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AMERICAN ART

by Swann Auction Galleries

Platinum House

152 lots | 151 with images

June 13, 2013

Live Auction

104 East 25th Street

New York, NY, 10010 USA

Phone: 212.254.4710

Fax: 212 979 1017

Email: swann@swanngalleries.com

152 Lots
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ROBERT FULTON Sketch of William Williams.

Lot 1: ROBERT FULTON Sketch of William Williams.

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Description: ROBERT FULTON Sketch of William Williams. Pen and brush and ink and wash on paper, 1813. 232x191 mm; 9 1/8x7 1/2 inches. Initialed, titled and dated "New York July 6th 1813" in wash, lower right and center margin. Williams is most likely the brother of Colonel Jonathan Williams, the first Superintendent of West Point. Robert Fulton (1765-1815), whose career as a portrait painter predated his fame as an engineer, gained initial success with a portrait of Benjamin Franklin. Fulton's father had been close friends with the artist Benjamin West's father and their sons lived together for a short time in Philadelphia in the late 1700s. However, Fulton is best remembered historically for his pioneering role in developing steam powered locomotion. Along with Robert Livingston, Fulton built the first commcerial steamboat in 1807, which transported passengers from New York to Albany.

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MARY BRADISH TITCOMB Two sketchbooks.

Lot 2: MARY BRADISH TITCOMB Two sketchbooks.

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Description: MARY BRADISH TITCOMB Two sketchbooks. Two bound sketchbooks with pencil and pen and ink and wash drawings, 1892-1903. Both volumes approximately 220x265 mm; 8 3/4x10 1/2 inches (sheets). Both volumes signed and dated in pencil on the first page. Many of the drawings titled and/or dated in pencil.

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ALFRED THOMPSON BRICHER Two brush and ink and wash drawings.

Lot 3: ALFRED THOMPSON BRICHER Two brush and ink and wash drawings.

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Description: ALFRED THOMPSON BRICHER Two brush and ink and wash drawings. New England Coast, 1887. 160x85 mm; 6 1/4x3 1/4 inches. Initialed in black ink, lower right recto * Sailboat. 120x90 mm; 4 3/4x3 1/2 inches. Initialed in black ink, lower right recto. Both ex-collection Clayton-Liberatore Gallery, Bridgehampton, with the ink stamps, verso.

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OSCAR BLUEMNER Three pencil drawings.

Lot 4: OSCAR BLUEMNER Three pencil drawings.

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Description: OSCAR BLUEMNER Three pencil drawings. Fort Lee, 1908 * Harlem River, 1909 * 135th Street and Convent Avenue, 1909. Each signed with the artist's monogram, titled and dated in pencil, lower margin recto. Each ex-collection Henry Heiman II, New York. Various sizes and conditions.

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RALPH ALBERT BLAKELOCK Indian Encampment on a River Bank.

Lot 5: RALPH ALBERT BLAKELOCK Indian Encampment on a River Bank.

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Description: RALPH ALBERT BLAKELOCK Indian Encampment on a River Bank. Oil on canvas. 230x385 mm; 9x15 1/4 inches. Signed in oil, lower left recto. Blakelock (1847-1919) was a New York City-born self-taught artist who initially followed in his father's footsteps by studying medicine before pursuing his passion for art. Instead of spending time abroad in Europe to further his art career, as was his father's suggestion and the path for most American artists with the means to do so, Blakelock sojourned through the American West from 1869 to 1872. His affinity for the Hudon River School is apparent in his atmospheric and idealized landscapes, though his works are often heavier, moodier and darkly mysterious (Blakelock was plagued by psychological troubles throughout his career). Indian encampments were among his favorite subjects, as he stayed with American Indians repeatedly during his western travels.

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GUY PENE DU BOIS Gare Saint-Lazare, Paris.

Lot 6: GUY PENE DU BOIS Gare Saint-Lazare, Paris.

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Description: GUY PENE DU BOIS Gare Saint-Lazare, Paris. Brush and ink and wash on cream wove paper, 1926. 200x280 mm; 8x11 inches. Signed, titled and dated in pencil and black ink, lower margin recto.

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ROBERT HENRI Two drawings.

Lot 7: ROBERT HENRI Two drawings.

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Description: ROBERT HENRI Two drawings. Brittany, pen and ink and wash on paper. 345x240 mm; 13 1/2x9 1/2 inches. Ex-collection Spanierman Gallery, New York, with the label on the frame back * Carriage on a Road, brush and ink and wash on paper. 400x260 mm; 15 3/4x10 1/4 inches. With preliminary pencil sketches, upper margin recto. Ex-collection A. M. Adler Fine Arts, Inc., New York, with the label on the frame back.

