flower market - amazon web servicesrfc-static.s3.amazonaws.com/pdf/355_8.pdf · flower market...

326.Jacques L’Huillier (French, b. 1867)

Flower MarketSigned “J. L’Huillier” l.r.Oil on canvas, 20 1/2 x 29 1/2 in. (52.1 x 74.9 cm), framed.Condition: Retouch, varnish inconsistencies, craquelure,surface grime.

$2,000-2,500

327.Robert Malcolm Lloyd (British, fl. 1879-1900)

Harbor ViewSigned “R. Malcolm Lloyd, 1901.” l.r.Watercolor on board, 5 1/4 x 7 in. (13.3 x 17.8 cm), framed.Condition: Toning, soiling, pale scattered foxing.

$400-600

328.Georges Yoldjoglou (French, b. 1935)

La Tour d’EiffelSigned “Georges Yoldjoglou” l.r.Oil on canvas, 21 x 25 1/2 in. (53.3 x 64.8 cm), framed.Condition: Good.

$800-1,200

141

326

328

327

329.Duncan Campbell (American, 20th Century)

RooftopsSigned or inscribed “Duncan Campbell 1936” l.r.Oil on canvasboard, 16 x 12 in. (40.6 x 30.5 cm), framed.Condition: Very minor paint loss.

$500-700

330.Alfredo Helsby (Chilean, 1862-1933)

Sunset on Riverside DriveSigned “Alfredo Helsby” l.r., titled on a presentation plaqueaffixed to the frame.Oil on canvas, 24 x 18 in. (60.9 x 45.7 cm), framed.Condition: Minor scattered retouch, subtle craquelure.

$3,000-5,000

331.Andre Renoux (French, b. 1939)

46 Hertford Street/London DoorwaySigned “A. Renoux” l.r., titled and signed on the reverse.Oil on canvas, 9 1/2 x 8 in. (24.1 x 20.3 cm), framed.Condition: Surface grime.

$600-800

142

329 330

331

332.Aiden Lassell Ripley (American, 1896-1969)

Shaded Park BenchSigned and dated “A.L Ripley 28” l.r.Watercolor on paper/board, sight size 15 x 19 in. (38.1 x48.3 cm), framed.Condition: Not examined out of frame.

$4,000-6,000

333.Attributed to Francis Draper (American, fl. circa 1910)

Walk in the ParkSigned “Draper” l.r.Oil on canvas, 18 x 24 in. (45.7 x 60.9 cm), framed.Condition: Minute losses.

$1,000-1,500

334.Sam Thal (American, 1903-1964)

A Game of CardsSigned “SAM THAL” l.r.Oil on canvas, 20 x 22 in. (50.8 x 55.9 cm), framed.Condition: Lined onto solid support, scattered retouch.

$1,800-2,200

143

332

334

333

335.Arthur Clifton Goodwin (American, 1866-1929)

Skating at the Frog Pond, Boston’s Public GardenUnsigned.Oil on canvas, 24 x 40 in. (60.9 x 101.6 cm), framed.Condition: Restretched, creases with minute paint losses.

N.B. Arthur Clifton Goodwin was born in Portsmouth, New Hampshire, in 1864.A self-taught artist, Goodwin never attended the prestigious Boston or Parisian artschools of his contemporaries. Probably best known as a painter of Boston streetscenes and its waterfront during the years 1900 to 1921, he emerged as a true forceas he wandered around the streets with his dilapidated easel in hand searching forhis next inspiration. His first public exhibition was held at Boston’s Doll andRichards Gallery in 1904 and was followed by a major Museum of Fine Arts showin 1911 in which he shared the stage with artists including Frank Benson, PhilipHale, and John J. Enneking. While in Boston, he attracted the attention of JohnSinger Sargent and affluent patron of the arts Isabella Stewart Gardner.

$10,000-15,000

144

335

336.Arthur Clifton Goodwin (American, 1864-1929)

At the FountainUnsigned.Oil on canvas, 40 1/2 x 50 in. (102.0 x 127.5 cm), framed.Condition: Good.

