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Auction Description for Heritage Auctions: 2013 May 11 Fine American Art Signature Auction
Viewing Notes:
LOT VIEWING Heritage Auctions, New York 445 Park Avenue • New York, NY 10022 Monday, April 29 - Thursday, May 2 • 10:00 AM - 6:00 PM ET Heritage Auctions Design District Annex 1518 Slocum Street • Dallas, TX 75207 Tuesday, May 7 - Saturday, May 11 • 10:00 AM - 5:00 PM CT

2013 May 11 Fine American Art Signature Auction

by Heritage Auctions


89 lots with images

May 11, 2013

Live Auction

Heritage Auctions | Design District Annex | 1518 Slocum Street

Dallas, TX, 75207 USA

Phone: 800.872.6467

Email: Bid@HA.com

89 Lots
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REMBRANDT PEALE (American, 1778-1860) George Washington

Lot 64100: REMBRANDT PEALE (American, 1778-1860) George Washington

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Description: REMBRANDT PEALE (American, 1778-1860) George Washington, circa 1856 Oil on canvas 36-1/2 x 29 inches (92.7 x 73.7 cm) Signed lower left: Rembrandt Peale. Inscribed verso: Original Portrait of ... (1795) PROPERTY FROM A DISTINGUISHED DALLAS FAMILY COLLECTION PROVENANCE: The artist, prior to 1860; Charles J. Coggill, New York; Mrs. S. Edward Nash (Isabel Coggill), New York; By descent to the Nash family; The Hendershott Collection, 1996. EXHIBITED: Sanitary Fair, New York, 1864; Colonial Dames, New York, "Washington Bicentennial Exhibition", February-March, 1932; Museum of the City of New York, New York, 1946-1955 (on loan); Philadelphia Museum of Art, Philadelphia, Pennsylvania, "The Peale Family: Creation of a Legacy, 1770-1870", November 1996-January 1997; M.H. de Young Memorial Museum, San Francisco, January-April, 1997; The Corocan Gallery of Art, Washington D.C., April-July, 1997; The Museums at Stony Brook, Stony Brook, New York, "George Washington: American Symbol", 1999-2000; The Brandywine River Museum, Chadds Ford, Pennsylvania; The Museum of our National Heritage, Lexington, Massachusetts. LITERATURE: C.C. Sellers, Charles Willson Peale: A Biography, 1969, p. 276; L.B. Miller (ed.), The Peale Family: Creation of a Legacy, 1770-1870, 1997, p. 166, pl. 78; B. Mitnick (ed.), George Washington: American Symbol, 1999, p. 16, pl. 12. Intentionally rivaling fellow portraitists John Trumbull, Gilbert Stuart, and his own father, Charles Willson Peale, Rembrandt Peale made it his professional mission to render "the national portrait and standard likeness" of George Washington.1 In 1787, as a boy in Philadelphia, Rembrandt had met Washington, whom Charles Willson had recently celebrated in George Washington at the Battle of Princeton, and in 1795, at the age of seventeen, he requested from his father his first portrait sitting with the president; the resulting George Washington, an accomplished naturalistic study, focused on facial details over costume and captured an aging but proud man. Over the next two decades, Rembrandt Peale painted various likenesses of Washington after other artists like the sculptor Jean-Antoine Houdon, and in 1823, he verbalized his determination to create the official portrait: {blockquote}No Artist ever found his pride more strongly excited by magnitude and interest of his purpose than mine to rescue from oblivion the aspect of a Man who would forever be venerated as the "Father of his Country."2 {/blockquote} Peale's purpose was fueled by commercialism, however, as much as nationalism, as a popular portrait had the potential to generate a demand for replicas. The 1824 George Washington, Patriae Pater realized Peale's goals: it memorialized the president as a classical hero, depicting him in velvet finery against an ethereal ground and set within an oval trompe-l'oeil stone frame, carved with an oak wreath and the head of Jupiter. The portrait also served as the model for Peale's subsequent lucrative Washington commissions, including lithographs, equestrian portraits, and numerous smaller "porthole" portraits. The present George Washington of 1856, from the distinguished Hendershott Collection, exemplifies this "porthole" portrait, otherwise known as the George Washington Copy, which derived from the Patriae Pater and solidified Peale's reputation as the foremost 19th-century Washington painter. Around 1846, Peale began producing the Copy, featuring the Patriae Pater portrait bust within a simplified stonework frame, and available in different sizes (the standard was 25 x 30"), in military or civilian dress, and with orientation to the left or right. For the rest of his career, he solicited commissions for the Copy through pamphlets and a traveling lecture, "Washington and his Portraits." An 1857 article in The Crayon describes the successful lecture Peale delivered at the New York Historical Society: {blockquote}At the close of the reading Mr. Peale exhibited various portraits of Washington, together with one of Mrs. Washington, all painted by himself; the pictures were brilliantly lighted, and so arranged as to be seen to great advantage. The remarks upon the portraits were interspersed with anecdotes, personal reminiscences, and historical facts, possessing marked interest, as they were listened to with unflagging attention.3{/blockquote} As part of his promotion of the George Washington Copy in these lecture-exhibits, Peale designed around 1853 a pendant Martha Washington portrait, including this fine 1856 version from the Hendershott Collection. Based on Charles Willson Peale's original 1795 portrait, Rembrandt's Martha Washington captured the first lady as a stately matron, offsetting her strong visage with her ruffled bonnet and diaphanous shawl and balancing the creams of her face and costume with shadowed background architecture. In their 1850s context, Peale's George Washington and Martha Washington together would have reminded audiences of the nobility and unity of America's founding era, indeed, a foil to the growing anxiety of the country on the brink of the Civil War. 1L. Miller, ed., The Peale Family: Creation of a Legacy 1770-1870, Washington, D.C., 1996, p. 163. 2C. Hevner, Rembrandt Peale 1778-1860: A Life in the Arts, Philadelphia, 1985, p. 66. 3Ibid., p. 88.

