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Auction Description for Swann: AMERICAN ART
Viewing Notes:
Exhibition & Sale Schedule: Sale 2354 - American Art - begins at 1:30pm in New York on Thursday, June 12. All material in Sale 2354 on display at our premises in New York City, 104 East 25th Street, as follows: Sat, June 7: Noon to 5pm - Mon, June 9: 10am to 6pm - Tues, June 10: 10am to 6pm - Wed, June 11: 10am to 6pm - Thurs, June 12: 10am to Noon.

AMERICAN ART

by Swann Auction Galleries

Platinum House

241 lots with images

June 12, 2014

Live Auction

104 East 25th Street

New York, NY, 10010 USA

Phone: 212.254.4710

Fax: 212 979 1017

Email: swann@swanngalleries.com

241 Lots
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WASHINGTON ALLSTON Danger (Man on a Precipice).

Lot 1: WASHINGTON ALLSTON Danger (Man on a Precipice).

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Description: WASHINGTON ALLSTON Danger (Man on a Precipice). Pen and brown ink and pencil on paper, 1815. 295x245 mm; 11 5/8x9 5/8 inches. Signed in pencil, lower left recto. Annotated and dated in pen and brown ink, lower sheet edge recto. With an inscription from a poem by the English poet William Collins (1721-1759) in pencil, recto. A similar drawing by Allston (1779-1843) is in the Walters Art Museum, Baltimore (37.1550). The Walters drawing is published in Gerdts and Stebbins, Jr., A Man of Genius--The Art of Washington Allston, Boston, 1979, page 231.

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MARTIN JOHNSON HEADE Two pencil nature studies.

Lot 2: MARTIN JOHNSON HEADE Two pencil nature studies.

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Description: MARTIN JOHNSON HEADE Two pencil nature studies. Both on cream wove paper. Both approximately 220x295 mm; 8 1/2x11 3/4 inches. One is annotated in pencil, recto; the other is dedicated by the artist's niece in pen and blue ink, verso.

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FELIX OCTAVIUS CARR DARLEY Bridge on the Gananoque River, Canada.

Lot 3: FELIX OCTAVIUS CARR DARLEY Bridge on the Gananoque River, Canada.

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Description: FELIX OCTAVIUS CARR DARLEY Bridge on the Gananoque River, Canada. Watercolor and gouache and pen and black ink on wove paper, 1886. 250x360 mm; 9 3/4x14 inches. Signed, titled and dated in pencil, lower left recto.

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THOMAS HILL Landscape with a Frontier House.

Lot 4: THOMAS HILL Landscape with a Frontier House.

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Description: THOMAS HILL Landscape with a Frontier House. Oil on canvas. 210x380 mm; 8 1/4x15 inches. Signed in oil, lower right recto. Thomas Hill (1829-1908) left England for America with his family in 1844 and began taking classes at the Pennsylvania Academy of Fine Arts at the age of 24. He took many sketching trips as a student to the White Mountains in New Hampshire , working alongside Hudson River School members (a group he became loosely associated with). This place as well as the Yosemite Valley remained his greatest sources of inspiration throughout his revered painting career.

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JOHN WILLIAM CASILEAR Landscape at Dusk.

Lot 5: JOHN WILLIAM CASILEAR Landscape at Dusk.

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Description: JOHN WILLIAM CASILEAR Landscape at Dusk. Oil on board. 150x260 mm; 6x10 1/4 inches. Ex-collection the Laura Davidson Sears Academy of Fine Arts, Elgin Academy, Elgin, Illinois, with the label on the frame back.

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RALPH BLAKELOCK Wood's Edge.

Lot 6: RALPH BLAKELOCK Wood's Edge.

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Description: RALPH BLAKELOCK Wood's Edge. Oil on board. 200x280 mm; 8x11 inches. Signed in oil, lower left recto.

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CONRAD FREITAG Chenango Canal, Sherburne, New York.

Lot 7: CONRAD FREITAG Chenango Canal, Sherburne, New York.

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Description: CONRAD FREITAG Chenango Canal, Sherburne, New York. Oil on board, 1852. 410x310 mm; 16x12 1/4 inches. Signed and dated in pencil, lower right recto.

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JAMES D. SMILLIE Three charcoal drawings with white heightening.

Lot 8: JAMES D. SMILLIE Three charcoal drawings with white heightening.

