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Auction Description for Doyle New York: American Furniture, Decorative Arts & Paintings
Viewing Notes:
April 19-21. Friday, April 19, 10am-5pm Saturday, April 20, 10am-5pm Sunday, April 21, Noon-5pm

American Furniture, Decorative Arts & Paintings

by Doyle New York

Platinum House

282 lots with images

April 22, 2013

Live Auction

175 East 87th Street

New York, NY, 10128 USA

Phone: 212.427.2730

Fax: 212.427.7526

Email: BidLive@DoyleNewYork.com

282 Lots
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American School 19th Century Portrait of a Boy with a Flute

Lot 1: American School 19th Century Portrait of a Boy with a Flute

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Description: American School 19th Century Portrait of a Boy with a Flute Oil on canvas 22 3/4 x 17 1/4 inches C 

Condition Report: Frame rubbing. Scattered craquelure. Visible stretcher marks. Surface grime. There is no visible restoration under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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American School Early 19th Century Profile Portrait of a Gentleman

Lot 2: American School Early 19th Century Profile Portrait of a Gentleman

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Description: American School Early 19th Century Profile Portrait of a Gentleman Bears inscription The father of a friend of my grandmother Penelope Luttgen-as a young man-a Mr. Bryant of Boston on the backing Watercolor on paper laid down to card 4 3/8 x 3 3/8 inches C 

Condition Report: Toned. There is some paint lifting in the coat just under the collar and in the coat along the lower register. There is a 1/2 inch horizontal repaired tear in the center right. There is another 1/2 inch horizontal tear in the upper right edge. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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American School 19th Century Portrait of a Gentleman

Lot 3: American School 19th Century Portrait of a Gentleman

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Description: American School 19th Century Portrait of a Gentleman Watercolor on ivory 3 x 2 1/2 inches C 

Condition Report: There is an area of inpaint in the center left edge. There is a 1/2 inch vertical hairline crack in the upper edge running into the right brow. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Robert Street American, 1796-1865 Portrait of a Lady with a Hymn Book, 1830

Lot 4: Robert Street American, 1796-1865 Portrait of a Lady with a Hymn Book, 1830

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Description: Robert Street American, 1796-1865 Portrait of a Lady with a Hymn Book, 1830 Signed By Robert Street and dated 1830 (ll) Oil on canvas 30 x 25 inches C Estate of Fong Chow

Condition Report: Glue relined. Frame rubbing, with corresponding inpaint. Dirty varnish. Scattered craquelure throughout. There scattered inpaint in the craquelure throughout. There is a missing paint flake in the background at the upper left quadrant, approximately 1/8 inch around. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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John Rubens Smith American, 1775-1849 View of Battery Park at Castle Garden, New York, 1845

Lot 5: John Rubens Smith American, 1775-1849 View of Battery Park at Castle Garden, New York, 1845

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Description: John Rubens Smith American, 1775-1849 View of Battery Park at Castle Garden, New York, 1845 Signed J. R. Smith and dated NY 1845 (ll); bears inscription Castle Garden/New York/John Rubens Smith/1845 on the reverse Oil on canvas laid to board 13 3/4 x 17 3/4 inches Provenance: Private collection, New York C 

Condition Report: Frame rubbing, with some light touches of corresponding inpaint. There is a 4 inch vertical repaired tear in the center, running from the sky and into the landscape in the distance. There is a 1/2 inch diameter area of inpaint in the upper center edge. There are some light scattered touches of inpaint in the sky, there is a touch in the tower of the building at center and some scattered touches in the water. There is no further restoration visible under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Thomas Doughty American, 1793-1856 Landscape with Figures Along the Shore, 1836

Lot 6: Thomas Doughty American, 1793-1856 Landscape with Figures Along the Shore, 1836

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Description: Thomas Doughty American, 1793-1856 Landscape with Figures Along the Shore, 1836 Signed T. Doughty and dated 1836 (lr) Oil on canvas 27 1/4 x 34 1/4 inches Provenance: Kennedy Galleries Inc., New York C Theodore and Ann S. Kheel Foundation

Condition Report: Glue relined. Flattened with reline. Thinned in areas. Frame rubbing. Scattered craquelure thoughout. Inpaint in the craquelure throughout, particularly the sky and the water. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Thomas Cole American, 1801-1848 Clouds

Lot 7: Thomas Cole American, 1801-1848 Clouds

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Description: Thomas Cole American, 1801-1848 Clouds Oil on paper laid down to canvas 8 3/4 x 10 7/8 inches Provenance: The artist Mrs. Florence Cole Vincent John H. Ruckman, acquired October 24, 1932 John F. Ruckman, 1958 Charles V. Swain, 1965 By descent to the current owner In an extensive report, a copy of which accompanies this lot, Alan Wallach writes: Mrs. [Florence Cole Vincent (1876-1961)] was Thomas Cole's granddaughter. She lived her entire life at 212 Spring Street in the town of Catskill, New York. Cole lived there with his wife and her sisters until his death in 1848. At his death, Cole left a large amount of work including completed and unfinished oil paintings, oil sketches, sketchbooks, [and] sketches in pencil and other media. These materials remained in the family and eventually came into the possession of Mrs. Vincent. During the 1930s Mrs. Vincent sold paintings and sketchbooks to collectors. She also held porch sales of Cole material. Given this history, we can say with some certainty that on 24 October 1932 Mrs. Vincent sold Clouds to John H. Ruckman of 3990 Mechanicsville Road, Doylestown, PA. Cole sketched and painted clouds throughout his career. Between 1846 and 1847, Cole began but did not finish a large composition focused on a dramatic cloud formation. The same cloud formation is repeated several times in Italian Coast Scene with Ruined Tower, which the artist painted in 1838. It is noteworthy that the towering cloud formations in this painting resemble the shape and coloring of the formation in the painting under consideration. In both, the lower portion of the formation is gray, gray-purple, and gray-white while the upper portion tends toward pure white.... Considering the close resemblance of the cloud formations in [both compositions] it is probable that Clouds can be dated c. 1838. [It] is conceivable that John Constable inspired Cole's Clouds. Constable studied meteorological treatises, and in the early 1820s, working directly from nature, painted a series of cloud studies. Cole spent time with Constable in London in 1830.. If we compare Constable's Cloud Study, Hampstead, trees at right 11 September 1821 with Cole's Clouds, both works look as if they were painted on the spot. In both, palpable brush strokes suggest the immediacy of the artists' perception. Both paintings include trees at the edge of the composition in order to establish a sense of scale. Cole's hand is everywhere evident in Clouds. The artist was a keen observer of skies and weather conditions and they play a central role in almost all his landscapes, for example, in his famous Oxbow of 1836. The effects he achieved depended upon subtle handling of color. Clouds is a sketch in which the artist works rapidly, often employing brush strokes as a sort of visual shorthand. Consequently, the result seems entirely spontaneous. The touch here resembles the touch encountered in other sketches by the artist. In my opinion, Clouds gives every indication of being an authentic work by Thomas Cole. The painting's likely provenance, the details of its execution, the choice of colors, the composition, the handling of paint all point to Cole's authorship." We extend most sincere thanks to Dr. Wallach for his very kind assistance in authenticating this work. C 

Condition Report: Some light frame rubbing. Scattered tiny touches of inpaint in the sky, particularly in the upper right corner. There is no further restoration visible under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Thomas Worthington Whittredge American, 1820-1910 Summer in Millburn, New Jersey, circa 1880   Signed WWh...