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REMBRANDT PEALE (American, 1778-1860) Martha Washington

Lot 64101: REMBRANDT PEALE (American, 1778-1860) Martha Washington

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Description: REMBRANDT PEALE (American, 1778-1860) Martha Washington, circa 1856 Oil on canvas 36-1/2 x 29 inches (92.7 x 73.7 cm) Signed lower left: Rembrandt Peale Inscribed verso: Mrs. Martha Washington (1795) / Painted by / Rembrandt Peale / with improvements From / Original by Chs W. Peale / Philadelphia PROPERTY FROM A DISTINGUISHED DALLAS FAMILY COLLECTION PROVENANCE: The artist, prior to 1860; Charles J. Coggill, New York; Mrs. S. Edward Nash (Isabel Coggill), New York; By descent to the Nash family; The Hendershott Collection, 1996. EXHIBITED: Sanitary Fair, New York, 1864; Colonial Dames, New York, "Washington Bicentennial Exhibition", February-March, 1932; Museum of the City of New York, New York, 1946-1955 (on loan); Philadelphia Museum of Art, Philadelphia, Pennsylvania, "The Peale Family: Creation of a Legacy, 1770-1870", November 1996-January 1997; M.H. de Young Memorial Museum, San Francisco, January-April, 1997; The Corocan Gallery of Art, Washington D.C., April-July, 1997; The Museums at Stony Brook, Stony Brook, New York, "George Washington: American Symbol", 1999-2000; The Brandywine River Museum, Chadds Ford, Pennsylvania; The Museum of our National Heritage, Lexington, Massachusetts. LITERATURE: C.C. Sellers, Charles Willson Peale: A Biography, 1969, p. 276; L.B. Miller (ed.), The Peale Family: Creation of a Legacy, 1770-1870, 1997, p. 166, pl. 78; B. Mitnick (ed.), George Washington: American Symbol, 1999, p. 16, pl. 12.

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WILLIAM M. HART (American, 1823-1894) Reminiscence of V

Lot 64102: WILLIAM M. HART (American, 1823-1894) Reminiscence of V

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Description: WILLIAM M. HART (American, 1823-1894) Reminiscence of Vermont, 1885 Oil on panel 5-1/2 x 9 inches (14.0 x 22.9 cm) Signed and dated lower center: William / H / 1885 Inscribed verso: Vermont PROVENANCE: Covington Fine Arts Gallery, Inc., Tucson, Arizona (label verso); Acquired by the present owner from the above.

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AUGUSTUS WEIDENBACH (German/American, b. 1825) River Sc

Lot 64103: AUGUSTUS WEIDENBACH (German/American, b. 1825) River Sc

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Description: AUGUSTUS WEIDENBACH (German/American, b. 1825) River Scene with Two Fishermen Oil on canvas 22 x 36 inches (55.9 x 91.4 cm) Signed lower right: A. Weidenbach

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HERMANN OTTOMAR HERZOG (American, 1832-1932) Voringfoss

Lot 64104: HERMANN OTTOMAR HERZOG (American, 1832-1932) Voringfoss

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Description: HERMANN OTTOMAR HERZOG (American, 1832-1932) Voringfoss Oil on canvas 22 x 31 inches (55.9 x 78.7 cm) Signed lower left: H. Herzog

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WILLIAM BRADFORD (American, 1823-1892) View of Northern

Lot 64105: WILLIAM BRADFORD (American, 1823-1892) View of Northern

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Description: WILLIAM BRADFORD (American, 1823-1892) View of Northern Head at Sunrise in the Bay of Fundy, 1862 Oil on canvas 23 x 34-1/2 inches (58.4 x 87.6 cm) Signed and dated lower right: Wm Bradford / 1862 PROVENANCE: Vose Galleries, Boston, Massachusetts; Hirschl & Adler Galleries, Inc., New York (labels verso).

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FREDERICK ARTHUR BRIDGMAN (American, 1847-1928) Portrai

Lot 64106: FREDERICK ARTHUR BRIDGMAN (American, 1847-1928) Portrai

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Description: FREDERICK ARTHUR BRIDGMAN (American, 1847-1928) Portrait of a Young Girl, 1870 Oil on canvas 23 x 19-1/2 inches (58.4 x 49.5 cm) Signed, dated, and inscribed lower left: F.A. Bridgman / Paris 1870

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CHARLES COURTNEY CURRAN (American, 1861-1942) Portrait

Lot 64107: CHARLES COURTNEY CURRAN (American, 1861-1942) Portrait

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Description: CHARLES COURTNEY CURRAN (American, 1861-1942) Portrait of a Lady with Flowers, 1906 Oil on canvas 24 x 18 inches (61.0 x 45.7 cm) Signed and dated lower right: Chas C. Curran / 1906

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EASTMAN JOHNSON (American, 1824-1906) Portrait of John