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ROBERT HENRI At the Table.

Lot 8: ROBERT HENRI At the Table.

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Description: ROBERT HENRI At the Table. Pen and ink on paper. 150x230 mm; 6x9 1/8 inches. Ex-collection Hirschl & Adler Galleries, Inc., New York, with the label on the frame back.

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ROBERT HENRI Mario.

Lot 9: ROBERT HENRI Mario.

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Description: ROBERT HENRI Mario. Charcoal on paper. 330x250 mm; 13x9 7/8 inches. With the artist's estate ink stamp, lower center recto. Ex-collection the artist, until 1929; by descent until 1968; thence to a private collection.

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GEORGE BELLOWS Sunday in the Park.

Lot 10: GEORGE BELLOWS Sunday in the Park.

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Description: GEORGE BELLOWS Sunday in the Park. Charcoal on paper. 245x200 mm; 9x7 7/8 inches. Signed in charcoal, "Geo. Bellows/ J.B.B." verso. Ex-collection The Parrish Art Musuem, Long Island; H.V. Allison & Co., Inc., New York; and Babcock, Galleries, New York, with the labels on the frame back. Exhibited "Paul Magriel Collection," Isaac Delgado Museum of Art, New Orleans, November 1-December 31, 1961; "Modern American Artists," San Francisco Museum of Art, April 20-May 29, 1966; "Paul Magriel Collection of American Drawings," The Finch College Museum of Art, New York, June-August, 1981.

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J. CHARLES BERNINGHAUS Central Park, New York.

Lot 11: J. CHARLES BERNINGHAUS Central Park, New York.

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Description: J. CHARLES BERNINGHAUS Central Park, New York. Charcoal on paper, 1926. 228x266 mm; 9x10 1/2 inches. Signed, titled and dated in pencil, lower right recto.

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EDWARD HOPPER Monkey.

Lot 12: EDWARD HOPPER Monkey.

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Description: EDWARD HOPPER Monkey. Pencil on cream wove paper, 1901. 95x75 mm; 3 3/4x2 7/8 inches. Initialed and dated in pencil, lower right recto. Ex-collection Reverend Arthayer R. Sanborn, Nyack. Exhibited "Edward Hopper at Kennedy Galleries," New York, May 11-June 8, 1977 (catalogue illustration number 37), New York, with the labels on the frame back and with a copy of the original exhibition reciept.

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EDWARD HOPPER

Lot 13: EDWARD HOPPER "Maiden Wait," The Ripple Saith.

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Description: EDWARD HOPPER "Maiden Wait," The Ripple Saith. Watercolor and pencil on white wove paper, 1899. 230x170 mm; 9x6 3/8 inches. Signed and dated in watercolor, lower right recto, and inscribed with the verse "Maiden, wait," the ripple saith; "Wait awhile, for I am death!," from a poem by Rudyard Kipling, 1895, in ink lower center recto. Ex-collection the artist, until 1967; his widow, Jo Hopper, until 1968; Reverend Arthayer R. Sanborn, Nyack, until 2005; Alexander Gallery, New York, courtesy of Kennedy Galleries, New York, until October, 2007; thence to the current owner. Published in Levin, Edward Hopper, A Catalogue Raisonne, volume II, page 7, figure W-15. While still at Nyack Union High School, just north of New York City, Hopper (1882-1967) created his first signed oil painting, Rowboat in Rocky Cove, 1895, which evidences his early interest in realism and natural subjects. After high school, Hopper studied at the Correspondence School of Illustrating, New York. Within a year, he transferred to the New York Institute of Art and Design where he studied from 1900-1906, and was influenced by Robert Henri, William Merritt Chase and Kenneth Hayes Miller, alongside classmates George Bellows and Rockwell Kent. Hopper began working as an illustrator in 1905 with C. C. Phillips & Company, New York. His illustrations greatly supplemented his income through the early 1900s. Not until 1924, after having sold out the entirety of his second one-man exhibition, at Rehn Gallery, New York, in 1924, did he find sound financial footing through sales of his paintings. According to Levin, among the illustrations Hopper produced in art school for literary works by Charles Dickens and Arthur Conan Doyle, he also, "Sketched Rudyard Kipling's Private Mulvaney from the cycle of soldier stories that made its author famous. Kipling's work made such an impression on the young Hopper that even when he wrote as an adult, he referred to the poetry."

