Works by Edward Hopper and Norman Rockwell fetched tremendous prices, respectively 26,896,000 and 15,416,000 dollars (premium included) during a sale of American paintings held in New York on November 29, 2006 which totalled 82,805,200 dollars.
Norman Rockwell's painting titled "BREAKING HOME TIES" carried an estimate between 4 and 6 million dollars while Edward Hopper's oil canvas titled "HOTEL WINDOW" was estimated between10,000,00 and15,000,000 USD.
ROCKWELL: A SUCCESSFUL WAY TO REACH THE POST
Norman Rockwell was born in New York City in 1894. He always wanted to become an artist. Thus, when he was 14 years old, he started classes at the New York School of Art and left school two years later to study art at the National Academy of Design and then at the Art Students League.
Norman Rockwell had painted four Christmas cards before he turned 16 and while he still was a teenager he became the art director of Boys' Life - the Boy Scouts of America's publication. At 21, Norman Rockwell settled in New Rochelle, New York, and shared a studio with the cartoonist Clyde Forsythe doing artwork for several magazines. When he was 22, Norman painted his first cover for The Saturday Evening Post, a magazine described by the artist as "the greatest show window in America." During the next 47 years, Norman Rockwell painted 321 covers for The Post.
Norman Rockwell was extremely successful but he was much affected when his studio was destroyed by fire that resulted in the loss of many paintings and his collection of historical costumes and props. Almost a decade later, Norman moved to Stockbridge, Massachusetts, and published his autobiography. In 1977, Norman Rockwell was given the Presidential Medal of Freedom (the nation's highest civilian honor) for his "vivid and affectionate portraits of our country." He died at his home on November 8, 1978 when he was 84.
HOPPER: HOPPING TO FAME
Born in the small Hudson River town of Nyack, New York State on July 22 1882, Hopper was to be know as the artist who captured the stark, vastness of the physical face of America. A pioneer in picturing the 20th-century American scene, Edward Hopper was a realist whose representation of his native country was filled with deep emotional content.
At 17 he entered a New York school for illustrators; then from 1900 he studied for about six years at the New York School of Art, mostly under Robert Henri, one of the fathers of American Realism who strongly influenced him. Between 1906 and 1910 Hopper made three long visits to Europe, spending mostly his time in France. In Paris he worked on his own, painting outdoor city scenes, and drawing Parisian types. After 1910 he never went abroad again.
Back home, from about 1908 Hopper began painting aspects of the native scene that few others dared to portray. Contrary to most former Henri students, he was above all interested in the physical features of the American city and country. However his pictures were rejected regularly by academic juries and failed to sell. Until he was over 40 he supported himself by commercial art and illustration, which dissatisfied him; but he found time to paint during most summers.Still, in 1913 he managed to make his first sale - a picture exhibited at the Armory Show in New York (combining American artists and the leading European modernists)
In 1915 Hopper took up etching. His prints presented everyday aspects of America with much truthfulness and feeling. They in fact enabled him to be admitted to the big exhibitions, to win prizes, and to attract attention from critics. With such recognition he began in the early 1920s to paint in earnest and with a new self confidence, at first in oil, then in watercolor.
In 1924 he married the painter Josephine Verstille Nivison, who had also studied under Henri. Hopper and Nivison quarreled fiercely at times, their rows often exploding into physical violence. Her presence however was essential to his work, sometimes literally so, as Nivison modeled for all the female figures in his paintings.The couple spent winters in New York, on the top floor of an old house on Washington Square where Hopper had lived since 1913. Achieving success, he gave up commercial work, and they could spend whole summers in New England, particularly on the seacoast. From the time of his marriage, Hopper's fortunes changed. His second solo show, at the Rehn Gallery in New York 1924 was a sell-out. The following year, he painted The House by The Rail Road, his first work in his mature style, typical of later works.
In 1930 he and his wife built a house in South Truro on Cape Cod, where they lived almost half the year thenceforth, with occasional trips, including several to the Far West and Mexico. Both of them however preferred a simple life in the countryside.
