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Session II- Paintings, Works on Paper, Bronzes, and Books

by Copley Fine Art Auctions


227 lots | 191 with images

July 31, 2013

Live Auction
227 Lots
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Black Lab

Lot 428: Black Lab

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Description: edition # 1 of 24

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Pointers

Lot 429: Pointers

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Description: Pointers

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Widgeon

Lot 430: Widgeon

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Description: Widgeon

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Twelve Wedgewood Plates

Lot 431: Twelve Wedgewood Plates

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Description: A dozen ten and one-half-inch-diameter Wedgewood, Made in England, plates. Each is from "The American Sporting Dog Plates" series designed by Marguerite Kirmse.

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Captain Billy's Rig

Lot 432: Captain Billy's Rig

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Description: Captain Billy's Rig

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Carolina Days

Lot 433: Carolina Days

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Description: inscribed "Carolina Days" lower left

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Bevy of Beauties

Lot 434: Bevy of Beauties

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Description: Bevy of Beauties

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Quail in Wheat

Lot 435: Quail in Wheat

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Description: Quail in Wheat

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Four Quail

Lot 436: Four Quail

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Description: Four Quail

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Family of Quail

Lot 437: Family of Quail

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Description: Family of Quail

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Quail

Lot 438: Quail

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Description: Quail

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Hanging Quail

Lot 439: Hanging Quail

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Description: Hanging Quail

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Quail Pair

Lot 440: Quail Pair

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Description: Quail Pair

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Snakefoot

Lot 441: Snakefoot

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Description: edition # 21 of 50

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Elhew Dog

Lot 442: Elhew Dog

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Description: Elhew Dog

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Quail Pair

Lot 443: Quail Pair

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Description: Luke Frazier (b. 1970) Quail Pair, 2013 signed "L. Frazier" lower left oil on board, 9 by 12 in.

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Lily Pads: Frog

Lot 444: Lily Pads: Frog

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Description: Lily Pads: Frog

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I Missed Mine to the Left

Lot 444A: I Missed Mine to the Left

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Description: inscribed "Pheasant and Quail at Robins Island" and "I Missed Mine to the Left" lower center stamped "copyright, 1897, Harper & Brothers" lower left There lies the charm of Robins Island. You are one day in New York City. That night you are hugging a big fire in the clubhouse far away in the country with the conscientious feeling of having finished a day's work in town before leaving. Next morning you are on the uplands or in the marshes bringing down wild birds and making wild shots, but never waiting long for another chance. And by noon you having your limit, which is a generous one, with plenty of time left to reach New York that evening and tell the family all about the day before bedtime. This is the sport of civilization, and the men of Robins Island have solved the difficult problem of bringing the free open air, the wild life of the woods and sea, with sport as thorough of its kind as can be found anywhere, into such close proximity to work and home and duty that the whole thing can be done in less than thirty-six hours. -"Fur and Feather Tales" Born in Philadelphia in 1851, A. B. Frost is considered one of the great illustrators of the "Golden Age of American Illustration." In his lifetime he illustrated more than ninety books, such as "Tom Sawyer," "Uncle Remus," and "Mr. Dooley," and produced thousands of works for "Scribner's," "Life," and "Harper's Weekly." Frost was an ardent sportsman who spent his summers fishing, rowing, and hunting. He completed hundreds of watercolors and oils of the New Jersey seaside and is probably best known for his hunting and shooting prints that capture the drama of sport in realistically detailed landscapes. The setting of this work is Robins Island, which is comprised of 435 acres and is located between the north and south forks of Long Island. Commonly referred to as the "Jewel of the Peconic," the land has been protected by a conservation easement since 1993. With tight, crisp brushwork and perfect proportions, "I Missed Mine to the Left" captures the most exciting parts of bird hunting. The hunters have witnessed their dogs work, the birds have flushed, and the guns are raised and fired! With its expertly rendered figures and dogs this important sporting work is a classic Frost in the truest sense.