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GEORGE WHARTON EDWARDS Gloria in Excelsis Deo.

Lot 14: GEORGE WHARTON EDWARDS Gloria in Excelsis Deo.

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Description: GEORGE WHARTON EDWARDS Gloria in Excelsis Deo. Brush and ink and wash with white heightening on paper mounted on board. 510x388 mm; 20x15 1/4 inches. Monogrammed in watercolor, lower left recto.

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FRANK XAVIER LEYENDECKER Poetry and Music.

Lot 15: FRANK XAVIER LEYENDECKER Poetry and Music.

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Description: FRANK XAVIER LEYENDECKER Poetry and Music. Oil on artist's board. 635x490 mm; 25x19 1/4 inches. Signed in oil on the cartouche, lower center recto.

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ELIHU VEDDER Two drawings.

Lot 16: ELIHU VEDDER Two drawings.

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Description: ELIHU VEDDER Two drawings. Pencil and color pencils with white chalk heightening on dark gray wove paper. Both 250x325 mm; 9 3/4x12 3/4 inches.

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ELIHU VEDDER Three drawings.

Lot 17: ELIHU VEDDER Three drawings.

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Description: ELIHU VEDDER Three drawings. Charcoal and white chalk heightening and color pencils on green wove paper. Various sizes and conditions.

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ELIHU VEDDER Group of 4 drawings.

Lot 18: ELIHU VEDDER Group of 4 drawings.

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Description: ELIHU VEDDER Group of 4 drawings. Charcoal and white chalk and white gouache on gray wove paper. Various sizes and conditions.

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ELIHU VEDDER Group of 7 drawings.

Lot 19: ELIHU VEDDER Group of 7 drawings.

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Description: ELIHU VEDDER Group of 7 drawings. Pencil and charcoal with white chalk heightening and color pencils on green wove paper. One with gold paint and a die-cut. Various sizes and conditions.

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FRANK DUVENECK Seated Man.

Lot 19A: FRANK DUVENECK Seated Man.

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Description: FRANK DUVENECK Seated Man. Black chalk on cream laid paper, 1893. 355x260 mm; 14x10 1/4 inches. Initialed in black chalk, recto, and signed and dated in red ink, verso.

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EASTMAN JOHNSON Portrait of Richard M. Staigg.

Lot 20: EASTMAN JOHNSON Portrait of Richard M. Staigg.

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Description: EASTMAN JOHNSON Portrait of Richard M. Staigg. Pencil on paper. 278x245 mm; 11x9 5/8 inches. Signed, titled and annotated in pencil, lower margin recto. Ex-collection M. Knoedler & Co., Inc; New York, and Paul Magriel Collection, New York, with the labels on the frame back. Exhibited Portland Art Museum, Portland, Oregon, April 14-May 15, 1963. Johnson (1824-1906) was a Maine native who began his career in Augusta before traveling to Europe to study in Germany, Italy and France. There he acquired the title of the "American Rembrandt," a moniker he earned due the Dutch master's influence on his work. Returning to America, Johnson focused on portrait paintings as well as genre scenes, the latter of which he became most well known.

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CHILDE HASSAM Frame House with a Woman and a Dog.

Lot 21: CHILDE HASSAM Frame House with a Woman and a Dog.

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Description: CHILDE HASSAM Frame House with a Woman and a Dog. Pen and black ink on Bristol board, circa 1882. 155x190 mm; 6 1/8x7 1/2 inches. Signed in ink, lower left recto. Annotated in pen and ink and pencil, right margin recto. With the Reynolds's Bristolboard blind stamp, upper right recto. This work has been accepted into the files for inclusion in the forthcoming Childe Hassam catalogue raisonné, currently in preparation by Stuart P. Feld and Kathleen Burnside According to Burnside this is likely an early illustration by Hassam. Known as an American Impressionist, Hassam began as an illustrator before moving to Paris to pursue a formal art education at the Académie Julian. As one of the group of Ten American Painters, Hassam devoted himself to exploring painting techniques influenced by the avant-garde style of the Impressionist Salon de Refusés artists, notably Manet and Whistler, who were in full swing in Paris during the 1860s and 1870s. He then brought this experience back to the States where he became the foremost American Impressionist painter.

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EVERETT SHINN The Mystery of Edwin Drood, Chapter Three.

Lot 22: EVERETT SHINN The Mystery of Edwin Drood, Chapter Three.