Lot 8: Thomas Worthington Whittredge American, 1820-1910 Summer in Millburn, New Jersey, circa 1880 Signed WWh...

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Description: Thomas Worthington Whittredge American, 1820-1910 Summer in Millburn, New Jersey, circa 1880 Signed WWhittredge with conjoined first initials (ll) Oil on canvas 13 x 16 1/2 inches Provenance: Deedee Wigmore, Inc., New York A leading member of the Hudson River School, known for his verdant views of forest and stream, Worthington Whittredge also painted throughout New England, and in his later life, in New Jersey. Building a home in Summit (not far from Millburn) in 1880, Whittredge resided in the area until his death in 1910. The region inspired a number of compositions, including the present work as well as Millburn, New Jersey (1885, Collection The Newark Museum), in which the artist melds the meticulous observation of the Hudson River School with a more Barbizon-inflected aesthetic. C 

Condition Report: Wax relined. Frame rubbing, with corresponding inpaint. There are some scattered touches of inpaint in the sky at the center and a couple touches in the branches of the tree at the center right. There is no further restoration visible under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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David Johnson American, 1827-1908 Figures in a Landscape

Lot 9: David Johnson American, 1827-1908 Figures in a Landscape

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Description: David Johnson American, 1827-1908 Figures in a Landscape Monogrammed with artist's initials DJ (lr); inscribed David Johnson. on the mount Oil on paper laid down to board Elongated tondo, 5 x 2 1/2 inches Provenance: Private collection Johnson often used small formats to create scenic vignettes of favorite subjects. Portraying this image within an elongated tondo, he included an equal measure of land and sky, rendering both with a painterly handling demonstrating Barbizon influence. The tree at left is a Claudian holdover, giving the scene a pastoral element, furthered by the tiny figures in red who gaze at a scenic view from a hilltop. Signing this small image with his monogrammed initials, Johnson acknowledged the completeness of his statement. C The Spanierman Gallery, LLC

Condition Report: There is a small pin hole in the upper register and another on the lower register, these are both under the mount. There is some inpaint and rubbing along the edges. There is no further restoration visible under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Jasper Francis Cropsey American, 1823-1900 Greenwood Lake, 1871   Signed J. F. Cropsey and dated 1871...

Lot 10: Jasper Francis Cropsey American, 1823-1900 Greenwood Lake, 1871 Signed J. F. Cropsey and dated 1871...

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Description: Jasper Francis Cropsey American, 1823-1900 Greenwood Lake, 1871 Signed J. F. Cropsey and dated 1871 (ll) Watercolor on paper laid down to a second sheet 10 1/2 x 14 inches In emails dated 25 March 2013, Dr. Kenneth Maddox writes "There is no doubt your watercolor is by Cropsey, and it is certainly of Greenwood Lake. The view is a little farther up the east side of the lake than Cropsey usually takes, and the tree blocks the log cabin he often places in his compositions of this area. Although there is really no distinct landform which allows for absolute identification, it must be Greenwood. The watercolor was probably painted in his studio and from the artist's recollections of the lake he knew so well. "Cropsey first journeyed to Greenwood Lake through the urging of his friend and dealer,John Ridner, while the artist was apprenticed to an architect in New York. He not only fell in love with the scenery of the area, but also with Maria, the daughter of Isaac Cooley, who lived on the southwest corner of the lake. Cropsey's paintings of the area date as early as 1843." We extend sincere thanks to Dr. Maddox, author of the forthcoming catalogue raisonne of the artist's work to be published by the Newington-Cropsey Foundation, for his kind assistance in authenticating this work. C Property of a Greenwich Village Collector

Condition Report: Toned. Matburn along the upper edge. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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William Trost Richards American, 1833-1905 Coastline with Grassy Slopes

Lot 11: William Trost Richards American, 1833-1905 Coastline with Grassy Slopes

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Description: William Trost Richards American, 1833-1905 Coastline with Grassy Slopes Signed W. T. Richards (ll) Oil on board 8 3/8 x 15 1/4 inches Provenance: Hill Gallery, Inc., Washington, D.C. C 

Condition Report: Frame rubbing. There are some light scattered touches of inpaint in the sky, particularly just off the cliff in the upper right corner. There is some inpaint in the lower left corner edges from frame rubbing. There is no further restoration visible under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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William Trost Richards American, 1833-1905 Rocky Hillside

Lot 12: William Trost Richards American, 1833-1905 Rocky Hillside

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Description: William Trost Richards American, 1833-1905 Rocky Hillside Signed Wm. T. Richards (ll) Oil on board 10 x 20 inches Unframed Provenance: Mr. C. Nelson Richards Dating from the Pre-Raphaelite phase in Richards's art (1850s-60s), Rocky Hillside illustrates John Ruskin's advice that artists render nature in minute detail, thereby showing an appreciation of god's blessing of every blade of grass and slab of rock. Richards manages to blend such a fastidious attention to the textures and surfaces of forms with an organized composition that subtly draws our eye in a calming circular movement through the rocks. C The Spanierman Gallery, LLC

Condition Report: Frame rubbing. There are scattered touches of inpaint in the sky. There is no further restoration visible under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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George Inness American, 1825-1894 Sunset, 1861   Signature Geo Inness and dated 61 (lr) Oil on canva...

Lot 13: George Inness American, 1825-1894 Sunset, 1861 Signature Geo Inness and dated 61 (lr) Oil on canva...