Lot 64108: EASTMAN JOHNSON (American, 1824-1906) Portrait of John

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Description: EASTMAN JOHNSON (American, 1824-1906) Portrait of John C. Chandler and Philip J. Wilson Oil on canvas 21 x 17 inches (53.3 x 43.2 cm) PROPERTY OF A DISTINGUISHED PRIVATE COLLECTOR PROVENANCE: Judith Kimball Chandler Johnson (Mrs. James G. Wilson), the artist's sister; Philip Johnson Wilson, son of the above; Philip Johnson Wilson, Jr., son of the above; Mrs. Phoebe Hoss; Sotheby's, New York, Important 19th and 20th Century American Paintings, Drawings and Sculpture, December 8, 1983, lot 81; Acquired by the present owner from the above. EXHIBITED: Kennedy Galleries, Inc., New York, "A Kennedy Galleries Selection of American Art for Public and Private Collectors", April-May 1981, no. 7. LITERATURE: J.I.H. Bauer, An American Genre Painter, Eastman Johnson, Brooklyn, New York, 1940, no. 160. NOTE: The present work depicts the artist's uncle and nephew. This painting is accompanied by a letter from Dr. Patricia Hills, and will be included in Dr. Hills's forthcoming catalogue raisonné of the artist's works.

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GEORGE INNESS JR. (American, 1854-1926) Tarpon Springs

Lot 64109: GEORGE INNESS JR. (American, 1854-1926) Tarpon Springs

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Description: GEORGE INNESS JR. (American, 1854-1926) Tarpon Springs Brook Oil on canvas 21 x 28 inches (53.3 x 71.1 cm) Signed lower right: Inness Jr.

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LILLIAN MATHILDE GENTH (American, 1876-1953) Mother in

Lot 64110: LILLIAN MATHILDE GENTH (American, 1876-1953) Mother in

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Description: LILLIAN MATHILDE GENTH (American, 1876-1953) Mother in the Garden Oil on canvas laid on board 17-1/4 x 13-1/4 inches (43.8 x 33.7 cm) Inscribed with title and artist information verso

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BRUCE CRANE (American, 1857-1937) Sunrise Oil on canvas

Lot 64111: BRUCE CRANE (American, 1857-1937) Sunrise Oil on canvas

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Description: BRUCE CRANE (American, 1857-1937) Sunrise Oil on canvas 9 x 12 inches (22.9 x 30.5 cm) Signed lower right: Bruce Crane PROVENANCE: Private collection, New York.

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CHARLES HENRY EATON (American, 1850-1901) River's Edge

Lot 64112: CHARLES HENRY EATON (American, 1850-1901) River's Edge

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Description: CHARLES HENRY EATON (American, 1850-1901) River's Edge Oil on canvas 8 x 6-1/4 inches (20.3 x 15.9 cm) Signed lower right: Chas. Henry Eaton. N.Y.

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JOHN FRANCIS MURPHY (American, 1853-1921) Early Autumn,

Lot 64113: JOHN FRANCIS MURPHY (American, 1853-1921) Early Autumn,

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Description: JOHN FRANCIS MURPHY (American, 1853-1921) Early Autumn, New York Oil on wood panel 5-1/2 x 8 inches (14.0 x 20.3 cm) Signed lower right: J. Francis Murphy PROVENANCE: Covington Fine Arts Gallery, Inc., Tucson, Arizona (label verso). Acquired by the present owner from the above.

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CHARLES W. KNAPP (American, 1823-1900) New England Summ

Lot 64114: CHARLES W. KNAPP (American, 1823-1900) New England Summ

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Description: CHARLES W. KNAPP (American, 1823-1900) New England Summer Landscape (Susquehanna River) Oil on canvas 16 x 25 inches (40.6 x 63.5 cm) Signed lower left: CW Knapp

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ALEXANDER HELWIG WYANT (American, 1836-1892) View from

Lot 64115: ALEXANDER HELWIG WYANT (American, 1836-1892) View from

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Description: ALEXANDER HELWIG WYANT (American, 1836-1892) View from the Woods, 1891 Oil on canvas 28-1/4 x 38-1/4 inches (71.8 x 97.2 cm) Signed and dated lower right: A.H. Wyant 1891 NOTE: This work may be found at The Wyant Website, http://alexanderwyant.edu/, at Ref. 138-021.

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WILLIAM AIKEN WALKER (American, 1838-1921) Man in Cotto

Lot 64116: WILLIAM AIKEN WALKER (American, 1838-1921) Man in Cotto

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Description: WILLIAM AIKEN WALKER (American, 1838-1921) Man in Cotton Field Oil on panel 8 x 4 inches (20.3 x 10.2 cm) Signed lower left: WA Walker PROVENANCE: Private collection, Florida. NOTE: This painting will be included in John Fowler's forthcoming catalogue raisonné of the artist's works (examined from photographs).

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WILLIAM AIKEN WALKER (American, 1838-1921) Woman in Cot

Lot 64117: WILLIAM AIKEN WALKER (American, 1838-1921) Woman in Cot

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Description: WILLIAM AIKEN WALKER (American, 1838-1921) Woman in Cotton Field Oil on panel 8 x 4 inches (20.3 x 10.2 cm) Signed lower left: WA Walker PROVENANCE: Private collection, Florida. NOTE: This painting will be included in John Fowler's forthcoming catalogue raisonné of the artist's works (examined from photographs).