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Description: EVERETT SHINN The Mystery of Edwin Drood, Chapter Three. Watercolor and pencil on paper, circa 1941. 175x115 mm; 6 3/4x4 1/2 inches. Ex-collection Davis & Langdale Company, Inc., New York. Shinn (1876-1953) began his artistic career in 1893, enrolling in the Pennsylvania Academy of the Fine Arts. He simultaneously began working at the Philadelphia Press, where he was employed in the Art Department alongside his future Ashcan artists George Luks, John Sloan and William Glackens. After moving to New York in 1897, he bounced between different newspaper and magazine illustration jobs while also receiving commissions for publications and private projects. Shinn also illustrated approximately 30 literary works, including several CharlesDickens novels.

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EVERETT SHINN Nude seated on a Bed.

Lot 23: EVERETT SHINN Nude seated on a Bed.

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Description: EVERETT SHINN Nude seated on a Bed. Color pastels on paper, 1912. 300x455 mm; 11 7/8x18 inches. Signed and dated in pencil, lower right recto. Sold Sotheby Parke-Bernet, New York, October 28, 1976, lot 144; and Christie's, New York, November 29, 2001, lot 135. Exhibited "Everett Shinn: The Spectacle of Life," Berry-Hill Galleries, Inc., New York, November 28 2000-January 13 2001.

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ERNEST DAVID ROTH Landscape with Trees.

Lot 24: ERNEST DAVID ROTH Landscape with Trees.

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Description: ERNEST DAVID ROTH Landscape with Trees. Oil on artist's board. 660x765 mm; 26x30 inches. Signed in oil, lower left recto.

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ERNEST DAVID ROTH Winter Landscape.

Lot 25: ERNEST DAVID ROTH Winter Landscape.

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Description: ERNEST DAVID ROTH Winter Landscape. Oil on canvas. 760x915 mm; 30x36 inches. Signed in oil, lower right recto.

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ERNEST DAVID ROTH Houses along the Docks.

Lot 26: ERNEST DAVID ROTH Houses along the Docks.

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Description: ERNEST DAVID ROTH Houses along the Docks. Oil on artist's board. 340x440 mm; 13 1/2x17 1/4 inches. Signed in oil, lower left recto.

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ERNEST DAVID ROTH The Yellow House.

Lot 27: ERNEST DAVID ROTH The Yellow House.

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Description: ERNEST DAVID ROTH The Yellow House. Oil on canvas. 660x770 mm; 26x30 1/4 inches. Signed in oil, lower left recto.

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ERNEST DAVID ROTH Cliffside, New Jersey.

Lot 28: ERNEST DAVID ROTH Cliffside, New Jersey.

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Description: ERNEST DAVID ROTH Cliffside, New Jersey. Oil on artist's board, 1932. 310x410 mm; 12 1/4x16 inches. Signed in oil, lower left recto. Signed and titled in black ink, upper left verso.

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ERNEST DAVID ROTH House on Umpawaug Hill.

Lot 29: ERNEST DAVID ROTH House on Umpawaug Hill.

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Description: ERNEST DAVID ROTH House on Umpawaug Hill. Oil on artist's board. 390x470 mm; 15 1/4x18 1/2 inches. Signed in oil, lower right recto. Signed and titled in brown ink, upper left verso.

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ERNEST DAVID ROTH Fall Landscape.

Lot 30: ERNEST DAVID ROTH Fall Landscape.

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Description: ERNEST DAVID ROTH Fall Landscape. Oil on artist's board. 300x410 mm; 11 7/8x16 1/8 inches. Signed in oil, lower left recto.

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CARL OTTO HOLM Summer Landscape.

Lot 31: CARL OTTO HOLM Summer Landscape.

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Description: CARL OTTO HOLM Summer Landscape. Oil on canvas, 1917. 558x735 mm; 22x29 inches. Signed and dated in oil, lower left recto.

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JANE PETERSON Street Corner.

Lot 32: JANE PETERSON Street Corner.

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Description: JANE PETERSON Street Corner, Europe. Gouache, pastel and charcoal on tan wove paper. 600x450 mm; 23 1/2x 17 3/4 inches. Signed in black ink, lower right recto. Peterson (1876-1965) was born in Elgin, Illinois, into relative poverty. She showed artistic promise from a young age and, without any formal training, was accepted into the Pratt Institute, New York, at age 18. She graduated from Pratt in 1901, and continuted her education by enrolling at the Art Students League, New York, while simultaneously holding several art education positions. Her artistic training continued in Europe, at the London School of Art, and in Paris, where she studied under a number of artists, including Jacques-Émile Blanche and Charles Cottet. More influential to her artwork than any formal training however was the time Peterson was able to spend in Gertrude Stein's Paris salon, situated around the corner from her Montparnasse apartment, where she was exposed to the most avant-garde work of the time.

