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Pet er L. Vi lla Fi ne Art American & European Paintings from the 18th to 21st Centuries

In Field & Stream Fall 2021 monday–friday by appointment

p.o. box 143 10 todd avenue, peapack, nj 07977 in new york by appointment ◆

office 212-371-1196 mobile 908-209-0342 peter@ p l vil l a f in e a r t. co m ◆

www.peterlvillafineart.com

cover:

Ogden M. Pleissner Salmon Leaping on the Miramachi (Detail plate 4) frontispiece:

George Wright On the Moor—Walking Up (Detail plate 9) back cover:

John Steven Dews America’s Cup—the J Class Yachts Ranger and Endeavor II (Detail plate 5)

Please note that all paintings are offered subject to prior sale. Artworks can be viewed by appointment, or by delivery to the buyer’s location on approval. Provenance and full details of each entry are shown at the back of this publication. Prices available upon request.

1. Ogden M. Pleissner (American, 1905–1983) Indian Camp on the Moisie River Signed Watercolor on paper 9 x 14 inches (16½ x 21½ inches framed)

2. Ogden M. Pleissner (American, 1905–1983) After the Breakwater—In Memory of JFK Signed Watercolor on paper 17 x 29 inches (255⁄8 x 375⁄8 inches framed)

3. Ogden M. Pleissner (American, 1905–1983) Fish On – the Leap Signed Watercolor on paper 14½ x 21½ inches (27 x 33¼ inches framed)

4. Ogden M. Pleissner (American, 1905–1983) Salmon Leaping on the Miramachi Signed Watercolor on paper 18 x 27 inches (26½ x 37½ inches framed)

5. John Steven Dews (English, b. 1949) America’s Cup—the J Class Yachts Ranger and Endeavor II Signed Oil on canvas 30 x 40 inches (36¼ x 46¼ inches framed) provenance:

Private Collection, England Sale, Sotheby’s, New York: June 4, 1993, lot# 206 Private Collection, Colorado By descent in the family until the present

6. Ogden M. Pleissner (American, 1905–1983) A Rise near the Cabin Signed Watercolor on paper 17 x 27¼ inches (25¾ x 35½ inches framed)

7. Ogden M. Pleissner (American, 1905–1983) Casting the Pool Signed Watercolor on paper 11 x 17½ inches (19½ x 26 inches framed)

8. Chet Reneson (American, b. 1934) Driven Grouse Signed and dated ‘05 Watercolor on paper 17½ x 28 inches (27 x 37 inches framed)

9. George Wright (British, 1860–1942) On the Moor—Walking Up Signed, painted circa 1915 Oil on canvas 14 x 20⅛ inches (17½ x 23½ inches framed)

10. Gustave Caillebotte (French, 1848–1894) Troix Perdrix sur une Table Signed, painted circa 1880 Oil on canvas 15 x 22½ inches (21¾ x 28½ inches framed) provenance:

G. Feydeau, Paris Sale: Vente Collection Fedeau, Paris, Hotel Drouot, February 11, 1901, lot # 37 P.Hazard, Paris Sale: Vente Collection P. Hazard, Paris, Galerie Georges Petit, Paris, December, 1–3, 1919, lot # 41 Galeries Lorenceau, Paris, 1943 Sale: Sotheby’s, New York, November 17, 1983, lot # 101 A Private American Collection until the present

11. Aiden Lassell Ripley (American, 1896–1969) Pine Cover Grouse Signed and dated 1935 Watercolor on paper 18 x 25 inches (26¾ x 33¾ inches framed)

12. Aiden Lassell Ripley (American, 1896–1969) Early Snow Signed and dated 1937 Watercolor on paper 17¼ x 23¾ inches (27 x 34 inches framed)

13. Aiden Lassell Ripley (American, 1896–1969) October Day—Walking Up Woodcock Signed and dated 1938 Watercolor on paper 15 x 24 inches (23¾ x 32½ inches framed)