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Description: George Inness American, 1825-1894 Sunset, 1861 Signature Geo Inness and dated 61 (lr) Oil on canvas 9 7/8 x 13 3/4 inches Provenance: Newhouse Galleries, New York In a letter of authentication dated October 22, 2012, that accompanies this lot, Michael Quick writes: "Having had the opportunity to study carefully Sunset, it is my definite opinion that it is an authentic work of George Inness. Both the distinctive technique and the motif indicate that this is a painting of his first Medfield period, circa 1860-1863. I would date it toward the beginning of that period. It apparently depicts the marshy area along the Charles River near Medfield, a frequent subject." We thank Dr. Quick for his kind assistance in authenticating this work. C Estate of Walfredo Toscanini

Condition Report: Glue relined. Light scattered craquelure throughout. There is a tiny touch of inpaint in the sky at the center left, a tiny touch in the sky at the upper right corner and a tiny touch in the grass just below the water at the lower center. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Jerome Thompson American, 1814-1886 Pastoral Landscape, 1881

Lot 14: Jerome Thompson American, 1814-1886 Pastoral Landscape, 1881

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Description: Jerome Thompson American, 1814-1886 Pastoral Landscape, 1881 Signed J. Thompson (lr) Oil on canvas 30 1/4 x 37 inches C 

Condition Report: Frame rubbing. Scattered craquelure throughout. There is a visible stretcher marks. There is scattered touches of inpaint in the sky, particularly in the upper right quadrant. There is a 3 inch vertical line of inpaint in the lower right quadrant. There is no further restoration under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Jervis McEntee American, 1828-1891 The Farm Yard, Upstate New York

Lot 15: Jervis McEntee American, 1828-1891 The Farm Yard, Upstate New York

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Description: Jervis McEntee American, 1828-1891 The Farm Yard, Upstate New York Monogrammed with artist's initials (lr) Oil on canvas 11 1/2 x 16 inches C 

Condition Report: Frame rubbing. There is a 1/2 diameter area of inpaint in the trees at the upper center. There is a 1/2 x 1 inch area of inpaint in the grass and the lower part of the girl's dress in the lower left corner. There is also a 1 inch x 1/2 inch area of inpaint in the grass between the fence at the lower center. There is no further restoration visible under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Clinton Loveridge American, 1824-1915 Haying, Newburgh, N.Y., 1872

Lot 16: Clinton Loveridge American, 1824-1915 Haying, Newburgh, N.Y., 1872

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Description: Clinton Loveridge American, 1824-1915 Haying, Newburgh, N.Y., 1872 Signed Clinton Loveridge and dated 1872 (lr); inscribed Haying, B... Farm/Newburgh, N.Y. and dated 1872 on the stretcher Oil on canvas 14 x 24 inches Provenance: Kennedy Galleries, Inc., New York C 

Condition Report: Frame rubbing. Some minor scattered areas of craquelure throughout. There is no visible restoration under Uv light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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J. Ambrose Pritchard American, 1858-1905 Pond

Lot 17: J. Ambrose Pritchard American, 1858-1905 Pond

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Description: J. Ambrose Pritchard American, 1858-1905 Pond Signed J. Ambrose Pritchard (lr) Oil on canvas 21 x 20 inches C 

Condition Report: Frame rubbing. Scattered craquelure, particularly in the sky. Surface grime. There is a 1/4 inch puncture coming from the reverse, with corresponding paint surface loss in the edge of the tree and the sky at the upper left corner. There is a dense varnish, unable to detect further restoration under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Nelson Augustus Moore American, 1824-1902 Lake George

Lot 18: Nelson Augustus Moore American, 1824-1902 Lake George

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Description: Nelson Augustus Moore American, 1824-1902 Lake George Signed NA Moore with conjoined first initials twice and dated indistinctly 8... (ll) Oil on canvas 12 x 18 inches Provenance: Private collection, New York C 

Condition Report: Frame rubbing. Dirty varnish. There is a missing paint flake, approximately 1/8 in diameter, in the sky at the center left. There are some possible light touches of inpaint in the trees in the distance at the center and in the cluster of trees in the center right. There is no further restoration visible under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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John William Hill British/American, 1812-1879 Group of Seven Drawings

Lot 19: John William Hill British/American, 1812-1879 Group of Seven Drawings

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Description: John William Hill British/American, 1812-1879 Birch Signed J. W. Hill (lr) and inscribed as titled (ll) Pencil on paper 9 x 6 inches Unframed; Together with (ii) John Henry Hill, American, 1839-1922, Bethel, Maine, 1857, signed J. H. Hill, dated 1857 and inscribed as titled (lr); inscribed as titled and John Henry Hill/1857 on the verso, graphite pencil on paper, 5 7/8 x 9 inches, unframed; (iii) John William Hill or John Henry Hill, Young Ash & Elm, 1854 , signed with artist's initials J. H. and dated 1854 (lr); inscribed as titled on the verso, pencil on paper, 7 5/8 x 6 1/4 inches, unframed; (iv) John William Hill or John Henry Hill, Birch in Forest, inscribed Moss dark green/bark light grey and purple spots/foliage light green (ll), pencil on paper heightened with white, 9 1/4 x 7 3/8 inches, unframed; (v) John William Hill or John Henry Hill, Cliff Along the Water, inscribed sept 23 (lr), graphite pencil on paper, 7 x 10 inches, unframed; (vi) John William Hill or John Henry Hill, Pine Gray, inscribed as titled (ur), pencil, watercolor and wash on paper, 7 x 5 1/4 inches, unframed; (vii) John William Hill or John Henry Hill, Three Birches, pencil heightened with white, 10 1/4 x 6 3/4 inches, unframed C The Spanierman Gallery, LLC

Condition Report: (i) Toned. Hinged with scotch tape on the verso to the front matting. Scattered staining. (ii) Toned. Hinged with scotch tape on the verso to the front matting. Scattered staining and foxing. (iii) Toned. Hinged with scotch tape on the verso to the front matting. Scattered staining and foxing. (iv) Toned. Hinged with scotch tape on the verso to the front matting. Scattered staining and foxing. (v) Toned. Hinged with scotch tape on the verso to the front matting. Scattered staining and foxing. (vii) Toned. Hinged with scotch tape on the verso to the front matting. Scattered staining and foxing. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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John William Hill British/American, 1812-1879 Landscape with Bridge