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Description: JAMES D. SMILLIE Three charcoal drawings with white heightening. Venetian Piazza (View of the Grand Canal, Venice). Titled in pencil, verso * Seated Male Nude, 1874 * Seated Female Nude, 1874. Both dated in pencil, lower left recto. Both with preliminary pencil sketches, verso. Various sizes and conditions. Ex-collection the artist; thence by descent to the current owners.

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JAMES D. SMILLIE Mountainous Landscape with a Sunset.

Lot 9: JAMES D. SMILLIE Mountainous Landscape with a Sunset.

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Description: JAMES D. SMILLIE Mountainous Landscape with a Sunset. Oil on board. 285x185 mm; 11 1/4x7 1/4 inches. Ex-collection the artist; thence by descent to the current owners. Exhibited Whistler's Daughter Art Gallery, Basking Ridge, New Jersey, with the label on the frame back.

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JAMES D. SMILLIE Waterfall.

Lot 10: JAMES D. SMILLIE Waterfall.

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Description: JAMES D. SMILLIE Waterfall. Oil on canvas, 1870. 400x265 mm; 15 3/4x10 1/2 inches. Dated in brown ink, lower right recto. Ex-collection the artist, thence by descent to the current owners. Exhibited Hirschl & Adler Galleries, New York, with the label on the frame back.

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JAMES D. SMILLIE Sunset over a Lake.

Lot 11: JAMES D. SMILLIE Sunset over a Lake.

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Description: JAMES D. SMILLIE Sunset over a Lake. Oil on paper mounted on illustration board. 183x158 mm; 7 1/4x6 1/4 inches. Ex-collection the artist; thence by descent to the current owners.

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JAMES D. SMILLIE Two oil on canvas studies.

Lot 12: JAMES D. SMILLIE Two oil on canvas studies.

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Description: JAMES D. SMILLIE Two oil on canvas studies. Study from Nature, No. 2 (Catskill Clove), 1864. Signed with the artist's monogram and dated "July '64" in oil, lower left recto * Study from Nature, No. 4 (Catskill Clove), oil on canvas, 1864. Signed with the artist's monogram and dated "July 1864" in oil, lower left recto, and signed, titled and dated in oil verso. Both approximately 250x175 mm; 9 7/8x6 7/8 inches. Both ex-collection the artist, thence by descent to the current owners. The Kaaterskill (or Catskill) Clove in the Catskill Mountains north-west of New York was a popular destination for Hudson River School artists (both Asher B. Durand and John Frederick Kensett painted there in the 1880s). By the late 1860s this picturesque rock outcropping had also become a tourist destination for adventure-seekers from New York City.

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THOMAS MORAN The Afternoon Ride.

Lot 13: THOMAS MORAN The Afternoon Ride.

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Description: THOMAS MORAN The Afternoon Ride. Pen and black ink with white heightening on card stock, circa 1879. 110x250 mm; 4 3/8x9 7/8 inches. Signed and annotated in pen and black ink, lower left and right recto, and signed, titled and annotated in pencil, verso. Ex-collection the artist James D. Smillie; thence by descent to the current owners. Drawn by Moran to be illustrated in the American Watercolor Society's twelfth annual exhibition catalogue, New York, 1879 (see also lots 14, 15 and 16). The watercolor that this drawing was based on is currently in the collection of the Gildall Museum, East Hampton.

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ALEXANDER HELWIG WYANT Landscape with a Pond.

Lot 14: ALEXANDER HELWIG WYANT Landscape with a Pond.

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Description: ALEXANDER HELWIG WYANT Landscape with a Pond. Pen and black ink on paper mounted on card stock, circa 1879. 153x267 mm; 6x10 1/2 inches. Signed in pen and black ink, upper left recto. Ex-collection the artist James D. Smillie; thence by descent to the current owners. Drawn by Wyant (1836-1892) to be illustrated in the American Watercolor Society's twelfth annual exhibition catalogue, New York, 1879 (see also lots 13, 14 and 16).

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WINSLOW HOMER Study: Fresh Air.

Lot 15: WINSLOW HOMER Study: Fresh Air.

