moment between the mother and her puppies. The ethereal light filtering into the barn scene gives the painting a sentimental quality, and Osthaus presents the viewer with a romanticized depiction of the gentle, large breed. Saint Bernards are a gentle breed despite their size and are known to be patient, and Osthaus depicts this through the maternal expression

on the dog’s face. The lively pups contribute an air of playfulness to the scene, as Osthaus’ careful brushwork, golden hour lighting, and autumnal color scheme convey sentimentality.

The painting is in excellent condition with lively colors.

$20,000 - 30,000 45

David Johnson (b. 1827, New York, NY; d. 1908, Walden, NY) David Johnson was an American landscape painter active during the mid-19th century and belonged to the Hudson River School. The Hudson River School was an American landscape painting movement that flourished from 1825 to 1975. They took their name from the Hudson River, which runs through New York State and is frequently featured in their artwork.

The Hudson River School was groundbreaking in its emergence as an authentically American style of art. Before this movement, many American artists had looked to European traditions and styles for inspiration; however, the Hudson River School artists sought to craft a visual language that captured the beauty and grandeur of their native landscape.

Hudson River School artists created romanticized depictions of American wilderness landscapes, particularly those found in northeastern America, and sought to capture both nature’s sublime beauty and its spiritual power. Many artists associated with the Hudson River School, such as Thomas Cole, Frederic Church and Albert Bierstadt, traveled widely throughout North America and Europe to study nature and draw inspiration for their artworks. Many painted large-scale canvases that depicted breathtaking vistas such as Niagara Falls, the Grand Canyon or Rocky Mountains.

Within this movement, David Johnson created delicate depictions of American landscapes, particularly the Adirondack and Catskill Mountains, as well as scenes from New England and the American West. Even though he attracted more critical acclaim in his earlier years, he remained productive throughout his career. His work is marked by exacting depictions of his subjects, whether they are landscapes, botanical studies, or still lives.

David Johnson (1827 - 1908) Tongue Mountain, Lake George Pencil on paper 11 x 18 1/4 in.

Depicting the opposite bank from Black Mountain, Lake George, Tongue Mountain, Lake George is the third landscape pencil drawing from the Lay Family Collection.

Often, Johnson’s landscapes were painted with great precision and meticulous attention to detail. This piece reflects his characteristic sweeping vistas, with slight but important variations in the greenery across the lake and strong lines depicting the face of the mountain, as the delicate lines of the lake provide a counterpoint.

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Johnson’s drawings served as preparatory studies for his paintings, helping him determine compositional and lighting details before beginning the final piece. Yet, many of Johnson’s drawings stand on their own as works of art in themselves, capturing the same level of fine detail and naturalism found in his paintings. Furthermore, some of Johnson’s sketches were reproduced as illustrations in books and magazines during his career.

The drawing is in good condition with minor creases throughout.

$600 - 900

David Johnson (1827 - 1908) Black Mountain, Lake George Pencil on paper 9 3/4 x 19 in Black Mountain, Lake George depicts a traveler resting on the bank of Lake George, perhaps after a day of canoeing.

The lake separates Black Mountain from the Adirondacks, and David Johnson pays homage to the unique geography. The archetype of the traveler was prominent in the works of Hudson River School artists, as immersing oneself within the natural landscape and traveling to places that could evoke wonder and sentimentality in order to find subjects for paintings were highly common. This drawing is no exception: the simple lines communicate a sense of pleasant weariness and harken the wellknown idyllic beauty of the area. Starting in the 1860s, the artist began using lake scenes as a compositional format – sometimes embellishing the scene in front of him with elements borrowed from other landscapes.

However, Black Mountain, Lake George, remains a loyal depiction of the vista, as well as a record of the artist’s travels.

$600 - 900

David Johnson (1827 - 1908) View of Fort Montgomery from Bald Hill Pencil on paper 10 x 17 1/2 in.

David Johnson’s understated yet wonderful drawing of a hilly landscape in fact depicts the site of an important battle in the history of the Revolutionary War in which the British and Loyalist soldiers regained some control of the Hudson River Valley in 1777.