Lot 20: John William Hill British/American, 1812-1879 Landscape with Bridge

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Description: John William Hill British/American, 1812-1879 Landscape with Bridge Inscribed near P...land and signed J. W. Hill on the reverse Watercolor on paper 1 3/4 x 3 inches unframed; Together with (ii) John Henry Hill, American, 1839-1922, Horse and Cart Along the River, 1885, signed Hill and dated 85 (ll); inscribed indistinctly on the reverse, watercolor on paper, 3 3/4 x 7 3/8 inches,unframed; (iii) John William Hill or John Henry Hill, Waterfall, watercolor on paper, 4 x 6 1/4 inches, unframed; (iv) John William Hill or John Henry Hill, Tree in a Landscape, watercolor on paper, 4 5/8 x 6 3/8 inches, unframed; (v) John William Hill or John Henry Hill, River Landscape, watercolor and pencil on paper, 4 3/8 x 6 1/4 inches, unframed; (vi) John William Hill or John Henry Hill, Mountain River Landscape, watercolor and pencil on paper, 4 7/8 x 9 1/2 inches, unframed; (vii) John William Hill or John Henry Hill, Entrance to Town, watercolor and pencil on paper, 7 x 10 inches, unframed; (viii) John William Hill or John Henry Hill, Vast Landscape, watercolor on paper, 5 3/8 x 10 5/8 inches, unframed C The Spanierman Gallery, LLC

Condition Report: (i) Toned. Hinged with scotch tape on the verso to the front matting. (ii) Toned. Scattered staining in the sky. Hinged with scotch tape on the verso to the front matting. (iii) Toned. Hinged with scotch tape on the verso to the front matting. (iv) Toned. Hinged with scotch tape on the verso to the front matting. (v) Toned. Hinged with scotch tape on the verso to the front matting. (vi) Toned. Hinged with scotch tape on the verso to the front matting. Scattered stains and foxing in the sky. (vii) Toned. Hinged with scotch tape on the verso to the front matting. Scattered foxing. (viii) Toned. Hinged with scotch tape on the verso to the front matting. Scattered stains. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Benedikt Franz Hess Swiss/American, 1817-1870 Landscape: Farm in the Genesee Valley, New York

Lot 21: Benedikt Franz Hess Swiss/American, 1817-1870 Landscape: Farm in the Genesee Valley, New York

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Description: Benedikt Franz Hess Swiss/American, 1817-1870 Landscape: Farm in the Genesee Valley, New York Signed B. Hess and inscribed N.Y. (lr) Oil on canvas 39 1/2 x 53 1/2 inches Provenance: Private collection A painter of panoramic landscapes in a detailed transcriptive yet broadly painted style, Benedikt Franz Hess was born in Paris and began his career in Switzerland, studying with the Swiss landscapist Charles Louis Guigon. By 1852 he had immigrated to the United States; that year he exhibited seven paintings at the American Art Union in New York. While one of the paintings was a view near Geneva, Switzerland, the titles and descriptions of the others indicate that he traveled widely in New York state, painting in Deposit and Middleport, and rendering the Hudson River north of Newburgh, and the rapids of Niagara. This landscape of the Genesee Valley concurs with the pastoral tradition, depicting a peaceful scene of meadows and fields bathed in a soft, golden light, and framed by trees that also create a winding movement toward the horizon. C The Spanierman Gallery, LLC

Condition Report: Frame rubbing, with some corresponding inpaint. Wax-relined. There is scattered inpaint throughout the sky. There is a 2 inch vertical line of inpaint in the lower right corner. There is no further restoration visible under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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John Williamson American, 1826-1885 Landscape in Marbletown, Ulster County, New York

Lot 22: John Williamson American, 1826-1885 Landscape in Marbletown, Ulster County, New York

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Description: John Williamson American, 1826-1885 Landscape in Marbletown, Ulster County, New York Inscribed Marbletown and signed with artist's initials J.W. (lr); inscribed Marbletown/Ulster Co. N.Y. and inscribed with the artist's initials J.W. on the reverse Oil on canvas 20 x 16 inches Provenance: Private collection A Scottish-born artist who settled in Brooklyn with his family as a child, Williamson is best known for landscapes rendered in Ulster County, New York, that are in the spirit of the Hudson River School. This intimate image evokes the forest glades of Asher B. Durand and Worthington Whittredge, capturing a canopy of leaves through which the light of day creates a peaceful glow. The many types of trees in different states of growth reflect a Ruskinian attitude, while conveying the broader theme of the passage of time, in the mode of Thomas Cole. C The Spanierman Gallery, LLC

Condition Report: Strip relined. Frame rubbing, with corresponding inpaint. Scattered craquelure throughout. There is no further visible restoration under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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George Washington Nicholson American, 1832-1912 Falls of the Bushkill

Lot 23: George Washington Nicholson American, 1832-1912 Falls of the Bushkill

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Description: George Washington Nicholson American, 1832-1912 Falls of the Bushkill Signed G. W. Nicholson (ll); inscribed as titled on the reverse Oil on panel 16 x 11 3/4 inches C 

Condition Report: Frame rubbing. Dirty varnish. There is a three inch diagonal scratch in the rushing water at the center. There is no visible restoration under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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John Bunyan Bristol American, 1826-1909 Storm King Mountain

Lot 24: John Bunyan Bristol American, 1826-1909 Storm King Mountain

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Description: John Bunyan Bristol American, 1826-1909 Storm King Mountain Signed J. B. Bristol (lr) Oil on canvas 18 x 30 inches Provenance: Maxwell Galleries, San Francisco Art Options Inc., New York C 

Condition Report: Frame rubbing. There is scattered touches of inpaint in the mountains at the center left and in the water at center left. There is a small touches of inpaint in the sky at the upper right corner. There is no further restoration visible under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Alfred Thompson Bricher American, 1837-1908 Picnic on the Rocks, Narragansett

Lot 25: Alfred Thompson Bricher American, 1837-1908 Picnic on the Rocks, Narragansett

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Description: Alfred Thompson Bricher American, 1837-1908 Picnic on the Rocks, Narragansett Signed A. T. Bricher. (lr) Oil on canvas 11 1/2 x 21 3/4 inches Provenance: Vose Galleries, Boston, purchased by present owner - circa 1979/80 Private collection, MA This lot is accompanied by a letter of authentication from Bricher authority Jeffrey R. Brown. In this dramatic composition, Alfred Bricher focuses upon the rugged shoreline, its boulders defined by brilliant sunlight, rather than the group of picnickers perched upon an outcropping at upper right. In a letter dated 10 January 2008, Jeffrey R. Brown, describes the painting's location as "a bit of rocky shoreline on the western side [of] Narragansett Bay south of the town of Narragansett toward Point Judith near the intersection of Ocean Road and Anna Olivo Court. Ever interested in picture making, however, Bricher would alter views of nature by eliminating distracting elements and choosing a point of view to emphasize a noteworthy feature.. "While the artist had been in Newport in 1864, the work inspired by his trip around Narragansett Bay during the summer of 1871 reached a new level of quality and intensity. Bricher documented this trip around Narragansett Bay in a sketchbook of pencil sketches dated between June 20th and August 5th. It is possible to date the subject painting about 1871-1872 by palette and style by comparing Bricher's treatment of spots of light reflecting on the water with a recently discovered 20 x 38 inch canvas dated 1872, Sunrise on Salisbury Beach: Tide Coming In. "Narragansett Bay coastal views have been difficult to identify. Fortunately Bricher provided an answer to the question of identification of Indian Rock, first in his 25 x 51 inch canvas with title and 1871 date inscribed on the verso [formerly Wilmerding Collection], and while sketching at Narragansett again in 1884 when he inscribed [a] sketchbook drawing of Indian Rock." A few years earlier, in 1863, William Stanley Haseltine depicted what appears to be the same location in Indian Rock, Narragansett, Rhode Island [oil on canvas, 22 3/8 x 38 5/8 inches, collection Fine Arts Museums of San Francisco, M. H. de Young Memorial Museum, acc. 1985.28], also focusing on the effect of brilliant sunlight on the rocky terrain. A copy of Dr. Brown's letter accompanies this lot. C 