Hopper was little affected by the Great Depression having become extremely well known. In 1929, he was included in the second exhibition at the Museum of Modern Art (MOMA), Paintings by Nineteen Living Americans, and in 1930 The House by the Railroad entered the museum's permanent collection. In the same year, the Whitney Museum bought Hopper's Early Sunday Morning, its most expensive purchase up to that time.
In 1933 Hopper was given a retrospective exhibition at the Museum of Modern Art. This was followed, in 1950, by a fuller retrospective show at the Whitney.
Hopper's subject matter can be divided into three main categories: the city, the small town, and the country. His city scenes dealt generally with the city itself as a physical entity usual showing one or two women seemingly embodying the loneliness of so many city dwellers. Often his city interiors at night are seen through windows, from the standpoint of an outside spectator with light playing an essential role whatever its essence such as sunlight,shadow, streetlamps, store windows and lighted interiors intended to transform familiar scenes into pictorial dramas.
In his cityscapes he captures the poetry in man-made chaos, for example his paintings New York Movie (1939) and Approaching a City (1946).
Hopper's portrayal of the American small town reflected his deep emotional attachment to his native environment in all its banality and beauty. A world that he accepted, and it was this combination of love and revealing truth that gave his portrait of contemporary America its depth and intensity.
In his landscapes Hopper turned his back on the academic trend aimed at focussing on idyllic nature and therefore ignoring the works of man. Those prominent features of the American landscape, the railroad and the automobile highway, were essential elements in his works. His landscapes have a crystalline clarity and often a poignant sense of solitude and stillness.
Hopper's art was built largely on straight lines; the overall structure being usually horizontal however countered by strong verticals, creating his typical angularity and revealing interesting parallels with geometric abstraction.
Edward Hopper also painted public places such as Nighthawks (1942) and Chop Suey (1929), often visiting cinemas as in New York Movie (1939) Some paintings, such as his celebrated image of a gas-station, Gas (1940), have elements which obviously make him a pioneer of Pop Art.
Hopper visited shipyards along the river Hudson as a boy and dreamt of becoming a naval architect.. His lifelong fascination with sailing and the sea provided a subject to which Hopper consistently returned throughout his career.
After reaching recognition in the 1920s, Hopper received many honors and awards, and increasing admiration from both traditionalist and avant-garde circles. He died in his Washington Square studio on May 15, 1967.
Works by Edward Hopper and Norman Rockwell fetched tremendous prices, respectively 26,896,000 and 15,416,000 dollars (premium included) during a sale of American paintings held in New York on November 29, 2006 which totalled 82,805,200 dollars.
Norman Rockwell's painting titled "BREAKING HOME TIES" carried an estimate between 4 and 6 million dollars while Edward Hopper's oil canvas titled "HOTEL WINDOW" was estimated between10,000,00 and15,000,000 USD.
ROCKWELL: A SUCCESSFUL WAY TO REACH THE POST
Norman Rockwell was born in New York City in 1894. He always wanted to become an artist. Thus, when he was 14 years old, he started classes at the New York School of Art and left school two years later to study art at the National Academy of Design and then at the Art Students League.
Norman Rockwell had painted four Christmas cards before he turned 16 and while he still was a teenager he became the art director of Boys' Life - the Boy Scouts of America's publication. At 21, Norman Rockwell settled in New Rochelle, New York, and shared a studio with the cartoonist Clyde Forsythe doing artwork for several magazines. When he was 22, Norman painted his first cover for The Saturday Evening Post, a magazine described by the artist as "the greatest show window in America." During the next 47 years, Norman Rockwell painted 321 covers for The Post.
Norman Rockwell was extremely successful but he was much affected when his studio was destroyed by fire that resulted in the loss of many paintings and his collection of historical costumes and props. Almost a decade later, Norman moved to Stockbridge, Massachusetts, and published his autobiography. In 1977, Norman Rockwell was given the Presidential Medal of Freedom (the nation's highest civilian honor) for his "vivid and affectionate portraits of our country." He died at his home on November 8, 1978 when he was 84.
HOPPER: HOPPING TO FAME
Born in the small Hudson River town of Nyack, New York State on July 22 1882, Hopper was to be know as the artist who captured the stark, vastness of the physical face of America. A pioneer in picturing the 20th-century American scene, Edward Hopper was a realist whose representation of his native country was filled with deep emotional content.