$10,000-15,000

145

336

337.Frank Weston Benson (American, 1862-1951)

Atherton Loring Jr. Age 6 of Boston’s Duxbury,MassachusettsUnsigned.Oil on canvas, 40 1/4 x 32 in. (102.2 x 81.3 cm), in aCarrig-Rohane frame inscribed “19...06, Carrig-Rohane” onthe lower edge.Condition: Retouch, craquelure, surface grime.

Provenance: Descended within the family of the sitter.

N.B. Frank Benson was born into a prominent Salem,Massachusetts, family in 1862. He would later train at theAcadémie Julian in Paris where his work was greatlyinfluenced by the contrasting light and dark palettes of artistsVermeer and Velázquez. Upon returning to the UnitedStates, Benson and painter Edmund Tarbell became theleaders of the Boston School, which would produce some ofthe most well-known American Impressionists of the turn ofthe century. Benson would go on to join the group the TenAmerican Painters which was comprised of both New Yorkand Boston-based Impressionists.

He worked in an array of genres including portraiture, pleinair, interiors, and still lifes, although he is perhaps best knownfor his portraits depicting his wife and three children. He wasfascinated by the concept of light and shadow and repeatedlyused tenebristic techniques to achieve both dramatic andaesthetically beautiful works. His style carried throughout thebulk of his career and he only began experimenting with blackand white etchings well into his fifties. Benson died in Salem,Massachusetts, in 1951.

The portrait’s frame is by Boston-based framing companyCarrig-Rohane, established in 1903 by artist Herman DudleyMurphy, whose shop name was inspired by his Celtic heritageand can be translated as meaning “red cliff.” Coincidentally,Murphy also studied at the Académie Julian in Paris andreturned to America in 1897, the same year Benson wouldjoin the Ten American Painters. Carrig-Rohane is arguablybest known for their 16th and 17th century inspired Venetiancassetta frame (such as the one adorning this portrait),characteristically identified as exhibiting a broad flat centerpanel with raised inner and outer edges and a sgraffito décorenhancing each of the four corners.Source: http://www.eliwilner.com/contents/period_19thc_american.cfm

$60,000-80,000

146

337

338.Attributed to Robert Reid (American, 1862-1929)

Portrait of a Lady, purported to be Mrs. WrightUnsigned, identified on a registration tag on the reverse.Mixed media on canvas, 36 1/2 x 24 in. (92.7 x 60.9 cm),framed under glass.Condition: Not examined out of frame.

Provenance: From the collection of the Fuller Museum ofArt, Brockton, Massachusetts.

$1,000-1,500

339.Kenneth R. Cranford (American, b. 1857)

Bronze Plaque and Plaster Cast of “James LawrenceDunham in His Twentieth Year”Signed and dated “K. CRANFORD FECIT MCMXXIV” u.r.Bronze with green patina and plaster, 13 1/4 x 20 in. (33.6 x50.8 cm), plaster cast framed.Condition: Cracks and losses in plaster, light abrasions inbronze, surface grime.

$1,500-2,500

340.Isabelle Gabriel (French, 1902-1990)

Still Life with Flowers and GrapesSigned “I. Gabriel” l.l., artist identified on a presentationplaque affixed to the frame.Oil on panel, 24 x 20 in. (60.9 x 50.8 cm), framed.Condition: Retouch, craquelure.

$2,000-3,000

147

338

340

339

341.Marguerite Stuber Pearson (American, 1898-1978)

Four O’ClockSigned “Marguerite S. Pearson ©” l.r., titled on a partial label affixed to thereverse; label from the Dayton Art Institute affixed to the reverse.Oil on canvas, 30 x 36 in. (76.2 x 91.4 cm), framed.Condition: Minor retouch, varnish inconsistencies, minor craquelure.

N.B. Marguerite Pearson is best known for her beautifully craftedcompositions of still lifes and interior scenes. Born in Philadelphia, Pearsoncontracted polio in her teens and as a result, spent the remainder of her lifeconfined to a wheelchair. After initially working as an illustrator for newspapersand magazines, Pearson turned to painting in 1922. She studied at the BostonMuseum of Fine Arts School and with Edmund C. Tarbell and Aldro T.Hibbard. Highly esteemed and financially successful, Pearson went on tobecome a member of several artist associations. In 1941, Pearson moved toRockport, Massachusetts.

