15 Frank Howland, (American, 19th Century) "Pleasures of the East" oil on wood panel signed lower left. Presented in a period giltwood and gesso frame. 11" x 23-1/2"
Estimate: 3000 - 5000
30 Addison Thomas Millar, (American, 1860-1913) "Playtime" oil on canvas signed lower left. Presented in a handsome, period giltwood and gesso frame. 24" x 18"
Estimate: 1500 - 2500
73 Warren W. Sheppard, (American, 1858-1937) "Venetian Canal Scene" oil on canvas signed lower right. Presented in a giltwood and gesso frame. 16" x 19-3/4"
Estimate: 2000 - 4000
97 Otto Walter Beck, (American, 1864-1954) "Christ and Nicodemus" pastel on paper mounted on board signed lower right. Presented in an Art Deco-style carved and incised giltwood frame affixed with an artist plaque. sight 18" x 23"
Estimate: 1000 - 1500
98 Frank LeBrun Kirkpatrick, (American/Philadelphia, 1853-1917) "The Reliquary and the Rhyton", 1910 oil on canvas signed and dated lower right, signed and titled en verso, old handwritten exposition en verso frame. Framed. 24-3/4" x 36"
Estimate: 2500 - 4000
99 Charles Hernandez, (American, 19th Century) "Coastal Scene with Rock Formation", 1877 oil on canvas signed and dated lower left. Framed. 16-1/4" x 30-1/4" Provenance: Naomi Damonte Marshall/Downtown Gallery, New Orleans, Louisiana.
Estimate: 2000 - 4000
100 Charles Henry Chapin, (American/New York/Louisiana, 1830-1889) "Sunset Over the Adirondacks" oil on canvas signed lower left "C. H. Chapin, N.Y.". Presented in a period Hudson River School giltwood and gesso frame. 27-3/4" x 50" Provenance: Estate of Richard and Lucy Nunnally, Baton Rouge, Louisiana.
Estimate: 4000 - 7000
101 Hudson River Valley School, (Mid-19th Century) "Vista from a Mountain Overpass, Figures on a Bridge" oil on canvas unsigned. Presented in its original period giltwood frame. 35" x 50" Provenance: Descended in a Central/Upstate New York family; A New Orleans antiquarian. Notes: Between the early 1830s and mid-1850s, Thomas Cole and Asher Durand tried to capture the rugged American wilderness in the Catskill mountains through the rosy-tinted lens of what the French call "romantic pantheism." The landscape was regarded as a sublime experience; it was a reflection of God's creation that simultaneously awed and intimidated people, and it was a medium that elucidated greater metaphysical meaning. Cole and Durand sketched the Catskill environs in plein-air, then were embellishing them in their studios. Both artists began their careers as engravers and thus approached the landscape tradition with the same conventions - predilection for topographical views born of surveyors' studies and extraordinarily detailed draftsmanship. Depicted from extremely high viewpoints (that could only truly be achieved from a great precipice), they created aerial windows onto the terrain in which settlers, portrayed as tiny figures cultivating pastures, roads and homesteads, are eclipsed by the staggered mountains and serpentine riverbeds. The daunting scale combined with low horizon lines and subtle, tonal variations between cool blues and warm browns that receded into the ethereal mists of the mountains and sky are pantheistic metaphors that both sanctioned and abated manifest destiny. "Vista from a Mountain Overpass, Figures on a Bridge" offered here, exhibits the hallmark traits of early Hudson River Valley School landscape paintings. The adept handling of the mill and bridge nestled amid the verdant terrain contained by a unified palette, the vast expanse of the sky, the aerial view of rolling bluffs punctuated by winding roads and river that recede through the use of aerial perspective (the blurring through tertiary blues of the mountains on the horizon) recall Cole's "Ox-Bow" at the Metropolitan Museum (1836) and Durand's "Strawberrying" (1854) in the Huntington Library Art Collection. The manner in which the highlights are rendered on the figures on the bridge, especially the execution of them on the craggy tree stumps, fallen tree branch, bridge rail and decorative leaves that surround them, are depicted with the engraving-like draftsmanship Durand perfected in his depictions of woodlands. The artist, possibly an engraver himself, had a keen eye for the Hudson River area that was strongly influenced by its early school of artists.