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Description: WINSLOW HOMER Study: Fresh Air. Pen and black ink on cream laid paper, circa 1879. 200x125 mm; 7 7/8x4 7/8 inches (image); 200x223 mm; 7 7/8x8 3/4 inches (full sheet). Ex-collection the artist James D. Smillie; thence by descent to the current owners. Drawn by Homer to be illustrated in the American Watercolor Society's twelfth annual exhibition catalogue, New York, 1879 (see also lots 13, 14 and 16). We are grateful to Abigail Booth Gerdts , director of the Record of the Works of Winslow Homer, for helping to identify this drawing. Gerdts notes, "The catalogue of the American Water Color Society Twelfth Annual Exhibition (held in New York, month of February 1879) included a quantity of thumbnail images referencing--not reproducing--watercolors in the exhibition. These little line drawings were not signed; it may be presumed some were done by the artist of the watercolor represented, and some by other graphic specialists. In this case, there is every indication Homer provided the vignette from his watercolor painting himself. The drawings were done 'normal' size; then photoengraved, and greatly reduced in scale. The image photographically duplicated from the drawing . . . is 3"x2" in size in the Water Color Society's catalogue. James D. Smillie was one of the three-man 'Catalogue Committee' for the exhibition." Published in Goodrich/Gerdts, Record of the Works of Winslow Homer, volume III, number 757 (listed as "unlocated"). Homer made this pen and ink study from his seminal, same-titled watercolor now at the Brooklyn Museum of Art, New York (Dick S. Ramsay Fund, 41.1087). A plein air representation of a fancifully dressed shepherdess at Houghton Farm, the upstate New York property of one of Homer's patrons.

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JOHN LA FARGE Chinese Pitong Inlaid with Ivory, Mother-of-Pearl and Stones.

Lot 16: JOHN LA FARGE Chinese Pitong Inlaid with Ivory, Mother-of-Pearl and Stones.

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Description: JOHN LA FARGE Chinese Pitong Inlaid with Ivory, Mother-of-Pearl and Stones. Pen and black ink and gouache on paper mounted on card stock, circa 1879. 240x150 mm; 9 1/2x6 inches. Signed, titled and annotated in pen and black ink, lower margin recto. Ex-collection the artist James D. Smillie; thence by descent to the current owners. La Farge made this drawing to be illustrated in the American Watercolor Society's twelfth annual exhibition catalogue, New York, 1879 (see also lots 13, 14 and 15). The watercolor that this drawing was based on is currently in the collection of the Harvard Art Museums/Fogg Museum (Bequest of Grenville L. Winthrop, 1943.310).

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MARY CASSATT A Seated Woman Wearing a Bonnet; Study of a Child.

Lot 17: MARY CASSATT A Seated Woman Wearing a Bonnet; Study of a Child.

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Description: MARY CASSATT A Seated Woman Wearing a Bonnet; Study of a Child. Pencil on light blue wove paper, double-sided. 250x175 mm; 10x7 inches. Ex-collection the artist to Mathilde Vallet, Paris 1931, with the ink stamp, lower left recto; thence by descent to the current owner. Published in Breeskin, Mary Cassatt: A Catalogue Raisonne of the Graphic Work, 1979, number 778. Exhibited "Dessins, Pastels, Peintures, Etudes par Mary Cassatt," Galerie A. Reitlinger, Paris, May 19-June 30, 1931, catalogue number 104.

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MARCIA OAKES WOODBURY Seated Dutch Child with a Bowl and Spoon.

Lot 17A: MARCIA OAKES WOODBURY Seated Dutch Child with a Bowl and Spoon.

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Description: MARCIA OAKES WOODBURY Seated Dutch Child with a Bowl and Spoon. Watercolor, gouache and color pastels on paper, 1903. 325x265 mm; 12 3/4x10 1/2 inches. Signed and dated "Volendaam 1903" in ink, lower recto. Woodbury (1865-1913), who was married to the artist Charles Woodbury in 1890, traveled frequently to Europe at the turn of the century and incorporated scenes from these travels--Holland in particular--in many of her works.

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GERTRUDE ALBRIGHT Portrait of a Woman.

Lot 18: GERTRUDE ALBRIGHT Portrait of a Woman.