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Quail Shooting

Lot 445: Quail Shooting

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Description: Ogden Minton Pleissner was born in Brooklyn, New York and studied figure painting and portraiture with Frank DuMond (1865-1951) and Frederick J. Boston (1855-1932) at Manhattan's Art Students League. Despite growing up in the City, Pleissner was attracted to the outdoors and as a teen he visited dude ranches in Wyoming, where he sketched from life. His love for the West only blossomed with the passing of years, and in the mid 1920s he went on several trips back out West, armed with his sketchbook, pencils and paints. In later years, Pleissner and his first wife, Mary, were regular guests at the C-M Ranch in Dubois, Wyoming. While Pleissner's subjects range from the landscapes of Europe to salmon fishing in Quebec, his style is informed by the classical traditions. He is quoted as saying, "A fine painting is not just the subject...It is the feeling conveyed of form, bulk, space, dimensionality, and sensitivity. The mood of the picture, that is most important."In 1932 one of Pleissner's paintings was purchased by the Metropolitan Museum of Art, making him the youngest artist in their collection. During World War II he became a correspondent for Life magazine, which helped his work achieve widespread recognition. Pleissner's art is included in more than thirty public collections, including the Whitney Museum of American Art, the Philadelphia Museum of Art, the Brooklyn Museum, the Minneapolis Institute of Arts, and hangs in the offices of the Pentagon, West Point, and the Air Force Academy.This work was commissioned by Clifford L. Fitzgerald, Jr. around 1960, and depicts him hunting with Robert Ireland on Norias Plantation in Leon County, Florida. The land, which was first owned by Colonel Lewis S. Thompson, was sold to former New Jersey Governor Walter E. Edge, who shared the property with his friend Walter C. Teagle, chairman of the Standard Oil Company in New Jersey. Although the plantation was located in Florida, its name came from a railroad stop in Texas, where the two had hunted previously. In 1962, Fitzgerald, an advertising executive from New York City, split the land with Robert Livingston Ireland, Jr., an executive at the M.A. Hanna Company.

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A Shot at the River Crossing

Lot 446: A Shot at the River Crossing

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Description: "A large number of the fishing and shooting fraternity are awfully nice people who love to travel and enjoy the outdoors. They are conservationists and like to be out and see the game and the country. They're damn fine people, I have found, and they and their bird dogs make very good friends." - Ogden M. Pleissner

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Angling for Salmon

Lot 447: Angling for Salmon

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Description: "I did a great many fishing pictures, and there were a lot of people who had salmon rivers and fishing camps who liked my work and who would ask me to come up and paint something on their river...I think a lot of these people would ask me to come back because I knew one end of a salmon rod from the other and I wasn't a dummy at fly fishing." - Ogden M. Pleissner

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June Fishing

Lot 448: June Fishing

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Description: Even though Ogden Pleissner hailed from Manchester, Vermont, the home of the American Fly Fishing Museum, the majority of his angling scenes depict western trout fishing and Atlantic Salmon fishing.This tranquil eastern trout fishing scene is quintessential Pleissner. The workshows an accomplished angler captured in the act on netting a nice trout. Belyingthe difficulty of working in the watercolor medium he has expertly fused together the sharply contrasting elements of water, rock, pasture land, and sky creating a stunning composition.This highly accomplished work features a subject that any serious fly fishing troutangler can appreciate. Pleissner uses a subject highly familiar to him that perfectly captures his painting ethos: "A fine painting is not just the subject.....It is the feeling conveyed of form, bulk, space, dimensionality, and sensitivity. The mood of the picture, that is most important."

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Wood Duck and Pintail

Lot 449: Wood Duck and Pintail

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Description: Wood Duck and Pintail

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A Line of Shovelers on a Shallow Pond

Lot 450: A Line of Shovelers on a Shallow Pond

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Description: A Line of Shovelers on a Shallow Pond

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Under the Cuffs at Crooked Lakes

Lot 451: Under the Cuffs at Crooked Lakes

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Description: inscribed "illustration Canoe Country p. 24 given to us by Francis Lee Jaques" on back

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Canada Geese Coming In

Lot 452: Canada Geese Coming In

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Description: Canada Geese Coming In

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Old Tom

Lot 453: Old Tom

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Description: Paff #246 edition of 150

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Old Squaws No. 2

Lot 454: Old Squaws No. 2

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Description: Paff # 144, edition of 136

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Shoveller Drake

Lot 455: Shoveller Drake

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Description: Paff # 183, edition of 150

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Rain Squall

Lot 456: Rain Squall

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Description: Paff # 317, edition of 150

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Lone Pintail

Lot 457: Lone Pintail

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Description: Paff # 303, edition of 150