Estimate: 10000 - 15000
102 Charles Hernandez, (American, 19th Century) "Sunset Over the Valley", 1877 oil on canvas signed and dated lower right. Framed. 12-1/4" x 20-1/4" Provenance: Naomi Damonte Marshall/Downtown Gallery, New Orleans, Louisiana. Notes: Little is known about Charles Hernandez, other than he was active in New York City in the third quarter of the 19th century and was a member of the National Academy of Design, exhibiting with that institution in 1876, 1877, and 1880. Trow's New York City Directory of 1877 lists him as residing at 1155 Broadway. Since a number of artists were listed at this same address, it is possible it was a working gallery, or studio space. Interestingly, the location was to become the site of the world's first Kinetoscope (early motion picture) theater in 1894.
Estimate: 3000 - 5000
105 Johann Berthelsen, (American, 1883-1972) "New York, Washington Square", ca. 1950 oil on artist canvas panel signed lower right, verso with a reproduction rights stamp. Presented in a period frame affixed with an artist plaque. 16" x 12" Other Notes: This painting has been authenticated by Lee A. Berthelsen, the son of the artist.
Estimate: 6000 - 9000
106 Guy Carleton Wiggins, N.A., (American, 1883-1962) "Winter in New York City" oil on wood panel signed lower right. Framed. 7-3/4" x 10"
Estimate: 8000 - 12000
107 Guy Carleton Wiggins, N.A., (American, 1883-1962) "Midtown, 5th Avenue, Winter" oil on canvas signed lower left, signed and titled en verso. Framed. 18" x 12-1/4" Provenance: James D. Julia Auctioneers, Fairfield, Maine, February 4, 2010, lot 1118.
Estimate: 20000 - 40000
109 Kathryn Cherry, (American, 1860-1931) "Gloucester Harbor" oil on canvasboard signed lower right. Presented in a handsome Arts and Crafts-style giltwood frame. 16" x 18-1/2"
Estimate: 3000 - 5000
110 Nan Sheets, (American, 1885-1976) "Concarneau Harbour" oil on canvas signed lower right, titled and signed in pencil en verso stretcher, affixed with a hand-inscribed label. Framed. 22" x 24"
Estimate: 1500 - 2500
111 Nan Sheets, (American, 1885-1976) "Monhegan Island, Maine" oil on canvas signed lower right, signed and titled in pencil en verso stretcher. Framed. 20" x 22"
Estimate: 1000 - 1500
112 Frank Townsend Hutchens, (American/New York, 1869-1937) "Trees at Sunset" oil on canvas signed lower right. Framed. 27-1/4" x 30-1/4" Provenance: Isaac Delgado Museum of Art Sale, 1965; Naomi Damonte Marshall/Downtown Gallery, New Orleans, Louisiana.
Estimate: 2000 - 4000
113 Roy Andersen, (American/Arizona, b. 1930) "The Peacock", 1981 oil on canvas signed and dated lower right, verso with a "Louann Ihde & Associates, Sedona, Arizona" label. Presented in a polychrome frame affixed with an artist plaque. 24" x 36" Provenance: Louann Ihde & Associates, Sedona, Arizona; Private collection. Notes: A native of New Hampshire, Roy Anderson grew up on an apple farm before his family relocated to Illinois. Long fascinated by the romance and lore of the Old West, the young Anderson was intrigued by the artifacts of the Field Museum of Natural History in Chicago. He attended the Chicago Academy of Fine Art and the Art Center School of Los Angeles, and spent the next several decades as one of the most sought-after commercial illustrators, working for such well-known publications as Time Magazine, Sports Illustrated, and National Geographic, and creating stamp series for the United States Postal Service. Never having lost his interest in the West, Anderson made the decision in mid-career to move to Arizona and concentrate on painting. Known for his thorough research and painstaking attention to details, Anderson's work has been lauded for its accuracy. He uses a bold color palette, limited to only twenty or so colors, which emphasizes the browns, umbers, and rusts of the Western terrain, and infuses his work with a brilliant light. Anderson has been the recipient of numerous awards, and his paintings are in the permanent collection of the Smithsonian Institute's National Portrait Gallery, Washington, D.C., among other institutions.
