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2013 May 11 The Williford Collection

by Heritage Auctions


99 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

99 Lots
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JULIUS L. STEWART (American, 1855-1919) Portrait of a W

Lot 64001: JULIUS L. STEWART (American, 1855-1919) Portrait of a W

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Description: JULIUS L. STEWART (American, 1855-1919) Portrait of a Woman Reading Watercolor on paper 6-1/2 x 4-1/2 inches (16.5 x 11.4 cm) Initialed lower left: JLS THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST Framer's label verso: Carpentier B. SGDC, Paris. Graham Williford was particularly fond of Belle Epoque portraiture, and one of his favorite artists working in this vein was Julius Leblanc Stewart, a wealthy American expatriate and contemporary of John Singer Sargent, who spent his career in Paris. His father, the sugar millionaire William Hood Stewart, moved the family from Philadelphia to Paris in 1865, and became a distinguished art collector and an early patron of Fortuny and the Barbizon artists. Julius studied under Eduardo Zamacois as a teenager, under Gerome at the École des Beaux Arts, and later was a pupil of Raymondo de Madrazo. Stewart's family wealth enabled him to live a lush expatriate life and paint what he pleased, often large-scale group portraits of society women in their finery. He exhibited regularly at the Paris Salon from 1878 into the early 20th century, and helped organize the Americans in Paris section of the 1894 Salon. This deftly painted watercolor of a woman reading is a testament to Stewart's skill in capturing light, texture, personality and mood. The way Stewart conveyed the effect of sunlight delicately touching the ruffled edges of the woman's white collar and glinting off the braid threaded through her coiffure is an artful match to her expression of thoughtful reverie.

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FRANCIS DAY (American, 1863-1942) The Cellist Watercolo

Lot 64002: FRANCIS DAY (American, 1863-1942) The Cellist Watercolo

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Description: FRANCIS DAY (American, 1863-1942) The Cellist Watercolor on paper 14 x 10-1/2 inches (35.6 x 26.7 cm) Signed upper right: FRANCIS DAY THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST Women making music was a theme James Francis Day regularly explored during his successful career as a genre painter and portraitist in New York, Massachusetts and New Jersey. Frequently, the women in Day's musical paintings are mothers playing the piano for their children, but occasionally they are debutantes entertaining admiring suitors with their musical accomplishments. The cello is an unusual choice for Day's musical scenes, but so is his presentation of the musician with her back is to us. Perhaps Day adopted this more modern approach to his subject because it was partially fueled by an element of modesty--since playing the cello necessitates propping it between your legs. With her beautiful upswept hair, long neck, and graceful gestures we can only guess at her facial appearance, which has added allure. Day began his art education as a very young man at the Art Students League in New York, and continued his training in Paris at the École des Beaux-Arts with Merson and Hebert. He exhibited regularly at many of the most prestigious American venues from the later 1880s through 1908, including: the National Academy of Design, Pennsylvania Academy of Fine Arts, Boston, Art Institute of Chicago and Corcoran Gallery. His productivity apparently declined after 1908 because he disappears from the exhibition records.

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JULES-ALEXANDRE GAMBA DE PREYDOUR (French, 1846-) Portr

Lot 64003: JULES-ALEXANDRE GAMBA DE PREYDOUR (French, 1846-) Portr

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Description: JULES-ALEXANDRE GAMBA DE PREYDOUR (French, 1846-) Portrait of a Lady with a Parasol Oil on canvas 13-1/2 x 10 inches (34.3 x 25.4 cm) Signed lower left: A. Gamba de Preydour THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST Parisian-born Gamba de Preydour trained under Gerome whose impeccable technique and almost photographic naturalism can be felt in full force in this remarkable portrait of a stylish Parisienne. From 1869 to 1895 the artist was a regular exhibitor at the Paris Salon, showing portraits, flowerpieces and genre scenes. Many of the latter depict landscapes in the region of Nice and the Piedmont. The museum in Chartres preserves a faithful copy by Gamba de Preydour of Raphael's Parnassus fresco.

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LÉON DABO (American, 1868-1960) Standing Woman with Fan

Lot 64004: LÉON DABO (American, 1868-1960) Standing Woman with Fan

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Description: LÉON DABO (American, 1868-1960) Standing Woman with Fan, A Study in Rose and Grey, 1906 Oil on panel 8 x 4 inches (20.3 x 10.2 cm) Initialed lower left (conjoined): LD Inscribed verso: Painted by Leon Dabo / Aug 9th 1906. / In his studio for / I. P. Lathrop THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST Tonalist painter Leon Dabo produced this highly Whistlerian work--complete with a Whistlerian style frame and a title Whistler himself would have chosen "A Study in Rose and Gray"--in 1906, the year following the event which truly launched his painting career: a solo exhibition at the National Arts Club. Following that event, prominent collector and Tonalist enthusiast William T. Evans purchased some of Dabo's paintings, which conveyed special distinction. Shortly afterwards, in 1910 and 1913, Dabo was involved with and participated in two of the major events in the American Art scene: the Independents of 1910, and the Armory Show of 1913. Over a long and distinguished career, Leon Dabo worked as an easel painter, muralist and lithographer, and in later years became an authenticator of and published writer on work by Whistler, owing to this close association with him during one period of his career. Dabo painted both in New York and France between the two world wars. He studied with some of the most influential painters of his day, notably John La Farge, Puvis de Chavannes, and James Abbott McNeill Whistler. Dabo's first teacher in New York City was John La Farge (1835-1910), whose artistic philosophy powerfully impacted the course of his art: art should embody "more than a mere representation of external appearances," and views of nature should transcend the physical and appeal to ones emotion. La Farge is also credited with introducing Dabo to flower painting, which became a favorite genre. In 1886, Dabo went to Paris where, using letters of introduction provided by La Farge, met leading artists. He studied with Daniel Vierge and Pierre Galland, and at the École des Arts Decoratifs, Academie Julian and the École des Beaux Arts. In his early years in Paris, Dabo was a protégé of the renowned painter and muralist Puvis de Chavannes (1824-1898) many of his early landscapes owe much to his mentor in muted tonality, and evoking a dreamy quiet mood. In 1888 Dabo settled in London where he associated with such artistic personalities as Whistler, Walter Sickert, George Bernard Shaw, Alvin Langdon Coburn, among others. But it was James McNeill Whistler (1834-1903) who had a profound and lasting influence on Dabo's art. He closely followed Whistler's theory of "Art for Art's sake," showing the close relationship between the soft, tonal quality of color with the careful placement of composition into decorative and harmonious elements. In the present work, the woman is subordinate to the silvery atmosphere achieved through careful color and tonal arrangements, which was the artist's actual subject. Dabo's works are owned by over forty museums in the United States and abroad. Like Whistler, Dabo adopted a monogram as his artistic signature.