14. Aiden Lassell Ripley (American, 1896–1969) Near the Old Orchard Signed Watercolor on paper 18¼ x 29 inches (31¾ x 41¾ inches framed)

15. Peter Corbin (American, b. 1946) Fifty Feet Signed Oil on canvas 16 x 24 inches (22½ x 30¾ inches framed)

16. Ogden M. Pleissner (American, 1905–1983) Landing a Heavy Salmon Signed and dated 1931 Oil on canvas 22 x 24 inches (29½ x 31¼ inches framed)

17. C. D. Clarke (American, b. 1959) Big Laramie Creek Signed Watercolor on paper 10½ x 14½ inches (15⅝ x 19⅝ inches framed)

18. Ogden M. Pleissner (American, 1905–1983) A Perfect Day Signed Oil on canvas 23 x 36 inches (31¼ x 43¼ inches framed)

19. Henry Koehler (American, 1927–2018) Trooping the Colour Signed, inscribed as titled and dated 2006 verso Oil on canvas 11 x 13 inches (14½ x 16½ inches framed)

20. Henry Koehler (American, 1927–2018) Fontwell Starter Signed and signed, inscribed as titled and dated 1976 verso 12 x 24 inches (18½ x 30¼ inches framed)

21. Frank Algernon Stewart (British, 1877–1945) The South Oxfordshire, and The Crawley & Horsham Both Signed Watercolors on paper 12 x 19 inches (20¾ x 28 inches framed—a pair (2)

1. Ogden M. Pleissner American, 1905–1983 Indian Camp on the Moisie River Signed Watercolor on paper 9 x 14 inches 16½ x 21½ inches framed provenance:

Sale, The Coeur D’Alene Art Auction, Idaho including the collection of Daniel M. Galbreath, July 27, 1996, lot # 232 A Private Collection, Colorado until the present (acquired at the above sale) 2. Ogden M. Pleissner American, 1905–1983 After the Breakwater—In Memory of JFK Signed Watercolor on paper 17 x 29 inches 255⁄8 x 375⁄8 inches framed Inscribed on a plaque on the reverse: Ogden M. Pleissner The Breakwater Presented by Hyannis Port Neighbors, 1965 In Memory of John F. Kennedy provenance:

The family of John F. Kennedy, Hyannis, MA

Sale, Sotheby’s New York, February, 15th, 2005, lot# 41 Private Collection, New York 3. Ogden M. Pleissner American, 1905–1983 Fish On – the Leap Signed Watercolor on paper 14½ x 21½ inches 27 x 33¼ inches framed provenance:

Sale: The Coeur d’Alene Art Auction, Reno, Nevada, July 27, 2002, lot # 118C A Private Mid-Western Collection, until the present 4. Ogden M. Pleissner American, 1905–1983 Salmon Leaping on the Miramachi Signed Watercolor on paper 18 x 27 inches 26½ x 37½ inches framed provenance:

Coe Kerr Gallery, New York, November 6, 1985 By descent in a Private Collection, Colorado until the present

5. John Steven Dews English, b. 1949 America’s Cup—the J Class Yachts Ranger and Endeavor II Signed Oil on canvas 30 x 40 inches 36¼ x 46¼ inches framed provenance:

Private Collection, England Sale, Sotheby’s, New York: June 4, 1993, lot# 206 Private Collection, Colorado By descent in the family until the present The story of the J Class yacht is dominated by tycoons, aviation magnates and those who built empires of tea; it is a story of fervent transatlantic competition, in which vast sums of money were spent to both challenge and defend the coveted America’s Cup; and it is the story of some of the most beautiful yachts ever built, which provided some of the most closely run racing of their day. Skippers had to be experienced in racing and their skill on the race circuit became a matter of pride. Often their experience came from sailing all types of small craft, including