$8,000-12,000

148

341

342.British School, 20th Century

Picking FlowersSigned “R. Grant” l.l.Oil on canvas, 28 1/4 x 22 3/4 in. (71.8 x 57.8 cm), framed.Condition: Lined.

$2,000-4,000

343.Ruth Wilcox (American, b. 1908)

BonnetsSigned “RUTH WILCOX” l.r., identified on a presentationplaque affixed to the frame.Oil on canvas, 30 x 36 in. (76.2 x 91.4 cm), framed.Condition: Craquelure, retouch.


Exhibitions: 109th Annual Exhibition, National Academy ofDesign, 1934, entry number 88, awarded the first HallgartenPrize.

$800-1,200

344.Josephine M. Wright (American, fl. circa 1925)

Woman in a GardenSigned and dated “J.M. Wright 1919” l.l., identified on alabel from the Brockton Art Museum affixed to the reverse.Watercolor and gouache on paper/board, sight size 19 1/2 x15 1/2 in. (49.5 x 39.4 cm), framed.Condition: Subtle toning, not examined out of frame.


$600-800

149

344

343

342

345.Albert Herter (American, 1871-1950)

Portrait of a BusinessmanSigned and dated “ALBERT HERTER, 1938” u.l.Oil on canvas, 32 x 26 in. (81.3 x 66.0 cm), framed.Condition: Retouch, abrasions with minor losses u.r. and l.l.

$1,000-1,500

346.James Colway (American, b. 1920)

Fresh Fruit, 1971Signed and dated “James Colway 1971” l.l., identified onBrockton Art Museum labels and on the reverse.Watercolor on paper, sight size 14 1/2 x 16 1/2 in. (36.8 x41.9 cm), framed.Condition: Not examined out of frame.


$300-500

347.Leon Kroll (American, 1884-1974/75)

Portrait of a ManSigned “Leon Kroll” l.l.Conté crayon on laid paper, sight size 13 1/2 x 10 1/2 in.(33.0 x 26.7 cm), framed.Condition: Not examined out of frame.


$450-650

150

347

346

345

348.Wilfred Gabriel de Glehn (British, 1870-1951)

Portrait of Maud Morgan, 1921Signed “Wilfred de Glehn” u.r., identified on labels affixed tothe backing.Oil on canvas, 40 x 30 in. (101.6 x 76.2 cm), unframed.Condition: Surface grime, craquelure.


N.B. Maud Cabot Morgan was born in New York City in1903 and graduated from Columbia University’s BarnardCollege in 1926. Probably best known for her work incollage, Morgan became associated with the New YorkSchool’s Abstract Expressionists including Calder, Rothko,and Pollack. In 1929, Morgan went on to study with painter,teacher, and The Natural Way to Draw (1941) author KimonNicolaides (1892-1938) at the Art Students’ League inManhattan.

$800-1,200

349.George William Dinckel (American, b. 1890)

Still Life with Pitcher and FruitSigned “George Dinckel” l.l.Oil on canvas, 25 x 30 1/4 in. (63.5 x 76.8 cm), framed.Condition: Light abrasions c.r.

$400-600

350.Arnaldo Casella Tamburini, Jr. (Italian/American, 1885-1936)

Self PortraitUnsigned, identified on a tag accompanying the lot.Oil on Masonite, 14 1/2 x 10 1/2 in. (36.8 x 26.7 cm),framed.Condition: Retouch near upper edge, surface grime, damageto support l.c.


$600-800

348

350

349

351.Cecilia Beaux (American, 1855-1942)

A Lady in Black, alternatively titled Mrs. DSigned “Cecilia Beaux.” l.l., identified on labels from Arden Studios, Inc., and the Museum of FineArts, Boston, affixed to the reverse.Oil on canvas, 78 1/4 x 47 1/2 in. (198.7 x 120.6 cm), framed.Condition: Retouch.

Provenance: The artist; Alfred I. du Pont, Wilmington, Delware; to Museum of Fine Arts, Boston,Massachusetts, 1921, gift of Alfred I. du Pont; deaccessioned from the Museum of Fine Arts.