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EDWIN AUSTIN ABBEY (American, 1852-1911) Portrait of Al

Lot 64005: EDWIN AUSTIN ABBEY (American, 1852-1911) Portrait of Al

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Description: EDWIN AUSTIN ABBEY (American, 1852-1911) Portrait of Alfred Parsons, R.A., 1886 Pen and ink on paper 11-1/2 x 9-1/4 inches (29.2 x 23.5 cm) Signed and dated lower right: E. A. Abbey, July 27, 1886 THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST PROVENANCE: J. P. Ballard, Reading Fine Art Gallery, Reading, England (label verso). This sensitive pen and ink portrait drawing, with its wonderful variation of line, documents an important relationship between the artist and the sitter. The American Abbey and the British Parsons were good friends, and painters as well as professional illustrators (both men worked for Harper's magazine). Abbey moved to England permanently in 1878, where he enjoyed a lucrative career illustrating great works of English literature. He and Parsons shared an apartment in London where they also maintained studios next door to one another. Both men were part of the so-called "Broadway colony" of American and British artists and writers who summered in the picturesque town of Broadway in the Cotswolds some 80 miles northwest of London. There, a lively artistic society formed around the home of American painter Frank D. Millet, and included such luminaries as Henry James, John Singer Sargent (whose portrait of Abbey is in the collection at Yale), and Edmund Gosse. The tight-knit colony fostered numerous artistic collaborations. For example, Parsons partnered with Abbey on illustrations for a book of Robert Herrick's poetry (1882), supplied illustrations for Henry James essay on Broadway (Harper's, June to November 1889), and collaborated with Frank Millet on a Danube travel book (1893). As Abbey noted of Broadway: "We have music until the house won't stand it. Sargent is going elaborately through Wagner's trilogy, recitatives and all: there are moments when it doesn't seem as if it could be meant for music, but I dare say it is. I've been painting a head. Sargent does it better than I do and quicker, but then he's younger . . . . Miss Gertrude Griswold sings to us like an angel. . . . We really do have a gay summer, pretending to work and sometimes working (for there are numberless places with easels in them to hide away in -- if you really do want to work) -- until four and then tennis until dinner time, and after dinner, dancing and music and various cheering games in the studio, but mostly dancing." Apart from his work as an illustrator, Parson enjoyed success as a landscape and flower painter. He was also a fine watercolorist and painted prolifically on a trip to Japan.

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AMERICAN SCHOOL (19th Century) Studio Interior Oil on c

Lot 64006: AMERICAN SCHOOL (19th Century) Studio Interior Oil on c

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Description: AMERICAN SCHOOL (19th Century) Studio Interior Oil on canvas 16 x 12 inches (40.6 x 30.5 cm) THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST

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ARTHUR HOEBER (American, 1854-1915) The Beach at Concar

Lot 64007: ARTHUR HOEBER (American, 1854-1915) The Beach at Concar

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Description: ARTHUR HOEBER (American, 1854-1915) The Beach at Concarneau, circa 1882-85 Oil on canvas 22 x 32 inches (55.9 x 81.3 cm) Signed lower right: ARTHUR HOEBER THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST PROVENANCE: Christie's, New York, American Paintings, Watercolors, Drawings and Sculpture, 19th/20th Centuries, March 11, 1993, lot 74; Doyle, New York, European and American Paintings, May 4, 1994, lot 11. For three (1882-1885) of the five years he studied with Gerome at the École des Beaux-Arts in Paris, New Jersey-born landscape painter Arthur Hoeber summered on the coast of Brittany at Concarneau and Pont-Aven. There, like many other young artists of his generation, Hoeber painted the picturesque shoreline and countryside. In the present work, Hoeber records one of the celebrated white sand beaches of Concarneau with a peasant boy posed in the foreground. He wears the Breton garb traditional to the fisherfolk who make their living in the tuna industry central to the economy of this major French port. Hoeber exhibited works of this type at the Paris Salons before returning to the United States, where he painted landscapes nearly exclusively. Working in a Tonalist manner (the seeds of which are present in this French effort), Hoeber focused his attention on the quiet, poetic tidal wetlands with broad skies near New York, his native Nutley, New Jersey, and Hyannisport, Massachusetts. He exhibited frequently at the Pennsylvania Academy and for many years he wrote art criticism for Harper's Weekly, The New York Times, and New York Globe, frequently noting his disapproval of modernism and avant-garde painters such as Henri Matisse.

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JAMES DAVID SMILLIE (American, 1833-1909) The Cliffs at

Lot 64008: JAMES DAVID SMILLIE (American, 1833-1909) The Cliffs at

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Description: JAMES DAVID SMILLIE (American, 1833-1909) The Cliffs at Etretat, 1884 Watercolor on paper 16 x 20 inches (40.6 x 50.8 cm) Signed, dated, and inscribed lower right: J.Smillie / Etretat / July 11 '84 THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST PROVENANCE: (possibly) Barridoff, South Portland, Maine, November 10, 1979; Christie's, New York, American Paintings, sale BEVERLY, lot 63 (label verso); Freeman's, Philadelphia, Pennsylvania, Spring Gallery Auction, April 20, 1996, lot 1072. EXHIBITED: American Water Color Society (members' exhibit form verso of housing). This beautiful watercolor records a view of the geological formations which made Etretat in Haute-Normandie, France a celebrated artists' haunt throughout the nineteenth century: the spectacular white cliffs, three natural arches, and the pointed needle which rises from the waves near the shore. The particular feature which became a favorite motif of artistic notables including Eugene Boudin, Gustave Courbet, and Claude Monet is the profile of one of the stone arches that strongly resembles the head of an elephant with its trunk dipped into the sea. The "elephant" is the centerpiece of this painting, situated at the end of the long curve which winds from the top of the cliff down to the sea. James David Smillie belonged to a notable artistic family. His father James (1807-1885) was an accomplished steel engraver with whom he collaborated until 1864. His brother was the noted landscape painter George Henry Smillie (1840-1921). Although he had a later start to his career as a landscape painter owing to his early work as a printmaker, James Smillie soon distinguished himself as an exceptional watercolorist and was co-founder of the American Water Color Society in 1866. He traveled widely in search of subject matter, and both wrote and illustrated a major work on the American landscape, Picturesque America (1872). His work is represented in many museum collections.

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CHARLES HENRY FROMUTH (American, 1861-1937) On the Sea

Lot 64009: CHARLES HENRY FROMUTH (American, 1861-1937) On the Sea

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Description: CHARLES HENRY FROMUTH (American, 1861-1937) On the Sea Coast, Brittany, April, 1892 Oil on canvas 18 x 24 inches (45.7 x 61.0 cm) Signed lower right: Chas H. Fromuth 1892. Title inscribed in ink on old paper label verso: "On the sea coast, Brittany, April" THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST Charles Henry Fromuth enjoyed a successful international career painting marines, and harbor scenes cluttered with many sails and boats. Born in Philadelphia, he trained with Thomas Eakins at the Pennsylvania Academy and then continued his artistic education in Paris, as Eakins himself had done. In Paris he was a student of Robert-Fleury and Bouguereau, and painted regularly on the Breton and Normandy coasts, both as a student and also as a mature painter. Five years after he painted this luminous view of the white sand and beach grasses near the sea in Brittany, he won a gold medal in the Munich International Exposition (1897). He died in Concarneau.

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FRENCH SCHOOL (19th Century) Path to the Sea Oil on can

Lot 64010: FRENCH SCHOOL (19th Century) Path to the Sea Oil on can

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Description: FRENCH SCHOOL (19th Century) Path to the Sea Oil on canvas 12 x 18 inches (30.5 x 45.7 cm) Largely abraded signature with a back slant in red paint lower right: Ch Co[.....] THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST The "road to" composition with its relatively high horizon line was a favorite compositional motif of French and American landscape painters from the last decades of the 19th century. This work has strong affinities with paintings by French landscapist Jean-Charles Cazin (1841-1901).