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Description: GERTRUDE ALBRIGHT Portrait of a Woman. Pencil on tan wove paper, circa 1900. 620x480 mm; 24 1/4x19 inches. A study for a drypoint of the same subject. With--An impression of the drypoint on wove paper. 520x320 mm; 20 1/2x12 1/2 inches, wide margins. Born in England, Albright (1874-1959) moved with her family to California in 1880, settling in Oakland. Albright honed her portrait skills as an illustrator for the San Francisco Examiner in the late 1800s, making society and courtroom sketches. At the turn of the century, she studied in Paris and learned the technique of drypoint printmaking, likely attracted to the drypoints of the French artist Paul César Helleu, whose influence is manifest in Albright's work. By the 1910s, Albright had established a studio in San Francisco and become a prominent portraitist in the Bay Area. In 1913, she cofounded the California Society of Etchers.

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ELIHU VEDDER Sheet of Studies of Hands and Feet.

Lot 19: ELIHU VEDDER Sheet of Studies of Hands and Feet.

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Description: ELIHU VEDDER Sheet of Studies of Hands and Feet. Pencil on greenish wove paper. 780x570 mm; 30 1/2x22 1/4 inches. Signed and inscribed "237 E 85" in pencil, upper left recto.

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FRANCIS DAVIS MILLET A Roman Patrician.

Lot 20: FRANCIS DAVIS MILLET A Roman Patrician.

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Description: FRANCIS DAVIS MILLET A Roman Patrician. Oil on canvas, 1882. 300x165 mm; 11 7/8x6 1/2 inches. Signed, dated and inscribed in oil, lower right recto. Millet (1848-1912) worked closely with John La Farge and John Singer Sargent, and was a close friend of Mark Twain, who was the best man at his wedding. Millet died in the sinking of the Titanic.

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JOHN LA FARGE Study of Reef, Tautira, Tahiti.

Lot 21: JOHN LA FARGE Study of Reef, Tautira, Tahiti.

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Description: JOHN LA FARGE Study of Reef, Tautira, Tahiti. Watercolor and gouache on paper, circa 1891. 280x320 mm; 11x12 5/8 inches. Another version of this watercolor sold at Keno Auctions, New York, June 12, 2012. Dr. James L. Yarnall writes, "La Farge routinely replicated his South Seas watercolors or made close variations of them, and he used these to fill in his various South Seas exhibitions, of which there were both American and French versions. This is a thoroughly documented and a well-known watercolor." Published in Reminiscences of the South Seas, John La Farge, 1912, page 302 (illustrated); Art Property of John La Farge, Boston Evening Transcript, March 20, 1911, page 10 (illustrated); and Yarnall, Recreation and Idleness: The Pacific Travels of John La Farge, 1998, page 98 (illustrated).

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JOHN LA FARGE The Sphinx.

Lot 22: JOHN LA FARGE The Sphinx.

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Description: JOHN LA FARGE The Sphinx. Gouache, watercolor and black chalk on paper, 1864-65. 120x180 mm; 4 1/2x7 inches. Initialed and dated in black ink, lower right recto. Signed, titled and annotated extensively in black ink, verso. One of a number of works that La Farge made to illustrate Ralph Waldo Emerson's poem, The Sphinx (this image was never published). With Doll and Richards, Boston, 1902-03; with Macbeth Gallery, New York, 1909; ex-collection the estate of the artist, New York, 1911; sold American Art Association, New York, March 29-31, 1911, lot 602; F. Burrall Hoffman Jr, New York and Hobe Sound, until 1980. Exhibited "Private Sale of Water Color Paintings by Mr. John La Farge, Mr. Childe Hassam, Miss Lucy S. Conant," Doll and Richards, Boston, November, 1902, no. 3; and "Exhibition Records of the Century Association," New York, December 4, 1909 (not numbered). Published in Watercolors by La Farge, Hassam and Lucy Conant, Boston Evening Transcript, November 25, 1902, page 11; and A Boston Exhibition by Three Artists, Boston Herald, November 26, 1902, page 9. According to Dr. James L. Yarnall, "This is one of La Farge's most experimental watercolors of the 1860s. Mixing chalk, watercolor and gouache, he developed the kind of heavy-laden, expressive and painterly surface effects that came to characterize his watercolors after 1880."

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FRANK MORLEY FLETCHER Farm on a Spring Day.

Lot 23: FRANK MORLEY FLETCHER Farm on a Spring Day.

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Description: FRANK MORLEY FLETCHER Farm on a Spring Day. Oil on canvas, 1901. 400x250 mm; 15 1/2x9 3/4 inches. Initialed and dated in oil, lower right recto.

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WILSON IRVINE Late April, Lyme, Connecticut.

Lot 24: WILSON IRVINE Late April, Lyme, Connecticut.

