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Auction Description for Doyle New York: American Furniture, Decorative Arts & Paintings
Viewing Notes:
Saturday, March 29, 10am - 5pm Sunday, March 30, Noon - 5pm Monday, March 31, 10am - 5pm Tuesday, April 1, 10am - 2pm

American Furniture, Decorative Arts & Paintings

by Doyle New York

Platinum House

314 lots | 313 with images

April 2, 2014

Live Auction

175 East 87th Street

New York, NY, 10128 USA

Phone: 212.427.2730

Fax: 212.427.7526

Email: BidLive@DoyleNewYork.com

314 Lots
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Charles F. Blauvelt American, 1824-1900 Delivery Boy

Lot 1: Charles F. Blauvelt American, 1824-1900 Delivery Boy

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Description: Charles F. Blauvelt American, 1824-1900 Delivery Boy Signed C. F. Blauvelt. (lr) Oil on canvas 15 x 12 inches C 

Condition Report: Frame rubbing. Scattered craquelure throughout. Some touches of inpaint on the floor in the lower register. There is no further restoration under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Harry Herman Roseland American, 1866-1950 In the Pea Field, 1887

Lot 2: Harry Herman Roseland American, 1866-1950 In the Pea Field, 1887

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Description: Harry Herman Roseland American, 1866-1950 In the Pea Field, 1887 Signed Harry Roseland and dated 87. (ll) Oil on canvas 14 1/2 x 20 inches In the Pea Field, by Harry Roseland, depicts a bygone era in what is now downtown Brooklyn. A lifelong resident of the borough, Roseland painted several renditions of pea pickers (including the present work) around 1887-1888, winning a gold medal at the Brooklyn Art Club in 1887 for a related composition, Pea Pickers of Long Island. Indeed, agricultural scenes, depicting laborers engaged in agricultural activities, were among the earliest themes that established his reputation. Roseland was known to have visited the historic Nicklaes Schenck farm in Canarsie, where he painted Gossip in the Pea Field as well as Telling her Fortune. It is possible that the present work, exploring a related subject, may have been painted at the same location. C 

Condition Report: There is a dirty varnish. There is a tiny pinhole size hole in the center sky, with corresponding surface loss. There are two other tiny holes of similar size in the dirt road at the far lower center edge. there is a 1 x 1/2 inch area of possible inpaint in the lower right corner. There is no further restoration visible under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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John Carlin American, 1813-1891 Portrait of a Young Girl with a Coral Necklace, 1876

Lot 3: John Carlin American, 1813-1891 Portrait of a Young Girl with a Coral Necklace, 1876

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Description: John Carlin American, 1813-1891 Portrait of a Young Girl with a Coral Necklace, 1876 Signed J. Carlin and dated 1876 (lr) Oil on canvas 14 1/2 x 11 1/2 inches C 

Condition Report: Glue relined. Frame rubbing. Visible stretcher marks on all sides with corresponding inpaint. Scattered craquelure throughout. Some minor touches of inpaint in the sitter's shirt and scattered touches on her face, especially in her lower right cheek. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Louisa C. Griffin American, 1810-1905 Lulworth Castle

Lot 4: Louisa C. Griffin American, 1810-1905 Lulworth Castle

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Description: Louisa C. Griffin American, 1810-1905 Lulworth Castle Inscribed as titled and signed with artist's initials by L. C. G. along the lower margin; inscribed Louisa C. Griffin/from Granby Conn./Died 1905 Aged 95/Painted Age 11 yrs./but 20 yrs accounding to paper's watermark/Purchased from Loomis family Windsor Ct./descendants and Paper.../"Watman/1830" on the verso Watercolor, ink and pencil on paper 17 x 22 inches C 

Condition Report: Toned. Discoloration along the right and lower edge. Handling crease in the upper left corner. Scattered foxing. Some water damage in the lower left quadrant, running through the lower margin. Scattered staining. 2 inch vertical repaired tear in the lower right quadrant. Another 1/2 inch, irregularly shaped repaired tear in the right center edge. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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American School 19th Century Portrait of a Man and Portrait of a Woman: Two

Lot 5: American School 19th Century Portrait of a Man and Portrait of a Woman: Two

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Description: American School 19th Century Portrait of a Man and Portrait of a Woman: Two Each oil on canvas Each 27 3/8 x 22 1/8 inches C 

Condition Report: Both works: have frame rubbing. Wax relined. Scattered craquelure throughout. Man: 2 x 3 inch repaired tear in the center left. Scattered inpaint throughout. Woman: 3 x 3 inch repaired tear in the center right. Scattered inpaint throughout. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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George Henry Story American, 1835-1923 Imagination

Lot 6: George Henry Story American, 1835-1923 Imagination

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Description: George Henry Story American, 1835-1923 Imagination Signed G. H. Story. (lr) Oil on board 13 1/4 x 10 1/2 inches C 

Condition Report: Frame rubbing, with some very minor corresponding losses along the left edge. Surface grime. Tiny areas of scattered craquelure. There is one small missing paint flake in the background at the upper left quadant. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Cassius Marcellus Coolidge American, 1844-1934 A Peanut Feast, 1887

Lot 7: Cassius Marcellus Coolidge American, 1844-1934 A Peanut Feast, 1887

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Description: Cassius Marcellus Coolidge American, 1844-1934 A Peanut Feast, 1887 Signed C. M. Coolidge and dated 87 (ll) Oil on canvas 31 3/4 x 13 inches C 

Condition Report: Canvas is laid down to the back mounting. Scattered craquelure throughout. Frame rubbing along the edges. The canvas has a wave to it from the mounting. There is no visible restoration under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Victor Dubreuil American, 1880-1910 Fresh Peanuts, circa 1890