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Mallards Rising

Lot 458: Mallards Rising

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Description: Lynn Bogue Hunt was born in rural Honeoye Falls, New York, into a family that ran a small sawmill operation. He grew up with modest means, but spent hours outside exploring the natural surroundings in the woods near his home. He often collected birds and practiced taxidermy, a hobby that led to his accurate portrayal of his wildlife subjects. Hunt contributed illustrations to his own articles, as well as cover illustrations to magazines such as "Field & Stream," "Sports Afield," and "Free Press." In his lifetime he painted for private collectors and companies, such as DuPont, illustrated over forty books, and produced roughly two hundred and fifty magazine covers. Though he spent much of his life in New York City, far from nature, Hunt had a strong foundation as a knowledgeable outdoorsman, bird hunter, and fisherman, enabling him to accurately capture the essence of the outdoors. "Mallards Rising" is a classic illustration piece by the artist. The birds are carefully depicted with profound detail, indicating Hunt's familiarity with the species.

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Canada Geese Triptych

Lot 459: Canada Geese Triptych

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Description: These panels were installed previously in a New York City apartment, and were discovered in the mid 1980s when the current tenants were remodeling. This piece is a masterwork by the Boston artist, who was a contemporary of Frank W. Benson (1862-1951).

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Mallards

Lot 460: Mallards

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Description: Frank Weston Benson, one of the "Ten American Painters" and a leading influence in the Boston School of American Impressionism, was born in Salem, Massachusetts, on March 24, 1862. In his youth, Benson was a gifted athlete and excelled at boxing, sailing, and tennis. Growing up along the extensive marshes surrounding his native Salem, Benson learned to hunt and fish at an early age. Benson loved nature, and birds in particular. He wanted to combine his love for birds and his love for art by pursuing a career as an ornithological illustrator in the manner of John James Audubon (1785-1851). As a child he spent many hours at the Museum of Comparative Zoology at Harvard and Benson's mother, who was herself a painter, encouraged him in this pursuit. In 1880, Benson enrolled at the School of the Museum of Fine Arts in Boston. He studied with the school's founding teachers, Otto Grundmann (1844-1890) and Frederick Crowninshield (1845-1918). Among his classmates were Willard Metcalf (1858-1925), William Bicknell (1860-1947), Edmund C. Tarbell (1862-1938), and Joseph Lindon Smith (1863-1950). Benson learned quickly and was recognized as a particularly gifted student. In 1882, while still attending classes at the Museum School, Benson began to teach free evening drawing classes in Salem. In 1885 Benson rented a painting studio in Salem. He began to exhibit at the Boston Art Club and the National Academy of Design in New York, receiving much critical acclaim and numerous awards. After his marriage to Ellen Peirson in 1888, he taught at the Boston Museum School with his friend Edmund Tarbell intermittently until 1930. The year 1898 was the turning point in Benson's career. He joined a number of other leading painters from New York and Boston, including Tarbell, Childe Hassam (1859-1935), and J. Alden Weir (1852-1919) to form the "Ten American Painters." This group of radical avant-garde painters, mostly working in the French Impressionist style, rejected and resigned from the National Academy and the Society of American Artists to exhibit independently and without juries. Benson exhibited in all of the "Ten"'s annual exhibitions, which were held for twenty years, to critical acclaim. This watercolor of mallards taking off demonstrates Benson's expertise not only in the medium, but also in depicting waterfowl. A classic composition, this work shows the artist in his transitional period from his earlier, tighter brushwork to the more expressive strokes that are the hallmark of his later pieces. This watercolor is a combination of the best components of both styles.