Johnson’s perspective contributes grandeur to the scene as the river winding through the hills create sentiments of majesty and awe. Nearby, Johnson notably painted the Hudson River from Fort Montgomery (1870), which depicts the historic fort perched atop a rocky outcropping overlooking the Hudson River. The simplicity of drawing is an enlightening counterpoint to the oil, as it presents as a skillful study of the landscape.

$600 - 900 47

Daniel Huntington (b. 1816, New York, NY; d. 1906, New York, NY) Daniel Huntington was a prominent Hudson River School artist. He studied with inventor and artist Samuel F. B. Morse and painter Henry Inman in New York after being encouraged to pursue the life of an artist by Charles Loring Elliot at Hamilton College.

The son of a powerful Connecticut family, Huntington traveled throughout Europe and exhibited his work at the National Academy of Design and other venues throughout New York. In addition to landscapes, Huntington painted allegorical and spiritual scenes, the best known of which is the 1853 oil painting, Mercy’s Dream, inspired by a scene from the Pilgrim’s Progress, a 17thcentury theological allegory by John Bunyan.

Huntington’s religious paintings are in the collections of the Pennsylvania Academy of Fine Arts, the Metropolitan Museum of Art New York, and the National Gallery. Later in his career, Huntington became a well-known portrait painter, depicting President Abraham Lincoln as well as other politicians and military officials. These portraits are in the collections of the Union League Club of New York, Berkshire Museum, the Lenox Library, the New York Historical Society, and other institutions.

Daniel Huntington (1816 - 1906) Studies for Sophie Spencer Pencil on paper 9 1/2 x 12 1/2 in.

Daniel Huntingon’s single-sheet sketches for a formal portrait of a young girl reveal the subject’s cherubic expression and details from her dress. Huntington had turned to portraiture after becoming famous for his earlier work depicting spirituality, and he painted many members of the country’s elite, which brought him wealth. Sophie Spencer likely belongs to a rarified social circle. The sketch of the face bears Huntington’s characteristic style, with dramatic yet flattering lighting and rounded lines.

This drawing is in good condition with minimal creases, a small tear, and subtle yellowing. Signed on the recto, lower left.

$300 - 500

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Lillian Westcott Hale (b. 1880, Hartford, CT; d. 1963, St. Paul, MN) Lillian Westcott Hale was one of the best-known American Impressionist painters of her era. She studied at the School of the Museum of Fine Arts in Boston.

Hale was associated with the Boston School, a group of painters influenced by John Singer Sargent, Claude Monet, and Jan Vermeer who focused on genteel, upper-class subjects in opulent interiors. Hale’s work demonstrates elements of the Boston School: even though she adopted the intimate, sentimental colors and subject matter of the Impressionists, she was classical in depicting her figures in full, academic detail. Her focus on and ability in depicting the character of her sitters differentiated her work: at times, she chose to simplify her settings in order to really bring out the personality of her subjects. Critics observed that this was particularly pronounced in her portraits of children.

Hale was a member of the Guild of Boston Artists and the National Association of Women Painters and Sculptors. She exhibited her work widely, including at the Pennsylvania Academy of the Fine Arts, the National Academy of Design, and the Corcoran Gallery of Art. She was also an instructor at the School of the Museum of Fine Arts in Boston for many years.

Hale’s work demonstrated the foundational qualities of Impressionism: liberal brushwork, bright colors, and a strong sense of light and atmosphere. Best known for her portraiture across several mediums, she also painted landscapes and still lifes. Hale won an Altman Prize from the National Academy of Design and her work is in the collections of the Museum of Fine Arts, Boston, the National Academy of Design, the Metropolitan Museum of Art, New York, the Phillips Collection, the North Carolina Museum of Art, and the Cleveland Museum of Art.

Lillian Westcott Hale (1881 - 1963) Seated Boy Charcoal on paper 29 1/8 x 23 in.