Condition Report: Frame rubbing. Glue relined. Fine craquelure. There is a Z-shaped repaired tear in the waves at the center left, measuring approximately 3 x 3 x 1/2 inch. There is a 1 x 1/2 inch area of inpaint in the water, just 1 inch above the Z-shaped tear. There is another 1 inch horizontal line of inpaint in the center sky. There are also some minor touches of inpaint scattered throughout the sky. There is a 1/2 vertical line of inpaint in the rocks at the lower right corner, below the signature. there is no further visible restoration under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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American School 19th Century Coastal View with Sailboat

Lot 26: American School 19th Century Coastal View with Sailboat

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Description: American School 19th Century Coastal View with Sailboat Signed indistinctly (ll) Oil on canvas 16 x 32 inches A view of a coastline on a peaceful waterway, this scene evokes the quietude of American Luminist art. The horizontal format, the still water in which a wave seems stopped in mid-motion, the white sails of a boat in the distance which are clearly outlined, and the crisp definition of sunlight and shade on the beach create a vision of the natural world in perfect order, concurring with a Transcendentalist point of view. C The Spanierman Gallery, LLC

Condition Report: Glue relined. Frame rubbing. Scattered craquelure. There are some very minor touches of inpaint in the sky, in the trees in the distance at center left and in the water at the lower right corner. There is no further restoration visible under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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George F. Fuller American, 1822-1884 Connecticut Valley

Lot 27: George F. Fuller American, 1822-1884 Connecticut Valley

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Description: George F. Fuller American, 1822-1884 Connecticut Valley Oil on canvas 14 1/2 x 27 inches Provenance: Vose Galleries, Boston, MA Provenance: The artist By descent through the family Private collection Vose Galleries, Boston, 1966 Private collection, DE, 1970 Vose Galleries, Boston, 1974 Private collection, New Castle, ME, 1982 Exhibition: Museum of Fine Arts, Boston, Memorial Exhibition of the works of George Fuller, Apr. 24-May 13, 1884, no. 9 Literature: J. B. Millet. George Fuller: His Life and Works, with illustrations. New York: Houghton, Mifflin, and Company, 1866, p. 87 illus. Best known for mood-filled portraits and figure paintings, Fuller also created a number of landscapes in 1850s and 60s, among them this view of the Connecticut Valley, a narrow stretch of land running through Connecticut and Massachusetts. A related work is Connecticut Valley From the Western Hills (Smith College Museum of Art, Northampton, Massachusetts). While Smith College's painting is of an uninhabited landscape, this images features a settled countryside in which rolling pasturelands flanked by hills open to an expansive vista of distant mountains. The composition is in the pastoral mode of Claude Lorrain, but Fuller captures the reality of this setting rather than idealizing it. A figure gazing into the distance adds a sense of scale and a contemplative note to the work. Fuller's animated brushwork in the sky gives it life, anticipating the more expressive mode of painting he would develop later in his career. C The Spanierman Gallery, LLC

Condition Report: Wax relined. Frame rubbing. There is a dense varnish, unable to detect further restoration under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Edmund Darch Lewis American, 1835-1910 New England Coast, 1892

Lot 28: Edmund Darch Lewis American, 1835-1910 New England Coast, 1892

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Description: Edmund Darch Lewis American, 1835-1910 New England Coast, 1892 Signed Edmund D. Lewis and dated 1892 (lr) Watercolor and gouache on paper laid down to cardboard 9 1/2 x 20 7/8 inches C 

Condition Report: Matburn. Toned. Some possible staining in the sky. There is some paper residue on recto along the right and left edge under the matting (this is probably from a former matting). Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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John Bunyan Bristol American, 1826-1909 Berkshire Mountains

Lot 29: John Bunyan Bristol American, 1826-1909 Berkshire Mountains

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Description: John Bunyan Bristol American, 1826-1909 Berkshire Mountains Signed J. B. Bristol (lr) Oil on canvas 18 1/8 x 30 1/4 inches C 

Condition Report: Frame rubbing. Faint stretcher marks. Dirty varnish. Scattered areas of craquelure. There is no visible restoration under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Dr. Edward Ruggles American, 1817-1867 White Mountains, New Hampshire

Lot 30: Dr. Edward Ruggles American, 1817-1867 White Mountains, New Hampshire

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Description: Dr. Edward Ruggles American, 1817-1867 White Mountains, New Hampshire Inscribed Ruggles and Mr. T. J. Shepard... on the reverse Oil on board 5 1/2 x 7 3/8 inches "An eccentric physician and painter in Brooklyn," Edward Ruggles abandoned his medical career to devote himself to painting. His small oil paintings were known as Ruggles Gems and were avidly sought by the end of his life. An honorary member of the National Academy of Design, he exhibited both there and at the American Art Union, and nine of his New Hampshire views were published by the Prang lithographic firm. After his death, a notice published in The New York Times on December 15, 1867, advertised a final, posthumous, sale of Ruggles Gems at the Leeds Art Galleries. The unidentified author waxed fulsome, commenting that "As a colorist, as an illustrator of nature, as an artistic scholar and critic, the merits of Dr. Ruggles are as highly appreciated by the best judges as they have latterly been by the general public; and the eagerness to obtain his pictures almost taxed to the last point his extraordinary facility of production." C 

Condition Report: Frame rubbing, with some minor corresponding inpaint. There are two tiny touches of inpaint in the sky and the top of the mountain at the center. There seems to be a irregularity in the board at the trees in the center right, which was most likely there when the artist painted it. There is no further restoration visible under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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George Fisher Daniels American, 1821-1879 Pastoral Landscape