Estimate: 15000 - 25000
114 Robert Duncan, (American/Utah, b. 1952) "Autumn Trail", 2009 oil on canvas board signed and dated lower left, signed, titled and dated en verso. Handsomely framed. 8-3/4" x 12-1/4"
Estimate: 2500 - 4000
116 John Duillo, (American. b. 1928) "Voice of the Earth", 1981 oil on canvas signed and dated lower right. Framed. 18" x 28"
Estimate: 3000 - 5000
117 Ted J. Feeley, (American/Wyoming, 1948-2016) "Return From the Hunt", 1981 oil on board signed and dated lower right. Framed. 25-1/2" x 37-1/2"
Estimate: 6000 - 9000
118 Lajos Markos, (American/Texas, 1917-1993) "Vamanos" oil on masonite signed lower left. Presented in a giltwood frame affixed with an artist plaque. 16" x 20"
Estimate: 5000 - 8000
121 Robert William Wood, (American/California/Texas, 1889-1979) "Texas Landscape with a Distant View of a Farm" oil on canvas signed lower right. Framed. 25" x 30"
Estimate: 5000 - 8000
122 Kent Wallis, (American/Utah, b. 1945) "The Blue Wildflowers" oil on canvas signed lower right. Framed. 30" x 39-3/4"
Estimate: 5000 - 8000
123 Michael Albrechtsen, (American/Utah, b. 1962) "Evidence of Time" oil on canvas signed lower right, signed and titled en verso canvas. Framed. 24" x 36"
Estimate: 6000 - 9000
124 Michael Albrechtsen, (American/Utah, b. 1962) "Perfect View" oil on canvas signed lower right, signed and titled en verso canvas. Framed. 24" x 30"
Estimate: 5000 - 8000
132 Leroy Neiman, (American, 1921-2012) "New York, 64 42nd Street" ink and gouache on artist board signed and titled lower left. Glazed in a float mount frame. 20" x 29-3/4"
Estimate: 6000 - 9000
133 Reynolds Beal, (American, 1866-1951) "Circus Scene", 1934 watercolor and colored pencil on paper signed and titled lower right. Matted, glazed and framed. sight 14-1/2" x 18-1/2"
Estimate: 1200 - 1800
134 Robert Philipp, (American, 1895-1981) "Standing Nude" pastel on paper signed lower right "Philipp". Glazed and framed. 21" x 14"
Estimate: 1000 - 1500
139 Alfred Eisenstaedt, (German/American, 1898-1995) "Main Street, Los Angeles, 1936" silver gelatin print signed in ink lower right, pencil-inscribed and dated with stamp "Life Photo by Alfred Eisenstaedt" en verso. Matted, glazed and framed. sheet 16" x 20"
Estimate: 2500 - 4000
140 Frank Worth, (American, 1923-2000) "Sammy Davis, Jr. Leaps for Marilyn Monroe" and "Marilyn Monroe on Set of 'How to Marry a Millionaire'" pair of limited edition archival pigment prints each with a "Frank Worth Estate" blind stamp lower right, numbered "72/95" and "10/95", respectively. Framed. each sheet 20-1/4" x 24" Notes: Working as a freelance photographer in Hollywood in the 40s, 50s and 60s, Worth befriended many of the film industry's stars, often becoming a trusted confidante. Not constrained by the strictures imposed by the studios on their staff photographers, Worth's black and white images, frequently taken on set during breaks in shooting, reveal a spontaneity and sense of playfulness rarely seen. Few images were published during his lifetime; it was only after his death in 2000 that his executor discovered a trove of negatives of Hollywood royalty, and the Estate produced limited edition pigment prints. Reference: O'Connor, Patrick. "In Search of Lost Stars". The Telegraph September 27, 2002.