fishing boats, often in inhospitable waters during the winter months, when the J Class yachts were laid up. Sailing small boats gave them the skills to manage their larger J Class yachts. These mighty craft had no engines and they had to be handled with great precision to get into and out of ports. The same is true today. Skippers have to deliver their yachts across oceans, and compete around the racecourse, using their skills and all the technical advantages that are available today. The permanent racing crew in the early days was probably around 16 men though this may have been augmented to around 30 for racing. When not required for sail changes, spare crew were often moved to below decks. With the incredible loads on the rigging and systems it was a constant concern that J Class masts could collapse in winds above a Force 3. 1937 saw the building of the last two J’s on both sides of the Atlantic. Both Ranger and Endeavour II took the waterline length to its extreme, measuring 87ft LWL. Ranger, the American boat, was built at Bath Ironworks in Maine and designed jointly by W. Starling Burgess and Olin Stephens. It was a design combination, which produced the greatest J of the fleet—the ‘Super J’ as she was later

known. She was built for the cost of the materials only, of flush riveted steel plating. Ranger’s success on the water was widespread. She won 35 of 37 starts. Owner-skipper Harold Vanderbilt described her as being “slower to turn and to pick up speed, but (she) held her way longer, and was perfectly balanced on the wind.” The inheritor of a railroad empire, Harold Vanderbilt lived a life of great privilege. As a boy, he sailed the world with his father, and by early adulthood, was an adept yachtsman. He would helm Enterprise, Rainbow and Ranger in turn, sailing each of them to victory, thus safeguarding America’s grip on the trophy. The challenger, Endeavour II, owned by the English Lipton Tea tycoon Thomas Sopwith was designed by Nicholson and built at the C&N yard. She too was steel, but flushplated above and below the waterline. Sopwith towed her plus an entourage of 100, to America where he worked on tuning her rig. Ultimately, Ranger vanquished the competition, easily winning the four America’s Cup races in 1937 and dashing British hopes. 1937 marked the end of an era—it was the last America’s Cup contest for 21 years and

marked the end of Big Yacht racing. Nonetheless, the era of the J Class became a story of American dominance. In fact, Americans retained the America’s Cup trophy from 1870 to 1987, when they were finally dethroned by an Australian crew. Although they became recognized as the most beautiful yacht design in the world, only 10 J Class yachts were ever built—6 in the USA and 4 in the UK. Most of these competed in trials for the America’s Cup, or competed in the Cup itself. Several existing large British yachts, ‘Astra’, ‘Candida’, ‘White Heather II’ and ‘Britannia’, the King’s yacht, were all converted to comply with the rule and raced alongside the J’s. Today, there are 9 J Class yachts in existence. The 3 surviving British yachts have been supplemented by another 6 replicas in recent years, 4 of which have been launched since 2003. If anything, this rejuvenation demonstrates the continuing pull of a yachting era characterized by drama and romance —a story of industry captains, 1930s glamour and cut-throat competition. That, and the fact that J Class yachts remain some of the most beautiful ever built.

6. Ogden M. Pleissner American, 1905–1983 A Rise near the Cabin Signed Watercolor on paper 17 x 27¼ inches 25¾ x 35½ inches framed

8. Chet Reneson

provenance:

The Estate of Mrs. Ralph Pulitzer, Jr., Plandome, New York Sale, Christie’s, New York, December 3, 1993, lot # 1 A Private Mid-Western Collection until the present

The Estate of Thomas W. Sheppard, Massachusetts Private Collection, New Jersey

7. Ogden M. Pleissner American, 1905–1983 Casting the Pool Signed Watercolor on paper 11 x 17½ inches 19½ x 26 inches framed provenance:

Ian Peck Fine Paintings Ltd., New York, February 24th, 1998 By descent in a Private Collection, Colorado until the present

American, b. 1934 Driven Grouse Signed and dated ‘05 Watercolor on paper 17½ x 28 inches 27 x 37 inches framed

9. George Wright British, 1860–1942 On the Moor—Walking Up Signed, painted circa 1915 Oil on canvas 14 x 20⅛ inches 17½ x 23½ inches framed provenance:

