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NOVEMBER 9, 2025
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FINE ART
SUNDAY, NOVEMBER 9 ∙ 11 AM
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MONDAY, NOVEMBER 3 SATURDAY, NOVEMBER 8
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20 CHARLES STREET, BOSTON, MASSACHUSETTS 02114
1
(American, 1859-1952)
Still Life with Flowers in an Earthenware Jug pastel on paper signed upper left sight: 13 x 10 1/2 in. frame: 21 1/4 x 18 3/4 in.
$3,000–5,000
LAURA COOMBS HILLS
2
(American, 1876-1965)
signed lower left
30 x 25 in. frame: 37 1/2 x 32 1/2 in.
$6,000–9,000
JANE PETERSON
Zinnias oil on canvas
3
$3,000–5,000
JANE PETERSON (American, 1876-1965) Petunias oil on canvas 24 x 24 in. frame: 31 x 31 in.
4
IDA SEDGWICK PROPER (American, 1873-1957)
Saint-Cloud, France
1910, oil on canvas signed and dated lower right 18 1/4 x 21 3/4 in., frame: 24 3/4 x 28 1/4 in.
$2,000–3,000
5
CHARLES HERBERT WOODBURY (American, 1864-1940)
Looking South to Perkins Cove 1910, oil on canvas signed lower right 17 x 21 in., frame: 27 1/4 x 31 in.
$5,000–10,000
6
(American, 1864-1940)
Evening 1910, oil on canvas signed and dated lower left 20 x 27 in., frame: 26 x 33 in.
$7,000–10,000
CHARLES HERBERT WOODBURY
7
(American, 1927-2020)
In Menemsha pastel on paper signed lower center sight: 12 x 18 in., frame: 21 x 26 7/8 in.
$3,000–5,000
WOLF KAHN
8
(American, 1927-2020)
To the Clearing pastel on paper signed lower center sight: 9 x 12 in., frame: 15 3/4 x 18 3/4 in.
$2,000–4,000
WOLF KAHN
MARSDEN HARTLEY
(American, 1877-1943)
Still Life (Eggplants and Onions) ca. 1929, oil on canvas signed verso inscribed and stamped on stretcher 19 3/4 x 24 in. frame: 26 x 30 in.
$100,000–150,000
In the late 1920s, Marsden Hartley traveled to Aix-en-Provence, supported by a syndicate of four American collectors who provided him with a stipend of $2,000 a year in exchange for ten paintings. This arrangement afforded Hartley financial security and the freedom to work abroad at a moment when he was still negotiating his place within the American and European avant-garde. Hartley was naturally drawn to Aix, for it was the home of the artist Paul Cézanne, who he revered as a foundational figure of modern painting. By visiting sites associated with Cézanne, Hartley absorbed his lessons on structure, solidity, and the relationship between form and color, all of which found fertile expression in the series of still lifes he painted during his time in France.
The present work, with its boldly simplified forms, dark contouring, and rhythmic brushwork, epitomizes Hartley’s Aix still lifes. The humble eggplants and onions are rendered with sculptural weight and a deliberate sense of order against the crisp white folds of a drapery, echoing Cézanne's insistence on the permanence of form even in transient objects. Yet Hartley’s use of saturated color and vigorous handling asserts his own modernist sensibility, transforming the everyday subject into a forceful composition. This synthesis of homage and individuality marks the Aix period as a critical moment in Hartley’s career, when the influence of Cézanne catalyzed a body of work that remains among his most accomplished still lifes.
RALPH EUGENE CAHOON, JR.
(American, 1910-1982)
Melusina School of Ballet 1977, oil on masonite signed and dated lower right 21 1/2 x 29 in. frame: 26 7/8 x 34 1/4 in.
$30,000–50,000
11
BERTHELSEN (American, 1883-1972)
Washington Square oil on canvasboard signed lower right
11 3/4 x 15 5/8 in. frame: 17 1/4 x 21 1/4 in.
$3,000–5,000
JOHANN
12
JOHANN BERTHELSEN (American, 1883-1972)
Trinity Church, Wall Street oil on canvasboard signed lower right 11 1/2 x 8 5/8 in.
frame: 16 3/4 x 13 7/8 in.
$2,000–4,000
13
JOHANN BERTHELSEN (American, 1883-1972)
Fifth Avenue oil on canvasboard signed lower right 11 5/8 x 8 3/4 in.
frame: 16 3/4 x 14 in.
$2,000–4,000
14
JOHN WHORF (American, 1903-1959)
The Cabin in Winter watercolor on paper signed lower right; titled verso sight: 14 x 21 1/4 in.
frame: 23 1/2 x 30 1/4 in.
$1,500–2,500
15
JOHN WHORF (American, 1903-1959)
Winter Scene watercolor on paper signed and dedicated lower left sight: 14 x 20 7/8 in. frame: 23 x 29 3/4 in.
$1,000–2,000
16
(American, 1858-1925)
Sketches of the Metcalf Exhibition of 1923 1923, pencil on paper dedicated and signed lower left sight: 9 1/2 x 7 1/2 in., frame: 16 1/2 x 14 in.
$500–800
WILLARD LEROY METCALF
EDMUND DARCH LEWIS
(American, 1835-1910)
Breakers, Newport
1896, oil on canvas signed and dated lower left 24 x 42 in., frame: 30 1/2 x 48 1/4 in.
$2,000–4,000
18
EDMUND DARCH LEWIS
(American, 1835-1910)
Sail in Narragansett Bay 1895, watercolor and gouache on paper signed and dated lower left sight: 12 3/8 x 28 3/4 in. frame: 21 1/2 x 37 3/4 in.
$800–1,200
19
EDMUND DARCH LEWIS
(American, 1835-1910)
Newport Harbor 1879, watercolor and gouache on paper signed and dated lower right sight: 8 3/4 x 11 3/4 in. frame: 16 3/4 x 19 3/8 in.
$800–1,200
20
DAVID JOHNSON (American, 1827-1908) Franconia, New Hampshire 1871, pencil and gouache on paper monogrammed, dated, and located lower left sight: 11 3/8 x 15 3/4 in., frame: 19 x 23 1/4 in.
$1,000–2,000
21
JOHN ADAMS PARKER (American, 1827-1905)
Heading Out to Sea oil on canvas monogrammed lower right 6 1/8 x 10 in.
frame: 13 1/2 x 17 3/8 in.
$2,000–4,000
22
JOHN ADAMS PARKER (American, 1827-1905)
Cliffs Along the Shore oil on canvas monogrammed lower right 6 1/8 x 10 in.
frame: 13 1/2 x 17 3/8 in.
$2,000–4,000
JOHN LA FARGE (American, 1835-1910)
Entrance to the River of Tautira, Man in Canoe, Pink Cloud watercolor on paper sheet: 9 3/8 x 12 1/2 in. frame: 17 3/4 x 20 7/8 in.
$20,000–30,000
American artist John La Farge traveled throughout the South Seas in 1890 and 1891 with his friend, the historian Henry Adams. Starting in Hawaii, they continued to Samoa and Tahiti, and eventually made their way home through Ceylon. Significantly, La Farge preceded Paul Gauguin as an artist in the South Seas. La Farge’s watercolors from that journey capture the color and atmosphere of the islands wonderfully, and often included the indigenous people going about their daily life and traditional customs. La Farge's paintings from this period are further enriched by the extensive notes he made in the margins of each work, documenting what he saw as he was painting. The three watercolors offered here were purchased in Boston soon after his return, and have remained in the same family ever since.
JOHN LA FARGE (American, 1835-1910)
A Little River Emptying into the Sea, Tahiti 1891, watercolor on paper sheet: 9 3/8 x 12 1/2 in., frame: 20 3/8 x 23 1/4 in.
$20,000–30,000
25
JOHN LA FARGE (American, 1835-1910)
The Hereditary Murders of King Maliletoa, aitu Tagata 1890, watercolor on paper sheet: 12 x 14 in.
$20,000–30,000
THEODORE EARL BUTLER (American, 1861-1936) Fish Weirs, Quiberville 1904, oil on canvas signed and dated lower left 25 3/4 x 32 in., frame: 35 1/4 x 41 1/2 in.
$20,000–30,000
HERMANN OTTOMAR HERZOG (German-American, 1832-1932)
Florida Keys oil on canvas
signed lower left; located indistinctly on stretcher 14 x 21 in., frame: 19 1/4 x 26 1/4 in.
$3,000–5,000
28
EDWARD REDFIELD (American, 1869-1965)
Rural Landscape with Cabin oil on canvas signed lower right 18 1/2 x 25 3/4 in.
frame: 24 3/4 x 32 in.
$12,000–18,000
29
DENNIS MILLER BUNKER (American, 1861-1890)
Medfield Pond 1889, oil on canvasboard initialed and dated lower left 6 1/4 x 7 7/8 in.
frame: 14 3/4 x 16 in.
$3,000–5,000
30
CHILDE HASSAM
(American, 1859-1935)
New England Village Street
ca. 1891-94, watercolor on paper signed lower right
8 1/2 x 11 in., frame: 16 1/2 x 19 in.
$8,000–12,000
31
FRANK WESTON BENSON (American, 1862-1951)
Dorothy Lincoln 1907, oil on canvas signed and dated upper right 44 x 36 in., frame: 55 1/2 x 47 1/4 in.