Estimate: 1200 - 1800
141 Frank Worth, (American, 1923-2000) "Elizabeth Taylor on the Set of 'Giant'" limited edition archival pigment print with a "Frank Worth Estate" blind stamp lower right, numbered "72/95". Framed. sheet 24" x 20-1/2"
Estimate: 1000 - 1500
143 William Allyn Nichols, (American, b. 1942) "Cedarberg Brook", 1982 acrylic on canvas signed and dated lower left. Unframed. 83" x 120" Provenance: Hooks-Epstein Galleries, Inc., Houston, Texas.
Estimate: 3000 - 5000
144 Clyde Aspevig, (American, b. 1951) "Blackwaters - Magnolia Gardens" oil on canvas mounted on board signed lower left, signed and titled en verso. Presented in an attractive giltwood frame. 24" x 30" Provenance: Private collection, Winston-Salem, North Carolina.
Estimate: 8000 - 12000
146 Janet Fish, (American, b. 1938) "Peacock Feathers", 2003 oil on canvas signed and dated lower left, titled and with a "LewAllen Contemporary/Santa Fe, New Mexico" label en verso. Framed. Together with the original receipt and exhibition brochure from LewAllen Contemporary. 24" x 18" Provenance: LewAllen Contemporary, Santa Fe, New Mexico; Collection of Zelda Gartner, Jacksonville, Florida. Notes: A member of an artistic Boston family - her sister is a photographer, her mother is a sculptor, and her maternal grandfather was the Impressionist painter Clark Voorhees (1871-1933) - Janet Fish grew up on the sun-drenched island of Bermuda. She graduated from Smith College and was one of the first women to be accepted into the MA program at Yale University, being awarded her degree in 1963. While at Yale, she attended the color theory class conducted by Josef Albers (1888-1976), which was to prove influential in her eventual approach to color and tone. Though she received her training at a time when abstract expressionism was the most lauded and encouraged artistic style, Fish was soon to abandon this approach in favor of something more representational. Fish's lush, luminous still lifes, often of ordinary objects, reveal a masterful understanding of the interplay of color and the movement of light. Employing a palette of rich, saturated colors, and virtually no chiaroscuro, and a painterly approach which distills her subjects into an abstracted form (without losing their essence), she creates works imbued with a sense of energy and vibrancy. Fish received the MacDowell Fellowship in 1968 and 1972, and the American Academy of Arts and Letters Award in 1994. Her works are in the collections of the Metropolitan Museum of Art, New York; the Whitney Museum of American Art, New York; Art Institute of Chicago; and the Pennsylvania Academy of the Fine Arts, among numerous others. References: Arnold, Susanne and Morgan, Robert C. Janet Fish: Paintings and Drawings Since 1975 Exhibition Catalogue, September 10-October 3, 1987, Marsh Gallery, University of Richmond, Virginia.
Estimate: 8000 - 12000
147 Evan Carter Wilson, (American, b. 1953) "The Chinese Interior" oil on linen signed upper right, verso with a partial "Grand Central Gallery, Biltmore Hotel, New York, N.Y." label and "The House of Heydenryk, New York, N.Y." framer's label. Presented in an antiqued ribbon-carved frame with a linen liner. 20" x 16"
Estimate: 2000 - 4000
174 Sandy Chism, (American/Louisiana, 1957-2013) "That Which Hath Wings Shall Tell me the Matter", 1997 acrylic on canvas Presented in a thin gallery frame. 62" x 93" Provenance: Private collection, New Orleans, Louisiana.
Estimate: 4000 - 7000
175 Hunt Slonem, (American, b. 1951) "Bayou 4", 2012 oil on canvas signed and dated en verso canvas. Framed. 18" x 22"
Estimate: 6000 - 9000
195 Sandra Lerner, (American/New York, Contemporary) "Untitled Abstract", 1982 oil and mixed media on canvas signed and dated en verso. Unframed. 85" x 79-1/2" Provenance: Private collection, Houston, Texas.