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PROSPER LOUIS SENAT (American, 1852-1925) Morning Britt

Lot 64011: PROSPER LOUIS SENAT (American, 1852-1925) Morning Britt

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Description: PROSPER LOUIS SENAT (American, 1852-1925) Morning Brittany, 1877 Oil on canvas 12 x 24 inches (30.5 x 61.0 cm) Signed and dated lower right: P.L. Senat / 1877 Title inscribed in paint on stretcher bar: "Morning - Brittany -" THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST Graham Williford had a special fondness for quiet landscapes and seascapes of this type, and maintaining an apartment in Paris as he did, he was able to scour the French auctions houses for them. Frequently, the French scenes by American painters which show up in the French auction houses are artists' early career works, like this one by Prosper Louis Senat, who was 25 years old and studying in Paris at the École des Beaux-Arts with Gerome when he painted it. Senat, who was from Germantown, Pennsylvania, became a specialist in landscape painting and watercolor, and exhibited both in the United States and Europe. He painted primarily on the East Coast but lived and painted in Pasadena, California for a five-year period, from 1905-10.

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HARRY IVES THOMPSON (American, 1840-1906) Two Cows in a

Lot 64012: HARRY IVES THOMPSON (American, 1840-1906) Two Cows in a

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Description: HARRY IVES THOMPSON (American, 1840-1906) Two Cows in a Pasture Oil on canvas 18-1/4 x 21-3/4 inches (46.4 x 55.2 cm) Signed lower left: H. Thompson THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST Connecticut-born Harry Ives Thompson was a talented painter of landscapes, pastoral subjects, and portraits whose works are characterized by a sophisticated brushwork and lightness of touch. In the present painting, a pair of cows in a brisk green landscape are rendered with a squarish brush; the short choppy brush marks follow the form of the animal to simulate the texture and many directions of the hair as it stands up on the hide. It is accomplished wet-in-wet and looks as though it was simply dashed off--effects which belie the incredible observational and painterly skill in matching color, and rendering convincing highlight and shadow on the form. The landscape and sky are created with a complex matrix of splotches, lines and dots which coalesce into the convincing confusion of looking at a field on a hazy sunny day. Thompson studied with Benjamin Coe (Frederic Church's first teacher) in 1861, exhibited at the National Academy of Design from 1877 to 1890, and painted both in England and France in addition to his native Connecticut.

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EDWIN D. CONNELL (American, 1859-1959) Summer Landscape

Lot 64013: EDWIN D. CONNELL (American, 1859-1959) Summer Landscape

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Description: EDWIN D. CONNELL (American, 1859-1959) Summer Landscape with Distant Church Oil on canvas 18 x 24 inches (45.7 x 61.0 cm) Signed lower left: Edwin D. Connell THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST PROVENANCE: Sotheby's Arcade, New York, September 14, 1989, lot 75. This handsome landscape of rural France is the work of New York-born painter Edwin D. Connell, who spent a great deal of his career in France and resided in Clamart, a suburb of Paris. After studying with Bouguereau, Robert-Fleury, and Julien Dupre, he became a specialist in landscape and animal painting, and exhibited his work at the Paris Salon, Orleans (1905), and Toulouse (1908), among others. His work is represented in the permanent collection of the Toledo Museum of Art, Toledo, Ohio.

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ELMER BOYD SMITH (Canadian-American, 1860-1943) Haycock

Lot 64014: ELMER BOYD SMITH (Canadian-American, 1860-1943) Haycock

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Description: ELMER BOYD SMITH (Canadian-American, 1860-1943) Haycocks, Brittany, France, circa 1890s Oil on canvas laid on masonite 10 x 13 inches (25.4 x 33.0 cm) THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST PROVENANCE: Sotheby Parke-Bernet, Chicago, Illinois, sale #565, June 3, 1981; Beacon Hill Fine Art, New York; Vose Galleries of Boston, Boston, Massachusetts; Sessions Hootsell American Paintings, Natchez, Mississippi (labels verso). Landscapes featuring flat newly-mown fields dotted with haystacks held particular appeal for collector Graham Williford, who grew up in Texas on his family's extensive ranchlands. He owned many examples of this motif, especially by Americans working in France, and the current auction features seven of them. This remarkable, nearly iridescent painting of two monumental haystacks is the work of Canadian-born artist, Elmer Boyd Smith, who was raised in Boston, and trained as a painter and draftsman in Paris at the Academie Julien in Paris under Boulanger and Lefebvre before eventually settling in Wilton, Connecticut. While living abroad, Smith absorbed a wide swath of influences ranging from the muted, mystery-laden palette and epic vision of French muralist Pierre Puvis de Chavannes to the dashing graphic shorthand of poster artist Henri de Toulouse-Lautrec. He based My Village (1896), the first of the more than seventy books he illustrated for adults and children, on his summer sojourns in the village of Valombre, near Paris. Like so many artists of his generation, Smith, being acutely aware of living in a time of breathtaking technological and social change, dedicated himself in part to documenting aspects of the everyday world that he knew to be on the verge of disappearing forever. Smith established himself as a book illustrator upon his return from France, working for the august Boston house, Houghton Mifflin. In early 1900, he went West sketching Indians and herders. Smith illustrated books by Andy Adams ("Log of a Cowboy") and Mary Austin ("Land of Little Rain") insuring his reputation as a western artist. Among the titles of children's books he both wrote and illustrated are: "The Story of Noah's Ark," "The Chicken World," and "Pocahontas and Captain John Smith."

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Attributed to THOMAS BUFORD METEYARD (American, 1865-19

Lot 64015: Attributed to THOMAS BUFORD METEYARD (American, 1865-19

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Description: Attributed to THOMAS BUFORD METEYARD (American, 1865-1928) Two Haystacks in a Field Oil on canvas 12-1/2 x 15-1/2 inches (31.8 x 39.4 cm) THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST PROVENANCE: Spanierman Galleries, New York (label verso). An alternate attribution to Charles Sprague Pearce has also been suggested.

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WILLIAM HENRY LIPPINCOTT (American, 1849-1920) The Poac

Lot 64016: WILLIAM HENRY LIPPINCOTT (American, 1849-1920) The Poac

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Description: WILLIAM HENRY LIPPINCOTT (American, 1849-1920) The Poachers Oil on canvas 21 x 31 inches (53.3 x 78.7 cm) Handwritten label on stretcher gives artist's own title, and name and address (typed): The Poachers / Mr. W. H. Lippincott / 1947 Broadway / City THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST PROVENANCE: Butterfield's, San Francisco, California, American & California Paintings and Sculpture, December 12, 2001, lot 5037. Born in Philadelphia, William Lippincott was a painter of interiors, portraits, landscapes, figure and genre scenes, who eventually settled in New York City and taught at the National Academy of Design, where he was instrumental in making still-life painting an important element of the curriculum. He also painted wonderful set designs for "La Boheme" and "Salambo", and worked as an illustrator. This panoramic view of a field of golden cornstalks, with crows poaching the stray kernels in the foreground, was doubtless an American view he painted in the French style not long after his return from Paris. For eight years (1874-1882) Lippincott was based there, studying under Léon Joseph Florentin Bonnat (1833-1922) at the Société de Artistes Français, and sharing an apartment with American artists Edwin Blashfield, Charles S. Pearce and Milne Ramsey. He became a regular exhibitor at the Paris Salons along with his American colleagues.