$70,000–100,000
In 1898, Frank Weston Benson was a founding member of the prestigious and influential artist group known as the Ten American Painters. His ability to master the group's new, Impressionist style combined well with his academic, classical approach and made him a much sought after portraitist by distinguished American families. Waldo and Fanny Lincoln commissioned Benson to paint their daughter, Dorothy, in 1907 when she was 17 years old. Her regal posture, brilliant white dress, and warm skin tones set against an Impressionist landscape combine to make this painting an extraordinary success.
32
HAMILTON (American, 1847-1928)
Woman with Flowers oil on canvas
signed lower left
24 3/4 x 30 in., frame: 32 1/4 x 37 1/4 in.
$15,000–25,000
HAMILTON
33
LILLA CABOT PERRY (American, 1848-1933)
The Sculptor oil on canvas
31 1/2 x 25 3/4 in. frame: 39 1/2 x 33 3/4 in.
$3,000–5,000
34
AUGUSTUS SAINT-GAUDENS (American, 1848-1907)
Relief of Victory bronze
monogrammed lower right diameter: 9 1/2 in.
$2,000–3,000
35 EDGAR DEGAS
(French, 1834-1917)
Femme assise dans un fauteuil, s'essuyant la hanche gauche
bronze
signed on top of base, numbered and stamped with foundry mark on the front height: 17 3/4 in.
$100,000–200,000
Edgar Degas’ Femme assise dans un fauteuil, s’essuyant la hanche gauche exemplifies the artist’s lifelong fascination with the human figure, particularly the intimate, unguarded gestures of women. By the 1880s, sculpture had become central to Degas’ study of the female form. Degas often modeled his sculptures in wax, as he contemplated a figure’s movement and balance. The tactile surface of Degas’ bronze nudes preserved the artist’s hand, underscoring their experimental, almost personal nature, and inviting the viewer in as a witness to a private moment. Here, a seated woman is captured in the intimate act of personal toilette, her torso twisted as she leans over to dry her left hip. There is an element of activity, of physical exertion, in her stance, reinforcing Degas’ interest in the body as a site of labor rather than an academic, idealized beauty, and underscoring Degas’ desire to depict women in a more natural way, not posing as if they were on display for an audience. The work highlights Degas’ exploration of three-dimensional form, revealing how deeply he pursued questions of movement and anatomy as he sought to capture a fleeting, everyday gesture in a permanent medium.
36
GABRIELE MÜNTER
(German, 1877-1962)
View of the Mountains with Dark Clouds oil on board signed lower left 15 x 21 3/4 in., frame: 21 5/8 x 28 1/2 in.
$100,000–150,000
Gabriele Münter (1877–1962) occupies a central place in the development of modern German painting. A key figure in the Blaue Reiter group alongside Wassily Kandinsky, Franz Marc, and Alexej von Jawlensky, she helped to shape the course of German Expressionism in the early 20th century. Münter was unusual for her time: a woman who not only pursued an independent career as a painter but also played a decisive role in fostering the avant-garde. Her work is characterized by bold color, simplified form, and a distinctive fusion of abstraction and direct observation. Though long overshadowed by her male colleagues, recent scholarship and exhibitions have recognized Münter’s vital contribution to modernism, celebrating her as a pioneering artist of the twentieth century.
Upon purchasing a house in the Bavarian town of Murnau in the summer of 1909, Münter discovered a landscape that became central to her artistic identity. The dramatic Alpine vistas and luminous valley light offered her both inspiration and a retreat, and Murnau remained her home and creative refuge for the rest of her life. It was here that she developed her signature style, characterized by vivid colors, flattened perspective, and the use of strong contours to distill nature into essential forms.
Painted in 1934, this landscape highlights Münter’s use of bold lines to structure the composition. The dark outlines carve the natural forms into distinct zones of color, flattening space while intensifying the expressive force of the palette. Mountains, trees, and sky are rendered not as literal topography but as interlocking shapes, each animated by saturated tones of blue, green, and red-brown, the purple clouds mirroring the pink valley, the autumnal trees interrupting the blue mountains. This interplay of clear yet stylized forms reflects Münter’s enduring interest in translating the seen world into essential, graphic elements — an approach rooted in her Blaue Reiter years but carried forward with a striking simplicity in her mature work, as exemplified by the present lot.
37 PABLO PICASSO (Spanish, 1881-1973)
Visage de femme (A.R. 220) glazed earthenware stamped verso 14 3/4 x 12 1/4 in.
$15,000–25,000
38
LOUIS COMFORT TIFFANY (American, 1848-1933)
European Street Scene: Two Archways watercolor on paper signed lower left sight: 12 1/4 x 9 in. frame: 23 5/8 x 20 5/8 in.
European Street Scene Through an Archway watercolor on paper signed lower right sight: 11 3/4 x 9 in.
frame: 23 5/8 x 20 5/8 in.
$1,500–2,500
39
OGDEN MINTON PLEISSNER (American, 1905-1983)
Parisian Facade watercolor on paper signed lower right sight: 18 x 28 in. frame: 27 3/4 x 37 5/8 in.
$3,000–5,000
40
JOHN WHORF (American, 1903-1959)
Along the Seine 1947, watercolor on paper signed lower right; double-sided with verso depicting an unfinished river scene, located and dated sight: 14 3/4 x 21 5/8 in., frame: 23 1/2 x 29 3/4 in.
$2,000–4,000
41
JOHN WHORF
(American, 1903-1959)
Pont Valentré, Cahors, France watercolor on paper signed and located lower right sight: 21 5/8 x 29 3/4 in. frame: 33 3/8 x 41 5/8 in.
$3,000–5,000
42
JOHN WHORF
(American, 1903-1959)
Midafternoon Sail 1926, watercolor on paper signed and dated lower left sight: 13 1/4 x 20 3/8 in. frame: 22 1/4 x 29 1/4 in.
$1,500–2,500
43
ELEANOR PARKE CUSTIS (American, 1897-1983)
San Giovanni, Bellagio, Como gouache on paper signed lower right 14 1/2 x 16 in., frame: 23 3/4 x 24 in.
$1,000–1,500
44
(American, 1880-1968)
The Shower 1921, oil on canvas signed lower right titled, signed, and dated verso 25 1/4 x 30 1/4 in., frame: 33 1/2 x 38 3/8 in.
$3,000–5,000
MAX KUEHNE
45 ERIC SLOANE (American, 1905-1985)
October Morning oil on board
titled and signed lower left 28 x 40 in., frame: 34 x 45 3/4 in.
$10,000–20,000
46
ANTONIO CIRINO (American, 1889-1983)
Vermont Mountain View oil on board signed lower left 10 x 12 in.
frame: 13 1/2 x 15 1/2 in.
$800–1,200
47
FREDERICK MULHAUPT
(American, 1871-1938)
Fall River View 1904, oil on canvas signed and dated lower left 24 1/4 x 29 1/8 in.
frame: 32 1/2 x 37 5/8 in.
$3,000–5,000
48
JOHN JOSEPH ENNEKING
(American, 1841-1916)
Spring oil on canvas laid on board signed and dated indistinctly lower right 9 x 12 in., frame: 14 1/2 x 17 3/8 in.
$1,500–2,500
49
FRANK SWIFT CHASE
(American, 1886-1958)
Coastal View oil on canvasboard signed lower right 12 x 15 7/8 in., frame: 15 1/2 x 19 3/8 in.
$4,000–8,000
50
GEORGE GARDNER SYMONS
(American, 1863-1930)
Winter River oil on canvas
signed lower right
25 x 30 in., frame: 26 x 31 1/4 in.
$6,000–10,000
51
CARL WUERMER (American, 1900-1981) The Wintry River oil on canvas signed lower left signed, titled, and numbered verso 25 x 30 in., frame: 32 1/4 x 37 1/4 in.
$2,000–3,000
52
OTIS COOK (American, 1900-1980) Winter Scene oil on canvasboard signed lower right 12 x 16 in. frame: 17 1/8 x 21 1/8 in.
$1,000–1,500
53
GIFFORD BEAL (American, 1879-1956)
Rockport Yacht Club oil on panel signed lower right 20 1/4 x 35 7/8 in., frame: 26 3/8 x 42 1/4 in.
$8,000–12,000
54
JOSEPH ELIOT ENNEKING (American, 1881-1942)
Sail in Sunlight oil on canvasboard signed lower right
10 x 12 in.
frame: 14 1/2 x 16 1/2 in.
$1,000–2,000
55
ANTHONY THIEME
(American, 1888-1954)
Ships in the Harbor oil on canvasboard signed lower right
20 x 24 in.
frame: 23 3/4 x 27 3/4 in.
$2,000–4,000
56 ROBERT BLISS (American, 1925-1981) White Sand oil on artist's board signed lower right; titled verso 22 x 36 in., frame: 28 x 41 3/4 in.
$800–1,200
57
ARTHUR VIDAL DIEHL (American, 1870-1929) At East End, Provincetown, Mass. oil on board signed lower left; titled verso 11 3/4 x 19 7/8 in., frame: 14 3/8 x 22 1/2 in.
$1,500–2,500
signed lower left
24 1/2 x 31 1/2 in., frame: 29 3/4 x 36 3/4 in.
$8,000–12,000
58
ANNE PACKARD (American, b. 1933) At Rest oil on canvas
59
ANNE PACKARD (American, b. 1933)
Dock View oil on board
signed lower left 6 x 8 in.
frame: 8 3/4 x 10 3/4 in.
$2,000–4,000
60
ANNE PACKARD (American, b. 1933)
White Sail oil on board
signed lower left 4 x 3 in.
frame: 6 7/8 x 5 7/8 in.