Estimate: 3000 - 5000
199 Stan Brodsky, (American, New York, b. 1925) "Paros - Orange", 1977 oil on canvas signed and dated lower right, signed and titled en verso. Presented in a thin gallery frame. 60" x 50" Provenance: Lerner-Heller Gallery, New York, New York.
Estimate: 3000 - 5000
200 Pat Steir, (American/New York, b. 1938) "Word", pub.1980 book of five drypoint and aquatint prints with hand-coloring the prints executed in 1977, pencil-signed, dated "1977" and numbered "10/10" on back page. boards 5-3/4" x 6"
Estimate: 1000 - 1500
204 David Hayes, (American, 1931-2013) "South Street", 1985 and "Block Island", 1986 pair of gouaches on Arches paper former dated lower right and titled en verso, latter signed and dated lower right, titled en verso. Both unframed. each sheet 22" x 30" Provenance: Estate of David Hayes, Coventry, Connecticut and Fort Pierce, Florida. Exhibited: David Hayes Sculpture Fields, Coventry, Connecticut; City of Fort Pierce, Florida.
Estimate: 1000 - 1500
206 Joseph Marioni, (American, b. 1943) "Green Painting", 2004 acrylic on Belgian linen signed, dated and titled on stretcher, with "Matthews Gallery" and "Larry Becker/Philadelphia, Pennsylvania" labels en verso. Unframed. 52" x 42" Provenance: Larry Becker Contemporary Art, Philadelphia, Pennsylvania; Matthews Gallery, Santa Fe, New Mexico; Private collection, Santa Fe, New Mexico. Other Notes: ...no illustration can begin to capture the absolute specificity which in this case also means the transfixing intensity, of the ultimate hue, or the tensile integrity of the paint surface, or the sheer rightness of the color in relation to the size and shape of the support, or the suggestion of depth within or behind the paint surface... Michael Fried Artforum International 98 September 1998
Estimate: 25000 - 40000
208 Dick Wray, (American, 1933-2011) "Untitled", 2002 mixed media collage on canvas signed and dated en verso. Framed. 24" x 18"
Estimate: 1000 - 1500
209 Dick Wray, (American, 1933-2011) "Composition in Black and Yellow", 2009 mixed media collage on canvas signed and dated en verso. Unframed. 24" x 18"
Estimate: 1000 - 1500
212 Alexander Calder, (American, 1898-1976) "Untitled 2", ca. 1965 color lithograph pencil-signed lower right and numbered "72/110" lower left. Matted, glazed and framed. sight 22-1/4" x 30-1/4"
Estimate: 1500 - 2500
213 Jamali, (Pakistani/New York, Contemporary) "Profile #5103" tempera on canvas Framed. Together with a copy of letter of autheniticity from the artist. 43" x 37" Provenance: Jamali Fine Art, Winter Park, Florida; Private collection.
Estimate: 4000 - 7000
226 David Shapiro, (American, 1944-2014) "Savasan VI", 1991 lithograph and collagraph pencil-signed, titled and numbered "21" lower right, from an edition of 25. Glazed and framed. sheet 15-1/2" x 79"
Estimate: 1000 - 1500
230 Paul Horiuchi, (American/Japanese, 1906-1999) "Untitled" mixed media collage signed lower right. Glazed and framed. sight 23-1/2" x 35-1/2"
Estimate: 2000 - 4000
234 Norman Lundin, (American/Norweigan, b. 1938) "Grey Landscape" and "Bird" two works on paper former pastel on paper, signed lower right, latter watercolor on paper, signed lower left, with "Otto Seligman Gallery, Seattle, WA" label. Both framed. sight: former 13" x 18-3/8", latter 16-5/8" x 15-1/2" Provenance: Otto Seligman Gallery, Seattle, Washington; Private collection.
Estimate: 1000 - 1500
236 Ricardo Maffei, (Chilean, b. 1953) "Nude, Seated", 2000 graphite on paper signed and dated lower left. Glazed and framed. 19-3/4" x 25-3/8"
Estimate: 1000 - 1500