Lot 8: Victor Dubreuil American, 1880-1910 Fresh Peanuts, circa 1890

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Description: Victor Dubreuil American, 1880-1910 Fresh Peanuts, circa 1890 Signed V Dubreuil and inscribed indistinctly (ur) Oil on canvas 8 x 10 inches Provenance: Kennedy Galleries, New York Private collection, New York Exhibited: Columbus, OH, Columbus Museum of Art, More Than Meets the Eye: The Art of Trompe l'Oeil, Dec. 7, 1985-Jan. 22, 1986: traveled to; West Palm Beach, FL, Norton Gallery & School of Art, Mar. 21, 1985-Apr. 27, 1986 New York, Spanierman Gallery, LLC, The Christmas Show: Great Things in Small Packages, Nov. 17-Dec. 31, 2001 Greenwich, CT, Bruce Museum, By Arrangement: Still Life Paintings from the Art Market, Nov. 20, 2004-Jan. 17, 2005 Literature: E.P. Jane Connell & William Kloss. More Than Meets the Eye: the Art of Trompe L'Oeil. Columbus Museum of Art, 1985, exh. cat. no. 21, p. 64, illus. p. 72. Born in France, Victor Dubreuil was living in New York City by 1886. He is best known for trompe l'oeil images of money tacked to a wall or spilling from barrels, in which he suggested the temptations of fortune, playing on viewers' desires for wealth and better lives. Here he portrayed a more readily available enticement; in the late nineteenth century, peanuts were sold by street vendors and at circuses. Portraying the stacked nuts, in a framed niche behind a glass enclosure (of which we are made aware by cracks in its surface), he entices the viewer with this "snack food" of its era while playfully making it out of our reach. He may have created his image in response to De Scott Evans's Free Samples: Take One (circa 1890, Museum of Fine Arts Boston), of a similar subject. The varied textures of the elements in this image reveal Dubreuil's skill as a trompe l'oeilist. C The Spanierman Gallery, LLC

Condition Report: Glue relined. Frame rubbing. Scattered craquelure. Selectively cleaned, some traces of old varnish. Possible inpaint in the contours and shadows of the peanuts, the knife and the lines of the broken glass, There is a 1/2 inch diameter area of inpaint in the peanut at the lower center edge and the peanut in the lower right corner. Another possible touch of inpaint in the shadow of the fruit. Varnish, making it hard to detect further restoration under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Severin Roesen American, 1815-1872 Still Life with Pilsner and Fruit

Lot 9: Severin Roesen American, 1815-1872 Still Life with Pilsner and Fruit

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Description: Severin Roesen American, 1815-1872 Still Life with Pilsner and Fruit Oil on canvas 16 x 20 inches Provenance: Howard Antiques, Bedford Hills, NY Private Collection, Baltimore, MD Dr. Peter Pollina, NY Constance McCole, Wilkes-Barre, PA Thence by descent to the current owner Literature: Judith H. O'Toole, Severin Roesen, Lewisburg: Bucknell University Press, 1992, p. 126. Please note that this work is accompanied by a letter of authenticity from Judith H. O'Toole dated October 2, 1996. Dr. O'Toole states: "As you know, Roesen left many of his works unsigned. However, there are hallmarks in your painting which clearly link it to this painter. In particular are the: Finely executed pilsner; graceful grape tendrils painted in two shades of green; striations in the apple (foreground); and oblong dewdrops scattered throughout. "It is my opinion that this is a canvas dating from Roesen's Williamsport period (1860-1872) and is authentic. It is listed as such in my catalogue on the artist." C 

Condition Report: Wax relined. Frame rubbing. Selectively cleaned. There is some scattered inpaint in the background, particularly around the grape vine in the upper left corner and along the upper register. Some inpaint in the raspberries hanging off the ledge at lower left, in the shadow of the ledge along the lower register, in the shadows of the grapes at the center right and some scatter light touches elsewhere. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Robert Loftin Newman American, 1827-1912 The Prophecy

Lot 10: Robert Loftin Newman American, 1827-1912 The Prophecy

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Description: Robert Loftin Newman American, 1827-1912 The Prophecy Signed R. L. Newman (lr); inscribed as titled on an old label affixed to the backing Oil on canvas 14 1/4 x 18 inches Provenance: Nestor Sanborn, Brooklyn, NY Babcock Galleries, New York, no. 2594, 1926 Joseph Katz, Baltimore, MD, 1945 Victor D. Spark, New York Graham Gallery, New York, 1961 Mr. and Mrs. William J. Poplack, Birmingham, MI Private collection Literature: Marchal E. Landgren, Robert Loftin Newman, exh. cat.(Washington D.C.: The Smithsonian Institution Press, 1974), cat no. 128. Robert Loftin Newman created several canvases on the theme of prophecy including two paintings entitled The Fortune Teller (Metropolitan Museum of Art and Brooklyn Museum). The image of the seer was popular among European symbolists such as Edvard Much and Gustav Klimt, with whose work Newman's bears comparison, due to his interest in exploring spiritual content within an everyday context. The first owner of this painting, Nestor Sanborn, was a friend of the artist in his later years. He and his wife, Caroline, promoted Newman's work, and he left an outline of the artist's life that has provided a basis for the study of his career. A number of works owned by Sanborn, who was also a collector of antique Chinese and Japanese pottery and porcelains, belong to the Brooklyn Museum. C The Spanierman Gallery, LLC

Condition Report: Frame rubbing. Visible stretcher mark in the upper register. Some minor touches of inpaint in the background around the figures at center. Dense varnish, unable to detect further restoration under Uv light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Richard La Barre Goodwin American, 1840-1910 A Brace of Woodcock

Lot 11: Richard La Barre Goodwin American, 1840-1910 A Brace of Woodcock

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Description: Richard La Barre Goodwin American, 1840-1910 A Brace of Woodcock Signed R. La B. Goodwin (lr) Oil on canvas 20 x 16 inches C Estate of Philip Scott

Condition Report: Wax lined. Difficult to distinguish restoration under UV exam. Scattered inpaint in background, more notably at upper left quadrant where there is a possible small repaired tear; there is another possible small repaired tear in lower left quadrant. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Robert Loftin Newman American, 1827-1912 Woman and Child

Lot 12: Robert Loftin Newman American, 1827-1912 Woman and Child

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Description: Robert Loftin Newman American, 1827-1912 Woman and Child Signed R. L. Newman (ll); inscribed J. G. W. #1 (2891) Newman, R. L. "Seated Woman and Child" 14 x 10 inches on the stretcher Oil on canvas 10 x 14 inches Provenance: Private collection Robert Loftin Newman often depicted theme of woman and child. At times, imparted a religious connotation to these paintings through his titling. Nonetheless, in most instances, his emphasis was on expressing the emotional experience of this bond, as in this instance in which the figures are huddled closely within a desolate landscape illuminated by a softly glowing light. C The Spanierman Gallery, LLC