Lot 31: George Fisher Daniels American, 1821-1879 Pastoral Landscape

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Description: George Fisher Daniels American, 1821-1879 Pastoral Landscape Signed G. F. Daniels and dated 1873. (lr) Oil on canvas 24 x 48 inches Provenance: Private collection A shoe maker by profession, a historian (author of History of the Town of Oxford, Massachusetts, 1892), and a friend of many artists including Winslow Homer, Emil Carlsen, and R. Swain Gifford, Daniels was also a painter himself. He focused primarily on panoramic pastoral views of rural New England. Exhibition records reveal that he painted Lake Champlain, the Passaic and Hackensack Rivers in New Jersey, New Hampshire sites including Souhegan River, Milford and Massabesic Lake, as well as locales near his home in Oxford, Massachusetts, such as Lake Chaubunakungomaug, the subject of an 1872 painting in the collection of the Worcester Museum of Art. Due to its topographical features, Pastoral Landscape of 1873 is likely also to feature this lake. With its elongated horizontal format echoed by landforms, field furrows, and cirrus clouds, the painting presents a calming and idyllic vision in keeping with the image of America as a new Arcadia. C The Spanierman Gallery, LLC

Condition Report: Strip relined. Frame rubbing. There are light touches of inpaint scattered thoughtout, the largest being a 2 inch horizontal line of inpaint in the landscape in the lower right corner and a 1 inch diagonal line of inpaint in the sky in the upper right corner. There are no further touches of inpaint under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Thomas Ball American, 1819-1911 Whispering Zephyr

Lot 32: Thomas Ball American, 1819-1911 Whispering Zephyr

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Description: Thomas Ball American, 1819-1911 Whispering Zephyr, 1884 Signed T. Ball (lr) White marble relief Diameter 19 7/8 inches Provenance: Gloria Stacey, London (acquired from an estate sale, London, early 1950s) Thence by descent to the current owner Literature: William Ordway Partridge, "Thomas Ball," The New England Magazine, vol. 12, pp. 290-304, illus., another version. In My Three Score and Ten (John Wilson and Son: Cambridge, 1891), Thomas Ball writes of his sculpture projects, noting that after his return to his Florence from a Boston sojourn in 1883, he "modeled a new statue, in small, of Lincoln, and one of Garfield. These, together with portrait busts (General Grant among them) and ideal medallions ("Whispering Zephyr," "Ophelia," etc), occupied my time till January, 1885." Born in Charlestown, Massachusetts, Ball was both musically and artistically gifted, and taught himself first to paint, and then to sculpt in wood. His first sculptural effort was a portrait of Jenny Lind. In 1854, at the age of thirty-five he traveled to Florence to study, and remained there for years, part of the vibrant artists' colony that included Hiram Powers and the Brownings. His studio became a regular destination for Americans on the Grand Tour, and aspiring collectors commissioned versions of his current projects, which in 1884 would have included the graceful Whispering Zephyr, as well as Ophelia. Whispering Zephyr depicts the beautiful Chloris, goddess of flowers and the personification of spring in Greek mythology (known as Flora in Roman lore). She is wooed by Zephyr, Greek god of the West Wind and harbinger of spring (and son of Aurora, goddess of the dawn). Here depicted as a cherubic youth, Zephyr is enveloped in swirling draperies, tossed by the same breeze that gently lifts the curls framing his beloved's face.It is unclear how many multiples of Whispering Zephyr were produced by Ball. One version is included in the permanent collection of the Art Institute of Chicago. C 

Condition Report: Surface grime. There are some very small chips to the edge in the lower left quadrant. The marble border is painted yellow. There are three holes to in the border from former mounting, on in the top center, one in the lower right quadrant and the lower left quadrant. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Milne Ramsey American, 1847-1915 Still Life with Ewer and Fruit, 1872

Lot 33: Milne Ramsey American, 1847-1915 Still Life with Ewer and Fruit, 1872

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Description: Milne Ramsey American, 1847-1915 Still Life with Ewer and Fruit, 1872 Signed Milne Ramsey and dated 2.72 (lr) Oil on canvas 36 x 27 1/8 inches Provenance: Private collection, PA C 

Condition Report: Wax relined; stretchers are not original to the piece. Frame rubbing. Scattered craquelure throughout. There are touches of inpaint in the curtain in the background, in the shadows of the table cloth, in the grapes and in the neck of the ewer. There is no further restoration visible under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Thomas Henry Hope American, 1832-1926 Barrel of Cheer   Oil on canvas 24 1/2 x 20 1/4 inches Provenance:  ...

Lot 34: Thomas Henry Hope American, 1832-1926 Barrel of Cheer Oil on canvas 24 1/2 x 20 1/4 inches Provenance: ...

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Description: Thomas Henry Hope American, 1832-1926 Barrel of Cheer Oil on canvas 24 1/2 x 20 1/4 inches Provenance: Private collection, NJ Exhibited: New York, Spanierman Gallery, LLC, A Century of American Art: 1850-1950, Paintings, Sculpture and Works on Paper, Oct. 7-30, 2004. New York, Spanierman Gallery, LLC, American Still Life Painting, 1829-2009, Jan. 19-Feb. 20, 2010. Hope's biographical details are still emerging. He is known to have come from England to America in 1864 whereupon he seems to have immediately begun service as a musician in the Civil War; he played the cornet and was a bandleader. He subsequently studied at the Pennsylvania Academy of the Fine Arts, where his fellow students were William Harnett and John F. Peto. The latter was probably his cousin, and he shared with Peto not only the playing of cornet, but also an ironic and wry attitude in his art. This is seen in Barrel of Cheer, in which the cast-away empty bottles after a night of revelry provide a literal and metaphorical sobering message. The hemp rope hanging over the barrel's edge also may have a symbolic meaning, while enhancing the believability of the illusion. Please note that this work is acompanied by a photo of this work in the studio of Thomas Henry Hope. C The Spanierman Gallery, LLC

Condition Report: Glue relined. Frame rubbing. There are some light touches of inpaint in the background. The contours of the barrel are possibly inpainted. There is no further restoration visible under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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William Jacob Hays, Sr. American, 1830-1875 Pheasants, 1867