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Description: WILSON IRVINE Late April, Lyme, Connecticut. Oil on canvas. 600x680 mm; 23 5/8x26 3/4 inches. Signed in oil, lower right recto, and signed, titled and annotated in oil on the verso.

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JOHN PIERCE BARNES Group of 5 watercolors.

Lot 25: JOHN PIERCE BARNES Group of 5 watercolors.

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Description: JOHN PIERCE BARNES Group of 5 watercolors. Wooded Landscape, 1921. Dated in ink, lower right recto * Farm Landscape * Landscape with a Creek * Winter Landscape with Creek * Winter Landscape with Cabin. Each signed in ink, lower left recto, with the artist's estate green ink stamp and the inventory numbers in pencil, verso. Various sizes and conditions.

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ARTHUR B. DAVIES Landscape with a Seated Female Nude.

Lot 26: ARTHUR B. DAVIES Landscape with a Seated Female Nude.

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Description: ARTHUR B. DAVIES Landscape with a Seated Female Nude. Oil on wood panel, circa 1910-15. 250x305 mm; 10x12 inches. Signed in oil, lower left recto.

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MABEL MAY WOODWARD Beach Scene with Bathers.

Lot 27: MABEL MAY WOODWARD Beach Scene with Bathers.

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Description: MABEL MAY WOODWARD Beach Scene with Bathers. Oil on canvas, circa 1915-20. 445x535 mm; 17 1/2x21 inches. Signed in oil, lower right recto. Woodward (1877-1945) was a native of Providence. She studied at the Rhode Island School of Design in Providence and at the Art Students League, New York. Through her association with William Merrit Chase and his Shinnecock Hills Summer School of Art at the turn-of-the-century, Woodward developed a plein-air, Impressionistic, light-drenched style of painting, adopting Chase's heavy brush strokes, deep impasto and his play on light and shadow. Woodward taught at the Rhode Island School of Design for 25 years during the early 1900s. During her summers she traveled frequently to Provincetown, Massachusetts, and Ogunquit, Maine, whence she sourced the beach subjects of many of her paintings.

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CHARLES HOLLOWAY Arcadian Scene with Young Lovers in a Landscape.

Lot 28: CHARLES HOLLOWAY Arcadian Scene with Young Lovers in a Landscape.

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Description: CHARLES HOLLOWAY Arcadian Scene with Young Lovers in a Landscape. Color pencils on paper mounted on board. 370x285 mm; 14 5/8x11 1/4 inches. Signed in pencil, lower left recto. Squared for transfer in pencil. With--Landscape with Flowers and Trees, oil on canvas. 180x310 mm; 7 1/8x12 1/4 inches.

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FREDERICK CARL FRIESEKE Hillside, Cagnes, France.

Lot 29: FREDERICK CARL FRIESEKE Hillside, Cagnes, France.

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Description: FREDERICK CARL FRIESEKE Hillside, Cagnes, France. Watercolor on wove paper, 1920. 205x310 mm; 8x12 1/4 inches. Signed in ink, lower right recto.

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FREDERICK CARL FRIESEKE Countryside with a Woman in a Field.

Lot 30: FREDERICK CARL FRIESEKE Countryside with a Woman in a Field.

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Description: FREDERICK CARL FRIESEKE Countryside with a Woman in a Field. Watercolor on paper, 1920. 205x310 mm; 8x12 1/4 inches. Signed in ink, lower right recto.

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GEORGE C. AULT Poppy Field in Bloom.

Lot 31: GEORGE C. AULT Poppy Field in Bloom.

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Description: GEORGE C. AULT Poppy Field in Bloom. Watercolor on paper, circa 1910. 175x255 mm; 6 7/8x10 inches. Signed with the artist's monogram in black ink, lower left recto.

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GEORGE C. AULT Country Road with Horse and Carriage.

Lot 32: GEORGE C. AULT Country Road with Horse and Carriage.

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Description: GEORGE C. AULT Country Road with Horse and Carriage. Watercolor and pencil on paper, 1911. 175x250 mm; 6 7/8x9 7/8 inches. Signed and dated in pencil, lower left recto.

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GEORGE C. AULT City Scene with Omnibuses.

Lot 33: GEORGE C. AULT City Scene with Omnibuses.