$700–1,000
61
JAMES WILSON RAYEN
(American, 1935-2013)
Restless Weather oil on canvas signed lower right; titled and signed verso 53 x 40 in.
$1,000–1,500
63
ARTHUR BOWEN DAVIES
(American, 1862-1928)
Forest of the Setting Sun oil on board
5 1/2 x 9 7/8 in.
frame: 8 1/4 x 12 1/4 in.
$1,000–1,500
62
EVERETT SHINN
(American, 1876-1953)
Woman at the Chicken Coop 1899, pastel on paper signed and dated lower right sight: 17 1/8 x 22 1/4 in. frame: 28 7/8 x 33 7/8 in.
$1,200–1,800
64
Steuben Gold Aurene Iridescent Glass Vase with Green Chain Ornament, Frederick Carder, designer inscribed and numbered on base height: 5 in., diameter of mouth: 5 in., diameter of base: 3 in.
$500–1,000
65
KITAOJI
(Japanese, 1883–1959)
Large Round Dish stoneware with glaze artist's mark incised on base height: 2 1/2 in., diameter: 13 1/4 in.
$3,000–5,000
ROSANJIN
KITAOJI
(Japanese, 1883–1959)
stoneware with glaze artist's mark incised on lower body height: 10 1/2 in., diameter: 6 1/4 in.
$3,000–5,000
ROSANJIN
Oribe Flower Vase
DALE CHIHULY
(American, b. 1941)
Navajo Blanket Cylinder 1987, handblown glass signed and dated on base height: 13 in., diameter: 12 1/4 in.
$5,000–10,000
DALE CHIHULY
(American, b. 1941)
Yellow Basket with Black Lip Wrap 1993, handblown glass signed and dated on base height: 6 in., diameter: 13 in.
$2,000–4,000
TOOTS ZYNSKY (American, b. 1951)
Tramature 2013, filet de verre signed on base 7 x 12 1/2 x 7 1/2 in.
$8,000–12,000
HARVEY KLINE LITTLETON (American, 1922-2013)
Oblique Section 1979, glass signed and dated on underside height of cylinder: 4 in., overall height: 6 in.
$1,500–2,500
PRESTON SINGLETARY (American, b. 1963) Mosquito Basket 2010, blown and sand carved glass signed and dated on base height: 8 1/8 in., diameter: 8 1/2 in.
$2,000–3,000
72
ROBERT MOORE KULICKE
(American, 1924-2007)
Dollar Bill on Black Background oil on silk mounted on cardboard 8 x 10 5/8 in.
frame: 13 3/8 x 15 3/4 in.
$800–1,200
73 BILL THOMPSON
(American, b. 1957)
Hope and Despair 1991, acrylic on wood each titled, dated, and signed verso each 19 3/4 x 19 3/4 in.
$300–500
74
JOHN STUART GIBSON
(American, b. 1958)
Small Ionic Column
1986, oil on linen
signed and titled verso 17 1/4 x 14 1/2 in.
frame: 18 3/8 x 15 7/8 in.
$300–500
75
JOHN STUART GIBSON
(American, b. 1958)
Second Dark Object, Ball, and Triangle 1986, oil on linen
signed and dated verso 19 7/8 x 22 in.
frame: 21 3/8 x 23 1/4 in.
$800–1,200
76
GYORGY KEPES (American, 1906-2001) Untitled oil and sand on canvas 60 x 60 in. frame: 61 x 61 in.
$2,000–4,000
77
JULES OLITSKI (American, 1922-2007)
Spread Out
1985, acrylic on canvas titled, signed, and dated verso
57 x 36 1/2 in.
frame: 58 5/8 x 38 1/8 in.
$8,000–12,000
78
SAM FRANCIS
(American, 1923–1994)
Untitled (SF75-840)
acrylic on paper sheet: 16 7/8 x 13 7/8 in., frame: 22 1/2 x 19 1/2 in.
$15,000–25,000
79
(American, 1928-2011)
Grey Fireworks
2000, screenprint in colors signed and numbered in pencil lower left sheet: 28 x 46 in., frame: 37 1/2 x 55 3/4 in.
$15,000–25,000
HELEN FRANKENTHALER
"A really good picture looks as if it's happened at once. It's an immediate image."
– Helen Frankenthaler
(American, b. 1951)
Black Lemons
1984, aquatint
titled, dated, numbered, and initialed in pencil lower left plate: 61 1/4 x 48 in., sheet: 62 1/2 x 46 3/4 in., frame: 66 x 51 1/2 in.
$1,000–1,500
DONALD KEITH SULTAN
DONALD KEITH SULTAN
(American, b. 1951)
Black Tulips
1983, aquatint
each titled, dated, numbered, and initialed in pencil along lower right edge
each plate: 3 7/8 x 6 in.
frame: 15 3/8 x 22 1/2 in.
$500–1,000
82
DONALD KEITH SULTAN (American, b. 1951)
Still Life with Pears and Lemons 1986, one aquatint and two photolithographs in color each titled, numbered, and initialed in pencil along lower edge each plate: 11 7/8 x 11 7/8 in. frame: 26 3/4 x 23 1/4 in.
$800–1,200
(American, b. 1951)
Four Works from 'Fruits and Flowers' 1989, screenprint comprising: Pears, Apple, Red Pears, and Squash each titled, dated, and initialed along left edge in pencil; each numbered lower right each image: 12 x 12 in., sheet: 22 3/4 x 21 3/4 in., frame: 26 7/8 x 25 5/8 in.
$1,000–1,500
DONALD KEITH SULTAN
ROBERT COTTINGHAM
(American, b. 1935)
Barrera Rosa's 1986, drypoint etching titled and numbered lower left; signed and dated lower right plate: 13 x 37 1/4 in., frame: 24 x 48 in.
$1,000–1,500
85
ROBERT COTTINGHAM (American, b. 1935)
Barrera Rosa's 1986, linocut titled and numbered lower left; signed and dated lower right plate: 13 x 37 1/8 in., frame: 24 x 47 1/2 in.
$800–1,200
86
ROBERT COTTINGHAM (American, b. 1935)
Everybody's Bookshop–Everybody's Books 1975, lithograph titled lower left; signed and dated lower right sheet: 22 7/8 x 18 in., frame: 25 1/4 x 20 1/4 in.
$300–500
HENRY SPENCER MOORE
(English, 1898-1986)
Reclining Nude woodcut
signed lower right and numbered lower left image: 4 x 6 1/4 in., frame: 11 1/8 x 12 5/8 in.
$2,000–4,000
MILTON AVERY (American, 1885-1965) Night Nude 1953, woodcut
signed and dated lower right; numbered lower left sight: 10 1/2 x 24 1/2 in., frame: 21 x 34 1/2 in.
$2,000–4,000
MILTON AVERY (American, 1885-1965)
Tirca
1939, lithograph
numbered lower left and signed lower right sight: 9 3/8 x 6 5/8 in., frame: 20 7/8 x 17 5/8 in.
$1,500–2,500
90
RICHARD DIEBENKORN (American, 1922-1993)
Seated Woman with Hands Crossed
1965, lithograph numbered lower left initialed and dated lower right sheet: 28 x 22 1/4 in.
$2,000–3,000
RICHARD DIEBENKORN
(American, 1922-1993)
Seated Nude
1965, lithograph numbered lower left initialed and dated lower right sheet: 26 1/4 x 20 in.
$1,000–2,000
(American, 1925-2016) Jungle
1966, woodcut on paper numbered, titled, and signed in pencil center left sheet: 30 x 22 in., frame: 32 x 23 3/8 in.
$700–1,000
92
CAROL SUMMERS
93
ALEXANDER CALDER
(American, 1898-1976)
Untitled lithograph in colors
signed lower right; numbered lower left sheet: 19 5/8 x 25 1/2 in., frame: 23 3/8 x 29 1/4 in.
$2,000–3,000
94
ALEXANDER CALDER
(American, 1898-1976)
Untitled (Swirls) lithograph in colors signed lower right numbered lower left sheet: 30 x 21 1/2 in. frame: 33 5/8 x 24 1/4 in.
$1,500–2,500
95
IAN DAVENPORT
(English, b. 1966)
Etched Lines 3 2006, etching in colors signed and dated in pencil lower right; numbered in pencil lower left plate: 26 3/4 x 18 7/8 in. sheet: 36 x 26 in. frame: 39 1/2 x 29 1/2 in.
$2,500–3,500
96
PAUL JENKINS (American, 1923-2012) West Winds 1980, monoprint signed and dated lower left sheet: 50 1/4 x 36 1/2 in. frame: 60 x 46 1/4 in.
$2,000–3,000
97 PETER PLAMONDON (American, 1944-2020) Plates on Quilt 1981, oil on canvas initialed and dated lower right 24 x 36 in.
frame: 25 1/8 x 37 1/8 in.
$1,000–1,500
98 ANDERS KNUTSSON
(Swedish-American, b. 1937)
Untitled 1973, oil and pastel on paper signed and dated lower right sight: 21 1/2 x 39 5/8 in. frame: 22 1/4 x 30 3/8 in.
$800–1,200
(American, 1919-1985)
Duration
1978-79, collage of gouache painted papers initialed and dated lower right approx. 42 x 45 in., frame: 46 1/8 x 50 in.
$6,000–9,000
FRITZ BULTMAN
100 CHARLES HINMAN
(American, b. 1932)
Untitled 1980, cast paper relief signed and dated lower right sheet: 22 x 28 in., frame: 28 1/4 x 34 1/4 in.