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JANE PETERSON Campo Santa Margherita, Venice.

Lot 33: JANE PETERSON Campo Santa Margherita, Venice.

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Description: JANE PETERSON Campo Santa Margherita, Venice. Gouache, watercolor and charcoal on tan wove paper, 1923. 450x600 mm; 17 3/4x23 1/2 inches. Signed in ink, lower right recto. Peterson was an extremely well-traveled individual for an American female artist at the time. She toured extensively in England and France during the early 1900s and, in 1909, she ventured to Madrid, to study under Joaquin Sorolla, before continuing on through Egypt and Algeria. Venice and its colorful, sun-bathed views was likely a favorite subject for Peterson, allowing her to develope her post-Impressionistic style of painting (she is often linked stylistically to fellow American artist Maurice Prendergast). She studied in Venice between 1908 and 1909 under the English artist Frank Brangwyn.

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JANE PETERSON Misty Morning, Giverny, France.

Lot 34: JANE PETERSON Misty Morning, Giverny, France.

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Description: JANE PETERSON Misty Morning, Giverny, France. Watercolor on tan wove paper. 450x600 mm; 17 3/4x23 1/2 inches. Signed in ink, lower left recto.

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JANE PETERSON Florida Everglades.

Lot 35: JANE PETERSON Florida Everglades.

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Description: JANE PETERSON Florida Everglades. Oil on canvas board. 405x305 mm; 16x12 inches. Signed in black ink, lower left recto. Following her husband's death in 1929, Peterson continued to travel and to paint. She spent many 1930s and 1940s winters in Palm Beach, Florida, where her surroundings inspired studies of local floura and fauna as well as bright, sun-drenched landscapes.

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JANE PETERSON Petunias.

Lot 36: JANE PETERSON Petunias.

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Description: JANE PETERSON Petunias. Watercolor and gouache on paper mounted on board. 550x750 mm; 21 5/8x29 1/2 inches. Signed in gouache, lower left recto. Inscribed "Petunais--Return to Jane Peterson--1007-5th Ave.-New York-NY" in ink, verso.

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LOUIS RITTER Still Life with Roses.

Lot 37: LOUIS RITTER Still Life with Roses.

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Description: LOUIS RITTER Still Life with Roses. Oil on canvas, 1890. 310x440 mm; 12 1/4x17 3/8 inches. Signed and dated in oil, lower right recto. A member of the artists' group known as the "Duveneck Boys," Cincinnati-born Ritter (1854-1892) studied under Frank Duveneck in Munich and Italy from 1878 to 1881 before becoming a teacher himself in Boston only a few years later. Best known for his coastal scenes and landscapes of both Europe and New England, his oeuvre also included still lifes and portraits. His work is in the permanent collections of the Brooklyn Museum and the Cincinnati Art Museum.

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ANNE ESTELLE RICE Roses.

Lot 38: ANNE ESTELLE RICE Roses.

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Description: ANNE ESTELLE RICE Roses. Oil on artis's board. 320x410 mm; 12 1/2x16 1/4 inches. Signed and titled in black ink, verso. With a Paris American Art Company, 125 Boulevard Montparnasse and 2 Rue Bonaparte, Paris, ink stamp, verso.

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ANNE ESTELLE RICE Morning.

Lot 39: ANNE ESTELLE RICE Morning.

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Description: ANNE ESTELLE RICE Morning. Oil on artist's board, 1914. 410x320 mm; 16x12 1/2 inches. Signed, titled and dated in black ink, verso.

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CARL BRANDIEN View of Toledo.

Lot 40: CARL BRANDIEN View of Toledo.

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Description: CARL BRANDIEN View of Toledo. Oil on canvas, 1931. 648x826 mm; 25 1/2x32 1/2 inches. Signed, inscribed and dated in oil, lower right recto. Brandien (1886-1965) described himself as a "vagabond artist," whose many travels inspired his artistic subjects. In 1930, he and his wife embarked on a journey across Western Europe, eventually ending in Hawaii. Brandien re-settled in New York at the onset of World War II and began exhibiting his paintings at shows held at the Barbizon Plaza Art Gallery in conjunction with the 1939 World's Fair. The attention he received at these shows percipitated commissions from the Friar's Club and the Russian Club in New York, as well as from President Franklin D. Roosevelt, who commissioned a series of the Pacific and Atlantic Fleets, now in the Hyde Park presidential collection.