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CHARLES AUGUSTUS C. LASAR (American, 1856-1936) Pastora

Lot 64017: CHARLES AUGUSTUS C. LASAR (American, 1856-1936) Pastora

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Description: CHARLES AUGUSTUS C. LASAR (American, 1856-1936) Pastoral Landscape with Canal and Distant Haystacks, 1893 Oil on canvas 11 x 15 inches (27.9 x 38.1 cm) Signed and dated lower right: C. LASAR - 93 - THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST Lasar trained under Gerome in Paris, where he established himself as a painter and influential teacher. He attracted many students to his studio in the Montparnasse section of Paris, and also taught in Salisbury, England. Among his students were the noted painters Cecilia Beaux, Violet Oakley and Minerva Chapman.

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HAMILTON HAMILTON (American, 1847-1928) Haystacks Oil o

Lot 64018: HAMILTON HAMILTON (American, 1847-1928) Haystacks Oil o

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Description: HAMILTON HAMILTON (American, 1847-1928) Haystacks Oil on canvas 19-1/2 x 23-1/2 inches (49.5 x 59.7 cm) Signed lower left: Hamilton Hamilton N.A. THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST PROVENANCE: Shannon's Fine Art Auctioneers, Milford, Connecticut, Fine American and European Paintings, October 26, 2000, lot 51. Of Scottish descent and born in Oxford, England, Hamilton Hamilton became a renowned American landscape and portrait painter and illustrator. He traveled widely, painting landscape subjects in France, England, the American West (California), and the states of New York and Connecticut where he was one of the founders of the Silvermine Art Guild in Norwalk. He was largely self-taught and pursued his artistic talents in spite of his parents' lack of encouragement. However, in 1870, they relented and financially supported his travels to Europe, where he studied in Paris. After two years, he was forced to return home to help support his family, which he did by opening a portrait studio in 1872. The next year he made a sketching trip West to Colorado and spent much of the summer and winter there, completing forty-seven paintings, some of them shocking to viewers who perceived an indiscriminate piling on of color, likely influenced by Impressionism. Hamilton Hamilton continued painting in New York State, but his Colorado paintings stood out as something new and were chosen as entries at the 1876 Centennial Exhibition in Philadelphia. In 1878-79, Hamilton returned to France where he painted in Pont-Aven alongside artists who identified with the Barbizon School and worked directly outside. In 1881, he moved to New York City, and he rented space at Sherwood Studios on West 57th Street where his friends were Thomas Moran, Robert Blum (represented in the current auction), Winslow Homer, William Merritt Chase and Birge Harrison. By 1889, he was a full member of the National Academy of Design. This painting by Hamilton, which he signed with "N.A." [National Academician] after his name, probably dates from the 1890s although it draws upon a subject he painted often in France. The soft muted palette and rather broad application of paint are distinctive of Hamilton's mature style.

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Attributed to JOHS-BRITZE (20th Century)  Haystacks in

Lot 64019: Attributed to JOHS-BRITZE (20th Century) Haystacks in

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Description: Attributed to JOHS-BRITZE (20th Century) Haystacks in a Field Oil on canvasboard 15-1/2 x 19-1/2 inches (39.4 x 49.5 cm) Signature lower right: Johs-Britze Sketch of seated female model verso in pencil THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST

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FRANCIS (FRANK) HENRY RICHARDSON (American, 1859-1934)

Lot 64020: FRANCIS (FRANK) HENRY RICHARDSON (American, 1859-1934)

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Description: FRANCIS (FRANK) HENRY RICHARDSON (American, 1859-1934) French Landscape with Haystacks, 1889 Oil on canvas 22 x 18-1/4 inches (55.9 x 46.4 cm) Signed and dated lower left: F. H. Richardson '89 Canvas stamp verso: Paul Foixet Paris THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST PROVENANCE: Sharon Boccelli & Co., Bellows Falls, Vermont, Sixth Annual Spring Auction, Paintings and Prints, April 14, 1991, lot 32. This marvelous atmospheric French landscape painted in a true Impressionist palette is the work of Francis Henry Richardson (1857-1934), who was born in Boston and studied draftsmanship and architecture as a young man. Setting his goals on becoming a serious painter, he studied with Alice Knowlton and William Morris Hunt in Boston. In 1886, Richardson sailed to Paris to join his friends Childe Hassam and Willard Metcalf to continue his art education at the Academie Julian where he trained with Gustave Boulanger, Lucien Doucet, Jules Lefebvre, Jean Paul Laurens, and Benjamin Constant. He exhibited at the Salon in 1889, 1890, and l894-1899, receiving Honorable Mention for A Summer Evening--Etaples in 1899. During the years 1890-91, he traveled to Spain, Italy, and North Africa in the company of Colin Campbell Cooper. In Paris, his studio was in the same building with Arthur Wesley Dow and Henry Rodman Kenyon. These three would return to the United States and settle in Ipswich, Massachusetts, where Richardson taught summer school for several years.

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FREDERICK CARL SMITH (American, 1868-1955) Luxembourg G

Lot 64021: FREDERICK CARL SMITH (American, 1868-1955) Luxembourg G

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Description: FREDERICK CARL SMITH (American, 1868-1955) Luxembourg Gardens, Paris, France Oil on panel 6-1/4 x 9-1/2 inches (15.9 x 24.1 cm) Signed lower right: F. Carl Smith Inscribed by artist in upper right corner verso: Luxembourg Gallery & Gardens / Paris, France / Studio F. Carl Smith / 217 So. Oakland Ave / Pasadena Inscription verso in ink: At my death this and the companion picture to go to Miss Dorothy Connor / 526 La Loma Road / Pasadena THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST F. Carl Smith distinguished himself primarily as a portraitist in Washington, D.C. but also painted many lovely landscape and marine views both in the United States and abroad in France and Norway. He was born in Cincinnati and studied at the Cincinnati Art Academy, the Ohio Mechanics' Institute, and the Academie Julian in Paris with Bouguereau, Ferrier and Constant. In 1917 he moved to Pasadena, California and became a founding member of the Laguna Beach Art Association in 1918.

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EDWIN FRANK SCOTT (American, 1862-1929) A Gray Day in P

Lot 64022: EDWIN FRANK SCOTT (American, 1862-1929) A Gray Day in P

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Description: EDWIN FRANK SCOTT (American, 1862-1929) A Gray Day in Paris Oil on beveled panel 13-3/4 x 10-1/2 inches (34.9 x 26.7 cm) Signed lower left: Edwin Scott THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST PROVENANCE: Sotheby's Arcade, New York, September 25, 1992, lot 279. Born in Buffalo, Edwin Frank Scott lived in New York City during the 1880s before moving to Paris permanently in 1895. He studied with Alexandre Cabanel at the École des Beaux-Arts, and forged a successful career painting views of his adopted city. His exhibition record is extensive. He exhibited at the Royal Scottish Academy, 1914; Salon de la Société Nationale des Beaux-Arts, Paris; National Academy of Design, New York, 1886; Paris Salon, 1888-1889, 1891-1894, 1896-1897, 1899; Pennsylvania Academy of Fine Art, 1892-1893, 1896-1897, 1905-1911; Antwerp Exposition, 1894; Art Institute of Chicago 1894, 1896-1898, 1907, 1909 and at Carnegie Institute's International Exhibitions, 1913, 1923 1924.