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WILLIAM AIKEN WALKER (American, 1838-1921) Wash Day Oil

Lot 64118: WILLIAM AIKEN WALKER (American, 1838-1921) Wash Day Oil

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Description: WILLIAM AIKEN WALKER (American, 1838-1921) Wash Day Oil on board 12-1/4 x 9-1/4 inches (31.1 x 23.5 cm) Signed lower left: WA Walker PROVENANCE: Jules L. Pass Antiques, Saint Louis, Missouri; Acquired by present owner from the above, 1991. NOTE: This painting will be included in the forthcoming catalogue raisonné of the artist's work being prepared by John Fowler.

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DONALD HUNTSMAN (American, b. 1934) One of the 54th, 19

Lot 64119: DONALD HUNTSMAN (American, b. 1934) One of the 54th, 19

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Description: DONALD HUNTSMAN (American, b. 1934) One of the 54th, 1992 Bronze with dark brown patina 22 inches (55.9 cm) high Ed. 22/40 Signed, dated, and numbered on bronze underside: Don Huntsman / © 92 22/40 PROPERTY FROM A DISTINGUISHED DALLAS FAMILY COLLECTION

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LOUIS AMATEIS (American, 1855-1913) Lion, 1887 Bronze w

Lot 64120: LOUIS AMATEIS (American, 1855-1913) Lion, 1887 Bronze w

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Description: LOUIS AMATEIS (American, 1855-1913) Lion, 1887 Bronze with greenish-brown patina 28 inches (71.1 cm) high Signed, inscribed, and dated on base: L. AMATEIS / 1887 PROPERTY FROM A DISTINGUISHED DALLAS FAMILY COLLECTION PROVENANCE: Sotheby's, London, 19th & 20th Century Decorations, May 24, 1996, lot 103.

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RICHMOND BARTHE (American, 1901-1989) Maasai Warrior, 1

Lot 64121: RICHMOND BARTHE (American, 1901-1989) Maasai Warrior, 1

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Description: RICHMOND BARTHE (American, 1901-1989) Maasai Warrior, 1986 Bronze with brown patina 6-1/2 inches (16.5 cm) high Ed. 19/25 Signed, numbered, and inscribed on bronze verso: Barthe 33-86 © 19/25

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FRANKLIN DE HAVEN (American, 1856-1934) Fall Landscape

Lot 64122: FRANKLIN DE HAVEN (American, 1856-1934) Fall Landscape

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Description: FRANKLIN DE HAVEN (American, 1856-1934) Fall Landscape Oil on board 12 x 14 inches (30.5 x 35.6 cm) Signed lower left: DeHaven. NA

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WILLIAM HENRY HOWE (American, 1846-1929) Out of the Hea

Lot 64123: WILLIAM HENRY HOWE (American, 1846-1929) Out of the Hea

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Description: WILLIAM HENRY HOWE (American, 1846-1929) Out of the Heat, 1899 Oil on canvas 16 x 20 inches (40.6 x 50.8 cm) Signed and dated lower left: William H. Howe 99 Vestige of old artist's label verso

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VICTOR COLEMAN ANDERSON (American, 1882-1937) New Engla

Lot 64124: VICTOR COLEMAN ANDERSON (American, 1882-1937) New Engla

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Description: VICTOR COLEMAN ANDERSON (American, 1882-1937) New England Winter, 1936 Oil on artists' board 12 x 16 inches (30.5 x 40.6 cm) Signed lower left: Victor C. Anderson Titled and dated on artist's label verso PROVENANCE: Salmagundi Art Club, New York (label verso).

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EMILE ALBERT GRUPPE (American, 1896-1978) Winter, Vermo

Lot 64125: EMILE ALBERT GRUPPE (American, 1896-1978) Winter, Vermo

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Description: EMILE ALBERT GRUPPE (American, 1896-1978) Winter, Vermont Oil on canvas 25 x 30 inches (63.5 x 76.2 cm) Signed lower right: Emile A Gruppe Title inscribed verso

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BIRGE HARRISON (American, 1854-1929) Dusk, Woodstock, N

Lot 64126: BIRGE HARRISON (American, 1854-1929) Dusk, Woodstock, N

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Description: BIRGE HARRISON (American, 1854-1929) Dusk, Woodstock, New York, 1910 Oil on canvas 23 x 28 inches (58.4 x 71.1 cm) Signed lower right: Birge Harrison Inscribed verso: Woodstock, N.Y. 1910 / 79 [according to previous conservator] PROVENANCE: Ray Ketcham Gallery, Atlanta, Georgia (label verso); Dr. Thomas P. Mahan, purchased from the above, September 1972; By descent to the present owner. NOTE: This lot is accompanied by the original invoice from Ray Ketcham Gallery dated September 23, 1972.

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THOMAS MORAN (American, 1837-1926) Mountain of the Holy

Lot 64127: THOMAS MORAN (American, 1837-1926) Mountain of the Holy

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Description: THOMAS MORAN (American, 1837-1926) Mountain of the Holy Cross, circa 1888 Etching 26-1/4 x 18-1/4 inches (66.7 x 46.4 cm) (image) Signed in lower margin: T. Moran Remarque of deer in lower left corner Published by The New Brunswick Royal Art Union Limited

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JAMES ABBOTT MCNEILL WHISTLER (American, 1834-1903) Ear

Lot 64128: JAMES ABBOTT MCNEILL WHISTLER (American, 1834-1903) Ear

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Description: JAMES ABBOTT MCNEILL WHISTLER (American, 1834-1903) Early Morning, Battersea (Kennedy 75), circa 1859 Etching 4-1/2 x 6 inches (11.4 x 15.2 cm) (image) Signed lower left: Whistler PROVENANCE: Morris Gallery, New York (label verso).