$2,000–3,000
101
RICHARD HAMBLETON
(Canadian, 1952-2017)
Untitled [Shadow Man] 1999, acrylic on paper signed and dated lower right sheet: 31 3/4 x 18 1/4 in. frame: 37 3/4 x 24 1/2 in.
$3,000–5,000
102
RICHARD HAMBLETON
(Canadian, 1952-2017)
Untitled [Shadow Cat] 2003, ink on paper signed and dated lower right sheet: 23 1/2 x 15 1/2 in. frame: 29 3/4 x 21 3/4 in.
$1,000–1,500
NANCY GROSSMAN
(American, b. 1940)
Rushing Figure
1976, collage painting with dyed paper, tape, and watercolor signed and dated lower right 41 7/8 x 47 3/4 in., frame: 42 7/8 x 48 3/4 in.
$20,000–40,000
New York–based artist Nancy Grossman, recognized for her evocative leather-bound head sculptures, turned to collage in the mid-1970s as a way of extending her exploration of the human figure. In a series of dyed paper collages from this period, she depicted the human form in states of tension. Grossman developed a unique process of soaking, dyeing, and drying paper cut-outs, producing surfaces that suggest the texture of skin. Grossman’s relationship to materials can be traced back to her upbringing in rural New York, where her parents worked in garment manufacturing, inspiring the material creativity central to her practice.
104
JOHN TUNNARD (English, 1900-1971) Fuge
1938, oil on board signed and dated lower left 18 3/4 x 23 3/8 in., frame: 27 3/4 x 31 5/8 in.
$15,000–30,000
105 JOHN TUNNARD (English, 1900-1971)
Moonlight Sonata–The Engineer 1938, oil on board signed and dated lower left 20 1/4 x 28 in., frame: 22 1/4 x 30 1/8 in.
$15,000–30,000
106
JAMES EDWARD RITCHIE (Canadian, 1929-2017)
La Vençoise bronze inscribed and numbered on base height: 31 1/2 in.
$3,000–5,000
107
GYORGY KEPES
(American, 1906-2001)
Three Spheres
1939, gelatin silver print signed and dated lower right numbered lower left image: 6 1/4 x 4 1/4 in. frame: 18 1/4 x 15 1/4 in.
$1,000–1,500
108
SETON SMITH
(American, b. 1955)
Distracted Mirror cibachrome diptych on plexiglass each panel: 35 1/2 x 25 1/2 in.
$500–1,000
109
ANSEL ADAMS
(American, 1902-1984)
Half Dome, Merced River, Winter silver print printed after 1974 by Alan Ross sight: 7 3/8 x 9 3/8 in., frame: 15 1/4 x 18 1/8 in.
$1,000–1,500
110
ANSEL ADAMS (American, 1902-1984)
Waterwheel Falls
silver print printed after 1974 by Alan Ross
sight: 7 1/2 x 8 in.
frame: 15 x 18 in.
$1,000–1,500
111
ANSEL ADAMS (American, 1902-1984)
Half Dome Evening
silver print printed after 1974 by Alan Ross
sight: 7 1/2 x 9 1/2 in.
frame: 15 x 18 in.
$1,000–1,500
112
CHARLES DESPIAU
(French, 1874-1946)
Assia
bronze
signed, inscribed, and stamped with foundry mark
height: 35 3/4 in., base: 8 1/8 x 8 in.
$5,000–10,000
113
Attributed to LOUIS GABRIEL MOREAU (French, 1740–1806)
Pair of Garden Scenes gouache on paper
Ladies in a Park: sight: 16 3/4 x 13 5/8 in., frame: 26 x 23 1/4 in.
Couple on Horseback: sight: 16 3/8 x 14 in., frame: 26 1/8 x 23 3/8 in.
$1,500–2,500
114
HUBERT SATTLER (Austrian, 1817-1904)
Greek Ruins two watercolors on paper one signed and dated lower left the other signed lower right each sight: 10 1/4 x 14 3/4 in. frame: 20 1/8 x 24 7/8 in.
$2,000–3,000
115 FRENCH SCHOOL (18th century)
Neptune and Amymone ink wash on paper
sight: 7 1/8 x 10 5/8 in. frame: 10 x 13 1/2 in.
$800–1,200
116 After FRANCOIS BOUCHER (French, 1703–1770)
La Fontaine de l'amour ink wash on paper sight: 14 x 10 1/4 in. frame: 19 3/4 x 15 1/2 in.
$1,000–2,000
117
LOUIS AGASSIZ FUERTES
(American, 1874-1927)
Snow Geese
watercolor en grisaille on paper signed lower left sight: 20 x 13 3/8 in.
frame: 26 3/4 x 20 1/8 in.
$2,000–4,000
118
After JOHN JAMES AUDUBON
(American, 1785-1851)
Golden Eagle (Plate CLXXXI) 1833, engraving with aquatint, etching, and hand-coloring engraved, printed, colored by R. Havell & Sons, London
sight: 37 1/8 x 24 5/8 in.
frame: 46 1/2 x 34 in.
$7,000–10,000
119
(English, 1751-1823)
Collection of Eighteen Flora and Fauna Prints engravings, comprising three groups: six depicting flowers; six depicting birds; and six depicting fruit each sight: 11 7/8 x 8 7/8 in., each frame: 16 3/4 x 13 3/4 in.
$2,000–3,000
GEORGE BROOKSHAW
120
REMBRANDT VAN RIJN
(Dutch, 1606-1669)
Man Drawing from a Cast etching
plate: 3 5/8 x 2 1/2 in.
frame: 11 3/4 x 9 1/2 in.
$1,000–1,500
121
JAMES ABBOTT MCNEILL WHISTLER
(American, 1834-1903)
Annie Seated etching
plate: 5 1/8 x 3 3/4 in.
frame: 10 3/4 x 9 in.
$800–1,200
123
JAMES ABBOTT MCNEILL WHISTLER
(American, 1834-1903)
Thames Police 1859, etching and drypoint plate: 5 7/8 x 8 3/4 in., sheet: 11 7/8 x 15 7/8 in.
$800–1,200
122
JAMES ABBOTT MCNEILL WHISTLER (American, 1834-1903)
Rotherhithe etching
plate: 10 3/4 x 7 3/4 in. frame: 16 1/4 x 12 1/2 in.
$800–1,200
124
ANDERS ZORN
(Swedish, 1860-1920)
Zorn and His Wife etching
signed in pencil lower right plate: 12 1/4 x 8 1/8 in. frame: 21 x 16 in.
$1,000–2,000
125
PABLO PICASSO (Spanish, 1881-1973)
Les pauvres, from La suite des Saltimbanques etching
plate: 9 1/4 x 7 in. frame: 17 5/8 x 15 1/4 in.
$2,000–3,000
126
PIERRE AUGUSTE RENOIR (French, 1841-1919)
Le chapeau épinglé etching with stamped signature lower right plate: 5 1/8 x 3 5/8 in. frame: 14 3/4 x 11 3/4 in.
$1,000–1,500
127
HENRI DE TOULOUSE-LAUTREC (French, 1864-1901)
Les Vieilles Histoires 1893, lithograph in colors sight: 15 5/8 x 21 1/2 in. frame: 26 x 32 in.
$1,500–2,500
LUDWIG BEMELMANS (American, 1898-1962)
The Conductor ink and watercolor on paper signed lower right sight: 14 x 11 1/4 in., frame: 20 3/4 x 17 1/2 in.
$800–1,200
128
LARRY RIVERS (American, 1923-2002)
Seated Woman (Clarice) 1962, pencil on paper signed center right sight: 11 x 8 3/4 in., frame: 19 x 16 3/4 in.
$1,500–2,000
129
(American, 1924-2019)
Girl with Flowers mixed media on paper signed lower right sight: 19 1/4 x 15 1/2 in. frame: 26 1/2 x 22 3/8 in.
$1,500–2,500
130
GLORIA VANDERBILT
131
REYNOLDS BEAL
(American, 1866-1951)
Sparks Circus 1931, colored pencil on paper signed, dated, and titled lower right sight: 14 5/8 x 18 1/4 in. frame: 23 1/2 x 27 1/2 in.
$1,000–2,000
132
JOSEPH SOLMAN
(American, 1909-2008)
Subway Rider gouache on newsprint initialed lower center sight: 13 7/8 x 9 3/8 in. frame: 20 3/4 x 16 3/4 in.
$1,000–1,500
133 LEON KROLL (American, 1884-1974)
Approaching Storm pastel on paper signed lower right sight: 16 1/2 x 21 1/2 in. frame: 25 1/2 x 30 3/4 in.
$1,200–1,800
134
YOLANDE ARDISSONE
(French, 1927-2024)
Le Château et les bateaux oil on canvas
signed lower center titled on stretcher 24 x 19 3/4 in.
frame: 29 1/2 x 25 1/2 in.
$1,000–1,500
135
YOLANDE ARDISSONE
(French, 1927-2024)
Bateaux à Honfleur oil on canvas
signed lower left titled on stretcher 12 x 12 in.
frame: 18 x 18 in.
$1,000–1,500
136
YOLANDE ARDISSONE
(French, 1927-2024)
Île de Bréhat oil on canvas signed lower left titled on stretcher
25 3/4 x 21 3/8 in.
frame: 35 7/8 x 31 3/4 in.