Lot 35: William Jacob Hays, Sr. American, 1830-1875 Pheasants, 1867

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Description: William Jacob Hays, Sr. American, 1830-1875 Pheasants, 1867 Signed W. J. Hays and dated 1867. (ll) Oil on canvas stretched to a panel 19 x 24 inches Provenance: Private collection In contrast to many of his contemporaries who painted majestic views of the Hudson River Valley and New England, Hays focused his attention on the portrayal of animals and the Western prairies. He achieved considerable success in this field, and at the time of his death, he was known as "one of the most able painters in the country." (Art Journal, New York, 1875, 127). Five years later, the art historian S. G. W. Benjamin declared that Hays "succeeded in giving spirit and character to the [animals] he painted, and holds among our animal painters a position not dissimilar to that of [William Sidney] Mount in genre." Interested in animal subjects from the outset of his career, Hays-possibly inspired by the example of George Catlin-traveled for five months along the upper Missouri River to Fort Union. He rendered crisp oil paintings on his return from the drawings he created on the trip. Hays subsequently traveled to the Adirondacks, Nova Scotia, Yellowstone in Wyoming, and England, developing detailed studies for his acclaimed views of herds of buffalo and prairie life, as well as of game birds, fish, fruit, and flowers. C The Spanierman Gallery, LLC

Condition Report: Frame rubbing. Scattered craquelure throughout. There are touches of inpaint in the leaves in the upper center between the two pheasants. There is a 1 1/2 x 3 inch area of possible inpaint in the largest pheasant's wing at center. There is a 1 1/2 inch line of inpaint in the largest pheasant's base of the tail. There are two areas of inpaint in the pheasant in the middle, approximately 1/2 inch round each. There are some touches of inpaint in the main branch in the lower right quadrant. There is no further restoration under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Claude (Claudine) Raguet Hirst American, 1855-1942 Still Life with Peaches

Lot 36: Claude (Claudine) Raguet Hirst American, 1855-1942 Still Life with Peaches

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Description: Claude (Claudine) Raguet Hirst American, 1855-1942 Still Life with Peaches Signed Claude R. Hirst and dated N.Y. 86 (lr) Oil on canvas 12 x 16 inches C 

Condition Report: Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Charles Paul Gruppe American, 1860-1940 Cows in a Meadow

Lot 37: Charles Paul Gruppe American, 1860-1940 Cows in a Meadow

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Description: Charles Paul Gruppe American, 1860-1940 Cows in a Meadow Signed Chas. P. Gruppe (lr) Oil on canvas 25 x 30 inches C Property of a Greenwich Village Collector

Condition Report: Glue relined. Frame rubbing. Scattered craquelure throughout. There is possible scattered inpaint in the sky, it could be original paint from the artist, but it is hard to tell. There is no further restoration visible under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Charles Henry Miller American, 1842-1922 A Long Island Pastoral

Lot 38: Charles Henry Miller American, 1842-1922 A Long Island Pastoral

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Description: Charles Henry Miller American, 1842-1922 A Long Island Pastoral Signed Chas H. Miller N.A. (ll); inscribed Summer Grey and Green/By Chas. H. Miller N.A., Queens, L.../..."A Long Island Pastoral" 12/16/... on the stretcher Oil on canvas 24 x 32 inches C 

Condition Report: Frame rubbing. Scattered craquelure throughout. There is inpaint in the lower right and lower left corner. There is inpaint in the lower right register from old frame rubbing. There is some minor scattered touches of inpaint in the sky, in the trees at center right and in the shrubbery along the pond at the lower center right. There is a 2 1/4 inch horizontal repaired tear in the trees at the center right, with a corresponding patch on the reverse. There is no further restoration visible under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Charles Henry Miller American, 1842-1922 The Road Through the Dunes

Lot 39: Charles Henry Miller American, 1842-1922 The Road Through the Dunes

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Description: Charles Henry Miller American, 1842-1922 The Road Through the Dunes Signed Chas H. Miller. N.A. (ll); inscribed as titled and By Chas H. Miller N.A. on the stretcher Oil on canvas 15 1/4 x 18 5/8 inches C 

Condition Report: Frame rubbing. Scattered craquelure. There are four paint flake losses, that have been inpainted, on the left of the boy. There is inpaint in the sky at the center left, approximately 2 1/2 inches x 1 inch. There is no further restoration visible under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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John Francis Murphy American, 1853-1921 The Willows

Lot 40: John Francis Murphy American, 1853-1921 The Willows

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Description: John Francis Murphy American, 1853-1921 The Willows Signed J. Francis Murphy (ll); inscribed as titled on the reverse Oil on canvas backed by panel 19 x 26 inches Provenance: Sale, American Art Association, New York, Paintings and Drawings by J. Francis Murphy, November 1926 Private collection Featuring a grove of trees bounded by a stretch of summer pastureland, this painting is typical of Murphy's third, or late, period of activity, from about 1901 to 1916. During these years he modified his style, combining the softly diffused luminosity of Tonalism with a more expressive technique and a lighter palette that suggests the influence of Impressionism. The locale was probably inspired by Arkville, New York, where Murphy spent eight months of the year. C The Spanierman Gallery, LLC

Condition Report: Scattered craquelure. Frame rubbing. There is scattered inpaint throughout the sky. There is no further restoration under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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John Francis Murphy American, 1853-1921 The Brook

Lot 41: John Francis Murphy American, 1853-1921 The Brook

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Description: John Francis Murphy American, 1853-1921 The Brook Signed J. Francis Murphy (lr); remnants of a signature (ll) Oil on canvas 7 1/2 x 14 1/8 inches Provenance: Dr. F. Whiting, New York Private collection, New England The Brook relates to the works of Murphy created in the late 1880s, a short time after he returned from a trip to Europe and began spending extended summer seasons in Arkville, New York. With the forms of rock and farmhouse clearly outlined in an atmospheric setting, The Brook is in the mode of Murphy's well-known Tints of the Vanished Past of 1885 (Cheekwood Museum) for which he won the Second Hallgarten Prize at the National Academy of Design. As Eliot Clark remarked "Arkville brought to Murphy the peaceful tranquility of nature, a retreat where he could vegetate during the warm season and prepare the grounds of canvases for wrk in the more invigorating days of autumn. Then his eye was alert and searching, and although he made no records of particular places he was constantly observing the simple effects of earth and sky, measuring value relations and color harmony." (Clark, J. Francis Murphy, 1926, p. 17) C The Spanierman Gallery, LLC

Condition Report: Frame rubbing. Glue relined. Scattered craquelure throughout. There is no restoration under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Newbold Hough Trotter American, 1827-1898 Clearing Off

Lot 42: Newbold Hough Trotter American, 1827-1898 Clearing Off

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Description: Newbold Hough Trotter American, 1827-1898 Clearing Off Signed N. H. Trotter (ll) Oil on canvas 20 x 30 inches • 

Condition Report: Wax relined. Frame rubbing. Heavy scattered craquelure throughout. There is a dense varnish, unable to detect further restoration under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Charles Warren Eaton American, 1857-1937 Among the Pines   Signed Chas. Warren Eaton. (lr) Oil on canvasR...