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Broken Silence

Lot 461: Broken Silence

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Description: Artistically inclined from a young age, Philip Goodwin began his career at the age of eleven when he sold an illustration to "Collier's" magazine. In light of their son's obvious talent, his parents sent him to the Rhode Island School of Design, and later to the Art Students League in New York City, to further his artistic ability. Realizing, however, that illustration was his passion, Goodwin traveled to Pennsylvania to study under famed draftsman Howard Pyle (1853-1911). Impressed by the young artist's abilities, Pyle invited Goodwin to join him in Wilmington, Delaware, to continue his studies. Perhaps his most significant contribution to Goodwin's work was Pyle's insistence that all good illustration came from first-hand knowledge of the subject. He not only encouraged Goodwin not only to envision models in costume, but also to visit locations before depicting them. The artist traveled to the West several times throughout his career, often to visit his friend Charles Russell (1864-1926), who he met while working in New York. Goodwin managed to earn a living illustrating by publishing works in "Everybody's," "Harper's Monthly," "Harper's Weekly," "Outing," "Persimmon Hill Magazine," and "Scribner's." Goodwin's illustrations were also used by Brown and Bigelow for their calendars, as well as in advertisements for several major firearms dealers. These commissions brought about more opportunities for Goodwin, among them, illustrating books by some of the most celebrated authors of the day, including Jack London's "Call of the Wild" and Theodore Roosevelt's "African Game Trails." This latter commission was especially notable for the artist, who was hand-picked by Roosevelt to illustrate his book. Goodwin continued to scrape by illustrating, and eventually built up a clientele for his oil paintings as well. The Great Depression, however, hit him hard and he spent the last several years of his life in somewhat perilous financial straits. He passed away of pneumonia on December 14, 1935, but his art continued to be published through "Sports Afield," Brown & Bigelow, and by companies such as Kemper Thomas Company and Standard Oil.

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Lot 462: "February Sunrise" signed "Sloane" lower right oil

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Description: "February Sunrise" signed "Sloane" lower right oil on board, 16 by 20 in. inscribed "February Sunrise" lower left and "Green South Bay L.I. by Eric Sloane Roslyn L.I. N.Y." on back "Late Sky" signed "Sloane" lower rightoil on board, 16 by 20 in. inscribed "Late Sky" lower left Born in 1910 to a well-off family in New York, New York, Sloane pursued a variety of interests throughout his life. At the age of 15 he ran away from home and drove his Ford Model T across the country, making a living painting signs. He settled in Taos, New Mexico, where he worked as a guide for tourists and spent time with Leon Gaspard (1882-1964) and other members of the Taos Artist's Society. In the mid-1930s Sloane returned East to study with John Sloan (1871-1951) at the Art Students League in New York. After concluding his studies, he not only painted extensively, but he lectured on cloud forms and weather and completed his first publication on the subject in 1941. He also produced several philosophical works, such as Spirit of '76, as well as guide books to ranging from an anthology of early American tools, to the growth of old timber in New England. Deeply interested in the history of the nation, Sloane painted scenes from earlier times in America. Many of his works depict covered bridges, colonial homes, or Native American architecture. He is also known for his skyscape paintings. A testament to his unparalleled skill in the genre is his mural in the National Air and Space Museum, in Washington D.C., which extends seven stories high and half a block long. These paintings belonged to William E. Levis, who established Castalia Farms, and most likely hung there. With this rare, matched pair depicting sunrise and sunset, Sloane has created a perfect set of bookends to the day.

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Algarve

Lot 463: Algarve

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Description: Ogden Pleissner once wrote, "I think Portugal, especially the Algarve, is one of the most beautiful places I've ever been to and a marvelous place to paint." As one of his favorite landscape settings, this coastal region in southern Portugal offered the artist exciting contrasts in sunlight and a rural, old-fashioned atmosphere.

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Two Hummingbird Prints

Lot 464: Two Hummingbird Prints

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Description: "Ramphomicron Heteropogon" "Glaucis Affiluis, Lawr." each hand-colored lithograph, 19 1/2 by 13 in.