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GORDON HOPE GRANT (American, 1875-1962) Making Port Lit

Lot 64129: GORDON HOPE GRANT (American, 1875-1962) Making Port Lit

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Description: GORDON HOPE GRANT (American, 1875-1962) Making Port Lithograph 9 x 11-1/2 inches (22.9 x 29.2 cm) (image) 11 x 16 inches (27.9 x 40.6 cm) (sheet) Signed in lower right margin: Gordon Grant Published by Associated American Artists, New York

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GRANT WOOD (American, 1891-1942) January (Cole 3), 1938

Lot 64130: GRANT WOOD (American, 1891-1942) January (Cole 3), 1938

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Description: GRANT WOOD (American, 1891-1942) January (Cole 3), 1938 Lithograph 9 x 12 inches (22.9 x 30.5 cm) (image) 12 x 16 inches (30.5 x 40.6 cm) (sheet) Ed. 250 Signed in lower right margin: Grant Wood Published by Associated American Artists, New York

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THOMAS HART BENTON (American, 1889-1975) Prayer Meeting

Lot 64131: THOMAS HART BENTON (American, 1889-1975) Prayer Meeting

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Description: THOMAS HART BENTON (American, 1889-1975) Prayer Meeting (Wednesday Evening), 1949 Lithograph 9 x 12-1/4 inches (22.9 x 31.1 cm) (image) Ed. 300 Signed in lower right margin: Benton LITERATURE: C. Fath, The Lithographs of Thomas Hart Benton, Austin and London, 1969 and 1979, no. 73, p. 166, illus. p. 167. NOTE: This lithograph was commissioned by Dr. Clarence R. Decker, President of the University of Kansas City, Kansas City, Missouri (now the University of Missouri at Kansas City), and published by the Bookstore of the University of Kansas City. The lithograph was a study for a painting, Wednesday Evening, in the Museum of Fine Arts, Springfield, Missouri.

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THOMAS HART BENTON (American, 1889-1975) Minstrel Show,

Lot 64132: THOMAS HART BENTON (American, 1889-1975) Minstrel Show,

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Description: THOMAS HART BENTON (American, 1889-1975) Minstrel Show, 1934 Lithograph 8-3/4 x 11-1/2 inches (22.2 x 29.2 cm) (image) Ed. 100 Signed in lower right margin: Benton LITERATURE: C. Fath, The Lithographs of Thomas Hart Benton, Austin and London, 1969 and 1979, no. 7, p. 34, illus. p. 35. NOTE: The lithograph was included in the "Fifty Modern Prints Exhibition" of outstanding prints done in 1934, held at the Weyhe Gallery in New York City in February, 1935. The painting, Minstrel Show, was completed after the lithograph in 1934. The painting is in the collection of the artist.

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THOMAS HART BENTON (American, 1889-1975) Photographing

Lot 64133: THOMAS HART BENTON (American, 1889-1975) Photographing

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Description: THOMAS HART BENTON (American, 1889-1975) Photographing the Bull, 1950 Lithograph 16-1/2 x 20-1/2 inches (41.9 x 52.1 cm) (image) Ed. 500 Inscribed verso: 1950 / #80 of 500 copies / Baiting the Bull / for photo op / For Helen and Harold / Summer 1958 LITERATURE: C. Fath, The Lithographs of Thomas Hart Benton, Austin and London, 1969 and 1979, no. 75, p. 170, illus. p. 171. NOTE: A painting of this subject, also titled Photographing the Bull, is in the collection of Ralph Ritter, Kansas City, Missouri.

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THOMAS HART BENTON (American, 1889-1975) Instruction, 1

Lot 64134: THOMAS HART BENTON (American, 1889-1975) Instruction, 1

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Description: THOMAS HART BENTON (American, 1889-1975) Instruction, 1940 Lithograph 10-1/4 x 12-1/4 inches (26.0 x 31.1 cm) (image) Ed. 250 Signed in lower right margin: Benton Published by Associated American Artists, New York LITERATURE: C. Fath, The Lithographs of Thomas Hart Benton, Austin and London, 1969 and 1979, no. 41, p. 102, illus. p. 103. NOTE: A painting, also titled Instruction, was made prior to the lithograph in 1940. The painting is in the collection of Arthur M. Loew, Great Neck, New York.

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JOHN STEUART CURRY (American, 1897-1946) John Brown (Co

Lot 64135: JOHN STEUART CURRY (American, 1897-1946) John Brown (Co

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Description: JOHN STEUART CURRY (American, 1897-1946) John Brown (Cole 34), 1939 Lithograph 14-3/4 x 11 inches (37.5 x 27.9 cm) (image) 18-1/4 x 13-1/4 inches (46.4 x 33.7 cm) (sheet) Ed. 250 Signed in lower right margin: John Steuart Curry Published by Associated American Artists, New York LITERATURE: S. Coppel, The American Scene: Prints From Hopper to Pollock, British Museum, London, 2008, p. 136-139. Curry produced this iconic American print of the celebrated abolitionist John Brown while he was painting a mural for the Kansas State Capitol Building in Topeka (1937-1942). The mural featured an expansive figure of the ferocious Brown similar but not identical to the one in this lithograph, wide-eyed and bellowing like a modern-day Moses, as he rallies the forces of antislavery with the power of a Kansas tornado seen in the background. Curry's attraction to the subject of John Brown was tied to his own biography, for he was native of Kansas, a state torn apart by the debate over slavery. In 1939, Curry also produced an easel painting titled John Brown (Collection of the Metropolitan Museum of Art, New York), which is the work upon which this lithograph is directly based.