$3,000–5,000
137
YOLANDE ARDISSONE
(French, 1927-2024)
Paris, Champs Élysées oil on canvas signed lower left titled on stretcher
19 3/4 x 19 1/2 in.
frame: 28 7/8 x 28 7/8 in.
$3,000–5,000
138
YOLANDE ARDISSONE (French, 1927-2024) Two Bouquets oil on canvas signed lower left 36 x 28 3/4 in., frame: 48 x 41 in.
$4,000–6,000
139
JULIAN CARDINAL (American, b. 1988) Yellow Bouquet oil on canvas signed lower right 20 x 24 in.
$1,500–2,500
$2,000–4,000
140
ROBERT CARDINAL (American, b. 1936)
Harvard Square oil on canvas
signed lower left 24 x 36 in.
(American, 1906-1997)
Street Scene (King George Dies) 1952, oil on canvasboard initialed and dated lower right 8 1/4 x 6 in., frame: 13 1/2 x 11 3/8 in.
$1,500–2,500
141
THOMAS ADRIAN FRANSIOLI
142
THOMAS ADRIAN FRANSIOLI (American, 1906-1997)
Edam, Holland 1955, gouache on paperboard initialed and dated lower right signed, titled, and dated verso sight: 16 3/4 x 10 1/2 in. frame: 24 3/4 x 18 1/2 in.
$800–1,200
143
EDMUND QUINCY (American, 1903-1997)
Elevated Train, Boston oil on canvas signed lower right 16 1/2 x 19 in.
frame: 21 1/4 x 23 1/2 in.
$500–1,000
144
EDMUND QUINCY
(American, 1903-1997)
Portrait of Young Girl oil on board signed lower right 18 x 13 1/2 in.
frame: 25 x 21 1/2 in.
$800–1,200
145 CHARLES SPRAGUE PEARCE (American, 1851-1914)
Young Girl Selling Oranges and Lemons oil on panel signed and located lower right 13 3/4 x 10 3/8 in.
frame: 19 1/8 x 15 1/2 in.
$3,000–5,000
(American, 1859-1952)
Portrait of Arthur Franklin Harlow
watercolor
signed lower left
4 1/2 x 3 1/4 in., frame: 5 1/4 x 4 in.
$2,000–4,000
LAURA COOMBS HILLS
(American, 1872-1965)
Lady of Clan-Care 1911, oil on canvas signed and dated lower right
40 3/8 x 30 1/4 in., frame: 46 5/8 x 36 5/8 in.
$1,500–2,500
147
LOUIS KRONBERG
148
AMERICAN SCHOOL (19th century)
Portrait of Deborah
ca. 1815, oil on canvas
41 5/8 x 31 in.
frame: 46 x 35 3/8 in.
$5,000–10,000
Stearns
149
Attributed to SAMUEL ALKEN, JR. (English, 1784-1825)
Mr. Osbaldeston and Captain Ross
Returning from Hunting with the Quorn oil on canvas
16 x 23 3/4 in., frame: 19 1/4 x 27 1/2 in.
$1,000–2,000
150
CLEMENT DREW
(American, 1806-1889)
American Ship in Boston Harbor oil on canvas
signed lower right
19 1/2 x 29 1/4 in.
frame: 25 1/2 x 35 1/2 in.
$1,000–2,000
151
ANTONIO JACOBSEN
(American, 1850-1921)
S.Y. Atalanta
1911, oil on board signed and dated lower right; titled lower center 16 x 28 in., frame: 22 3/8 x 34 1/4 in.
$2,000–4,000
The steam yacht Atalanta, first launched in 1903 with the original name Lorena, was designed by Cox & King, London, and built by Ramage & Ferguson, Leith. The ship was recognized as being one of the fastest and largest steamships at the time, with a cruising speed of up to 18 knots. The ship was originally owned by A.L. Barber of New York, and in 1907 was purchased by George Jay Gould, an extremely wealthy railroad executive, who renamed her Atalanta. The Atalanta served in World War I as a naval ship and, following Mr. Gould’s death was sold to the Chinese government, where she served in their Naval fleet until she was lost in 1941.
SOLON FRANCIS MONTECELLO BADGER
(American, 1873-1919)
The Maritana oil on canvas signed and located lower left 22 x 36 in., frame: 27 7/8 x 41 7/8 in.
$2,000–4,000
The Maritana was built in 1857 in Quincy, Massachusetts, and owned by Suchet Mauran II in Providence. On November 3, 1861, the ship was wrecked on rocks as it was heading into Boston Harbor on her return trip to Massachusetts from Liverpool, England.
153
CHINESE SCHOOL (19th century)
S.S. Stronsa oil on canvas
28 x 41 1/2 in. frame: 32 1/2 x 46 in.
$4,000–6,000
The Stronsa was an iron-hulled sailing ship built by T. Royden & Sons, Liverpool, in 1882. The ship was owned by Sandbach Tinne & Co., a Liverpool-based firm, which sailed the ship between China and the West Indies. The ship was captained by Charles Brooks, until his death in Shanghai in 1897. The ship transferred ownership multiple times following Brooks’ death, until it was eventually broken up for parts in 1923. Chinese School painters commonly produced works depicting the large vessels, such as the Stronsa, which arrived in their ports. These paintings were then brought back to eager American and European markets.
Artist Lot
ADAMS, ANSEL
ALKEN, Attr. JR., SAMUEL
ARDISSONE, YOLANDE
AUDUBON, JOHN JAMES
AVERY, MILTON
BADGER, SOLON FRANCIS
MONTECELLO
BEAL, GIFFORD
BEAL, REYNOLDS
BEMELMANS, LUDWIG
BENSON, FRANK WESTON
BERTHELSEN, JOHANN
BLISS, ROBERT
BOUCHER, After FRANCOIS
BROOKSHAW, GEORGE
BULTMAN, FRITZ
BUNKER, DENNIS MILLER
BUTLER, THEODORE EARL
CAHOON, JR., RALPH EUGENE
CALDER, ALEXANDER
CARDINAL, JULIAN
CARDINAL, ROBERT
CHASE, FRANK SWIFT
CHIHULY, DALE
CIRINO, ANTONIO
COOK, OTIS
COTTINGHAM, ROBERT
CUSTIS, ELEANOR PARKE
DAVENPORT, IAN
DAVIES, ARTHUR BOWEN
DEGAS, EDGAR
DESPIAU, CHARLES
DIEBENKORN, RICHARD
DIEHL, ARTHUR VIDAL
DREW, CLEMENT
ENNEKING, JOHN JOSEPH
ENNEKING, JOSEPH ELIOT
FRANCIS, SAM
FRANKENTHALER, HELEN
FRANSIOLI, THOMAS ADRIAN
FUERTES, LOUIS AGASSIZ
GIBSON, JOHN STUART
GROSSMAN, NANCY
HAMBLETON, RICHARD
HAMILTON, HAMILTON
HARTLEY, MARSDEN
HASSAM, CHILDE
HERZOG, HERMANN OTTOMAR
HILLS, LAURA COOMBS
HINMAN, CHARLES
JACOBSEN, ANTONIO
JENKINS, PAUL
JOHNSON, DAVID
KAHN, WOLF
KEPES, GYORGY
KNUTSSON, ANDERS
KROLL, LEON
KRONBERG, LOUIS
KUEHNE, MAX
KULICKE, ROBERT MOORE
LA FARGE, JOHN
LEWIS, EDMUND DARCH
LITTLETON, HARVEY KLINE
METCALF, WILLARD LEROY
MOORE, HENRY SPENCER
MOREAU, Attr. LOUIS GABRIEL
MULHAUPT, FREDERICK
MÜNTER, GABRIELE
OLITSKI, JULES
PACKARD, ANNE
PARKER, JOHN ADAMS
PEARCE, CHARLES SPRAGUE
PERRY, LILLA CABOT
PETERSON, JANE
PICASSO, PABLO
PLAMONDON, PETER
PLEISSNER, OGDEN MINTON
PROPER, IDA SEDGWICK
QUINCY, EDMUND
RAYEN, JAMES WILSON
REDFIELD, EDWARD
RENOIR, PIERRE AUGUSTE
RITCHIE, JAMES EDWARD
RIVERS, LARRY
ROSANJIN, KITAOJI
SAINT-GAUDENS, AUGUSTUS
SATTLER, HUBERT
SHINN, EVERETT
SINGLETARY, PRESTON
SLOANE, ERIC
SMITH, SETON
SOLMAN, JOSEPH
SULTAN, DONALD KEITH
SUMMERS, CAROL
SYMONS, GEORGE GARDNER
THIEME, ANTHONY
THOMPSON, BILL
TIFFANY, LOUIS COMFORT
TOULOUSE-LAUTREC, HENRI DE TUNNARD, JOHN
VAN RIJN, REMBRANDT
VANDERBILT, GLORIA
WHISTLER, JAMES ABBOTT McNEILL
WHORF, JOHN
WOODBURY, CHARLES HERBERT
WUERMER, CARL
ZORN, ANDERS
ZYNSKY, TOOTS
FOOTNOTES
1. LAURA COOMBS HILLS
Provenance: A New York Collection.
Notes: Keny Galleries (Columbus, OH) label verso.
2. JANE PETERSON
Provenance: Estate of the artist; O. Rundle Gilbert, Ipswich, MA, Estate of Jane Peterson Philip, August 9-10, 1966, Lot 299; Skinner, Boston, May 29, 2015, Lot 346; Private Collector, San Francisco; Dryads Green Gallery, New York; Doyle, New York, March 10, 2020, Lot 47; Doyle, Boston, September 29, 2023, Lot 1006; A North Shore, Massachusetts Collection.