Condition Report: Wax relined. Frame rubbing. Scattered craquelure. Some inpaint in the craquelure in the sky at the center left. Dense vanish, unable to detect further restoration under Uv light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Raoul Maucherat de Longpre French, b. 1843 White and Pink Roses on a Ledge

Lot 13: Raoul Maucherat de Longpre French, b. 1843 White and Pink Roses on a Ledge

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Description: Raoul Maucherat de Longpre French, b. 1843 White and Pink Roses on a Ledge Signed Raoul M. de Longpre fils (lr) Gouache on paper 20 7/8 x 28 1/2 inches C 

Condition Report: Hinged with two pieces of tape along the upper register verso. Matburn around the edges, particularly in the upper register and the right register. Paper residue around the edges. Tears and losses around the edges, particularly the right and left edge. The largest of the repaired tears are a 5 1/2 inch diagonal repair in the upper left edge, a 1 1/2 inch vertical repair in the lower register at left, There is a 2 x 1 inch T-shaped repaired tear in the center left edge, with a corresponding triangularly shaped paper loss to the edge (Please note that this is not visible when matted). There are some other repaired tears. This work was possibly laid down and scraped off the support it was laid down to. Some minor scattered craquelure in the petals where the gouache is thick. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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American School 20th Century Still Life with Fruit and Flowers on a Ledge

Lot 14: American School 20th Century Still Life with Fruit and Flowers on a Ledge

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Description: American School 20th Century Still Life with Fruit and Flowers on a Ledge Oil on canvas 32 3/8 x 25 1/2 inches C 

Condition Report: Frame rubbing. Scattered craquelure. There is some inpaint in the edge of the ledge at the lower right corner and a touch of inpaint in the background at the upper center. There is no further restoration visible under Uv light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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George Henry Hall American, 1825-1913 The Flower Seller, 1861

Lot 15: George Henry Hall American, 1825-1913 The Flower Seller, 1861

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Description: George Henry Hall American, 1825-1913 The Flower Seller, 1861 Signed G. H. Hall and dated 1861 (ll) Oil on canvas 29 1/4 x 36 1/4 inches Provenance: Private collection, MA Exhibited: Shreveport, LA, Norton Art Gallery, 19th and Early 20th Century American Paintings from Spanierman Gallery, Sep. 18-Nov. 6, 1994 M. Elizabeth Boone, author of Vistas de España. American Views of Art and Life in Spain, 1860-1914 (Yale University Press, 2007), wrote of this work: "For George Henry Hall, living with and painting the people of Seville was a way to follow in the footsteps of Bartolomé Murillo (1617-1682), the most popular Spanish Baroque painter of the late eighteenth and early nineteenth century. Murillo's picturesque street scenes of Spanish children and itinerant vendors were highly regarded by collectors and artists alike, and his influence was widely felt by those who visited and worked in Spain. Hall first traveled to Seville, the city most closely associated with the Spanish Old Master, in 1860. The Flower Seller, painted in 1861 shortly after his first Sevillian sojourn, is among Hall's most elaborate and engaging Murilloesque compositions." C The Spanierman Gallery, LLC

Condition Report: Wax relined. Frame rubbing. Some light scattered craquelure. 6 x 3 1/2 inch area of irregularly shaped repaired tears in the face, neck and background of the man at the upper right quadrant. Another area of irregularly shaped repaired tears, 2 1/4 x 1 1/2 inches, in the background between the man and the woman to his left. A touch of inpaint in the woman's yellow shawl, some minor touches in the table at the lower left quadrant, to the shadows of the grapes in the lowe right quadrant, the ceiling in the background at the upper right and upper left quadrants. There is no further restoration visible under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Elihu Vedder American, 1836-1923 (i) At George Langs, Boston

Lot 16: Elihu Vedder American, 1836-1923 (i) At George Langs, Boston

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Description: Elihu Vedder American, 1836-1923 (i) At George Langs, Boston Inscribed as titled, inscribed such good times and signed Vedder on the reverse Oil on canvas 13 3/8 x 7 1/4 inches (ii) Villa Uffreduzzi, Perugia Signed Vedder and inscribed Villa Uffreduzzi and Perugia (lr); inscribed at Villa Uffreduzzi/ was painting the dance/for Lur... and signed Vedder on the reverse Oil on canvas 10 5/8 x 6 inches Unframed (iii) St. Agatha Crowned by Angels Signed Vedder (ll); inscribed Copy of Paulo Vse/When student in Florence and signed Vedder on the reverse Oil on canvas 7 1/2 x 6 5/8 inches Unframed C 

Condition Report: Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Warren W. Sheppard American, 1858-1937 Venetian Canal

Lot 17: Warren W. Sheppard American, 1858-1937 Venetian Canal

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Description: Warren W. Sheppard American, 1858-1937 Venetian Canal Signed Warren Sheppard (lr) Oil on canvas laid to masonite 19 7/8 x 30 1/8 inches C 

Condition Report: Frame rubbing. Small 1/4 scuff to in the sky at the upper center. Some scattered touches of inpaint in the sky, particularly in the center left. Some scattered inpaint in the water, particuarly in the lower left quandrant. Some minor touches elsewhere. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Charles Warren Eaton American, 1857-1937 Windmill

Lot 18: Charles Warren Eaton American, 1857-1937 Windmill

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Description: Charles Warren Eaton American, 1857-1937 Windmill Signed Chas. Warren Eaton (lr) Oil on canvas 20 x 30 inches Provenance: Private collection Charles Warren Eaton's scenes of Holland, derived from trips to the country in 1886 and summer visits from 1900 to 1910, are divided between Tonalist and Impressionist scenes. Belonging to the former, this image suggests the influence on Eaton of his involvement in photography; he was an active member of the Montclair Camera Club, New Jersey. The Pictorialist approach is demonstrated in Eaton's emphasis on a unifying atmospheric light, against which the windmill is decoratively silhouetted. In the background, the line of "feather duster" poplars is indicative of Eaton's awareness of Claude Monet's earlier portrayals of poplars along the river Epte (both artists were represented by the Paris dealer, Paul Durand-Ruel). C The Spanierman Gallery, LLC

Condition Report: Wax relined. Frame rubbing. Some surface grime. There is no visible restoration under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Thomas Worthington Whittredge American, 1820-1910 Thatched Cottage (Westphalian Cottage)

Lot 19: Thomas Worthington Whittredge American, 1820-1910 Thatched Cottage (Westphalian Cottage)