N.B. Born in Philadelphia, Pennsylvania, in 1885, Beaux emerged as one of the most celebrated femaleartists of the late 19th and early 20th centuries. At the age of 16 she enrolled at the PennsylvaniaAcademy of Fine Arts where she specialized in portrait painting. She then traveled to Paris from 1877-78 to continue her studies at the Académie Julian and the Académie Colorossi, where she studied withFrench Salon greats William Bouguereau and Robert Tony Fleury. Upon her return to America in1895 she accepted a position to teach at the Pennsylvania Academy of Fine Arts, a position she wouldhold for two decades. By 1902, she was recognized as one of the premiere portrait painters in Americaand won full membership into the National Academy. She respected fellow portrait artist John SingerSargent yet regarded him as a true rival of her style, although one can observe noticeable similaritiesbetween these two artists’ brush techniques and color palette.

$30,000-50,000

152

351

352.Ernest Francisco Fenollosa (American, 1853-1908)

Susan Shattuck Cabot (Mrs. Arthur Tracy)Unsigned, artist and title identified on a label from theMuseum of Fine Arts, Boston, affixed to the reverse.Oil on canvas, 22 1/4 x 18 3/4 in. (56.8 x 47.6 cm), framed.Condition: Lined, retouch, craquelure.

Provenance: The artist; to Cabot family; descended in familyto Mrs. Henry Lyman, niece of the sitter; to Museum of FineArts, Boston, Massachusetts, gift of Mrs. Henry Lyman;deaccessioned from the Museum of Fine Arts.

$1,000-1,500

353.American School, 19th/20th Century

Still Life with Pale Pink RosesIndistinctly initialed l.r.Oil on canvas, 14 x 17 in. (35.6 x 43.2 cm), framed.Condition: Subtle surface grime, craquelure.

$500-700

354.Elmer W. Green, Jr. (American, 1907-1964)

Mrs. Reginald Adams KibbeSigned “ELMER W. GREENE JR.” u.r., identified onfragmentary exhibition labels, including one from theNational Academy, on the reverse.Oil on canvas, 72 x 36 in. (162.9 x 91.4 cm), framed.Condition: Scattered retouch, fine craquelure.


$1,800-2,200

153

352 353

354

355.European School, 19th Century

Portrait of a Woman with Flowers in Her HairSigned “HOLCZER. K.” l.r.Oil on canvas, 16 x 12 1/4 in. (40.6 x 31.1 cm), framed.Condition: Lined, retouch, varnish inconsistencies,craquelure.

$1,500-3,000

356.Eugene Speicher (American, 1883-1962)

Portrait of a GirlSigned or inscribed indistinctly l.r. and u.r.Oil on panel, 12 x 10 1/2 in. (30.5 x 26.7 cm), framed.Condition: Abrasion u.r., surface grime.

$700-900

357.Elizabeth Vila Taylor Watson (American, 1863-1949)

Portrait of a WomanSigned “Elizabeth V. Taylor Watson” u.l.Conté crayon and pastel on paper, sight size 25 x 19 1/2 in.(63.5 x 49.5 cm), framed.Condition: Pale scattered fox marks, toning, not examinedout of frame.


$1,000-1,500

154

355 356

357

358.Frank Duveneck (American, 1848-1919)

Head of a Young Girl, before 1880Unsigned, artist identified on a label from the Museum ofFine Arts, Boston, affixed to the reverse.Oil on canvas, 20 3/4 x 17 3/8 in. (52.7 x 44.1 cm), framed.Condition: Retouch, craquelure.

Provenance: The artist; to Joseph De Camp, Boston; to Mrs.Joseph De Camp, Boston, by 1925, with William MacBeth,New York, 1925; with Casson Galleries, Boston; to Museumof Fine Arts, Boston, Massachusetts, 1928, purchase;deaccessioned from the Museum of Fine Arts.