This large charcoal is a tender portrait of a young boy. Its sketchlike quality gives the work an intimate flair, while the velvety, matte texture of the charcoal contributes rich detail to the boy’s face. Hale was best known for expressing her sitters’ character – particularly the children she depicted.

Without a background or details on the subject’s clothes, the viewer can truly focus on the boy’s face and the texture of his hair.

The boy’s innocent, playful expression, combined with his slight slouch, gives the work an air of playfulness and energy.

The work is in good condition with slight creases and light mat stains around the border. There is a sketch of a woman or girl’s face on the back of the drawing. The ornate period frame and two-color mat are in excellent condition.

$6,000 - 9,000

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Filippo Palizzi (b. 1818, Vasto, Italy; d. 1899, Naples, Italy) Filippo Palizzi came from a family of artists and was a painter of landscapes, portraits, nature studies, and pastoral life. In his later career, he also focused on genre paintings featuring children and animals in the countryside. Palizzi received training at the Royal Institute of Fine Arts but later interrupted his studies to paint under teacher and artist Giuseppe Bonolis.

He received a gold medal in the Universal Exhibition of 1867 in Paris.

Palizzi was interested in art education throughout his life, and founde the Naples Society for Promoting the Fine Arts and the Museum of Industrial Art. His contributions to the arts were recognized with the Order of the Crown of Italy, as well as the Austrian Order of Franz Joseph. His work is represented in the collection of the British Museum. Palizzi’s close attention to anatomical detail when painting animals and figures, as well as his lush, expansive scenes, make him an incredible depicter of landscapes.

Filippo Palizzi (1818 - 1899) Little Girl Carrying Sticks Oil on canvas 15 1/2 x 19 in.

Little Girl Carrying Sticks is a lovely, well-balanced painting of a young girl coming around a rocky corner of a mountain. The painting depicts the youthful momentum of an energetic child at work, helping adults at a farm or a country estate. The shade on the girl allows Palizzi to beautifully depict her facial features and clothing, with much attention to the textures of the wheat stalks, sticks, fabric, and the basket. The well-lit background shows the winding Italian countryside. The girl’s bare feet adds a layer of storytelling to the scene.

This intimate painting is in good condition with rich colors. There are varnish crackles throughout with two small blemishes on right top and bottom corners.

$1,000 - 1,500

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Oskar Glatz (b. 1872, Budapest, Hungary; d. 1958, Budapest, Hungary) Oskar Glatz (1872 – 1958) was a Hungarian painter and lecturer at the Academy of Fine Arts in Budapest. Born in Budapest, Glatz studied philosophy in Vienna and Munich and took preparatory courses to attend the Munich Academy. Once admitted, he studied under Gabriel von Hackl and later at the Académie Julian in Paris. He was instrumental in establishing a circle of Impressionist and Naturalist painters in Hungary, and in 1925, he became a member of the Wiener Künstlerkreis. The Wiener Künstlerkreis, also known as the Vienna Secession, was an Austrian association of artists founded in 1897 by a group of young artists who wanted to promote new and modern art forms. The founding members included Gustav Klimt, Koloman Moser, Josef Hoffmann, and Otto Wagner, among others.

The Wiener Künstlerkreis aimed to break away from the academic traditions of art in Austria, which were seen as too conservative and outdated. The group believed that art

should be free to develop independently, and that artists should have the freedom to experiment with new styles and techniques. They also believed that art should be accessible to everyone and not just reserved for the elite.

Glatz’s paintings were primarily landscapes, still lifes, and portraits. He often painted in an Impressionist style, using free brushstrokes and vibrant colors to capture the essence of his subjects. Some of his most famous works include Wrestling Boys, Evening on the Mountain, and Young Peasant Woman from Nógrád. His romanticized pastoral paintings have a distinctive Modernist flair, with subtle perspectival outliers and close attention to adorning elements, such as fabric, hair, and jewelry of his subjects. Glatz was painting the countryside at a time when Europe was ravaged by consecutive wars, and his rich, saturated color palette and bright subjects uplift the viewer and present a dreamy optimism.