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Description: Thomas Worthington Whittredge American, 1820-1910 Thatched Cottage (Westphalian Cottage) Inscribed W. Whittredge/Signed by/O. Whittredge (lr); bears inscription on backing board Westphalian Cottage, c. 1850 Oil on paper laid to board 12 3/8 x 13 5/8 inches Sent to Europe by his patron, Nicholas Longworth, Worthington Whittredge enrolled at the Royal Academy in Dusseldorf in 1849. While a student at the Academy, he met Albert Bierstadt, in whose company he made many sketching trips to Westphalia. Dating from the mid-1850s, the present work may indeed depict a cottage from that region, though it could also be Swiss. Whittredge began to employ the form of signature seen here after 1860. His daughter, Olive Whitttredge, handled his estate for several decades and added his signature, generally along with her own, as it appears, as a guarantee of authenticity. While the umbrous palette reveals the influence of the Dusseldorf school, the bright blue sky enlivens the composition. Faces of little gremlins, described with circular whorls of paint, hidden within the hut and nearby trees, are an idiosyncratic device of the artist - one that he employed in Cincinnati and continued sporadically for some decades. C 

Condition Report: The inscription fluoresces under UV light. Frame rubbing. There is a 1 inch vertical line of inpaint in the lower edge at left. There is no further restoration under Uv light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Calvin Curtis American, 1822-1893 Fall Landscape with Ruins, 1883; Together with Philippe Regis de Trobriand, The Mill, 1876

Lot 20: Calvin Curtis American, 1822-1893 Fall Landscape with Ruins, 1883; Together with Philippe Regis de Trobriand, The Mill, 1876

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Description: Calvin Curtis American, 1822-1893 Fall Landscape with Ruins, 1883 Signed C. Curtis and dated 1883 (lr); inscribed indistinctly Mrs. D.../May 19, 1883/... on the reverse Oil on board, within a painted oval 10 1/4 x 14 1/4 inches Provenance: Property from a New England Collection Robert P. Weimann, Jr., Ansonia, CT; Together with Philippe Regis de Trobriand, French/American, 1816-1897, The Mill, 1876, signed R. de Trobriand and dated 1876 (ll); inscribed General de Trobriand on an old label affixed to the stretcher, oil on canvas, 12 x 20 inches, provenance: Property from a New England collection, Robert P. Weimann, Jr., Ansonia, CT, 1968 C 

Condition Report: There is no visible restoration under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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John Henry Hill American, 1839-1922 Sneden's Landing, Palisade, New York

Lot 21: John Henry Hill American, 1839-1922 Sneden's Landing, Palisade, New York

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Description: John Henry Hill American, 1839-1922 Sneden's Landing, Palisade, New York Signed J. H. Hill (ll) Oil on canvas 20 x 15 7/8 inches Provenance: Marte Previti, New York Sneden's Landing, a hamlet in Rockland County on the west bank of the Hudson River, is today known as Palisades. It was named after the Sneden Family, which in the late seventeenth century ran a ferry service with John Dobbs, for whom Dobbs Ferry was named. C 

Condition Report: Canvas trimmed to tacking edge and relined; stretchers are not original. Dense varnish layer; frame rubbing. Touches of inpaint along the edges. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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John William Hill British/American, 1812-1879 Pond; Together with Attributed to John William Hill or John Henry Hill, Sketches of Natur

Lot 22: John William Hill British/American, 1812-1879 Pond; Together with Attributed to John William Hill or John Henry Hill, Sketches of Natur

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Description: John William Hill British/American, 1812-1879 Pond Signed J. W. Hill (lr) Graphite pencil on paper 6 1/8 x 9 3/4 inches Unframed; Together with Attributed to John William Hill or John Henry Hill, Sketches from Nature: six, some inscribed, each pencil and watercolor on paper, largest 5 1/4 x 7 1/4 inches, each unframed C The Spanierman Gallery, LLC

Condition Report: John William Hill: Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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John William Hill British/American, 1812-1879 Island in the Narrows, Lake George, N.Y.

Lot 23: John William Hill British/American, 1812-1879 Island in the Narrows, Lake George, N.Y.

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Description: John William Hill British/American, 1812-1879 Island in the Narrows, Lake George, N.Y. Signed J. W. Hill (ll) and inscribed as titled (lr) Graphite pencil on paper 12 1/8 x 10 7/8 inches Unframed; Together with Attributed to John William Hill or John Henry Hill, Landscapes: four, each graphite pencil on paper, largest 8 1/8 x 12 3/4 inches, each unframed C The Spanierman Gallery, LLC

Condition Report: Island in the Narrows: Paper toned. mat stained around the edges. Scattered foxing and some soiling. The remainder works have various degrees of toning and foxing. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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John Henry Hill American, 1839-1922 Waterfall with a Mill

Lot 24: John Henry Hill American, 1839-1922 Waterfall with a Mill

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Description: John Henry Hill American, 1839-1922 Waterfall with a Mill Signed J. Henry Hill (lr) Graphite pencil heightened with white on paper 8 7/8 x 14 1/8 inches Unframed; Together with Attributed to John William Hill or John Henry Hill, Landscapes: six, various mediums and sizes including one small watercolor (2 3/4 x 5 inches), each unframed C The Spanierman Gallery, LLC

Condition Report: Paper toned. Nicks around the edges. Scattered staining and foxing. Small piece of tape residue in the lower left quadrant. The remainder: Various degrees of toning and foxing. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Levi Wells Prentice American, 1851-1935 Adirondack Lake