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JOHN STOCKTON DE MARTELLY (American, 1903-1980) Blue Va

Lot 64136: JOHN STOCKTON DE MARTELLY (American, 1903-1980) Blue Va

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Description: JOHN STOCKTON DE MARTELLY (American, 1903-1980) Blue Valley Fox Hunt and Ride-A-Cock-Horse (pair) Lithographs 12-3/4 x 16-1/2 inches (32.4 x 41.9 cm) (Blue Valley Fox Hunt image) 15-1/4 x 19-1/2 inches (38.7 x 49.5 cm) (Blue Valley Fox Hunt sheet) 9-1/4 x 12 inches (23.5 x 30.5 cm) (Ride-A-Cock-Horse image) 12 x 16 inches (30.5 x 40.6 cm) (Ride-A-Cock-Horse sheet) Both in lower right margin: John S. de Martelly Associated American Artists, publisher

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JOHN MCCRADY (American, 1911-1968) Steamboat 'Round the

Lot 64137: JOHN MCCRADY (American, 1911-1968) Steamboat 'Round the

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Description: JOHN MCCRADY (American, 1911-1968) Steamboat 'Round the Bend, 1946 Oil on canvas 78 x 168 inches (198.1 x 426.7 cm) Signed and dated lower right: John McCrady 46 PROPERTY FROM A DISTINGUISHED DALLAS FAMILY COLLECTION PROVENANCE: Delmonico's Restaurant, New Orleans, Louisiana, 1946; New Orleans Auction Galleries, Inc., New Orleans, Louisiana, March 22, 1997, lot 129; Private collection, Dallas, acquired from the above. In 1946 when John McCrady painted this extraordinary mural Steamboat 'Round the Bend, a nostalgic depiction of teenage boys frolicking along the banks of the Mississippi River, he was already being lauded as the "first-rate" painter from the South, "a star risen from the bayous."1 Raised in Mississippi and Louisiana, McCrady enrolled in the New Orleans Art School in 1932 and, the following year, won a scholarship to study at the Art Students League in New York. Here, his teachers Thomas Hart Benton and Kenneth Hays Miller introduced him to the aesthetics of American Scene painting, specifically Regionalism, with its images of everyday life on farms and in small towns. From Benton, McCrady appropriated a type of figure, lean and gesturing, and from Miller, the multi-stage technique of layering oil paint over a tempera ground to create heightened luminosity. Like these Regionalists and others to whom he was compared, including John Stuart Curry and Grant Wood, McCrady emphasized in his paintings a dialogue between country folk and the land, often dramatizing this relationship by positioning his figures like actors against a flattened backdrop of fields and sky. Although most of the Regionalists looked to the Midwest for visual inspiration, McCrady distinguished himself as a painter of the South, in particular, of African-American religious subjects, of pastimes in rural Mississippi, and of street activity in New Orleans' French Quarter, where he established his studio in 1934. His early paintings based on African-American spirituals, like Swing Low, Sweet Chariot, Judgment Day, and Heaven Bound, first gained him accolades as an "interpret[er] of a purely American theme."2 Oxford, Mississippi, where McCrady had lived as a teenager, also provided rich fodder for his rural Southern imagery: landscapes featuring church suppers, political rallies, families strolling along dusty roads, and crowds outside the general store. Favorable reviews in Time and Newsweek of his exhibitions at the Boyer Galleries in New York and Philadelphia led to three major awards in 1939: a Guggenheim fellowship to paint African-American genre scenes, an assignment from Life magazine to illustrate a pivotal moment in 20th-century history - McCrady's only social realist work, the action-filled, bloody The Shooting of Huey Long - and a commission from the Procurement Division of the Treasury Section of Fine Arts for a mural for the Armory, Mississippi, post office - a panoramic view of the town's main street in 1888. McCrady's most famous mural, the current lot, Steamboat 'Round the Bend, was commissioned in 1945 by Marie LaFranca, owner of the upscale Delmonico's restaurant on Saint Charles Avenue in New Orleans. Like its parent restaurant in New York City, the New Orleans Delmonico's had opened in the 19th century and served the most prominent local clientele, courting them with its lush interior and signature steaks, oysters, and Italian cuisine. By the 1940s, the restaurant needed a facelift; while supervising a new decorating scheme for the restaurant, Mrs. LaFranca asked McCrady, New Orleans' celebrity artist, to create a large painting to hang behind the bar. "McCrady was paid with dinners, drinks, and an unknown fee for his work, which took a year to complete."3 For the mural's subject, he selected the historic 1870 steamboat race between the Natchez and the Robert E. Lee on the Mississippi River, showing the moment the paddle wheelers, en route from New Orleans to Memphis, are passing through Natchez. Steamboat 'Round the Bend is a composite of images McCrady was working on at the same time in 1945: his oil painting Boys Playing is nearly identical to the mural's right grouping of boys on the bank of the river, and his lithograph The Robert E. Lee and The Natchez depicts a similar scene, but with African-Americans celebrating along the shore as the two boats race. McCrady also executed a preparatory drawing for Steamboat 'Round the Bend, as well as a lithograph, further indicating the importance of the subject to him. With its particular iconography, Steamboat 'Round the Bend captures a romanticized vision of the South. Anchoring the center of the composition are the steamboats, symbols of a post-Civil War industrializing South. By the 1860s, the steamboat had become so associated with speed that steamboat racing emerged as a popular pastime. The 1870 race between the Natchez and Robert E. Lee, ultimately resulting in the Lee's victory, marked a pinnacle of the sport, as it attracted newspaper coverage and betting not merely in major Southern cities, but in New York, Boston, Philadelphia, London, and Paris. In Steamboat 'Round the Bend, McCrady further underscores the prosperity of the South through the lush, enveloping landscape - the wide Mississippi and verdant fields with Spanish moss-trimmed trees. In addition, his choice of Natchez as a backdrop for the race is significant. One of the oldest and wealthiest cities in the Mississippi Valley, Natchez had been strategically founded on a bluff overlooking the river, ensuring its role as a major center of commerce, and during the mid 19th century, cotton and sugarcane planters built enormous mansions here. McCrady features one of these plantations, Rosalie, a stately Neoclassical landmark perched above the less grand Natchez-Under-the-Hill, a row of bars for sailors and frontiersmen docking at the port.4 Omitting any signs of working-class unseemliness, however, McCrady focuses instead on a wholesome pack of schoolboys cavorting in the foreground - some trying to catch a dog, others wrestling on piggyback, and others playing leapfrog - consummate signs of an Edenic South. Complementing McCrady's message of the bounty and community of the South is his strong compositional design for Steamboat 'Round the Bend. McCrady was a masterful painter of clouds, intentionally modeling his after the dramatic skies of Albert Pinkham Ryder, and, here, teal and aquamarine clouds form broad abstracted patterns that merge with the black ship steam and turquoise river below. This stylization of nature, almost to a surreal effect, recalls his WPA posters, as well as many of his Mississippi paintings, such as Oxford on the Hill, where he encircles the town with swirling ribbons of clouds and waves. The foreground of Steamboat 'Round the Bend functions as a stage with gesturing youths playacting before the backdrop of the Mississippi. Yet McCrady also treats this stage, as it sweeps into the bluff on the left, as another flattened pattern that bounds the shapes of sky and water. Ultimately, the mural reads like a giant patchwork quilt, evoking the rich layers and interconnected relationships of the South. 1"Art: New Season," Time, October 18, 1937. 2Herald Tribune, August 22, 1937, review of McCrady's exhibition at the Boyer Gallery, New York. 3E. Lagasse, Emeril's Delmonico: A Restaurant with a Past, New York, 2005, p. 19. 4J. Bonner, "John McCrady," Historic New Orleans Collection, 2010, online article, p.2. The art historian Judith H. Bonner identifies the plantation as Rosalie because of its distinctive placement on the bluff overlooking Natchez-Under-the-Hill. As Rosalie does not have classical columns surrounding its perimeter or three dormer windows on each side, McCrady was likely imaging a composite of the many mansions in the area, including Dunleith (which does have such columns but is further from the banks of the Mississippi).