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FLORENCE VINCENT ROBINSON (American, 1874-1937) Notre D

Lot 64023: FLORENCE VINCENT ROBINSON (American, 1874-1937) Notre D

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Description: FLORENCE VINCENT ROBINSON (American, 1874-1937) Notre Dame, Paris, 1912 Watercolor and pencil on paper 10-3/4 x 15 inches (27.3 x 38.1 cm) Signed lower left: Florence Robinson Dated lower right: 1912 THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST One of the hallmarks of Graham Williford's painting collection is the large number of strong works by American women artists he delighted in discovering. Many trained abroad, and frequently specialized in watercolor. One such figure was Florence Vincent Robinson, who painted urban views and landscapes in France, Italy, Northern Africa and Spain--essentially taking the traditional "women's painting medium" out of the drawing room and into the street and across national boundaries. Born in Taunton, Massachusetts, she pursued a first-rate artistic education in Paris with watercolorist Pierre Vignal, history painter Dagnan-Bouveret, and both Whistler, and Harpignies. She was a member of the Société des Aquarellistes in Paris, the Royal Society of Artists in London and the American Water Color Society, and exhibited paintings at the Paris Salon in 1899 and contributed to exhibitions held regularly at the Pennsylvania Academy of the Fine Arts and the Boston Art Club. She never married, and eventually settled in New York City. Her work is included in the permanent collections of the Museum of Fine Arts, Boston, Harvard University, the Baltimore Museum of Fine Arts and the Cleveland School of Art.

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EDMUND AUBREY HUNT (American, 1855-1922) Notre Dame de

Lot 64024: EDMUND AUBREY HUNT (American, 1855-1922) Notre Dame de

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Description: EDMUND AUBREY HUNT (American, 1855-1922) Notre Dame de Paris, 1877 Oil on canvas 12-3/4 x 18 inches (32.4 x 45.7 cm) Signed and inscribed verso: E. Aubrey Hunt/1877/Notre Dame de Paris Signed lower left: E. Aubrey Hunt THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST This view of Notre Dame de Paris from the Left Bank, complete with substantial amounts of dock activity and river traffic, looks forward to the eventual metier of its author, American marine and orientalist painter Edmund Aubrey Hunt. Born in Weymouth, Massachusetts to an old and monied family (his father made a fortune as a shoe and a fireworks merchant who invented a device for rescuing people from shipwrecks), Edmund Hunt trained in Paris under Gerome at the École des Beaux-Arts, during which time he would have produced the present view of Paris on a typical gray day. He was a passionate free spirit who had a lifelong wanderlust and an ingratiating way with people, which enabled him to meet and find close friends among a host of fascinating people throughout his life. In London, he became a distinguished member of the British art scene and close companion of Whistler who admired his work immensely, and later moved to Tangier, Morocco where he and his second wife and children lived for a decade. There he painted all manner of subjects and landscapes, and in addition to his circle of friends in the English expatriate community, he also made friends with many Moroccans including the well known bandit, El Raisuli, a rebel who was widely known as the "Sultan of the Mountains" because his hideout was in the Rif mountain range just north of the city of Tangier.

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CLARENCE MONTFORT GIHON (American, 1871-1929) Town Over

Lot 64025: CLARENCE MONTFORT GIHON (American, 1871-1929) Town Over

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Description: CLARENCE MONTFORT GIHON (American, 1871-1929) Town Overlooking a Lake Oil on board 7-1/2 x 9 inches (19.1 x 22.9 cm) Signed lower right: G.M. Gihon THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST Philadelphia-born Clarence Gihon was an American expatriate who made Paris his home for 35 years after training with William Merritt Chase, Kenyon Cox, Henri Laurens, and Benjamin Constant. Adopting a post-impressionist manner, he specialized in landscape views which usually featured towns glimpsed across a body of water filled with dazzling reflections. He exhibited at the Paris Salons, the Art Institute of Chicago, and the Pennsylvania Academy. He died in Dax, Landes in southwestern France, an important spa town since Roman times, which is possibly the subject of this work.

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WALTER GAY (American, 1856-1937) Sweet Peas Oil on blac

Lot 64026: WALTER GAY (American, 1856-1937) Sweet Peas Oil on blac

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Description: WALTER GAY (American, 1856-1937) Sweet Peas Oil on black lacquered wooden panel 17-1/4 x 6-1/2 inches (43.8 x 16.5 cm) Signed lower right: Walter Gay THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST Graham Williford loved the work of Walter Gay, an American expatriate painter who lived in France for most of his life. He is well known for two subjects: interior scenes of elegant eighteenth-century French buildings (usually the Gays' own or those of their friends), and still lifes in emulation of the Japanese manner. The present painting is a fine example of Gay's approach to the latter which was to isolate a spray of flowers without a vase against a black lacquered ground that is tall and attenuated like the panel of a Japanese screen. The artist presents just a few sprigs of sweet peas in various stages of bloom from almost pure white, to delicate pink, to a much deeper pink as the blossoms open fully and begin to age. In Gays' work there is almost a poetic whiff of time passing. Gay was married to a wealthy woman whose fortune afforded the couple a lavish expatriate lifestyle in France. With a retinue of about twenty servants, Walter and Matilda Gay maintained two French residences: an eighteenth-century apartment on the Left Bank in Paris where they lived from January through April, and a chateau in the countryside at le Breau, near Fontainebleau, which became quite a showplace and where they entertained extensively. There they had 300 acres of grounds to roam. However, during World War II, when Matilda was living there as a widow, German soldiers occupied the chateau, ruining much of the structure. She was virtually a prisoner there, and the chateau was torn down in 1971.

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ROBERT FREDERICK BLUM (American, 1857-1903) Portrait of

Lot 64027: ROBERT FREDERICK BLUM (American, 1857-1903) Portrait of

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Description: ROBERT FREDERICK BLUM (American, 1857-1903) Portrait of a Japanese Woman Watercolor and pencil on paper 11 x 7 inches (27.9 x 17.8 cm) Signed lower left: Blum THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST A visit to the Japanese Pavilion at the Philadelphia Centennial Exhibition of 1876 stirred Cincinnati-born painter-illustrator Robert Blum's early interest in Japanese art, and he later became one of the earliest American artists to travel to Japan. In 1890 he received an assignment from Scribner's Magazine which took him there, and he spent two years working in a variety of media and creating a group of evocative portraits of women in pastel. He also kept a diary and wrote a three-part magazine article about the experience. Blum moved in the most progressive art circles of his day counting amount his friends and mentors Frank Duveneck, James Whistler, and William Merritt Chase.

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ROBERT WILTON LOCKWOOD (American, 1861-1914) Still Life

Lot 64028: ROBERT WILTON LOCKWOOD (American, 1861-1914) Still Life

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Description: ROBERT WILTON LOCKWOOD (American, 1861-1914) Still Life of Pink and White Chrysanthemums, 1888 Oil on canvas 17-1/2 x 23-3/4 inches (44.5 x 60.3 cm) Signed, inscribed and dated lower right: R. Wilton Lockwood / Paris 1888 THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST During the early 1880s, when he in his early 20s, Robert Lockwood trained as a painter and stained glass designer in New York City with John LaFarge, painting flowerpieces that were influenced by the Japanese aesthetic which LaFarge embraced. This spray of chrysanthemums which he produced in Paris a few years later is an interesting combination of a Victorian palette and oriental features such as decorative negative space, a high horizon line, a truncated motif and, of course, the flower itself. With letters of introduction from LaFarge, Lockwood continued his education in Paris, and then subsequently studied at the Munich academy. He became a member of the National Academy of Design and distinguished himself both as a portraitist and flower painter.