Oskar Glatz (1872 - 1958) Portrait of a Little Girl Sewing Oil on canvas 22 1/2 x 17 1/2 in.

The bright, cheerful colors of this portrait have retained their quality perfectly. The little girl’s concentrated expression and the depiction of the exact moment before the thread goes in through the eye of the needle are delightful, with many Impressionist details contributing to the airiness of the work, such as the tiny doll that matches the girl’s outfit, the delicate flower patterns on her vest and skirt. Glatz is interested in the simultaneity of work and play for a child: the doll indicates that through working on sewing tasks, the girl will complete her toy – a small doll. This is a lovely painting for collectors interested in unusual yet masterful examples from an era at the cusp of European Impressionism, as forward-thinking elements of Modernism began to take hold.

$1,200 - 1,800

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James Renwick Brevoort (b. 1832, Yonkers, NY; d. 1918, Yonkers, NY) James Brevoort was a Hudson River School artist who grew up in the Bronx. He came from a family of architects, and even though he studied architecture, he became a painter who was mostly focused on landscapes.

Characteristic of the Hudson River School tradition, he depicted his scenes realistically, under dramatic or otherwise beautiful light. During his upbringing in New York, Yonkers and the Bronx were still rural, and he was surrounded by such untouched landscapes.

He painted mostly in Rockland and Westchester Counties in New York State, favoring a narrow rectangular aspect ratio in his paintings. His most common subjects were rivers winding through hills and fields, and most of his paintings feature calm, good weather. In 1861, Breevort was elected into the National Academy of Design, where he had had his first exhibition five years prior.

James Renwick Brevoort (1832-1918) Summer Landscape Oil on canvas 13 x 23 in.

Characteristic of Breevort’s Hudson River Schoolinfluenced work, Summer Landscape features the flowingly-beautiful elements of a rural landscape on a summer’s day. Many of Breevort’s best-known features in his scenes are present in this painting: fields, far-away hills, livestock, and a body of water. Breevort’s skill is

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After marrying his second wife in 1873, Breevort moved to Europe and settled in Florence, remaining there for seven years. During this time, he was exposed to the works of the Barbizon school of landscape, which influenced a style change upon his return to the US. This coincided with the decline of the Hudson River School’s popularity. His optimistic, tranquil landscapes became more intensely rendered, with more shadows, darker tonality, and featuring looser brushwork. His command of the painting medium allowed him to experiment and ultimately successfully adopt this new direction in his career.

Breevort’s works are in the collections of the Hudson River Museum, Yonkers, NY, the Corcoran Gallery of Art (now part of George Washington University), Washington, DC, the National Academy of Design, New York, NY, and the Los Angeles County Museum of Art.

evident in the detailing of diverse textures, from the dry grass to the reflective pond, and he expertly communicates the slow-paced tranquility of country life.

This painting was most likely made before 1873, as following his stay in Europe, Breevort’s style recognizably shifted away from the Hudson River School style and embraced a palette with deeper tonality and contrast.

The painting is in good condition with lively colors.

$2,500 - 4,500

A L egac y of Tr ust The decision to sell a treasured family collection can be an emotional and confusing experience.

Where do we start? What’s the best way? How can we get the most in return?

For nearly 40 years Guyette & Deeter has gained the trust of our clients by making sure that they are comfortable with every aspect of the process of selling their items, long before we go about the business of actually offering them for sale.

We go beyond being just brokers of goods. We are committed to building a collaborative relationship with our clients, grounded in an intimate understanding of their concerns and goals.

Working together, we carefully evaluate each piece to be sold, discuss current market trends, develop tailored marketing plans, and set realistic auction estimates. We know that this attention to detail gives our clients the reassurance they need and the results they want.

This is the Guyette & Deeter difference.