At 17 he entered a New York school for illustrators; then from 1900 he studied for about six years at the New York School of Art, mostly under Robert Henri, one of the fathers of American Realism who strongly influenced him. Between 1906 and 1910 Hopper made three long visits to Europe, spending mostly his time in France. In Paris he worked on his own, painting outdoor city scenes, and drawing Parisian types. After 1910 he never went abroad again.
Back home, from about 1908 Hopper began painting aspects of the native scene that few others dared to portray. Contrary to most former Henri students, he was above all interested in the physical features of the American city and country. However his pictures were rejected regularly by academic juries and failed to sell. Until he was over 40 he supported himself by commercial art and illustration, which dissatisfied him; but he found time to paint during most summers.Still, in 1913 he managed to make his first sale - a picture exhibited at the Armory Show in New York (combining American artists and the leading European modernists)
In 1915 Hopper took up etching. His prints presented everyday aspects of America with much truthfulness and feeling. They in fact enabled him to be admitted to the big exhibitions, to win prizes, and to attract attention from critics. With such recognition he began in the early 1920s to paint in earnest and with a new self confidence, at first in oil, then in watercolor.
In 1924 he married the painter Josephine Verstille Nivison, who had also studied under Henri. Hopper and Nivison quarreled fiercely at times, their rows often exploding into physical violence. Her presence however was essential to his work, sometimes literally so, as Nivison modeled for all the female figures in his paintings.The couple spent winters in New York, on the top floor of an old house on Washington Square where Hopper had lived since 1913. Achieving success, he gave up commercial work, and they could spend whole summers in New England, particularly on the seacoast. From the time of his marriage, Hopper's fortunes changed. His second solo show, at the Rehn Gallery in New York 1924 was a sell-out. The following year, he painted The House by The Rail Road, his first work in his mature style, typical of later works.
In 1930 he and his wife built a house in South Truro on Cape Cod, where they lived almost half the year thenceforth, with occasional trips, including several to the Far West and Mexico. Both of them however preferred a simple life in the countryside.
Hopper was little affected by the Great Depression having become extremely well known. In 1929, he was included in the second exhibition at the Museum of Modern Art (MOMA), Paintings by Nineteen Living Americans, and in 1930 The House by the Railroad entered the museum's permanent collection. In the same year, the Whitney Museum bought Hopper's Early Sunday Morning, its most expensive purchase up to that time.
In 1933 Hopper was given a retrospective exhibition at the Museum of Modern Art. This was followed, in 1950, by a fuller retrospective show at the Whitney.
Hopper's subject matter can be divided into three main categories: the city, the small town, and the country. His city scenes dealt generally with the city itself as a physical entity usual showing one or two women seemingly embodying the loneliness of so many city dwellers. Often his city interiors at night are seen through windows, from the standpoint of an outside spectator with light playing an essential role whatever its essence such as sunlight,shadow, streetlamps, store windows and lighted interiors intended to transform familiar scenes into pictorial dramas.
In his cityscapes he captures the poetry in man-made chaos, for example his paintings New York Movie (1939) and Approaching a City (1946).
Hopper's portrayal of the American small town reflected his deep emotional attachment to his native environment in all its banality and beauty. A world that he accepted, and it was this combination of love and revealing truth that gave his portrait of contemporary America its depth and intensity.
In his landscapes Hopper turned his back on the academic trend aimed at focussing on idyllic nature and therefore ignoring the works of man. Those prominent features of the American landscape, the railroad and the automobile highway, were essential elements in his works. His landscapes have a crystalline clarity and often a poignant sense of solitude and stillness.
Hopper's art was built largely on straight lines; the overall structure being usually horizontal however countered by strong verticals, creating his typical angularity and revealing interesting parallels with geometric abstraction.
Edward Hopper also painted public places such as Nighthawks (1942) and Chop Suey (1929), often visiting cinemas as in New York Movie (1939) Some paintings, such as his celebrated image of a gas-station, Gas (1940), have elements which obviously make him a pioneer of Pop Art.
Hopper visited shipyards along the river Hudson as a boy and dreamt of becoming a naval architect.. His lifelong fascination with sailing and the sea provided a subject to which Hopper consistently returned throughout his career.