N.B. Most likely completed early in his career, this portraitreflects Duveneck’s artistic style while studying and teachingin Munich in the 1870s. Born Frank Decker (he adopted hisstepfather’s name), Duveneck left Covington, Kentucky, in1870 to study at the Royal Academy of Munich. There heexcelled as a student, producing realistic portraitscharacterized by the expressive bravura brush technique. Inthese works, the sitter was usually bathed in light while thebackground remained dark. Duveneck soon began to teach,his students included William Meritt Chase, Otto Bacher,Joseph DeCamp, John Twatchman, and Theodore Wendel.In 1879 he moved to Florence and many of his students,known as the “Duveneck Boys,” followed. There he met andmarried one of his students, Elizabeth Boott. Following herdeath in 1888, Duveneck moved back to the U.S. where hecontinued to teach in Boston and Cincinnati.

$3,000-5,000

359.Frank Hector Tompkins (American, 1847-1922)

The Young Mother, 1885Unsigned, artist and title identified on labels from theMuseum of Fine Arts, Boston, affixed to the reverse. Oil on canvas, 43 1/2 x 31 1/2 in. (110.5 x 80.0 cm),framed.Condition: Retouch, craquelure, scattered alligatoringprimarily to background, abrasions, surface grime.

Provenance: The artist; to Museum of Fine Arts, Boston,Massachusetts, 1919, purchase; deaccessioned from theMuseum of Fine Arts.

Exhibitions: Boston Art Club, January 15–February 13, #110.

N.B. Frank Hector Tompkins was born in 1847 in Hector,New York. After studying at the Royal Academy in Munich aswell as in New York and Cincinnati, Tompkins moved toBoston where he began to show his portraits and genrescenes. He exhibited regularly at the Boston Art Club from1881 until 1909, the Pennsylvania Academy of Fine Arts from1887 to 1895, and the National Academy of Design in 1911.

$4,500-6,500

155

358

359

360.Edwin Murray MacKay (American, 1869-1926)

Portrait of a WomanSigned and dated “1918, Murray MacKay” u.l., inscribed onthe reverse.Oil on canvasboard, 14 x 11 in. (35.5 x 27.9 cm), framed.Condition: Retouch, varnish inconsistencies.

$500-700

361.Albert-Harry Collings (British, 20th Century)

Woman with a MirrorSigned “Albert H. Collings” l.l.Oil on canvas, 30 x 25 in. (76.2 x 63.5 cm), framed.Condition: Retouch, varnish inconsistencies.

$1,500-2,000

362.Matilda Secor McCord Roper (American, 1886-1958)

Seated WomanUnsigned, artist identified in an inscription on the reverse ofthe frame.Oil on canvas, 24 x 20 in. (60.9 x 50.8 cm), framed.Condition: Minute losses.

$1,000-1,500

156

360

362

361

363.Josephine Paddock (American, 1885-1964)

The Sealskin MuffsSigned “J Paddock” u.l., identified on labels (see below)affixed to the reverse.Oil on canvas, 36 x 40 in. (91.4 x 101.6 cm), in a labeledNewcomb-Macklin Company frame.Condition: Lined, retouch, varnish inconsistencies, surfacegrime.


Exhibitions: One Hundred and Ninth Annual Exhibition,The Pennsylvania Academy of the Fine Arts, 1914, entry No.346; Fifteenth Exhibition, April 3–23, 1916, New Haven Paintand Clay Club.

$3,000-5,000

364.Attributed to Alexandre Cabanel (French, 1823-1889)

The Spanish BeautyPurportedly signed and dated “Alex Cabanel 1878” on thereverse, beneath the lining.Oil on canvas, 29 x 22 1/2 in. (73.7 x 57.2 cm), framed.Condition: Lined, retouched, surface grime, craquelure.

$1,200-1,800

157

363

364

365.Arthur G. Collins (American, b. 1866)

Lot of Three Works: The Walled Garden, Parisian Roofs,and Cezanne RoofsUnsigned, each identified on a tag affixed to the frame.Oil on board or canvasboard, sizes approximately 12 x 9 in.(30.5 x 22.9 cm), framed.Condition: Scattered retouch, subtle surface grime, minorsurface cracks to Cezanne, damage to sketchbooks.


N.B. The lot is accompanied by approximately twentysketchbooks belonging to Collins.