3. JANE PETERSON
Provenance: A Massachusetts Collection.
4. IDA SEDGWICK PROPER
Provenance: Property of a Rhode Island Couple.
5. CHARLES HERBERT WOODBURY
Provenance: The Collection of a Boston Couple.
6. CHARLES HERBERT WOODBURY
Provenance: Property of a Cape Cod Collector.
Notes: Vose Galleries (Boston) label verso.
7. WOLF KAHN
Provenance: Property of a Rhode Island Couple.
Notes: Virginia Lynch Gallery (Tiverton, RI) label verso.
8. WOLF KAHN
Provenance: Property of a Rhode Island Couple.
Notes: Virginia Lynch Gallery (Tiverton, RI) label verso.
9. MARSDEN HARTLEY
Provenance: From the artist to the Honorable George Alexander Carden, Sr., Bayshore, New York, ca. 1929; M. Knoedler & Co., Inc., New York, consigned by above (1944–1945); William Goodwin Russell Allen (1882-1955), Boston, purchased from above, February 1945; by inheritance to his niece, Lydia Evans Tunnard (Mrs. Christopher Tunnard), New Haven, CT; by descent within the family.
Exhibitions: Institute of Modern Art, Boston, Four Modern American Painters, March 2–April 1, 1945 (exhibition brochure), no. 28, as Onions and Aubergines, lent anonymously.
Literature: McCausland, Elizabeth. Elizabeth McCausland Papers, 1838-1995, bulk 1920-1960 Series 6: Marsden Hartley, 1900-1964 (Archives of American Art, Smithsonian Institution, Washington, D.C.), 14.52.13–15 datasheets, as Eggplants and Onions
Notes: Yale University Art Gallery (New Haven, CT) label verso. Grogan & Company thanks Gail Scott and the Marsden Hartley Legacy Project for their assistance in the cataloging of this lot.
10. RALPH EUGENE CAHOON, JR.
Provenance: The Collection of a Cape Cod Gentleman.
11. JOHANN BERTHELSEN
Provenance: The Collection of a New Jersey Family.
12. JOHANN BERTHELSEN
Provenance: The Collection of a New Jersey Family.
13. JOHANN BERTHELSEN
Provenance: The Collection of a New Jersey Family.
14. JOHN WHORF
Provenance: Property of a Weston, Massachusetts Family.
15. JOHN WHORF
Provenance: A gift from the artist to his friend; by descent within her family.
16. WILLARD LEROY METCALF
Provenance: The artist; to Albert Milch; to E. & A. Milch, New York, 1923-83; by descent to the present owner; a New York Collection. Literature: De Veer, Elizabeth and Richard J. Boyle, Sunlight and Shadow: The Life and Art of Willard L. Metcalf, 1987, p. 149, 151 fig. 188 illus.
Notes: This is a complete record of Metcalf’s exhibition at Milch Galleries, New York, in 1923. E. & A. Milch (New York) label verso; Spanierman Gallery (New York) Willard Metcalf Exhibition: Yankee Impressionist label verso.
17. EDMUND DARCH LEWIS
Provenance: By descent within a New England Family.
18. EDMUND DARCH LEWIS
Provenance: By descent within a New England Family. Notes: Newman Galleries (Philadelphia, PA) label verso.
19. EDMUND DARCH LEWIS
Provenance: By descent within a New England Family.
20. DAVID JOHNSON
Provenance: A New York Collection. Notes: American Drawings - Paul Magriel Collection label verso; Graham Gallery (New York) label verso; Country Art Gallery (Locust Valley, NY) label verso.
21. JOHN ADAMS PARKER
Provenance: A Massachusetts Collection.
22. JOHN ADAMS PARKER
Provenance: A Massachusetts Collection.
23. JOHN LAFARGE
Provenance: Henry Lee Higginson; Olympe Frederika Agassiz; Anna Agassiz; Gordon Chickering Prince; by descent.
Notes: Doll & Richards (Boston) label verso.
24. JOHN LAFARGE
Provenance: Henry Lee Higginson; Olympe Frederika Agassiz; Anna Agassiz; Gordon Chickering Prince; by descent.
Notes: Doll & Richards (Boston) label verso; Museum of Fine Arts, Boston loan label verso.
25. JOHN LAFARGE
Provenance: Henry Lee Higginson; Olympe Frederika Agassiz; Anna Agassiz; Gordon Chickering Prince; by descent.
Notes: Doll & Richards (Boston) label verso; Museum of Fine Arts, Boston loan label verso.
26. THEODORE EARL BUTLER
Provenance: Private Collection, Chestnut Hill, Massachusetts. Notes: Bernard Danenberg Galleries (New York) label verso; Maxwell Galleries (San Francisco) label verso.
27. HERMANN OTTOMAR HERZOG
Provenance: A New England Estate.
28. EDWARD REDFIELD
Provenance: Private Collection, Chestnut Hill, Massachusetts.
29. DENNIS MILLER BUNKER
Provenance: Property of a Hardwick, Massachusetts Estate.
30. CHILDE HASSAM
Provenance: the artist; (possibly) to sale, American Art Association, American Art Galleries, New York, February 7, 1896, Paintings, Pastels and Water Colors by Childe Hassam, no. 153, as “New England Village Street”; [Bernard Danenberg Galleries, New York, 1969]; to Sylvia Ginsburg, Fort Lee, New Jersey, 1969–2022; Freeman's Auctions, Philadelphia, June 4, 2023, Lot 34; A New York Collection.
Literature: This watercolor will be included in the Childe Hassam Catalogue Raisonné being prepared by Stuart P. Feld and Kathleen Burnside.
Exhibitions: “The Fine Arts. The Exhibition of the Water-Color Society and the New York Etching Club,” The Critic 21 (February 10, 1894), p. 101.
31. FRANK WESTON BENSON
Provenance: Waldo and Fanny Lincoln (parents of Dorothy Lincoln) to their daughter, Josephine Rose Lincoln Dresser; by descent within the family.
Exhibitions: Worcester Art Museum, Worcester, MA, American Impressionism: Paintings of Promise, October 4, 1997-January 4, 1998.
32. HAMILTON HAMILTON
Provenance: Private Collection, Jericho, New York; by descent within the family.
33. LILLA CABOT PERRY
Provenance: The estate of the artist; a New York Collection.
34. AUGUSTUS SAINT-GAUDENS
Notes: For a similar example, see Museum of Fine Arts, Boston, 1978.93. Though Augustus Saint-Gaudens is perhaps best known for his large scale commemorative bronze sculptures and reliefs, he also designed coins for the United States in the early 20th century. Two of his coins, the Gold Indian Head Eagle and the Gold Double Eagle, are widely sought after today. This bronze relief, which depicts the head of Nike, was a design for the one-cent piece; however, the design was never produced as a coin.
35. EDGAR DEGAS
Provenance: Sam Salz, Inc., New York; Private Collection, New York; with Rothschild Fine Arts, New York; acquired from the above by Mr. and Mrs. Ted Ashley, October 27, 1978; by descent within the family.
Literature:
- Rewald, John, Degas, Works in Sculpture: A Complete Catalogue, Pantheon Books, New York, 1944, another cast illus. p. 139.
- Rewald, John Degas Sculptures, Abrams, New York, 1956, another cast fig. 83.
- Millard, Charles W., The Sculptures of Edgar Degas, Princeton University Press, 1986, another cast illus. p. 137.
36. GABRIELE MÜNTER
Provenance: The Collection of a Cambridge, Massachusetts Doctor. Literature: This work is to be included in the forthcoming Catalogue Raisonné of Gabrielle Münter, prepared by the Gabrielle Münter- und Johannes Eichner-Stiftung, no. 682.
Notes: Leonard Hutton Galleries (New York) label verso.
37. PABLO PICASSO
Provenance: Private Connecticut Collection.
38. LOUIS COMFORT TIFFANY
Provenance: Fontaine's Auction Gallery, Pittsfield, Massachusetts, September 28-29, 2024, Lot 374; Private Collection, New York.
Notes: Grogan & Company thanks Lisa N. Peters, PhD for her assistance in researching and cataloging this lot as well as an accompanying essay.
39. OGDEN MINTON PLEISSNER
Provenance: Private Collection, Manchester, Vermont; by descent within the family.
Notes: Salmagundi Club 1964 exhibition label verso; The Milch Galleries (New York) label verso.
40. JOHN WHORF
Provenance: Property of a Weston, Massachusetts Family. Notes: Accompanied by artist-signed publication John Whorf Rediscovered
41. JOHN WHORF
Provenance: A Massachusetts Collector.
42. JOHN WHORF
Provenance: Property of a Cape Cod Gentleman. Notes: Vose Galleries (Boston) label verso.
43. ELEANOR PARKE CUSTIS
Provenance: The estate of the artist; a New York Collection.
44. MAX KUEHNE
Provenance: Property of a Boston Collector.
45. ERIC SLOANE
Provenance: Property of a Duxbury, Vermont Lady.
46. ANTONIO CIRINO
Provenance: Property of a Worcester, Massachusetts Doctor. Notes: Rockport Art Association and Museum 2022 Art Auction label verso.
47. FREDERICK MULHAUPT
Provenance: Property of a Massachusetts Collector.
48. JOHN JOSEPH ENNEKING
Provenance: Property of a Boston Collector. Notes: The painting was originally gifted to the American author Mary Wilkins Freeman (1852-1930).