Lot 25: Levi Wells Prentice American, 1851-1935 Adirondack Lake

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Description: Levi Wells Prentice American, 1851-1935 Adirondack Lake Signed L. W. Prentice. (lr) Oil on canvas 10 x 18 inches Provenance: Helen McGhee Antiques, Philadelphia, PA, 1979 The meticulous landscapes of Levi Wells Prentice extend laterally, seemingly extending the viewer's field of vision beyond the frames that contain them. The self-taught artist was raised on a farm in the Adirondacks, just beyond Adirondack Park. His intensely horizontal, detailed compositions, painted over a period of roughly twenty years, capture the region's pristine lakes, dotted with little islands, and the pine forests beyond, with his own unique clarity. In a sense, Prentice's naïve, hyper-realistic evocations of the American wilderness are akin to the paintings of the Hudson River School, whose participants sought to evoke the spiritual in the majestic hills and valleys of upstate New York. In her essay, "Nature Staged," Barbara L. Jones writes, "Created in the 1870s, his 'faithful copies' of nature, and his paintings of the hotels around Blue Mountain Lake, recall an important decade in the history of the Adirondacks, when the territory was experiencing a surge of tourist and sporting activity." [Nature Staged: The Landscape and Still Life Paintings of Levi Wells Prentice, The Adirondack Museum, 1993, p. 21] Thematically consistent with this early body of work by Prentice, the present composition is informed by a preternatural stillness. The tranquil scene at first appears devoid of human presence. Yet upon close inspection, a tiny brick outbuilding on the island at right, and the rustic footbridge are the only vestiges of civilization, intimating that a hotel or campground has already marred the sanctity of his remote vista. C Property from the Collection of Jerome M. and Rhoda S. Fischer

Condition Report: Frame rubbing. An area of tiny inpainted craquelure in the water at the center and another tiny area of inpainted craquelure in the cloud at the upper center. There is no further restoration visible under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Levi Wells Prentice American, 1851-1935 The Adirondacks

Lot 26: Levi Wells Prentice American, 1851-1935 The Adirondacks

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Description: Levi Wells Prentice American, 1851-1935 The Adirondacks Signed L. W. Prentice. (lr) Oil on canvas 20 x 16 inches Provenance: Helen McGhee Antiques, Philadelphia, PA, 1979 With its emphatically vertical format and dense composition, as well as a strongly narrative element, this undated work is rather unusual in the oeuvre of Levi Wells Prentice. Compositionally, it is similar, though a mirror image to, the larger Moose River, Adirondacks, of 1884 [Private collection, Barbara L. Jones, Nature Staged: The Landscape and Still Life Paintings of Levi Wells Prentice, The Adirondack Museum, 1993, illus. pl. 10]. In both paintings, a canoe rests at water's edge in a forested landscape, a treacherous, boulder-strewn stream drawing the eye upward. In the foreground of each stands a birch tree, its peeling bark rendered with meticulous detail. In the present work, however, a hunter leans upon his rifle, gazing out at the scene beyond. Is he seeking his prey but finding none? Or, more pragmatically, is he contemplating the rapids upstream, and wondering how he can manage to navigate his small craft through the treacherous water? With precise verisimilitude, Prentice depicts the interior of the canoe and the hills and forests of his native Adirondacks. Never having formally studied anatomy, however, his rendition of the hunter is imbued with a charming naivete. In 1883, Prentice moved to Brooklyn, where he made frames, taught art, and began painting still life compositions. By 1894, he focused on these, only occasionally depicting an Adirondack vista, likely basing these late scenes upon earlier sketches and paintings. C Property from the Collection of Jerome M. and Rhoda S. Fischer

Condition Report: Frame rubbing. Canvas buckling in the upper left corner. Some touches of inpaint in the sky. Some possible inpaint in the shadows of the rocks along the shoreline at the center right. There is no further restoration visible under UV light. Frame size: 28 ¾ x 24 5/8 inches Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Hugh Bolton Jones American, 1848-1927 Old Mill, 1876

Lot 27: Hugh Bolton Jones American, 1848-1927 Old Mill, 1876

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Description: Hugh Bolton Jones American, 1848-1927 Old Mill, 1876 Signed H Bolton Jones and dated 1876 (ll) Oil on canvas 15 3/4 x 22 inches C Property of a New York Collector

Condition Report: Not examined out of frame. Unlined. An approximately 1 1/2 inch square patch on the reverse with corresponding inpaint. Light scattered inpaint at right center and some elsewhere. Difficult to distinguish restoration under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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American School 19th Century In the Genesee Valley

Lot 28: American School 19th Century In the Genesee Valley

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Description: American School 19th Century In the Genesee Valley Bears signature Wm Marsden (ll) Oil on canvas 18 x 22 inches C 

Condition Report: Frame rubbing. Scattered craquelure throughout. Surface grime. Some light scattered craquelure. The signature does fluoresce under UV light Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Charles Harold Davis American, 1856-1933 Haystacks

Lot 29: Charles Harold Davis American, 1856-1933 Haystacks

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Description: Charles Harold Davis American, 1856-1933 Haystacks Signed C. H. Davis and dated 188... (ll) Oil on canvas 10 1/4 x 17 3/8 inches Provenance: Private collection, New York C 

Condition Report: Frame rubbing. Dirty varnish. Some very minor touches of inpaint in the foreground. There is no further restoration under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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John Francis Murphy American, 1853-1921 Autumn, 1915

Lot 30: John Francis Murphy American, 1853-1921 Autumn, 1915

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Description: John Francis Murphy American, 1853-1921 Autumn, 1915 Signed J. Francis Murphy and dated 1915 (lr) Oil on canvas 24 1/4 x 33 1/4 inches Provenance: Findlay Galleries, New York C Estate of Sylvia Rubin

Condition Report: Please note that there is a panel between the canvas and the stretchers. This canvas is not laid down to the panel. Dirty varnish. Frame rubbing. There are three small paint flake losses in the sky at center. Scattered craquelure. There is no visible restoration under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Charles Henry Miller American, 1842-1922 Farm Scene, 1903

Lot 31: Charles Henry Miller American, 1842-1922 Farm Scene, 1903

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Description: Charles Henry Miller American, 1842-1922 Farm Scene, 1903 Signed C. H. Miller and dated 1903 (lr) Oil on panel 11 3/4 x 39 5/8 inches C Estate of Philip Scott

Condition Report: Dirty varnish. Frame rubbing. There is a joined panel in the far right, approximately 12 x 1/2 inches in size. There is a 19 1/4 inch horizontal panel crack running from the left center to the center. Scattered paint separation. Uneven dense varnish, unable to detect further restoration under Uv light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Charles Henry Miller American, 1842-1922 Mill in Landscape

Lot 32: Charles Henry Miller American, 1842-1922 Mill in Landscape

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Description: Charles Henry Miller American, 1842-1922 Mill in Landscape Signed with artist's initials C.H.M (ll) Oil on canvas 14 1/8 x 23 inches C Estate of Philip Scott

Condition Report: Glue relined. Frame rubbing. Surface grime. Scattered craquelure throughout. Dense varnish, unable to detect further restoration under Uv light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Charles Warren Eaton American, 1857-1937 In Pennsylvania Woods (Silhouette Pines), circa 1910-20