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New Orleans Cotton Dock

Lot 465: New Orleans Cotton Dock

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Description: Born in Charleston, South Carolina, in 1839, William Aiken Walker began his artistic career during the years leading up to the Civil War. He traveled extensively throughout the South, but settled in Charleston where he served as part of the Confederate Engineer Corps. Recognizing his talent, the Confederate Army tapped him to draft sketches and maps for their cause. With the conclusion of the war, Walker moved to Baltimore, Maryland, which, compared to Charleston, was relatively stable during the "Reconstruction" period. He, however, did not lose touch with his hometown and reportedly continued to take extended visits to Charleston. During these visits he dropped in on friends to sketch their plantations and the sharecroppers who worked the land. Always willing to entertain with his piano and violin playing, Walker had many friends. Among them was Charles Beale, who owned Arden Park Lodge near Asheville, North Carolina. Beale acted as Walker's patron, inviting him to stay at the Lodge and paint the tobacco farmers and field hands who populated the area. He spent many summers painting there until it burned down in 1919. Walker first visited New Orleans in 1876. He continued to spend time in the city for the next thirty years, finding a ready market there for his works. Currier and Ives published two of his major oils from this period, creating lithographs from both "The Levee at New Orleans," which was completed sometime before 1883 and "Southern Cotton Plantation," which was completed in 1884. "New Orleans Cotton Docks" illustrates the city at a time of historical significance. Walker has depicted the docks during Reconstruction, the period of time after the Civil War, when the economy of the South underwent change at a rapid pace. The oil is filled with historical details such as the stamp on the bag of cotton. The stamp varied depending on the port of export and thus places the work in New Orleans. Like his popular works of cotton pickers, this painting captures the reality of life for African Americans during Reconstruction. The man stands dignified, with his cotton crop surrounding him, but the harshness of life for sharecroppers, many of whom still faced enormous challenges, is apparent in his slightly tired appearance and patched clothing. Rather than present a caricature of a cotton picker, Walker gives the viewer a believable, realistic portrait. "New Orleans Cotton Docks" shows Walker at his peak, depicting the subject for which he is best known.

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October Days

Lot 466: October Days

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Description: Salmagundi Club, New York, New York Auction Sale label on back Like Frank W. Benson (1862-1951), Edward Potthast belongs to the American Impressionist genre. Based out of Cincinnati, he played an integral role in making the city a key part of the art world in the late 19th and early 20th centuries. Potthast, like many artists of his era, made his living as a lithographer, contributing illustrations to publications such as "Scribners," "Century," and "Harpers," and traveling back and forth to New York City to meet with editors and major clients. As was the case with many of his contemporaries, he could not resist the call of the West. He accepted an invitation to travel to the Grand Canyon with several other artists on a trip sponsored by the Santa Fe Railroad where he spent ten days painting on the southern rim. Potthast continued to paint throughout the country during his career, while generally sticking to the impressionistic style. True to the tenets of the movement, his works depict light and color as much as they illustrate literal subject matter. Potthast's remarkable skill as a draftsman, however, shines through in even his most loosely-handled canvases. In "October Days" the artist presents a scene of two girls at the edge of a stream in a lush landscape. The viewer is left with the impression that they are sneaking a glimpse of a fleeting moment in time, which Potthast has managed to effortlessly capture and record on to canvas. "October Days" is a classic Potthast work, with a thoughtful composition, expert brush strokes, and a vibrant color palette.

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Street Scene Moret-Sur-Loing

Lot 467: Street Scene Moret-Sur-Loing

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Description: Street Scene Moret-Sur-Loing

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Courtyard

Lot 468: Courtyard

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Description: Courtyard

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Three Watercolors

Lot 469: Three Watercolors

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Description: "A Couple at a Café" signed with monogram lower right 3 1/2 by 4 3/4 in. "Paris Dans la Rue" signed "Barabandy" lower left 5 1/2 by 6 3/4 in. Couple Walking signed with monogram lower right 3 1/4 by 1 1/2 in.

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Three Christmas Cards each etching, 4 by 5 3/4 in.

Lot 470: Three Christmas Cards each etching, 4 by 5 3/4 in.

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Description: Three Christmas Cards each etching, 4 by 5 3/4 in.

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Three Christmas Cards each etching, 4 by 5 3/4 in.

Lot 471: Three Christmas Cards each etching, 4 by 5 3/4 in.

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Description: Three Christmas Cards each etching, 4 by 5 3/4 in.

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Four Christmas Cards (two shown) each etching, 4

Lot 472: Four Christmas Cards (two shown) each etching, 4

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Description: Four Christmas Cards (two shown) each etching, 4 by 5 3/4 in.

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Two Christmas Cards each etching, 4 by 5 3/4 in.

Lot 473: Two Christmas Cards each etching, 4 by 5 3/4 in.

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Description: Two Christmas Cards each etching, 4 by 5 3/4 in.

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Canada Lynx

Lot 474: Canada Lynx

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Description: hand-colored lithograph, 19 1/2 by 24 1/4 in. published in "The Viviparous Quadropeds of North America," 1845-54

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Big Horn Sheep: Monarch of the Rockies

Lot 475: Big Horn Sheep: Monarch of the Rockies

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Description: edition # 5 of 9

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Deer Scratching Behind Ear

Lot 476: Deer Scratching Behind Ear

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Description: Deer Scratching Behind Ear

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