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Description: GEORGE C. AULT City Scene with Omnibuses. Watercolor and gouache on light blue wove paper, 1910. 270x170 mm; 10 5/8x6 1/2 inches. Signed and dated in pencil, lower left recto. Ault (1891-1948) was born in Cleveland and later became a painter loosely associated with the American Precisionist movement. He spent his youth in London, attending the Slade School of Art and St. John's Wood School of Art, before returning to the United States in 1911. This lot, and the two preceding lots, were likely drawn during his last year in Europe.

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JOSEPH PENNELL Evening, East River, New York.

Lot 34: JOSEPH PENNELL Evening, East River, New York.

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Description: JOSEPH PENNELL Evening, East River, New York. Gouache and charcoal on cream wove paper. 248x373 mm; 9 3/4x14 3/4 inches. Signed in pencil, upper left recto.

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JOSEPH PENNELL Clouds over New York Harbor.

Lot 35: JOSEPH PENNELL Clouds over New York Harbor.

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Description: JOSEPH PENNELL Clouds over New York Harbor. Watercolor and gouache on artist's board. 300x400 mm; 11 3/4x15 3/4 inches.

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GEORGE STIMMEL Weehawken (Under the Palisades).

Lot 35A: GEORGE STIMMEL Weehawken (Under the Palisades).

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Description: GEORGE STIMMEL Weehawken (Under the Palisades). Lithograph with extensive hand coloring in watercolor and gouache, circa 1918. 245x175 mm; 9 5/8x7 inches.

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GEORGE STIMMEL Weehawken (Under the Palisades).

Lot 36: GEORGE STIMMEL Weehawken (Under the Palisades).

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Description: GEORGE STIMMEL Weehawken (Under the Palisades). Gouache and color pencils on tan wove paper, circa 1918. 240x180 mm; 9 1/2x7 inches. Signed in pencil, lower right recto. With--A drypoint of the same subject. 290x200 mm; 11 1/2x8 inches. Signed and titled in pencil, lower margin.

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LOUIS J. FEUCHTER Seals at the Central Park Zoo, New York.

Lot 37: LOUIS J. FEUCHTER Seals at the Central Park Zoo, New York.

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Description: LOUIS J. FEUCHTER Seals at the Central Park Zoo, New York. Watercolor on paper, 1911. 175x240 mm; 6 7/8x9 1/2 inches. Signed and dated in pencil, lower right recto. Ex-collection Dawson Gallery, Annapolis, with the label on the frame back.

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CHARLES DANA GIBSON Captain Nason E. Pendleton.

Lot 38: CHARLES DANA GIBSON Captain Nason E. Pendleton.

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Description: CHARLES DANA GIBSON Captain Nason E. Pendleton. Oil on canvas. 770x660 mm; 20 1/4x26 inches. Signed, titled and dated "19--5", lower recto. Exhibited "Retrospective Exhibition of Paintings and Drawings by Charles Dana Gibson," Museum of Fine Arts, Boston, 1943, with the label on the frame back.

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JAMES MONTGOMERY FLAGG Thalia Westcott (Mrs. Stephen Caldwell Millett).

Lot 39: JAMES MONTGOMERY FLAGG Thalia Westcott (Mrs. Stephen Caldwell Millett).

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Description: JAMES MONTGOMERY FLAGG Thalia Westcott (Mrs. Stephen Caldwell Millett). Oil on canvas, 1902. 1265x910 mm; 49 3/4x35 3/4 inches. Signed and dated in oil, lower left recto. Thalia Westcott Millett (1878-1938), was an American artist who studied in Paris under the post-Impressionist Albert André. She exhibited at the Milch Gallery, New York, in 1917 and exhibited work in the early 1920s depecting dilapidated areas of Paris at galleries such as Durand-Ruel, New York.

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GLADYS LEE WILES Portrait of a Woman in a Green Blouse.

Lot 40: GLADYS LEE WILES Portrait of a Woman in a Green Blouse.

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Description: GLADYS LEE WILES Portrait of a Woman in a Green Blouse. Oil on canvas. 630x450 mm; 24 3/4x17 3/4 inches. Signed in oil, upper left recto.

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FREDERICK STUART CHURCH A Lesson in Wisdom.

Lot 41: FREDERICK STUART CHURCH A Lesson in Wisdom.