Lot 33: Charles Warren Eaton American, 1857-1937 In Pennsylvania Woods (Silhouette Pines), circa 1910-20

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Description: Charles Warren Eaton American, 1857-1937 In Pennsylvania Woods (Silhouette Pines), circa 1910-20 Signed Chas Warren Eaton (ll); inscribed In Pennsylvania Woods/Chas. Warren Eaton/Penn Woods on the stretcher Oil on canvas 36 x 30 inches Provenance: Estate of the artist By descent from the Estate of the artist to private collection, CA By descent in the above family to private collection, CA Exhibited: New York, Spanierman Gallery, LLC, Charles Warren Eaton (1857-1937): An American Tonalist Rediscovered, Nov. 4-Dec. 31, 2004, cat. no. 61, p. 99 color illus. Literature: Charles Teaze Clark Charles Warren Eaton (1857-1937): An American Tonalist Rediscovered. Exh. cat. New York: Spanierman Gallery, LLC, cat. no. 61, p. 99 color illus. This is among Charles Warren Eaton's later portrayals of the pine-tree subject that was his dominant theme. His knowledge of photography-he was an enthusiastic member of the Montclair, New Jersey, Camera Club-is apparent in graduated quality of the light and the way it seeps upward from the valley, backlighting and softening the severity of the trees. Eaton rendered the hilly vista seen through the trees with a range of prismatic colors, which he also employed in the sky, proving that for him, "color stands for light and illumination." C The Spanierman Gallery, LLC

Condition Report: Frame rubbing. There is no restoration under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Charles Warren Eaton American, 1857-1937 Old Cedars, Connecticut Lake, circa 1900

Lot 34: Charles Warren Eaton American, 1857-1937 Old Cedars, Connecticut Lake, circa 1900

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Description: Charles Warren Eaton American, 1857-1937 Old Cedars, Connecticut Lake, circa 1900 Signed Chas Warren Eaton. (ll); inscribed Old Cedars on the stretcher Oil on canvas 28 x 30 1/4 inches Provenance: Estate of the artist To the granddaughters of Samuel L. Foster By descent in the family to private collection, CA Exhibited: New York, Spanierman Gallery, LLC, Charles Warren Eaton (1857-1937): An American Tonalist Rediscovered, Nov. 4-Dec. 31, 2004, cat. no. 25, p. 61 color illus. Literature: Charles Teaze Clark. Charles Warren Eaton (1857-1937): An American Tonalist Rediscovered. Exh. cat. New York: Spanierman Gallery, LLC, cat. no. 25, p. 61 color illus. Charles Warren Eaton's landscapes depict a variety of locales, ranging from the meadows and pasturelands in the vicinity of his home in Bloomfield, New Jersey to the canals of Holland and Belgium and the mountains of Glacier Park, Montana. He was also associated with the artistic life of Connecticut. During the early 1880s, he established a summer studio in Thompson, a small town in the northeast part of the state. He went on to spend many summers there, painting depictions of local pine forests until around 1914, when he began making regular visits to Colebrook, Connecticut, on the edge of the Berkshire Mountains. Old Cedars, Connecticut Lake may have been painted on the shores of Colebrook River Lake. In typical fashion, the closely cropped scene is dominated by a stand of tall trees, their trunks, branches and foliage forming a decorative scene, beyond which lie areas of water, land, and sky. C The Spanierman Gallery, LLC

Condition Report: Frame rubbing. Glue relined. There is no visible restoration under Uv light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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William Trost Richards American, 1833-1905 The Rising Tide, 1892

Lot 35: William Trost Richards American, 1833-1905 The Rising Tide, 1892

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Description: William Trost Richards American, 1833-1905 The Rising Tide, 1892 Signed Wm T. Richards and dated 92 (ll); inscribed as titled and inscribed T. Richards on an old label affixed to the backing Oil on canvas laid to masonite 23 x 43 3/4 inches Provenance: William Brevoort Potts By descent to the current owner C 

Condition Report: Frame rubbing. Scattered craquelure throughout. Scattered touches of inpaint in the craquelure in the water and in the sky. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Edward Moran American, 1829-1901 Sunset on the Marsh

Lot 36: Edward Moran American, 1829-1901 Sunset on the Marsh

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Description: Edward Moran American, 1829-1901 Sunset on the Marsh Signed Edward Moran (ll) Oil on canvas 24 x 42 1/4 inches Provenance: Sale: Christie's New York, Mar. 16, 1994, lot 9 C 

Condition Report: Frame rubbing. Glue relined. Scattered restoration along two vertical lines, approximately 1 inch apart, running the height of the painting two inches from the left margin, apparently the result of losses from an earlier stretcher mark. A similar pair of parallel lines running the height of the canvas, 1 inch from the right margin with numerous small horizontal streaks of restoration. Few scattered touches of inpaint in the lower left quadrant. Inpainted cracks in the tree trunk and foliage in the trees at the center. Small area of inpainted craquelure in the sky to the right of the moon. A few other touches in the sky. Some selective cleaning in the lower right and left quadrant. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Alexander Helwig Wyant American, 1836-1892 In the Berkshires, Massachusetts

Lot 37: Alexander Helwig Wyant American, 1836-1892 In the Berkshires, Massachusetts

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Description: Alexander Helwig Wyant American, 1836-1892 In the Berkshires, Massachusetts Signed A. H. Wyant (lr) Oil on canvas 20 1/8 x 24 1/4 inches Provenance: Private collection, Scottsdale, AZ Exhibited: New York, Spanierman Gallery, LLC, The Poetic Vision: American Tonalism, Nov. 12, 2005-Jan. 7, 2006, pp. 180, 183 color illus. Literature: Carol Lowrey, entry, "Alexander H. Wyant," in Ralph Sessions et al. The Poetic Vision: American Tonalism. New York: Spanierman Gallery, 2005, pp. 180, 183 color illus. (no. 46). Considered one of the earliest exponents of American Tonalism, Alexander Wyant retained elements of the transcriptive detail of his earlier Hudson River School style in works such as In the Berkshires, but his intimate perspective and nuanced light demonstrates the subjective strain in his art. The critic Charles Caffin described the feeling in paintings such as this as "pregnant with suggestion," representing a "search for the spiritual, poetic side of nature than an expressive simplification of composition and tone." (American Masters of Painting, 1902). C The Spanierman Gallery, LLC