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JOHN E. COSTIGAN (American, 1888-1972) A Break for Lunc

Lot 64138: JOHN E. COSTIGAN (American, 1888-1972) A Break for Lunc

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Description: JOHN E. COSTIGAN (American, 1888-1972) A Break for Lunch Oil on canvas board 12 x 16 inches (30.5 x 40.6 cm) Signed lower left: J.E. Costigan NA

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ARNOLD AARON FRIEDMAN (American, 1874-1946) Hand Holdin

Lot 64139: ARNOLD AARON FRIEDMAN (American, 1874-1946) Hand Holdin

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Description: ARNOLD AARON FRIEDMAN (American, 1874-1946) Hand Holding Flowers, circa 1938-42 Oil on canvas 16 x 20 inches (40.6 x 50.8 cm) Signed upper left: Friedman PROVENANCE: Private collection, Jerusalem, Israel; Salander-O'Reilly Galleries, Inc., New York, 1986 (label verso); Private collection, New York. EXHIBITED: Salander-O'Reilly Galleries, Inc., New York, "Arnold Friedman: A Major Exhibition", November-December, 1986 (label verso).

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GUY CARLETON WIGGINS (American, 1883-1962) Fifth Avenue

Lot 64140: GUY CARLETON WIGGINS (American, 1883-1962) Fifth Avenue

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Description: GUY CARLETON WIGGINS (American, 1883-1962) Fifth Avenue in Winter, circa late 1940s Oil on canvas board 12 x 9 inches (30.5 x 22.9 cm) Signed lower right: Guy Wiggins N.A. Inscribed verso: To D.S.W. / From G. / Oct 12/3 / Near Mih. . . . PROVENANCE: The artist; Private collection, gift from the above, circa late 1940s; By descent to the present owner. This lot is accompanied by a letter of authenticity from Guy A. Wiggins.