Collec t To d ay, Pl a n fo r To mor row While you continue to enjoy collecting today, you can rely on Guyette & Deeter to collaborate with you on your estate planning and collection management needs. Whether it’s for tax purposes, estate planning, gifting, charitable giving, or insurance, we can develop and periodically update a comprehensive written appraisal of your collection. We have extensive experience working closely with banks, attorneys, trustees, estate officers, probate court, private clients and family members responsible for the dispersal of collections as part of larger estates.

Our unmatched market understanding allows us to more accurately document the value and description of each item in your collection. We know that working together to ensure that your wishes are established now will make it easier to administer your estate later.

Contact Jon or Zac to discuss our Legacy Planning Program today.

Jon Deeter | 440-610-1768 jdeeter@guyetteanddeeter.com Zac Cote | 207-321-8091 zcote@guyetteanddeeter.com 53

CONDITIONS OF SALE ‑- PLEASE READ 1.

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The paintings in this sale have limited guarantee. If we are wrong about attribution of the painter you have the right to exercise a request for refund. Please read the time sensitive refund procedure carefully. Failure to follow it exactly will waive an opportunity for a refund.

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If two or more bids are received on the same item from different people, the bidding will open at the next logical raise above the second highest bid. If two absentee bids are received with the exact same amount, the first one received will take precedence.

All bids must be in even dollar amounts. Bids in fractions of dollars will be considered the next lower even dollar amount.

Bid increments: The bid increment policy, which also applies to both absentee and phone bidders, is listed under “CONDITIONS OF SALE” (item #4), in the front of the catalog.

Open bids, bids with no set top amount, or orders to just simply buy the lot, cannot be accepted. You must have a definite top limit before we can execute your bid. Alternatives to this are as follows: To bid over the telephone. This can be done by simply sending a 20% deposit for what you wish to bid on the object. This will bind whatever bid amount you wish to bid over the telephone. (NOTE: There are only 8 phone lines into the auction room and phone bids will be handled on a first come, first serve basis.)

Some bidders concerned that a lot might just go for one bid above their top limit, leave a top bid plus one bid.

This works as follows: the top bid submitted might be $1,000, but not wishing to lose the lot for simply $25 more, the party might bid $1,000 + 1 bid if they definitely don’t want to go over a certain price, they would indicate $1,000 +1 ($1,025) (NOTE: One possible problem that occasionally arises with absentee bids is when someone in the audience bids exactly the amount, which you specify is your limit. In such a case, we would not go one extra bid unless your bid sheet indicates “plus one” bid.).

If you are a successful bidder, a bill will be sent a few days after the auction. Purchasers should indicate their desired method of shipment, if such is necessary. There is a charge for shipping, labor, materials, and insurance. Please provide notice in writing if items are covered under your own insurance policy. Shipping is done on a first come, first serve basis, and can take up to 4 weeks. Please note that a certified check, Visa, Mastercard, or any other form of guaranteed funds will expedite shipping.

For expensive oil paintings and delicate carvings, we need a written statement from the purchaser, assuming the responsibility of pursuing any claims, in the event of damage incurred during shipping. Valuable lots need to be sent 2nd day air UPS due to values. Under no circumstances will we be liable for damage to glass or frames, or fragile decoratives, regardless of cause.

TERMS — Phone and absentee bidders — You will be notified one week after the auction of your results.

Payment is due upon receipt. Interest will be charged on all balances not paid within 30 days after the bill is sent at the rate of 12% APR. If any accounts become more than 60 days overdue, the consignor will be given the name of the buyer who is responsible for holding up their funds. If an account is 75 days overdue, the items may be returned to the consignor and overdue buyer will pay the buyers premium and commission from the sale, if they wish to participate in future Guyette and Deeter auctions.

Bidding on any article(s) indicates your acceptance of these terms above.

If you would like any additional information on any of the lots, please contact: Jon Deeter at (440) 610-1768 or Zac Cote at (207) 321-8091.

If you have any questions concerning absentee bids, please call us.

Guyette & Deeter, Inc. PO Box 1170, St. Michaels, MD 21663 www.guyetteanddeeter.com 410-745-0485