Condition Report: Glue relined. Frame rubbing. Scattered craquelure. Scattered touches of inpaint in the craquelure and stretcher mark in the sky. There is some inpaint in the shadows of the trees at the center left. A couple minor scattered touches in the landscape. There is no further restoration visible under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Winckworth Allan Gay American, 1821-1910 Great Marshes, West Barnstable

Lot 38: Winckworth Allan Gay American, 1821-1910 Great Marshes, West Barnstable

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Description: Winckworth Allan Gay American, 1821-1910 Great Marshes, West Barnstable Signed W. A. Gay (lr); inscribed as titled on the reverse Oil on board 8 x 12 inches C 

Condition Report: Frame rubbing, with some corresponding losses. Surface grime. Crack to the board in the lower left corner. There is a 2 inch vertical crack to the board in the sky at the upper left quadrant, with corresponding craquelure. Another 2 1/2 inch diagontal crack to the board at the upper right quadrant with corresponding craquelure. There is a 3 inch diagonal line of inpaint in the water at the lower left quadrant and some touches to the ground around the posts at the lower right quadrant. There is no further restoration visible under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Alfred Thompson Bricher American, 1837-1908 Along the Shore of Cohasset

Lot 39: Alfred Thompson Bricher American, 1837-1908 Along the Shore of Cohasset

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Description: Alfred Thompson Bricher American, 1837-1908 Along the Shore of Cohasset Signed with artist's monogram ATB (lr); stamped From the Collection/of/Clayton-Liberatore Art Gallery/Bridgehampton, N.Y. on the verso; titled Shore of Cohasset, Maine [sic] on an old label affixed to the backing Wash on paper 4 1/2 x 9 1/8 inches Provenance: Clayton-Liberatore Gallery, Bridgehampton, NY C 

Condition Report: Old glue residue on the verso. Hinged with two pieces of tape along the upper register verso. Toned. Discoloration around the edges. A vertical faint line of discoloration running center left and center right. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Samuel Colman American, 1832-1920 Cart on the Beach

Lot 40: Samuel Colman American, 1832-1920 Cart on the Beach

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Description: Samuel Colman American, 1832-1920 Cart on the Beach Oil on canvas 7 1/2 x 15 1/8 inches Provenance: Salander-O'Reilly Galleries, Inc., New York Jensen Fine Arts, New York C Property of a Titled English Lady

Condition Report: Wax relined. Frame rubbing, with corresponding losses to the paint surface. Please note that these losses are only visible when the work is unframed. Largest loss in to the far left edge is 1 1/4 x 1/8 inch. There is inpaint in the sky at the upper left corner, the largest area in the sky is 2 x 1 1/2 inches at the far center left. There are some additional touches of inpaint to the sand in the lower left quadrant. There is no further restoration visible under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Samuel Colman American, 1832-1920 (i) A Misty Day, Newport, RI and Waves Crashing on the Rocks: A double-sided work (ii) Landscape with

Lot 41: Samuel Colman American, 1832-1920 (i) A Misty Day, Newport, RI and Waves Crashing on the Rocks: A double-sided work (ii) Landscape with

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Description: Samuel Colman American, 1832-1920 (i) A Misty Day, Newport, RI and Waves Crashing on the Rocks: A double-sided work Signed Samuel Colman (ll); inscribed a study from nature - a misty day in early Spring -/at Newport, R.I. on an old label affixed to the lower matting of the verso drawing Pastel on paper Sight 11 x 9 3/4 inches (ii) Landscape with Lake Pastel on black paper laid down to board 10 1/2 x 12 5/8 inches Provenance: Salander-O'Reilly Galleries, Inc., New York C Property of a Titled English Lady

Condition Report: (i) This work is sandwich mounted. (ii) Frame rubbing. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Thomas Bailey Griffin American, 1858-1918 (i) River Landscape

Lot 42: Thomas Bailey Griffin American, 1858-1918 (i) River Landscape

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Description: Thomas Bailey Griffin American, 1858-1918 (i) River Landscape Signed T. B. Griffin (ll) Oil on canvas 10 x 13 7/8 inches (ii) Fall Landscape with Pond, 1911 Signed T. B. Griffin and dated 11 (lr) Oil on canvas 10 x 13 7/8 inches C 

Condition Report: Both works have scattered craquelure, frame rubbing and visible stretcher marks. River: 1/2 x 1/4 inch L-shaped repaired tear, with corresponding patch, in the tree at the upper left corner. 3/8 x 1/8 inch area of repair in the sky at the upper left corner. 1/2 inch diameter repaired hole in the distant mountains at center, with a corresponding patch on the reverse. Fall: 1 1/2 x 1 1/2 inch L-shaped repaired tear in the lower right quadrant with corresponding inpaint and patch on the reverse. 1/4 x 1/2 inch surface loss in the tree foliage at the upper right corner. There is a tiny touch of inpaint in the sky at the center left. No further restoration visible under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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John Joseph Enneking American, 1841-1916 Apple Trees

Lot 43: John Joseph Enneking American, 1841-1916 Apple Trees

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Description: John Joseph Enneking American, 1841-1916 Apple Trees Stamped Enneking (lr); inscribed as titled, stamped Enneking and dated Feb. 15 1934 on the reverse Oil on board 8 7/8 x 16 3/8 inches Provenance: T. Gilbert Brouillette, Staten Island, NY and Falmouth, MA Estate of T. Gilbert Brouillette Rev. John L Walch, Oklahoma City, OK, circa 1970 Thence by descent to the current owners, circa2003 C 

Condition Report: Frame rubbing and slight wear/abrasions along edges; stamped signature on recto fluoresces. Work is not laid down; metal stripping holds it against a wood backing. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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John Joseph Enneking American, 1841-1916 Autumn Tints

Lot 44: John Joseph Enneking American, 1841-1916 Autumn Tints

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Description: John Joseph Enneking American, 1841-1916 Autumn Tints Signed Enneking (lr); inscribed as titled, numbered 169, dated Feb. 16, 1934, stamped Enneking and inscribed Estate of John J. Enneking/Florence E. Long/Grace E. Ward/J. Eliot Enneking on the reverse Oil on board 10 x 13 7/8 inches Provenance: Estate of the Artist Florence E. Long (possibly) Grace E. Ward (possibly) J. Eliot Enneking (possibly) T. Gilbert Brouillette, Staten Island, NY and Falmouth, MA Estate of T. Gilbert Brouillette Rev. John L Walch, Oklahoma City, OK, circa 1970 Thence by descent to the current owners, circa2003 C 