Private Collection, United Kingdom Private Collection, Florida

10. Gustave Caillebotte French, 1848–1894 Troix Perdrix sur une Table Signed, painted circa 1880 Oil on canvas 15 x 22½ inches 21¾ x 28½ inches framed

11. Aiden Lassell Ripley American, 1896–1969 Pine Cover Grouse Signed and dated 1935 Watercolor on paper 18 x 25 inches 26¾ x 33¾ inches framed

provenance:

The Crossroads of Sport, New York, 1973 Private Collection, Ligonier, Pennsylvania Stephen B. O’Brien Fine Arts, Boston, Massachusetts Private Collection, Connecticut

exhibited:

Paris, Durand-Ruel et Cie, Exposition Rétrospective d’Oeuvres de Gustave Caillebotte, 1894, no. 69 Paris, Galerie Charpentier, L’Automne, 1943, no.15

12. Aiden Lassell Ripley American, 1896–1969 Early Snow Signed and dated 1937 Watercolor on paper 17¼ x 23¾ inches 27 x 34 inches frame provenance:

A Private Western Collection A preliminary sketch accompanies the watercolor:

Early Snow: Hunters in the Woods Stamped with the Estate Stamp Pencil on card 7 x 9½ inches provenance:

The Estate of A.L. Ripley Childs Gallery, Boston 13. Aiden Lassell Ripley American, 1896–1969 October Day—Walking Up Woodcock Signed and dated 1938 Watercolor on paper 15 x 24 inches 23¾ x 32½ inches framed provenance:

The Guild of Boston Artists, Boston, Massachusetts Private Collection, Ligonier, Pennsylvania Stephen B. O’Brien, Jr. Fine Arts, Boston, Massachusetts Private Collection, Connecticut

14. Aiden Lassell Ripleyy American, 1896–1969 Near the Old Orchard Signed Watercolor on paper 18¼ x 29 inches 31¾ x 41¾ inches framed provenance:

The Sportsman’s Gallery, New York Private Collection, New England Sale: Northeast Auctions, Portsmouth, New Hampshire, August 22, 2010, Lot # 840 Private Collection, Connecticut (acquired at the above sale) 15. Peter Corbin American, b. 1946 Fifty Feet Signed Oil on canvas 16 x 24 inches 22½ x 30¾ inches framed provenance:

Private Collection, New York

16. Ogden M. Pleissnerr American, 1905–1983 Landing a Heavy Salmon Signed and dated 1931 Oil on canvas 22 x 24 inches 29½ x 31¼ inches framed

18. Ogden M. Pleissner American, 1905–1983 A Perfect Day Signed Oil on canvas 23 x 36 inches 31¼ x 43¼ inches framed

provenance:

Sale, Mapes Auctioneers, Vestal, New York, March 3, 1995, lot # 198 The Artis Group, Ltd. New York, April 20, 1995 A Private Collection, Colorado until the present

Sale, The Coeur D’Alene Art Auction, Reno, Nevada, July 23, 2011, lot # 106 A mid-Western Private Collection, until the present (acquired at the above sale)

17. C. D. Clarke American, b. 1959 Big Laramie Creek Signed Watercolor on paper 10½ x 14½ inches 15⅝ x 19⅝ inches framed provenance:

Private Collection, New Jersey, acquired directly from the artist

19. Henry Koehler American, 1927–2018 Trooping the Colour Signed, inscribed as titled and dated 2006 verso Oil on canvas 11 x 13 inches 14½ x 16½ inches framed provenance:

Private Collection, New York

20. Henry Koehler American, 1927–2018 Fontwell Starter Signed and signed, inscribed as titled and date 1976 verso 12 x 24 inches 18½ x 30¼ inches framed provenance:

The Sportsman’s Edge, New York, December 15, 1978 Private Collection, Florida 21. Frank Algernon Stewart British, 1877–1945 The South Oxfordshire, and The Crawley & Horsham Both Signed Watercolors on paper 12 x 19 inches 20¾ x 28 inches framed—a pair (2) provenance:

Private Collection, Pennsylvania Private Collection, New York