$1,000-1,500

366.Margaretha Roosenboom (Dutch, 1843-1896)

A Branch of RosesSigned “Marg RoosenBoom” l.r., artist and title identified ona period label (possibly in the artist’s hand) affixed to thereverse, identifying label from the Commissioner for theNetherlands, the Arts Department, The Hague, and with alabel from the General Manager of the Holland Exhibit andthe World’s Columbian Exposition, Chicago.Watercolor with whiting on paper/board, sight size 28 1/2 x19 in. (72.4 x 48.3 cm), in a period frame signed “1919,Thulin, 544” l.c.Condition: Not examined out of frame.

$3,000-5,000

367.American School, 20th Century

Floral Still LifeInitialed “B.S.W.” l.r.Oil on board, 25 1/2 x 19 1/2 in. (64.8 x 49.5 cm), framed(under glass).Condition: Not examined out of frame.

$800-1,200

158

365

367

366

368.Otis Philbrick (American, 1888-1973)

Browneyed SusansSigned “Otis Philbrick” l.l.Oil on canvas, 24 x 20 in. (60.9 x 50.8 cm), framed.Condition: Signature reinforced.

$600-800369.Herbert Davis Richter (British, 1874-1955)

Still Life with FlowersSigned “H. DAVIS RICHTER.” l.r.Oil on canvas, 40 1/2 x 30 in. (102.9 x 76.2 cm), framed.Condition: Craquelure, unobtrusive surface grime.

$2,000-4,000

370.Agnes Dean Abbatt (American, 1847-1914)

Still Life with FlowersSigned “A.D. Abbatt.” l.r.Watercolor on paperboard, sight size 17 x 14 in. (43.2 x 35.6cm), framed.Condition: Not examined out of frame.

$800-1,200

159

368

369

370

371.Jessie Wilcox Smith (American, 1863-1935)

April ShowerSigned “JESSIE WILCOX SMITH.” l.r., identified on labelsand stamped “Property of Good Housekeeping Magazine” onthe reverse.Charcoal with watercolor and gouache on board, 19 x 12 in.(48.3 x 30.5 cm), framed.Condition: Surface grime c.r.

Provenance: From the artist to the family of the presentowner.

N.B. This image was featured on the cover of the April 1930issue of Good Housekeeping magazine.

A native Philadelphian who enjoyed working with children,Jessie Wilcox Smith would become America’s premiere femaleillustrator of her time. Over the course of her 44 year career,Smith illustrated over sixty books, 200 periodicals, and closeto 250 covers for Good Housekeeping. At sixteen, she leftPhiladelphia to become a kindergarten teacher in Cincinnatiwhere she lived with a few of her closest cousins. She hadnever tried drawing until one of her cousins invited her tochaperone a private art class. Upon realizing her new-foundtalent, Smith’s cousin convinced her to leave teaching andattend art school.

In 1884 she returned to Philadelphia to enroll at the Schoolof Design for Women. A year later she transferred to thePennsylvania Academy of Fine Arts where she studied withThomas Eakins, who stressed the importance of accurateanatomy in painting and sculpture. Upon graduation, Smithtook a position as an illustrator at Ladies’ Home Journal andwould continue her studies at Drexel Institute where sheworked very closely with Howard Pyle. She then began towork exclusively on book illustrations which afforded her suchgreat success that she was able to build her own house andstudio, complete with a garden which would become thebackdrop for drawing the children of her friends andacquaintances. The last major book she illustrated wasJohanna Spyri’s 1922 novel entitled Heidi, and after itscompletion redirected her talent towards portraiture. It isinteresting to note that in an attempt to keep the attention ofher sitters, she was known to tell the youngsters fairytales topass the time. Some distinct characteristics of her work can beseen in her use of striking outlines and flat shapes which sheusually employed to distinguish her main figures. Her workepitomized the home life of the late Victorian era and herinspiration from Art Nouveau and Japanese prints areapparent in many of her works. She also admired the work ofMary Cassatt and later traded her technique of bold blackoutlining for a more soft and painterly appearance.

$30,000-50,000

160

371

flower market - amazon web servicesrfc-static.s3.amazonaws.com/pdf/355_8.pdf · flower market...

Documents