Condition Report: Frame rubbing. The board is slightly warped. there is a 1 x 1/2 inch surface loss to the painting in the lower right corner. Could use a cleaning. 6 inch vertical scuff in the surface of the paint at the center right. Some wear to the upper left and lower left corners. There is no visible restoration under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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John Joseph Enneking American, 1841-1916 Sunset in the Woods

Lot 45: John Joseph Enneking American, 1841-1916 Sunset in the Woods

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Description: John Joseph Enneking American, 1841-1916 Sunset in the Woods Signed and stamped Enneking on stretcher Oil on canvas 5 x 6 3/4 inches Provenance: T. Gilbert Brouillette, Staten Island, NY and Falmouth, MA Estate of T. Gilbert Brouillette Rev. John L Walch, Oklahoma City, OK, circa 1970 Thence by descent to the current owners, circa2003 C 

Condition Report: Dulled varnish. No evidence of inpaint under UV exam. Unlined. Aaron Draper Shattuck stretcher plates. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Charles Henry Ebert American, 1873-1959 Lieutenant River, Old Lyme, Connecticut, circa 1920

Lot 46: Charles Henry Ebert American, 1873-1959 Lieutenant River, Old Lyme, Connecticut, circa 1920

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Description: Charles Henry Ebert American, 1873-1959 Lieutenant River, Old Lyme, Connecticut, circa 1920 Stamped with the artist's estate stamp (ll); stamped with the artist's estate stamp twice on the stretcher and once on the reverse Oil on canvas 29 3/4 x 41 1/2 inches Provenance: Private collection Exhibited: Chicago, Il, R. H. Love Galleries, Inc., American Winter Scenes of Yesteryear, Dec. 14, 1996-Feb. 8, 1997 Laguna Beach, CA, Laguna Art Museum, Colonies of American Impressionism, Cos Cob, Old Lyme, Shinnecock and Laguna Beach, Jan. 9-Apr. 11, 1999 During a stay in France from 1894 to 1896, Charles Ebert studied at the Académie Julian and spent time in Normandy, visiting Grez, Barbizon, and Giverny. By 1900, he was living in Greenwich, Connecticut, where he became close to John Twachtman, J. Alden Weir, and Childe Hassam. He married Mary Roberts, a fellow Twachtman student, in 1919, the couple moved to Old Lyme, Connecticut. There they joined the artists' colony that centered around the home of Florence Griswold. The Lieutenant River, visible from the windows of the Griswold home, was a favorite subject for Old Lyme artists. Ebert was one of few to portray the river and its marshy surroundings in winter. Evoking the style of Twachtman, he avoided detail, capturing the patterned qualities of the scene by maintaining a palette of light, pastel tones and creating delicate surface effects. C The Spanierman Gallery, LLC

Condition Report: Glue relined. Frame rubbing, with some corresponding inpaint. There are some touches of inpaint in in the sky running along the upper register. There is no further restoration visible under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Attributed to Norton Bush Tropical Landscape

Lot 47: Attributed to Norton Bush Tropical Landscape

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Description: Attributed to Norton Bush Tropical Landscape Oil on canvas 24 x 36 inches Provenance: Private collection This unsigned painting has been attributed to Norton Bush, who is considered California's premiere painter of "tropical" scenery. It features the compositional formula Bush formulated in the 1860s, consisting of a placid waterway, bathed in the light of dawn or dusk, and framed by trees and dense vegetation, and shown against a background shrouded in a veil of mist. C The Spanierman Gallery, LLC

Condition Report: Frame rubbing. There is a 1/2 x 1/8 inch area of inpaint in the palm tree leaf in the upper left corner. There is no further restoration visible under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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American School 19th Century Whaling Expedition, 1859

Lot 48: American School 19th Century Whaling Expedition, 1859

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Description: American School 19th Century Whaling Expedition, 1859 Signed with the artist's initials C.H. and dated 22/3 1859. (lr) Oil on canvas 15 3/4 x 20 inches • 

Condition Report: Wax relined. Frame rubbing. Visible stretcher marks. Scattered craquelure throughout. 2 x 1 inch area of restoration in the sky at the upper right quadrant. Some touches of inpaint in the sky and the sails of the boat at the center right. There is no further restoration visible under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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American School 19th Century Ships on a Choppy Sea, 1878

Lot 49: American School 19th Century Ships on a Choppy Sea, 1878

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Description: American School 19th Century Ships on a Choppy Sea, 1878 Signed B. S. Young and dated 1878 (ll) Oil on canvas 30 x 48 inches C 

Condition Report: Wax relined. Frame rubbing, with corresponding inpaint. Scattered craquelure throughout. Inpaint in the craquelure in the mountain at the center left. Scattered craquelure in the sky. Some touches of inpaint in the sail at the center. There is no further restoration visible under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Thomas Hill American, 1829-1908 Mountainous Landscape, 1866

Lot 50: Thomas Hill American, 1829-1908 Mountainous Landscape, 1866

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Description: Thomas Hill American, 1829-1908 Mountainous Landscape, 1866 Signed T. Hill and dated 1866 (ll) Oil on canvas 12 x 18 1/4 inches Provenance: Irvin Brenner Galleries, LTD, New York In 1855, while a student at the Pennsylvania Academy of Design, Thomas Hill to ventured to the White Mountains of New Hampshire paint in the company of artists such as Benjamin Champney. After a frustrating sojourn in Massachusetts, where he found little professional opportunity, in 1861 Hill moved his family to California. In 1866, he traveled to the East Coast and then on to Europe, and exhibited a California subject at the National Academy of Design. For many years, his peripatetic career took him back and forth between coasts. Thus, the location of this mountainous scene has not been identified. C Estate of Sylvia Rubin

Condition Report: Glue relined. Scattered craquelure throughout. Frame rubbing, with corresponding inpaint. 3/4 inch diameter irregularly shaped area of inpaint in the mountain at the center left, 1/4 inch diameter area of inpaint in the trees at the far left center. Inpaint in the water and the rocks in the lower register. Some scattered touches of inpaint in the sky, mostly from frame rubbing. There is no further restoration visible under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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