After reaching recognition in the 1920s, Hopper received many honors and awards, and increasing admiration from both traditionalist and avant-garde circles. He died in his Washington Square studio on May 15, 1967.
Best results: Sale N08249
Sale Total: 82,805,200 USD Session 1
1 ROBERT HENRI 1865-1929 IN THE GARDEN OF THE LUXEMBOURG
Estimate: 10,000—15,000 USD Lot Sold. Hammer Price with Buyer's Premium: 78,000 USD
(15.9 by 23.5 cm) signed Robert Henri, l.l.; also inscribed In the Garden of The/ Luxembourg Paris/ to my friend Lansala/ Robert Henri/ Phila. May 1898 on the reverse oil on panel painted in 1898
2 GUY PÈNE DU BOIS 1884-1958 AFTER THE MUSIC LESSON
Estimate: 30,000—50,000 USD Lot Sold. Hammer Price with Buyer's Premium: 168,000 USD
(31.8 by 24.1 cm) signed Guy Pène du Bois, l.l.; also inscribed About 1907 or 08 when I was a music critic on The New York American G. P. du B. on the reverseoil on board
3 EVERETT SHINN 1876-1953
STREET FIGHT Estimate : 100,000—150,000 USD Lot Sold. Hammer Price with Buyer's Premium: 262,400 USD
(45.7 by 55.9 cm) Signed Everett Shinn and dated 1910, l.c. pastel on board
4 EVERETT SHINN 1876-1953 ADMIRAL FARRAGUT STATUE, MADISON SQUARE
Estimate: 70,000—90,000 USD Lot Sold. Hammer Price with Buyer's Premium: 180,000 USD
(45.7 by 60.9 cm) signed Everett Shinn and dated 1943, l.l. pastel on board
6 REGINALD MARSH 1898-1954 132,000 GIRLS ON FOURTEENTH STREET
Estimate: 60,000—80,000 USD Lot Sold. Hammer Price with Buyer's Premium: 132,000 USD
(40.6 by 30.5 cm) signed Marsh and dated '34, l.r. tempera on gessoed masonite
8 ROBERT HENRI 1865-1929 HUGHIE THE POET
Estimate: 150,000—200,000 USD Lot Sold. Hammer Price with Buyer's Premium: 800,000 USD
(60.9 by 50.8 cm) signed Robert Henri, l.r.; also signed Robert Henri and titled 187/M "Hughie The Poet" on the reverse oil on canvas Painted in 1924.
9 ROBERT HENRI 1865-1929 SARAH B
Estimate: 150,000—200,000 USD Lot Sold. Hammer Price with Buyer's Premium: 452,800 USD
(60.9 by 50.8 cm) signed Robert Henri, l.r.; also signed Robert Henri and titled 142/M "Sarah B" on the reverse oil on canvas
Painted in 1924.
10 WILLIAM J. GLACKENS 1870-1938 CURB EXCHANGE NUMBER 2
Estimate: 100,000—150,000 USD Lot Sold. Hammer Price with Buyer's Premium: 228,000 USD
(62.2 by 44.5 cm) signed W. Glackens, l.l. crayon and watercolor on paper Executed circa 1907-10.
11 WILLIAM J. GLACKENS 1870-1938 FOR THE CHAMPIONSHIP OF THE BACK-LOT LEAGUE (THE FOOTBALL GAME)
Estimate: 100,000—150,000 USD Lot Sold. Hammer Price with Buyer's Premium: 216,000 USD
(58.4 by 43.2 cm) signed W. Glackens, l.l. black ink and watercolor on paper Executed in 1911.
12 ERNEST LAWSON 1873-1939 OLD GRAND CENTRAL
Estimate: 200,000—300,000 USD Lot Sold. Hammer Price with Buyer's Premium: 564,800 USD
(43.2 by 53.3 cm) signed E. Lawson, l.l. oil on canvas Painted circa 1910.
15 MAURICE B. PRENDERGAST 1858-1924 THE QUEENS, LUXEMBOURG GARDENS
Estimate: 80,000—120,000 USD Lot Sold. Hammer Price with Buyer's Premium: 168,000 USD
(30.5 by 44.5 cm) signed Prendergast, l.l. watercolor and pencil on paper Executed circa 1907.