Lot 43: Charles Warren Eaton American, 1857-1937 Among the Pines Signed Chas. Warren Eaton. (lr) Oil on canvasR...

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Description: Charles Warren Eaton American, 1857-1937 Among the Pines Signed Chas. Warren Eaton. (lr) Oil on canvas 24 x 20 inches Provenance: Private collection, VA A leading figure in American Tonalism, Charles Warren Eaton was influenced by French Barbizon painting and by George Inness, who encouraged him and had a studio adjacent to his in 1889. Eaton is best known for the poetic images of the white pine forests of New England that he began to create about 1900. In his art, he portrayed the locales where these trees - extolled also by Henry David Thoreau - had arisen over spare countrysides in which other species had been eliminated due to grazing. His images of the lonely, monolithic stands against the sunset evoke a sadness for this loss. It was for depictions of this subject that Eaton became known as "The Pine Tree Artist." These landscapes, with their subdued palettes and structured designs were well suited to Arts and Crafts environments (such as the home the artist designed for himself in Bloomfield, New Jersey, in 1914). C The Spanierman Gallery, LLC

Condition Report: Frame rubbing. Strip lining. Minor craquelure throughout. There are a couple of touches of inpaint in the tree branches at the center right and the ground at the lower right corner. There is no further restoration visible under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Charles Warren Eaton American, 1857-1937 Dusk

Lot 44: Charles Warren Eaton American, 1857-1937 Dusk

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Description: Charles Warren Eaton American, 1857-1937 Dusk Signed Chas Warren Eaton. (ll) Oil on board 12 x 16 inches Provenance: Dr. A.E. James, Jr. Private collection, Saint Louis, MI This is a classic Eaton image, merging a Tonalist palette with a sense of Luminist light. The spirit of nature is evocatively present in the lingering glow of the sun, which has settled over the tops of low trees and filters across a meadow, where rocks imply a subtle pattern and sense of passage. Heavy trees at the left, creating a dark shadowed enclosure, evoke a restful feeling of meditation. C The Spanierman Gallery, LLC

Condition Report: Frame rubbing, with some light corresponding inpaint. Unable to detect further restoration under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Hugh Bolton Jones American, 1848-1927 Winter Sunset

Lot 45: Hugh Bolton Jones American, 1848-1927 Winter Sunset

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Description: Hugh Bolton Jones American, 1848-1927 Winter Sunset Signed H. Bolton Jones (ll) Oil on panel 14 x 20 inches C 

Condition Report: Frame rubbing. Scattered craquelure throughout. There is inpainting in the craquelure in the trees at the middleground. There is no further restoration visible under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Paul Cornoyer American, 1864-1923 Winter Landscape with Pond; Together with Orlando Rouland, American, 1871-1945, Peconic Bay

Lot 46: Paul Cornoyer American, 1864-1923 Winter Landscape with Pond; Together with Orlando Rouland, American, 1871-1945, Peconic Bay

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Description: Paul Cornoyer American, 1864-1923 Winter Landscape with Pond Signed and inscribed To My Friend/O. Rouland/Paul Cornoyer (lr) Oil on board 12 x 15 inches; Together with Orlando Rouland, American, 1871-1945, Peconic Bay, signed Orlando Rouland (lr); inscribed as titled on the reverse, oil on panel, 4 3/4 x 8 3/8 inches Provenance: Bernstein Family collection, New York C 

Condition Report: Cornoyer: Original board is laid down to a second board. There is frame rubbing. Scattered areas of craquelure. 1/2 inch area in the upper left corner is missing (this only visible when the work is unframed). There is a 5 inch diagonal line where the board broke in the upper left corner, which has been repaired and has corresponding inpaint. There is 1 1/2 vertical line of inpaint in the snow at the far center left. There is no further restoration under UV light. Rouland: Frame rubbing. There are some pin holes along all four edges. There is no restoration visible under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Henry Pember Smith American, 1854-1907 Summertime in the Countryside

Lot 47: Henry Pember Smith American, 1854-1907 Summertime in the Countryside

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Description: Henry Pember Smith American, 1854-1907 Summertime in the Countryside Signed Henry P. Smith (ll) Oil on canvas 20 x 28 inches C 

Condition Report: Glue relining. Frame rubbing with corresponding inpaint. There is scattered inpaint throughout the sky. There is a 1 inch vertical repaired tear in the sky at the upper left quadrant. There are two vertical lines of inpaint along the fence in the lower left corner, approximately 1 inch each. There are a couple possible touches scattered along the road at the lower center register. There is no further restoration visible under Uv light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Hobart Nichols, Jr. American, 1869-1962 The Spur

Lot 48: Hobart Nichols, Jr. American, 1869-1962 The Spur

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Description: Hobart Nichols, Jr. American, 1869-1962 The Spur Signed Hobart Nichols (lr); inscribed as titled and signed Hobart Nichols on the reverse Oil on board 22 x 17 7/8 inches C 

Condition Report: Frame rubbing. Dirty varnish. Scattered touches of inpaint in the sky, particularly in the upper left corner, approximately 3 x 3 inches, There is no further restoration visible under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Hobart Nichols, Jr. American, 1869-1962 Winter Wood

Lot 49: Hobart Nichols, Jr. American, 1869-1962 Winter Wood

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Description: Hobart Nichols, Jr. American, 1869-1962 Winter Wood Signed Hobart Nichols (ll) Oil on canvas 30 x 30 inches C 

Condition Report: Frame rubbing. Scattered craquelure. Canvas is buckling. Scattered touches of inpaint in the craquelure spread throughout the trees. There are touches of inpaint along the lower right edge, approximately 5 1/2 x 1 inch. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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Robert Loftin Newman American, 1827-1912 Boating at Night (Sailboat manned by Two Men)

Lot 50: Robert Loftin Newman American, 1827-1912 Boating at Night (Sailboat manned by Two Men)

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Description: Robert Loftin Newman American, 1827-1912 Boating at Night (Sailboat manned by Two Men) Signed R. Newman (lr) Oil on canvas 18 1/8 x 30 1/8 inches Provenance: Private collection Newman's reputation as a colorist is given justification by images such as Boating at Night. The light emerging from and resting on the waves has a sensuous allure, while the darkly silhouetted forms of boat prow and sail against the night have a rich subtlety. In the romantic tradition of Washington Allston, Newman draws us into the mystery of the listing boat, its occupants huddled at one end, as night is soon to consume the remaining light. C The Spanierman Gallery, LLC

Condition Report: Frame rubbing. Glue relined. Scattered craquelure throughout. There is scattered touches of inpaint in the sky and in the sail. There are some minor touches of inpaint in the water. There is no further restoration visible under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

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