49. FRANK SWIFT CHASE
Provenance: Private Collection, Florida; by descent within the family to the present owner.
50. GEORGE GARDNER SYMONS
Provenance: A Massachusetts Collection.
51. CARL WUERMER
Provenance: Property of a Worcester, Massachusetts Doctor.
52. OTIS COOK
Provenance: Property of a Wellesley, Massachusetts Collector.
53. GIFFORD BEAL
Provenance: Property of a Brooklyn, New York Gentleman. Notes: Kraushaar Galleries (New York) label verso.
54. JOSEPH ELIOT ENNEKING
Provenance: Property of a Boston Collector. Notes: Comenos Fine Arts (Boston, MA) label verso.
55. ANTHONY THIEME
Provenance: Property of a Worcester, Massachusetts Doctor.
56. ROBERT BLISS
Provenance: By descent within a family; Private Collection, Cape Elizabeth, Maine.
57. ARTHUR VIDAL DIEHL
Provenance: The Collection of a Cape Cod Lady.
58. ANNE PACKARD
Provenance: Packard Gallery, Provincetown, Massachusetts; the Collection of a Boston Gentleman.
59. ANNE PACKARD
Provenance: Property of a Wellesley, Massachusetts Collector. Notes: Packard Gallery (Provincetown, MA) label verso.
60. ANNE PACKARD
Provenance: Property of a Cape Cod Collector.
61. JAMES WILSON RAYEN
Provenance: Property of a Franklin, Massachusetts Gentleman.
62. EVERETT SHINN
Provenance: By descent within a New York City family.
Exhibitions: Everett Shinn: The Spectacle of Life, Berry-Hill Galleries, Inc., New York, 2000. illus. p. 113, pl. I.
63. ARTHUR BOWEN DAVIES
Provenance: Private Collection, New York.
64. Steuben Gold Aurene Iridescent Glass Vase
Provenance: The Collection of a Cambridge, Massachusetts Couple.
65. KITAOJI ROSANJIN
Provenance: Purchased from Joan B. Mirviss LTD (New York), 1998; by descent to the current owner, a Connecticut Lady. Notes: Accompanied by an inscribed wood tomobako storage box.
66. KITAOJI ROSANJIN
Provenance: Purchased from Joan B. Mirviss LTD (New York), 1999; by descent to the current owner, a Connecticut Lady.
Notes: Accompanied by an inscribed wood tomobako storage box.
67. DALE CHIHULY
Provenance: Property of a Rhode Island Couple.
68. DALE CHIHULY
Provenance: Property of a Rhode Island Couple.
69. TOOTS ZYNSKY
Provenance: Purchased directly from the artist, December 19, 2013; The Collection of a Cambridge, Massachusetts Couple.
70. HARVEY KLINE LITTLETON
Provenance: The Collection of a Cambridge, Massachusetts Couple.
71. PRESTON SINGLETARY
Provenance: Traver Gallery, Seattle, Washington, April 2011; The Collection of a Cambridge, Massachusetts Couple.
72. ROBERT MOORE KULICKE
Provenance; Gift of the artist to Mariam Schapiro; with Davis & Langdale Company, Inc., New York; acquired from the above by the present owner, 1998; Private Collection, New York.
Notes: Davis & Langdale Company, Inc. (New York) label verso.
73. BILL THOMPSON
Provenance: Nielsen Gallery, Boston; acquired from the above in 1991; by descent within a Boston family.
Notes: Nielsen Gallery (Boston, MA) label verso.
74. JOHN STUART GIBSON
Provenance: By descent within a Boston family.
Notes: The Harcus Gallery (Boston, MA) label verso.
75. JOHN STUART GIBSON
Provenance: The Harcus Gallery, Boston; acquired from the above in 1986; by descent within a Boston family.
Notes: The Harcus Gallery (Boston, MA) label verso.
76. GYORGY KEPES
Provenance: A gift from the artist to his friend, a fellow MIT professor; by descent within the family.
77. JULES OLITSKI
Provenance: The Harcus Gallery, Boston; acquired from the above in 1986; by descent within a Boston family.
Notes: The Harcus Gallery (Boston, MA) label verso.
78. SAM FRANCIS
Provenance: A gift from the artist, 1978, to a New York collector; by descent to the current owner, a Connecticut Lady.
Literature:
- This work is included in the Sam Francis Catalogue Raisonné, edited by Debra Burchett-Lere, and is registered with the Sam Francis Foundation, no. SF75-840.
- Francis, Sam, Saturated Blue: Writings from the Notebooks Venice, California: Lapis Press, 1995, n.p., ill. in color.
79. HELEN FRANKENTHALER
Provenance: The Collection of a Deerfield, MA Gentleman.
Notes: Published by the Lincoln Center for the Performing Arts/ List Poster and Print Program, New York.
80. DONALD KEITH SULTAN
Provenance: Barbara Krakow Gallery, Boston; acquired from the above in 1986; by descent within a Boston family.
Exhibitions: Barbara Krakow Gallery, Boston, Donald Sultan: Prints 1979–1985, October 5-October 30 1985, no. 29, Black Lemons (illustrated). Accompanied by a copy of the exhibition catalogue.
81. DONALD KEITH SULTAN
Provenance: Barbara Krakow Gallery, Boston; acquired from the above in 1985; by descent within a Boston family.
Notes: Published by Blum Helman Gallery, New York, 1983. Accompanied by print documentation and folio.
82. DONALD KEITH SULTAN
Provenance: By descent within a Boston family.
Notes: The Harcus Gallery (Boston) label verso.
83. DONALD KEITH SULTAN
Provenance: By descent within a Boston family.
84. ROBERT COTTINGHAM
Provenance: By descent within a Boston family.
Notes: Contemporary Art Consultants (Needham, MA) label verso.
85. ROBERT COTTINGHAM
Provenance: By descent within a Boston family.
86. ROBERT COTTINGHAM
Provenance: By descent within a Boston family.
87. HENRY SPENCER MOORE
Provenance: Property of a Newton, Massachusetts Estate.
88. MILTON AVERY
Provenance: A Provincetown, Massachusetts Collection. Notes: Albert Merola Gallery (Provincetown, MA) label verso.
89. MILTON AVERY
Provenance: A Provincetown, Massachusetts Collection. Exhibitions: Corcoran Gallery of Art, Washington, D.C., Graphic Work of Milton Avery, January 12-February 18, 1973 (label verso).
Notes: Albert Merola Gallery (Provincetown, MA) label verso.
90. RICHARD DIEBENKORN
Provenance: A Connecticut Collection.
Notes: From the edition of 100 (this impression is a rare trial proof, aside from the edition).
91. RICHARD DIEBENKORN
Provenance: A Connecticut Collection.
92. CAROL SUMMERS
Provenance: Property of a Cape Cod Collector. Notes: Graphics 1 and Graphics 2 (Boston) label verso.
93. ALEXANDER CALDER
Provenance: Property of a Boston Lady.
94. ALEXANDER CALDER
Provenance: Property of a Boston Lady.
95. IAN DAVENPORT
Provenance: Private Massachusetts Collection.
96. PAUL JENKINS
Provenance: Property of a Brookline, Massachusetts Doctor; acquired in 1995 by a Canton, Massachusetts Doctor; by descent to a Massachusetts Lady.
97. PETER PLAMONDON
Provenance: Property of a Worcester, Massachusetts Doctor. Notes: Alpha Gallery (Boston) label verso.
98. ANDERS KNUTSSON
Provenance: Property of a Massachusetts Collector.
Notes: Inscribed, signed, and dated Love to Arden and Merry Christmas / December 19, 1973 / Anders Knutsson on frame backing, verso.
99. FRITZ BULTMAN
Provenance: A Provincetown, Massachusetts Collection. Notes: Albert Merola Gallery (Provincetown, MA) label verso.
100. CHARLES HINMAN
Provenance: Purchased from the artist by a New Jersey Lady in 1980; by descent to her son, a Massachusetts Collector. Notes: Accompanied by the original bill of sale dated December 11, 1980.
101. RICHARD HAMBLETON
Provenance: Purchased from the artist by a New York collector and artist.
Notes: Accompanied by Richard Hambleton New York, an ArtReview Artist Publication produced in association with Giorgio Armani. The publication was originally acquired by the present owner at the artist’s retrospective exhibition, during which the owner first met Richard Hambleton.
102. RICHARD HAMBLETON
Provenance: Purchased from the artist by a New York collector.
103. NANCY GROSSMAN
Provenance: Acquired by New Jersey Lady in 1976 from Cordier & Ekstrom, New York; by descent to her son, a Needham, Massachusetts Collector.
Exhibitions: Cordier & Ekstrom, New York, Nancy Grossman Collages and Pastels, November 10-December 11 1976, cover, Rushing Figure (illustrated). Accompanied by a scanned copy of the exhibition catalogue.
Notes: Accompanied by bill of sale from Cordier & Ekstrom, dated December 21, 1976.
104. JOHN TUNNARD
Provenance: By descent within the family of the artist.
Notes: The American British Art Center (New York) label verso.
105. JOHN TUNNARD
Provenance: By descent within the family of the artist.
Notes: Institute of Modern Art (Boston) label verso.
106. JAMES EDWARD RITCHIE
Provenance: By descent within a Boston family.
Notes: A monumental version of this work stands in the town of Vance in the South of France.
107. GYORGY KEPES
Provenance: By descent within a Cambridge, Massachusetts Family.
Notes: Alpha Gallery (Boston) label verso.