16 NORMAN ROCKWELL 1894-1978 BREAKING HOME TIES
Estimate: 4,000,000—6,000,000 USD Lot Sold. Hammer Price with Buyer's Premium: 15,416,000 USD
(111.8 by 111.8 cm) signed Norman/Rockwell, l.l. oil on canvas Painted in 1954.
19 JOHN MARIN 1870-1953 NEW YORK ABSTRACTION
Estimate: 600,000—800,000 USD Lot Sold. Hammer Price with Buyer's Premium: 688,000 USD
(45.7 by 35.6 cm) signed Marin and dated '34, l.r. oil on canvasboard, mounted by the artist on a painted wood panel
22 PAUL HOWARD MANSHIP 1885-1966 CELESTIAL SPHERE
Estimate: 800,000—1,200,000 USD Lot Sold. Hammer Price with Buyer's Premium: 996,000 USD
Estimate: 200,000—300,000 USD Lot Sold. Hammer Price with Buyer's Premium: 716,000 USD
(40.6 by 30.4 cm) signed Stuart Davis, u.r.; also signed Stuart Davis, dated 1959, titled After-Study and inscribed Top on the reverse oil on canvasboard
This painting will be included in the forthcoming catalogue raisonné of the artist's work being compiled by Ani Boyajian and Mark Rutkoski.
26 GEORGIA O'KEEFFE 1887-1986 RED PEPPER, GREEN GRAPES
Estimate: 400,000—600,000 USD Lot Sold. Hammer Price with Buyer's Premium: 486,400 USD
(21.6 by 29.2 cm) signed G. O'Keeffe and dated 1928 on the reverse; also inscribed Red Pepper, Green Grapes 1928 on An American Place label in Stieglitz's hand oil on board
31 N.C. WYETH 1882-1945 STAND AND DELIVER
Estimate: 1,000,000—1,500,000 USD Lot Sold. Hammer Price with Buyer's Premium: 2,032,000 USD
(91.4 by 76.2 cm) signed Wyeth, l.l. oil on canvas, unframed Painted circa 1921.
This painting is included in the N.C. Wyeth catalogue raisonné database that is being compiled by the Brandywine River Museum and Conservancy, Chadds Ford, Pennsylvania.
34 EDWARD HOPPER 1882-1967 HOTEL WINDOW
Estimate: 10,000,000—15,000,000 USD Lot Sold. Hammer Price with Buyer's Premium: 26,896,000 USD
(101.6 by 139.7 cm) signed Edward Hopper, l.r. oil on canvas Painted in 1955.
Estimate: 700,000—1,000,000 USD Lot Sold. Hammer Price with Buyer's Premium: 800,000 USD
(76.2 by 60.9 cm) signed Maxfield Parrish and dated 1909, l.l.; also signed Maxfield Parrish Cornish New Hampshire and titled From the story of Jack-the-Giant-Killer on the reverse oil on panel
36 MILTON AVERY 1885-1965 UMBRELLAS AT ACAPULCO
Estimate 250,000—350,000 USD Lot Sold. Hammer Price with Buyer's Premium: 307,200 USD
(61 by 86.4 cm) signed Milton Avery and dated 1947, l.r. oil on canvas
37 HELEN TORR 1886-1967 96,000 MELODRAMA (THUNDERSTORM)
Estimate: 40,000—60,000 USD Lot Sold. Hammer Price with Buyer's Premium: 96,000 USD
(50.8 by 66 cm) oil on canvas Painted in 1931.
38 THOMAS HART BENTON 1889-1975 SOUTH BEACH, MARTHA'S VINEYARD AND STILL LIFE WITH FRUIT: A DOUBLE-SIDED PAINTING
Estimate: 80,000—120,000 USD Lot Sold. Hammer Price with Buyer's Premium: 216,000 USD
(50.8 by 61 cm) signed Benton, l.r.; verso: signed Benton and dated 1917, l.r. oil on canvas South Beach, Martha's Vineyard was painted circa 1920-21.
This work will be included in the forthcoming catalogue raisonné being prepared by the Thomas Hart Benton Catalogue Raisonné Foundation. Committee members include Dr. Henry Adams, Jessie Benton, Anthony Benton Gude and Michael Owen.