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ROBERT REID (American, 1862-1929) Forest Brook Oil on c

Lot 64029: ROBERT REID (American, 1862-1929) Forest Brook Oil on c

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Description: ROBERT REID (American, 1862-1929) Forest Brook Oil on canvas 25 x 30 inches (63.5 x 76.2 cm) Signed lower left: R. Reid THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST Robert Reid was an early practitioner of the Impressionist technique in the United States. After training at the Academie Julian in Paris, Reid became one of the founding members of the Ten American Painters, a group of Impressionists who rebelled against traditionalism and exhibited together for twenty years. Forest Brook is an outstanding example of Reid's most daring work as a landscape painter, so ethereal in its high-hues, values and little contrast of lights and darks that it most resembles a faint Japanese brush painting rendered with the most delicate tonal washes. Indeed, the evocative quality of near-values was something that Reid and his compatriot John Twachtman pushed much further than many other American artists in their paintings. As a fan of Tonalism, Graham Williford had tremendous appreciation for this approach to landscape.

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WALTER SHIRLAW (American, 1838-1909) By the Fire, 1876

Lot 64030: WALTER SHIRLAW (American, 1838-1909) By the Fire, 1876

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Description: WALTER SHIRLAW (American, 1838-1909) By the Fire, 1876 Oil on board 18-1/2 x 15-3/4 inches (47.0 x 40.0 cm) Signed and dated lower left: WShirlaw / 76 THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST While Graham Williford's collection is particularly strong in American expatriate painting, and notably work produced by Americans who sought training in France, it also contains a substantial body of work by American artists who were trained at the Royal Academy in Munich. One of the early figures in the history of the Art Students League in New York--which became something of a bastion of German-trained faculty members in its early years--was Walter Shirlaw. Although born in Paisley, Scotland, he came to the United States at the age of three and fashioned an impressive artistic career for himself here. He became a painter who explored the American West as a special agent to survey the Indian tribes in Montana and Wyoming. He also earned much respect in the East for his teaching and multi-talented abilities as a painter of genre, portraits, murals and as an illustrator, engraver, and etcher. In 1870, he took his earnings from working as a bank note engraver in Chicago and went to Munich until 1877, mastering the Munich style of which he was an early proponent in America. The present work of two men by the fire, with its low-keyed, dark palette, combined with bold, virtuoso brushwork and realist subject matter was one of Shirlaw's Munich-period efforts. Indeed, he painted it the same year he produced one of his most important pictures, Sheep Shearing in the Bavarian Highlands, which he exhibited at the National Academy upon his return to America in 1877; in 1878, it won an Honorable Mention in Paris.

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FREDERICK PORTER VINTON (American, 1846-1911) Portrait

Lot 64031: FREDERICK PORTER VINTON (American, 1846-1911) Portrait

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Description: FREDERICK PORTER VINTON (American, 1846-1911) Portrait of a Gentleman Oil on canvas laid on cradled masonite panel 29 x 23 inches (73.7 x 58.4 cm) Signed indistinctly upper left THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST Portrait and landscape painter Frederick Porter Vinton was born in Bangor, Maine and grew up in Chicago. He moved to Boston in 1861, where he spent most of his adult life. While working as a bookkeeper he studied art under William Rimmer at the Lowell Institute. He opened a portrait studio in Boston during the 1870s, and after enjoying some success was able to travel abroad in Europe for eighteen months through Holland, France, and Germany. In 1876, he spent a year in at the Royal Academy in Munich, and there befriended painter Frank Duveneck, whose teachings had a profound impact on his style. In 1882 he traveled to Spain with Robert Blum and William Merritt Chase. The three artists spent time in Toledo and Madrid, where Vinton was deeply affected by the paintings of Velazquez. The rich blacks characterizing the present work strongly suggest that the portrait dates from the period just following Vinton's training in Munich and his exposure to Velazquez.

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JOSEPH FRANK CURRIER (American, 1843-1909) Canal at Dac

Lot 64032: JOSEPH FRANK CURRIER (American, 1843-1909) Canal at Dac

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Description: JOSEPH FRANK CURRIER (American, 1843-1909) Canal at Dachau (Canal in Bavaria), circa 1890s Oil on canvas 22 x 35 inches (55.9 x 88.9 cm) Signed lower right: Frank Currier Inscribed on old label affixed to stretcher bar: Canal in Bavaria THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST PROVENANCE: Alfred Juergens, 213 So. Grove Ave, Oak Park, IL (possibly first owner); Victor Spark, 1966 (labels verso). EXHIBITED: Cincinnati Art Museum, Cincinnati, Ohio, "American Painters on the Market - 1966"; E. B. Crocker Art Gallery, Sacramento, California (L78.95), loan? (labels verso). A proponent of the Munich style of bold, slashing brush-work, and strong chiaroscuro seen in this powerful landscape, Joseph Frank Currier was from Boston, Massachusetts but from 1870 to 1898, spent most of his time living in Germany. He became a leader of an American art colony, which had begun as followers of Cincinnati painter Frank Duveneck. Previous to that, Currier studied in Antwerp and Paris and then settled in Munich after the outbreak of the Franco-Prussian War. Pastel was a medium he particularly favored for its expressive potential.

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JOSEPH FRANK CURRIER (American, 1843-1909) Trees by a V

Lot 64033: JOSEPH FRANK CURRIER (American, 1843-1909) Trees by a V

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Description: JOSEPH FRANK CURRIER (American, 1843-1909) Trees by a Village Pastel on paper 6-3/4 x 13-3/4 inches (17.1 x 34.9 cm) Initialed lower right: JFC THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST

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FRANK HECTOR TOMPKINS (American, 1847-1922) Child Picki

Lot 64034: FRANK HECTOR TOMPKINS (American, 1847-1922) Child Picki

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Description: FRANK HECTOR TOMPKINS (American, 1847-1922) Child Picking Flowers, 1884 Oil on canvas 23-1/2 x 17-3/4 inches (59.7 x 45.1 cm) Signed, dated, and inscribed lower left: F.H. Tompkins Munich 84 THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST Born in Hector, New York, Frank Hector Tompkins became a well-known painter of genre scenes and landscapes which generally feature prominent animals or figures, as in the present work. After training initially at the Art Students League in New York and the Cincinnati School of Design, Tompkins went to Munich where he studied at the Royal Academy under noted animalier Ludwig von Lofftz. This scene of a girl picking flowers in a very freely painted field of dappled light, which Tompkins produced in Munich, is a fine example of his style which blended academicism with a quasi-impressionist attention to form-dissolving effects of light. He eventually settled and made a career in Boston, where he belonged to the Boston Art Club. He exhibited regularly at the National Academy of Design.

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ROSS STERLING TURNER (American, 1847-1915) Bouquet of R

Lot 64035: ROSS STERLING TURNER (American, 1847-1915) Bouquet of R

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Description: ROSS STERLING TURNER (American, 1847-1915) Bouquet of Roses, 1879 Oil on canvas 16-3/4 x 21-1/2 inches (42.5 x 54.6 cm) Signed, dated, and inscribed lower right: Ross Turner / Venice 79 THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST Graham Williford had a special fondness for the exuberant work of Ross Sterling Turner, who was born in Westport, New York, established himself in Boston, Massachusetts, and received his artistic training in Europe. In 1876, Turner went initially to Paris and then to study at the Munich Academy, where he met fellow Americans William Merritt Chase and Frank Duveneck. Like them, Turner developed a thick, painterly style associated with the Munich style that can be felt in this still life he painted a few years later in Venice. He became close friends with Constantin Bolonachi, a Greek painter whose marine subject matter would influence Turner's work. About 1879, Turner traveled to Florence, Rome and Venice to study the Old Masters, and in Italy his work became increasingly concerned with the effects of light and color, as is fully evident in this jewel-hued still life he created in Venice-the city traditionally associated with the primacy of color over line. Indeed in the rich crimsons and vermilions it is hard not to see the influence of Titian, Veronese and Tintoretto.