108. SETON SMITH
Provenance: By descent within a Boston family.
109. ANSEL ADAMS
Provenance: Property of a Massachusetts Collector.
Notes: Stamped with Special Edition Photographs of Yosemite stamp with the title and the printer's credit (Alan Ross) with his initials in ink, on mount verso.
110. ANSEL ADAMS
Provenance: Property of a Massachusetts Collector.
Notes: Stamped with Special Edition Photographs of Yosemite stamp with the title and the printer's credit (Alan Ross) with his initials in ink, on mount verso.
111. ANSEL ADAMS
Provenance: Property of a Massachusetts Collector.
Notes: stamped with Special Edition Photographs of Yosemite stamp with the title and the printer's credit (Alan Ross) with his initials in ink, on mount verso.
112. CHARLES DESPIAU
Provenance: A Beacon Hill, Boston Estate.
Notes: This work relates closely to Despiau's full-scale sculpture of the same subject in the Museum of Modern Art, New York (obj. no. 334.1939). Additionally, an example of the same size as the subject work can be found at the Metropolitan Museum of Art, New York (obj. no. 67.155.14).
113. Attributed to LOUIS GABRIEL MOREAU
Provenance: Purportedly, purchased in Europe in 1932 by a Boston gentleman; by descent to a Beacon Hill, Boston Estate. Exhibitions: Ladies in a Park:
- Museum of Fine Arts, Boston, French Arts of the 18th Century (loan label verso).
- Museum of Fine Arts, Boston, Paintings, Prints, and Drawings from New England Collections (loan label verso). Couple on Horseback:
- Museum of Fine Arts, Boston, French Arts of the 18th Century (loan label verso).
114. HUBERT SATTLER
Provenance: Property of a Cape Cod, Massachusetts Gentleman.
115. FRENCH SCHOOL
Provenance: Property of a Beacon Hill, Boston Estate.
116. After FRANCOIS BOUCHER
Provenance: Property of a Beacon Hill, Boston Estate.
Notes: This work relates closely to the 1738 etching of the same subject by Pierre Aveline (French, 1679-1722) after François Boucher.
117. LOUIS AGASSIZ FUERTES
Provenance: The artist, to a Massachusetts collector; by descent within the family.
Notes: Accompanied by a handwritten letter from the artist, dated July 10, 1916, affixed verso.
118. After JOHN JAMES AUDUBON
Provenance: The Collection of a Cape Cod, Massachusetts Gentleman.
119. GEORGE BROOKSHAW
Provenance: Property of a New Hampshire Collector.
120. REMBRANDT VAN RIJN
Provenance: Property of a Maine Gentleman.
121. JAMES ABBOTT McNEILL WHISTLER
Provenance: Property of a Massachusetts Lady.
122. JAMES ABBOTT McNEILL WHISTLER
Provenance: Property of a Bonita, California Lady.
123. JAMES ABBOTT McNEILL WHISTLER
Provenance: Property of a Ohio Collector.
124. ANDERS ZORN
Provenance: Property of a Beacon Hill, Boston Estate.
125. PABLO PICASSO
Provenance: Property of an Arlington, Massachusetts Lady.
126. PIERRE AUGUSTE RENOIR
Provenance: Property of a Maine Gentleman.
127. HENRI DE TOULOUSE-LAUTREC
Provenance: The Collection of a Cape Cod, Massachusetts Gentleman.
128. LUDWIG BEMELMANS
Provenance: Property of a Boston, Massachusetts Estate.
129. LARRY RIVERS
Provenance: Richard Gray Gallery, Chicago; purchased from the above June 6, 1990 by a Boston Collector.
Literature:
- Rivers, Larry with Carol Brightman, Drawings and Digressions New York: 1979; illus. p. 138.
Notes: Maxwell Davidson Gallery (New York) label verso; Richard Gray Gallery (Chicago) label verso.
130. GLORIA VANDERBILT
Provenance: Property of a Southern Collection.
131. REYNOLDS BEAL
Provenance: Property of a Virginia Lady.
132. JOSEPH SOLMAN
Provenance: Property of a Franklin, Massachusetts Gentleman. Notes: ACA Galleries (New York) label verso.
133. LEON KROLL
Provenance: Property of a Worcester, Massachusetts Doctor. Notes: Avery Galleries (Bryn Mawr, PA) label verso.
134. YOLANDE ARDISSONE
Provenance: Property of a Massachusetts Collector.
135. YOLANDE ARDISSONE
Provenance: Property of a Massachusetts Collector.
136. YOLANDE ARDISSONE
Provenance: Property from a Private Collection, Ashland, Massachusetts.
137. YOLANDE ARDISSONE
Provenance: Property from a Private Collection, Ashland, Massachusetts.
138. YOLANDE ARDISSONE
Provenance: Property from a Private Collection, Ashland, Massachusetts.
139. JULIAN CARDINAL
Provenance: By descent within the family of the artist.
140. ROBERT CARDINAL
Provenance: By descent within the family of the artist.
141. THOMAS ADRIAN FRANSIOLI
Provenance: A New York Collection.
Notes: Margaret Brown Gallery (Boston) label verso.
142. THOMAS ADRIAN FRANSIOLI
Provenance: Skinner Boston, September 14, 2014, Lot 542; A New York Collection.
143. EDMUND QUINCY
Provenance: The estate of the artist; a New York Collection.
144. EDMUND QUINCY
Provenance: The estate of the artist; a New York Collection.
145. CHARLES SPRAGUE PEARCE
Provenance: Christie's New York, European Art, February 1, 2023, Lot 31; Property of a New York Collector.
146. LAURA COOMBS HILLS
Provenance: Private New England Collection; Skinner Marlborough, September 7, 2007, Lot 664; a New York Collection.
Notes: This work depicts Arthur Franklin Harlow (b. 1872), a fellow Boston-based artist.
147. LOUIS KRONBERG
Provenance: Deaccessioned from the Museum of Fine Arts, Boston; Skinner Auctioneers, Boston, March 3, 2006, Lot 595; Doyle, New York, June 18, 2025, Lot 27; Private Collection.
148. AMERICAN SCHOOL
Provenance: C. L. Prickett Antiques; acquired May 26, 1998 by a Greenwich, Connecticut Couple.
Exhibitions: Pennsylvania Academy of Fine Arts, American Folk Painting, January 14-February 20, 1977.
Literature: Tillou, Peter H., Where Liberty Dwells, 19th-Century Art by the American People, img. 22; C. L. Prickett's 1998 brochure, no. 4, pg. 12.
149. Attributed to SAMUEL ALKEN, Jr.
Provenance: According to label verso, Christie's London, October 9, 1981, Lot 176; by descent within an American family.
Notes: Several partial labels verso.
150. CLEMENT DREW
Provenance: Property of a Weston, Massachusetts Family.
151. ANTONIO JACOBSEN
Provenance: Property of a Vero Beach, Florida Collector.
152. SOLON FRANCIS MONTECELLO BADGER
Provenance: The Collection of a Cape Cod, Massachusetts Gentleman.
153. CHINESE SCHOOL
Provenance: Property of the Stouffer Mayflower Hotel, Washington, D.C.; The Collection of a Charleston, South Carolina Gentleman.
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19. All Sales Final. Items are sold with all faults and are not returnable for any reason except as set forth in the following Section 20.
20. Limited Rescission Right. If within fourteen (14) days of the sale of any lot, the Purchaser gives notice in writing to us that the lot is counterfeit and within ten (10) days after such notice, the Purchaser, at Purchaser’s sole cost, risk, and expense, returns the lot to us in the same condition as when sold, and demonstrates to our satisfaction that the lot is a counterfeit, we will refund the purchase price.
21. Severability. No invalidity or partial invalidity or unenforceability of any provision provided herein shall affect or impair the validity of enforceability of any other provision hereof. If any provision or portion thereof of the Terms and Conditions of Sale shall be void, unlawful or unenforceable under applicable law, that provision or portion thereof shall be deemed deleted and severed from the remaining provisions, and shall not affect the enforceability or validity of any of the remaining provisions.
22. Jurisdiction; Governing Law. These Terms and Conditions of Sale as well as the Purchaser’s and our respective rights and obligation hereunder shall be governed by and construed and enforced in accordance with the laws of the Commonwealth of Massachusetts. By bidding at an auction whether present in person or by agent, order bid, telephone, or other means, you shall be deemed to have consented to the jurisdiction of the state courts, and the federal courts sitting in the Commonwealth of Massachusetts. In any litigation between us and any Bidders (whether or not the Purchaser) the prevailing party shall be awarded full reimbursement of its actual paid legal fees in connection with the dispute.
23. No Assignment. Unless Grogan & Co. consents in writing, you may not assign your rights or any of your obligations relating to an auction or other sale by Grogan & Co. Any assignment without Grogan & Co.’s written consent will be void.
24. No Waiver. The failure of Grogan & Co. hereto to exercise any right, power or remedy provided hereunder or otherwise available in respect hereof at law or in equity, or to insist upon compliance by any other party hereto with its obligations hereunder, and any custom or practice of the parties at variance with the terms hereof, shall not constitute a waiver by such Grogan & Co. of its right to exercise any such or other right, power or remedy or to demand such compliance.
25. BY BIDDING AT AN AUCTION, WHETHER IN PERSON OR BY AGENT, PROXY, ABSENTEE BID, TELEPHONE, OR OTHERWISE, YOU AGREE TO BE BOUND BY THESE TERMS AND CONDITIONS OF SALE.