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PROSPER LOUIS SENAT Guadaloupe.

Lot 41: PROSPER LOUIS SENAT Guadaloupe.

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Description: PROSPER LOUIS SENAT Guadaloupe. Watercolor on paper mounted on board. 510x360 mm; 20x14 1/4 inches. Signed and titled in ink, lower left recto.

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ARTHUR B. DAVIES Rooftops.

Lot 42: ARTHUR B. DAVIES Rooftops.

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Description: ARTHUR B. DAVIES Rooftops. Watercolor and crayon on paper. 242x325 mm; 9 1/2x12 3/4 inches. Signed in brown crayon, lower right recto. Ex-collection ACA Galleries, New York, with the label on the frame back.

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GUY WIGGINS Winter in Lyme, Connecticut.

Lot 43: GUY WIGGINS Winter in Lyme, Connecticut.

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Description: GUY WIGGINS Winter in Lyme, Connecticut. Oil on artist's board. 190x245 mm; 7 1/2x9 5/8 inches. Signed in oil, lower right recto. Signed and titled in oil, verso. Wiggins (1883-1962), renowned for his snowy scenes of New York, created a significant oeuvre of plein air paintings of New England, most notably of Old Lyme, Connecticut, where he taught and resided for many years.

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CLARENCE KERR CHATTERTON Caldwell Fram.

Lot 44: CLARENCE KERR CHATTERTON Caldwell Fram.

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Description: CLARENCE KERR CHATTERTON Caldwell Fram. Oil on artist's board. 300x400 mm; 12x16 inches. Signed in oil, lower right recto. With a preliminary pencil sketch, verso. Ex-collection Chapellier Galleries, New York, with the label verso.

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GIFFORD BEAL Park Scene.

Lot 45: GIFFORD BEAL Park Scene.

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Description: GIFFORD BEAL Park Scene. Gouache and watercolor and brush and ink on cream laid paper. 255x205 mm; 10x8 inches. Signed in gouache, lower right recto.

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LOUIS EILSHEMIUS Venus of the Forest.

Lot 46: LOUIS EILSHEMIUS Venus of the Forest.

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Description: LOUIS EILSHEMIUS Venus of the Forest. Watercolor and pastel and oil on paper mounted on board, 1908. 505x368 mm; 19 7/8x14 1/2 inches. Signed and dated in ink, lower right recto. Ex-collection Joseph H. Hirshhorn, New York and Washington, D.C. Exhibited "Second Biennial Exhibition, Part Two: Watercolors and Pastels," Whitney Museum of American Art, New York, February 18-March 18, 1936.

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ABRAHAM WALKOWITZ Isadora Duncan.

Lot 47: ABRAHAM WALKOWITZ Isadora Duncan.

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Description: ABRAHAM WALKOWITZ Isadora Duncan. Color pastels and charcoal on textured blue paper. 510x330 mm; 20 1/8x13 inches. Signed in charcoal, lower left recto. With a preliminary drawing in charcoal, verso. Ex-collection Zabriskie Gallery, New York, with the label on the frame back.

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ABRAHAM WALKOWITZ Isadora Duncan Dancing in a Red Dress.

Lot 48: ABRAHAM WALKOWITZ Isadora Duncan Dancing in a Red Dress.

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Description: ABRAHAM WALKOWITZ Isadora Duncan Dancing in a Red Dress. Watercolor and pen and ink on cream laid paper, 1909. 250x200 mm; 10x8 inches. Signed and dated in black ink, lower right recto. Ex-collection Zabriskie Gallery, New York, with the label on the frame back. Walkowitz's (1878-1965) fascination with American dancer Isadora Duncan (1877-1927) is manifest in the many hundreds, if not thousands, of drawings he made of her dancing. At the end of his career, the artist remarked, "She Duncan had no laws. She did not dance according to the rules. She created. Her body was music."

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ABRAHAM WALKOWITZ Isadora Duncan Dancing in a Blue Dress.

Lot 49: ABRAHAM WALKOWITZ Isadora Duncan Dancing in a Blue Dress.

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Description: ABRAHAM WALKOWITZ Isadora Duncan Dancing in a Blue Dress. Watercolor and pencil on cream wove paper. 335x205 mm; 13 1/4x8 inches. Signed in pencil, lower left recto. Ex-collection Raydon Gallery, New York, with the label on the frame back.

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