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MURRAY PERCIVAL BEWLEY (British, 1884-1964) Nude (Murei

Lot 64141: MURRAY PERCIVAL BEWLEY (British, 1884-1964) Nude (Murei

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Description: MURRAY PERCIVAL BEWLEY (British, 1884-1964) Nude (Mureille, the artist's wife), circa 1944 Oil on panel 15-1/2 x 12-1/2 inches (39.4 x 31.8 cm) (image) PROVENANCE: Estate of Mureille Bewley, wife of the artist; By descent through the artist's family to the present owner, 1989. NOTE: This painting is accompanied by a handwritten note from the artist's wife, Mureille Murray, confirming the authenticity of the work.

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EMILE ALBERT GRUPPE (American, 1896-1978) Loading the N

Lot 64142: EMILE ALBERT GRUPPE (American, 1896-1978) Loading the N

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Description: EMILE ALBERT GRUPPE (American, 1896-1978) Loading the Nets Oil on canvas 25 x 30 inches (63.5 x 76.2 cm) Signed lower right: Emile A. Gruppe PROVENANCE: Wolfard's Galleries, Rochester, New York (label verso); Private collection, Rochester, New York, purchased from the above, circa 1970s; By descent to the present owner.

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EMILE ALBERT GRUPPE (American, 1896-1978) Morning, Smit

Lot 64143: EMILE ALBERT GRUPPE (American, 1896-1978) Morning, Smit

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Description: EMILE ALBERT GRUPPE (American, 1896-1978) Morning, Smith Cove, Gloucester Oil on canvas 25 x 30 inches (63.5 x 76.2 cm) Signed lower right: Emile A. Gruppe PROVENANCE: Wolfard's Galleries, Rochester, New York. Private collection, Rochester, New York, purchased from the above, circa 1970s; By descent to the present owner.

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EMILE ALBERT GRUPPE (American, 1896-1978) Harbor Scene

Lot 64144: EMILE ALBERT GRUPPE (American, 1896-1978) Harbor Scene

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Description: EMILE ALBERT GRUPPE (American, 1896-1978) Harbor Scene Oil on canvas 30 x 25 inches (76.2 x 63.5 cm) Signed lower right: Emile A Gruppe

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DIXIE SELDEN (American, 1871-1936) Breton Harbor Scene

Lot 64145: DIXIE SELDEN (American, 1871-1936) Breton Harbor Scene

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Description: DIXIE SELDEN (American, 1871-1936) Breton Harbor Scene Oil on canvas 16 x 20 inches (40.6 x 50.8 cm) Signed lower left: Dixie Selden PROVENANCE: Olive Remington, Champaign-Urbana, Illinois; Elisabeth St. John, gift from the above, circa late 1940s; By descent to the present owner.

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MURRAY PERCIVAL BEWLEY (British, 1884-1964) Goldfish Oi

Lot 64146: MURRAY PERCIVAL BEWLEY (British, 1884-1964) Goldfish Oi

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Description: MURRAY PERCIVAL BEWLEY (British, 1884-1964) Goldfish Oil on canvas 30 x 25 inches (76.2 x 63.5 cm) Signed lower right: Murray Bewley

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IVAN GREGOROVITCH OLINSKY (American, 1878-1962) Young W

Lot 64147: IVAN GREGOROVITCH OLINSKY (American, 1878-1962) Young W

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Description: IVAN GREGOROVITCH OLINSKY (American, 1878-1962) Young Woman Reading Oil on canvas 24 x 25 inches (61.0 x 63.5 cm) Signed upper left: Ivan G. Olinsky

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HARRIET WHITNEY FRISHMUTH (American, 1880-1980) Laughin

Lot 64148: HARRIET WHITNEY FRISHMUTH (American, 1880-1980) Laughin

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Description: HARRIET WHITNEY FRISHMUTH (American, 1880-1980) Laughing Waters, 1929 Bronze with weathered green patina 15-3/4 inches (40.0 cm) high 5 x 5 inches (12.7 x 12.7 cm) base Signed and dated on bronze verso: 19 © 29 / HARRIET W. FRISHMUTH LITERATURE: J. Conner, L. Rosenblatt Lehmbeck and T. Tolles, Captured Motion: The Sculpture of Harriet Whitney Frishmuth, New York, 2006, pp. 112-115, 259 (other examples). C. Aronson, Sculptured Hyacinths, New York, 1973, pp. 183-185 (other examples).

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EDWARD DUFNER (American, 1871-1957) Summer Days, 1918 W

Lot 64149: EDWARD DUFNER (American, 1871-1957) Summer Days, 1918 W

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Description: EDWARD DUFNER (American, 1871-1957) Summer Days, 1918 Watercolor on board laid on canvas 24 x 29 inches (61.0 x 73.7 cm) Signed lower right: Edward Dufner A.N.A. PROVENANCE: The artist; [with] M.A. Newhouse & Son, St. Louis, Illinois; E.W. Hersh, Newton, Illinois, purchased from the above,1918; George Wiley, Atwood, Illinois, circa 1920; Wallace Wiley, Pasadena, California, by descent from the above; By descent to the present owner, 2004. NOTE: This painting is accompanied by a framed, 3x4-inch black and white photograph of the artwork with a signed letter from the artist dated January, 1918 that reads, "This is a photograph of my original watercolor painting, "Summer Days" sold by Messr. M.A. Newhouse & Son to Mr. E.W. Hersh. It is one of my later and very best examples in watercolor. Edward Dufner A.M.A."

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