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R.D. RICHARDSON (American, 19th Century) Still Life of

Lot 64036: R.D. RICHARDSON (American, 19th Century) Still Life of

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Description: R.D. RICHARDSON (American, 19th Century) Still Life of Lobster Oil on canvas 12 x 15 inches (30.5 x 38.1 cm) Signed lower right: R.D. Richardson THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST The artist R. D. Richardson is not recorded in the literature. Both the style and presentation of the subject of this still life against a deep dark background have affinities with traditional Dutch and Flemish still life painting of the 17th century, as well as work produced in the German academies of the 19th century.

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EDWARD BRIGHT BRUCE (American, 1879-1943) Landscape of

Lot 64037: EDWARD BRIGHT BRUCE (American, 1879-1943) Landscape of

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Description: EDWARD BRIGHT BRUCE (American, 1879-1943) Landscape of Provence, circa 1929 Oil on canvas on cradled panel 21 x 31-1/2 inches (53.3 x 80.0 cm) Signed lower right: Edward Bruce Titled and signed by artist on label on verso of frame THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST EXHIBITED: The Corcoran Gallery of Arts, Washington, D.C., "Twelfth Exhibition of Contemporary American Oil Paintings," 1930-31, (lent by Reinhardt Galleries, New York) (label verso). NOTE: The painting retains its original frame. Edward Bruce was a successful lawyer and businessman before pursuing a career in art. Born in Dover Plains, New York, he began painting landscapes at age 14 but did not pursue that talent until after he had gotten a law degree from Columbia Law School in 1904, practiced law in New York and Manila, and then went into foreign trade in the Far East. He also became president of the Pacific Development Corporation of California. In his 30s he went to Italy for six years of art study with the American painter Maurice Sterne, and upon his return to the United States in 1929, he was nationally recognized for his paintings. In 1929, he and his wife settled in California, living in Carmel, San Francisco, and Santa Barbara. He was active there until 1933 when he returned to the East to became an organizer in Washington DC of the Public Works of Art Project under the New Deal. The following year he was tapped to direct a longer-lived mural program administered by the Treasury Department. Bruce was also a collector of Chinese paintings and sculpture, and his collection forms a prestigious part of the Fogg Art Museum. The present work depicting the landscape of Provence, which Cezanne had memorialized in many canvases a generation earlier, was probably painted toward the end of Bruce's study with Sterne in Europe, around 1929.

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Attributed to FERNANDO GARRIDO (Spanish, 1821-1883) Mou

Lot 64038: Attributed to FERNANDO GARRIDO (Spanish, 1821-1883) Mou

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Description: Attributed to FERNANDO GARRIDO (Spanish, 1821-1883) Mountain Landscape with a Dam, circa 1870s Oil on canvas 12 x 20-1/4 inches (30.5 x 51.4 cm) Signed lower left: F. de B. Garride THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST

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WALTER BLACKMAN (American, 1847-1928) Sailing on Calm W

Lot 64039: WALTER BLACKMAN (American, 1847-1928) Sailing on Calm W

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Description: WALTER BLACKMAN (American, 1847-1928) Sailing on Calm Waters , 1883 Oil on panel 14 x 25 inches (35.6 x 63.5 cm) Signed and inscribed lower left: To my Friend G. W. Chambers / Walter Blackman '83 THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST PROVENANCE: Sotheby's Arcade, New York, American Paintings, Drawings and Sculpture, March 20, 1996. lot 64 (label with no. 64 verso). Blackman dedicated this marine painting, most probably a scene on the Venetian lagoon which was a favorite motif, to the American painter George W. Chambers (1857-1897). Like the younger Chambers, Blackman received his early academic training under Jean-Leon Gerome in Paris.

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SUSAN HINCKLEY GREENOUGH BRADLEY (American, 1851-1929)

Lot 64040: SUSAN HINCKLEY GREENOUGH BRADLEY (American, 1851-1929)

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Description: SUSAN HINCKLEY GREENOUGH BRADLEY (American, 1851-1929) Italian landscape with Castle Watercolor on paper 9-1/2 x 15-1/2 inches (24.1 x 39.4 cm) Signed lower left: Susan H. Bradley THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST PROVENANCE: Phillips sale #564, lot 647 (sticker lower right corner of glass) Susan Bradley was a Boston watercolorist and sister of the noted artist Robert Hinckley. She trained at the Boston Museum School with Frederic Crowninshield, at the Pennsylvania Academy of the Fine Arts in Philadelphia, and with a host of other talents including Abbott Thayer, William Merritt Chase, John Twachtman, and notably Edward Darley Boit in Rome, during which time she may, in fact, have painted this Italian landscape. She traveled widely in search of picturesque landscape subjects, and belonged to many professional watercolor associations.

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FRENCH SCHOOL (Late 19th-Early 20th Century) On the Sho

Lot 64041: FRENCH SCHOOL (Late 19th-Early 20th Century) On the Sho

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Description: FRENCH SCHOOL (Late 19th-Early 20th Century) On the Shore Oil on canvas 10 x 19 inches (25.4 x 48.3 cm) Possible vestiges of a signature at lower left THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST

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JUNIUS RALSTON SLOAN (American, 1827-1900) Hudson River

Lot 64042: JUNIUS RALSTON SLOAN (American, 1827-1900) Hudson River

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Description: JUNIUS RALSTON SLOAN (American, 1827-1900) Hudson River Landscape in Autumn, 1871 Oil on board 4-3/4 x 7-1/2 inches (12.1 x 19.1 cm) Signed and dated twice one on top of the other at lower left: JRS 1871 and JRS 77 THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST

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HUDSON RIVER SCHOOL (American, 19th Century) On the Hud

Lot 64043: HUDSON RIVER SCHOOL (American, 19th Century) On the Hud

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Description: HUDSON RIVER SCHOOL (American, 19th Century) On the Hudson Oil on artists' board 6 x 8 inches (15.2 x 20.3 cm) Titled verso: On the Hudson THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST

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AMERICAN SCHOOL (19th Century) Forest Fire, circa 1870-

Lot 64044: AMERICAN SCHOOL (19th Century) Forest Fire, circa 1870-

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Description: AMERICAN SCHOOL (19th Century) Forest Fire, circa 1870-80 Oil on panel 6 x 11 inches (15.2 x 27.9 cm) THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST

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WALTER GILMAN PAGE (American, 1862-1934) Mount Monadnoc

Lot 64045: WALTER GILMAN PAGE (American, 1862-1934) Mount Monadnoc

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Description: WALTER GILMAN PAGE (American, 1862-1934) Mount Monadnock Oil on panel 7-1/4 x 17-1/2 inches (18.4 x 44.5 cm) THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST PROVENANCE: Mrs. Pe[.]sis Harvey (label verso). A painter of portraits, landscapes, and still life, Page worked in Boston, Nantucket, and Paris.