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Description: FREDERICK STUART CHURCH A Lesson in Wisdom. Oil on canvas, 1899. 530x650 mm; 20 7/8x25 5/8 inches. Signed, dated and annotated in oil, lower right recto. Church (1842-1924) was born in Grand Rapids, Michigan, then a small and undeveloped town of the western frontier. Grand Rapids provided no form of art education until 1854, when the Dutch artist Marinus Harting began teaching art lessons; Church was able to attend using his earnings from delivering newspapers. Church moved to Chicago in 1855 to work for the American Express Company, as his parents expected him to pursue a career in business (despite an early and continued interest in drawing). Following his service in the Civil War (Church was a member of the Chicago Light Artillery), he decided to pursue art full time and studied for several years at Chicago's Academy of Design before relocating permanently to New York in 1870 for illustration work. He quickly began a successful career as an illustrator, drawing for publications such as Harper's Bazaar and the Century Magazine. Church and some fellow New York artists, discovering that the National Academy of Design (where they had been studying) would no longer be offering classes, banded together to start a new institution: the Art Students League. Church was instrumental in the League's formative years, helping formalize the organization and acting as chairman of the art committee. While continuing to illustrate for magazines and books, Church also began painting to supplement his income, exhibiting regularly from 1874 onward. Interested since childhood in drawing animals, he frequently depicted animals in his mature paintings and watercolors, visiting the Bronx Zoo and the Barnum & Bailey's circus premises to sketch. Church's most iconic paintings, like A Lesson in Wisdom, are allegorical compositions of ethereal women with animals rendered gracefully with a rich palette and warm light.

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GEORGE BELLOWS Portrait Study of Florence Hubbard.

Lot 42: GEORGE BELLOWS Portrait Study of Florence Hubbard.

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Description: GEORGE BELLOWS Portrait Study of Florence Hubbard. Pencil on cream wove paper, circa 1917-18. 255x355 mm; 10x14 inches. Signed in pencil, lower right recto. Ex-collection Sid Deutsche Gallery, New York, with the label on the frame back.

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GEORGE LUKS Self Portrait.

Lot 43: GEORGE LUKS Self Portrait.

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Description: GEORGE LUKS Self Portrait. Pencil drawing on cream laid paper, circa 1915. 165x115 mm; 6 1/2x4 1/2 inches. Signed in pencil, lower left recto.

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WILLIAM GLACKENS Figure Studies (Mother, Baby and Daughter).

Lot 44: WILLIAM GLACKENS Figure Studies (Mother, Baby and Daughter).

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Description: WILLIAM GLACKENS Figure Studies (Mother, Baby and Daughter). Charcoal on paper. 185x163 mm; 7 1/4x6 3/8 inches. Exhibited "The Collector's Show & Sale," Arkansas Art Center, Little Rock, December 1, 2000-January 1, 2001, courtesy of Kraushaar Galleries, New York, with the label on the frame back.

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WILLIAM GLACKENS Two Women in an Interior.

Lot 45: WILLIAM GLACKENS Two Women in an Interior.

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Description: WILLIAM GLACKENS Two Women in an Interior. Charcoal on paper. 230x310 mm; 9x12 1/4 inches. Initialed and annotated in pencil, lower right recto. Ex-collection Kraushaar Galleries, with the label on the frame back.

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EVERETT SHINN Portrait of Dorothy Shoulin.

Lot 46: EVERETT SHINN Portrait of Dorothy Shoulin.

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Description: EVERETT SHINN Portrait of Dorothy Shoulin. Pencil on thin cream wove paper. 198x220 mm; 7 3/4x8 5/8 inches. Initialed in pencil, lower recto, and titled in pencil, upper right recto. Ex-collection Hamilton Gallery, New York, with the label on the frame back; acquired from the above on February 16, 1967.

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EVERETT SHINN The Rape of the Sabines.

Lot 47: EVERETT SHINN The Rape of the Sabines.

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Description: EVERETT SHINN The Rape of the Sabines. Red chalk on cream wove paper mounted on card stock, 1907. 415x520 mm; 16 1/4x20 1/2 inches. Signed, dated and dedicated in red chalk, lower right recto.

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JOHN SLOAN Studies of Female Nudes.

Lot 48: JOHN SLOAN Studies of Female Nudes.

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Description: JOHN SLOAN Studies of Female Nudes. Charcoal on cream laid paper, 1950. 470x600 mm; 18 1/2x23 1/2 inches. Signed and dated in pencil, lower right recto.

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