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MARION BOYD ALLEN (American, 1862-1941) Camp on Mount W

Lot 64046: MARION BOYD ALLEN (American, 1862-1941) Camp on Mount W

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Description: MARION BOYD ALLEN (American, 1862-1941) Camp on Mount Washington, 1907 Oil on canvas 14 x 12 inches (35.6 x 30.5 cm) Signed in full lower right: Marion Boyd Allen Initialed in red paint and dated on turned back canvas edge lower right: MBA '07 THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST PROVENANCE: Jeffrey R. Brown Fine Arts, Inc., Boston, Massachusetts, 1982 (label verso). Born in Boston, Massachusetts, Marion Allen was a prolific New England painter of portraits and landscapes, but did not begin landscape painting until later in her career. She was a pupil of Edmund Tarbell and Frank Weston Benson at the School of The Boston Museum of Fine Arts, and in all genres of her work she maintained the remarkably soft, atmospheric quality that distinguishes the work of the Boston School artists. Allen exhibited at the National Academy of Design, Pennsylvania Academy of Fine Arts, Art Institute of Chicago, and the École des Beaux Arts in Paris. In 1925, at the age of sixty-three, she left her Boston studio to make the first of many trips West to California, Washington and Oregon, and it was in these locations that she added landscape painting to her subject matter. She scaled mountains, lived in isolated cabins such as the one depicted in the present work, and experienced numerous hardships and daredevil adventures to capture special vantage points in her landscapes. Spending ten summers in Arizona ending in 1936, she painted the Grand Canyon and other scenery, but her reputation in the West remains primarily with portraits she did of members of the Indian tribes.

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LOUIS LOEB (American, 1866-1909) Pastoral Landscape Oil

Lot 64047: LOUIS LOEB (American, 1866-1909) Pastoral Landscape Oil

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Description: LOUIS LOEB (American, 1866-1909) Pastoral Landscape Oil on beveled panel 10 x 13-1/4 inches (25.4 x 33.7 cm) Signed lower right: LOUIS LOEB THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST Painter, illustrator, and lithographer Louis Loeb was born in Cleveland, Ohio, the son of a Jewish dry-goods merchant. At the age of 14 he went to work at a major Cleveland lithographic firm and drew in the evenings with the Cleveland Sketch Club. In 1885 he joined a New York lithography house and took evening courses at the Art Students League. By 1889 he abandoned lithographic work for good and went to Paris for three years where he studied painting under Lefebvre, Constant and Gerome. Upon his return to New York he joined the staff of the Century, for whom he illustrated stories by Mark Twain and other notables. He was able to travel frequently between New York and Europe owing to assignments for the Century until about 1900. As a fine artist he painted landscapes, often featuring elegant clusters of prominent trees, as in the present work. He died in Canterbury, New Hampshire.

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ALBERT FITCH BELLOWS (American, 1829-1883) Lake Scene w

Lot 64048: ALBERT FITCH BELLOWS (American, 1829-1883) Lake Scene w

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Description: ALBERT FITCH BELLOWS (American, 1829-1883) Lake Scene with Fisherman, 1864 Oil on canvas 12 x 9 inches (30.5 x 22.9 cm) Signed and dated lower left: A.F. Bellows / 1864 THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST This tranquil view of a river with figures is a fine example of the work of Hudson River landscapist Albert Fitch Bellows. Born in Milford, Massachusetts, he honed his skills in Paris, at the Royal Academy in Antwerp, and in England. He settled in New York City in 1858, painted in the Tenth Street Studio building, and became a full member of the National Academy of Design in 1861. In comparison with other later Hudson River School painters, Bellows depicted people more prominently in his landscapes, painted extensively in watercolor, and like Samuel Colman, mastered etching. He also favored an arch-topped format for his vertical landscapes, which in their meticulous technique, have affinities with the work of the American Pre-Raphaelites. NOTE: A related work from the Williford collection, also with a rounded top and dam in the foreground, sold through these rooms Tuesday, May 15, 2012, lot 64444 in the Signature American & European Art Auction.

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DEWITT CLINTON BOUTELLE (American, 1820-1884) Extensive

Lot 64049: DEWITT CLINTON BOUTELLE (American, 1820-1884) Extensive

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Description: DEWITT CLINTON BOUTELLE (American, 1820-1884) Extensive Landscape with Broad Valley and Distant Mountains Oil on canvas 11-5/8 x 15-5/8 inches (29.5 x 39.7 cm) An inscription on the back of the new lining, copied from that which appeared on the original canvas reads: Prepared by Edwd Dechaux, New York / photographed. THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST Itinerant landscape painter, DeWitt Clinton Boutelle, was born in Troy, New York, and likely named for New York Governor De Witt Clinton (1769-1828), who was honored with many namesakes because of his crucial role in the 1825 completion of the Erie Canal. Early in his career, he lived and painted both portraits and landscapes in New York City. Ultimately it was the work of Thomas Cole and Asher Durand which inspired him to paint in the Hudson River Valley, where his subjects included Niagara Falls and the Catskill Mountains. Boutelle's admiration of Cole led him to paint a full-scale copy of Cole's painting Voyage of Life. In 1855 he left New York for Philadelphia, and then settled for the remainder of his life in Bethlehem, Pennsylvania. He moved there at the invitation of Samuel Wetherill, an art collector and wealthy industrialist, around whom there assembled a group of landscape painters. The present work shows the level of accomplishment Boutelle was able to achieve as a mature painter. He became a National Academician in 1851, and exhibited regularly with the Academy as well as at the Pennsylvania Academy of the Fine Arts, the Boston Athenaeum, and the Washington Art Association.

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STANFORD WHITE (American, 1853-1906) Shawangunk Ridge,

Lot 64050: STANFORD WHITE (American, 1853-1906) Shawangunk Ridge,

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Description: STANFORD WHITE (American, 1853-1906) Shawangunk Ridge, Newburgh, New York Watercolor and pencil on paper 7 x 13-1/2 inches (17.8 x 34.3 cm) Inscribed in pencil lower right: Shawangunk Ridge /To Mr ? Hill, Newburgh / With? on the horizon THE JEAN AND GRAHAM DEVOE WILLIFORD CHARITABLE TRUST PROVENANCE: David Galleries, New York (labels verso); John Torson (name inscribed verso as possible former owner). EXHIBITED: St. Paul Art Center, February 1964. Celebrated American architect Stanford White, partner in the Beaux-Arts architectural firm of McKim, Mead & White which designed magnificent houses for the rich and famous as well as numerous public buildings during the late 19th century, was an accomplished and agile watercolorist. On his travels he routinely recorded in sketches and water media landscapes, interesting architectural views, and cityscapes. The present work records a view of Shawangunk Ridge,the northern end of a long ridge within the Appalachian Mountains that begins in Virginia, where it is called North Mountain, continues through Pennsylvania as Blue Mountain, becomes known as the Kittatinny Mountains after it crosses the Delaware Water Gap into New Jersey, and becomes the Shawangunks at the New York state line. These mountains mark the western and northern edge of the Great Appalachian Valley. The ridge's unusual name seems to derive from a Dutch intransitive verb meaning, "It is smoky air," which may refer to the atmospheric conditions which build up above and around it, or alternately to an old fort which was once in the vicinity. Stanford White's nearly impenetrable handwriting may be referencing something about weather conditions on the horizon.

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