39 MARSDEN HARTLEY 1878-1943 CARNIVAL OF AUTUMN
Estimate: 200,000—300,000 USD Lot Sold. Hammer Price with Buyer's Premium: 318,400 USD
(30.5 by 30.5 cm) oil on board laid down on panel Painted circa 1908-09.
45 GEORGIA O'KEEFFE 1887-1986 PATIO NO. 1 Estimate: 500,000—700,000 USD Lot Sold. Hammer Price with Buyer's Premium: 576,000 USD (70 by 48.3 cm) signed Georgia O'Keeffe, dated Summer 1940, titled The Patio- No. 1 on the reverse; also inscribed with artist's initials OK in pencil on the reverse oil on canvas
46 MILTON AVERY 1885-1965 CHICKEN Estimate: 40,000—60,000 USD Lot Sold. Hammer Price with Buyer's Premium: 102,000 USD (22.9 by 20.3 cm) signed Milton Avery, l.l. and dated 1954, l.r. oil on board, unframed
48 MARSDEN HARTLEY 1878-1943 LEMONS Estimate: 300,000—400,000 USD Lot Sold. Hammer Price with Buyer's Premium: 464,000 USD (61 by 49.5 cm) signed Marsden Hartley and dated Conway Mass 1928 on the reverse oil on board
49 REBECCA SALSBURY (STRAND) JAMES 1891-1968 BOWL OF VEGETABLES Estimate: 100,000—150,000 USD Lot Sold. Hammer Price with Buyer's Premium: 385,600 USD (50.8 by 61 cm) inscribed For Jane and Rick. Happy Many Things But Mostly a Happy Home. on the backing oil reverse painted on glass Painted in 1940.
50 MAXFIELD PARRISH 1870-1966 SWIFTWATER (MISTY-MORN) Estimate 400,000—600,000 USD Lot Sold. Hammer Price with Buyer's Premium: 744,000 USD alternate measurements (58.4 by 47 cm) signed Maxfield Parrish and dated 1953, l.r.; also titled Swiftwater, signed Maxfield Parrish, dated 1953 and inscribed B&B title "Misty-Morn" on the reverse oil on board
51 NORMAN ROCKWELL 1894-1978 BACK TO CIVVIES Estimate: 1,500,000—2,000,000 USD Lot Sold. Hammer Price with Buyer's Premium: 1,696,000 USD (99.1 by 76.2 cm) signed Norman/Rockwell, l.l. oil on canvas Painted in 1945.
52 STUART DAVIS 1892-1964 LANDSCAPE WITH RED SPOTLIGHT Estimate: 300,000—500,000 USD Lot Sold. Hammer Price with Buyer's Premium: 564,800 USD (50.8 by 71.1 cm) signed Stuart Davis, l.r.; also signed Stuart Davis and titled Landscape with Red Spotlight on the stretcher oil on canvas Painted in 1932. This painting will be included in the forthcoming catalogue raisonné of the artist's work being compiled by Ani Boyajian and Mark Rutkoski.
53 GEORGIA O'KEEFFE 1887-1986 GHOST RANCH CLIFFS Estimate: 350,000—450,000 USD Lot Sold. Hammer Price with Buyer's Premium: 430,400 USD (40.6 by 76.2 cm) oil on canvas Painted in 1952.
54 GEORGE TOOKER B. 1920 TREE Estimate: 200,000—300,000 USD Lot Sold. Hammer Price with Buyer's Premium: 216,000 USD (50.8 by 50.8 cm) signed Tooker, l.r. egg tempera on gessoed panel Painted in 1965.
55 MAXFIELD PARRISH 1870-1966 TREE ON A ROCK Estimate: 500,000—700,000 USD Lot Sold. Hammer Price with Buyer's Premium: 632,000 USD (55.2 by 76.2 cm) signed Maxfield Parrish, l.r.; also signed Maxfield Parrish and inscribed The Tree on a Rock/Windsor: Vermont on the reverse oil on panel
56 NORMAN ROCKWELL 1894-1978 SILHOUETTE OF A COLONIAL LADY (A NEW HAIRSTYLE) Estimate: 250,000—350,000 USD Lot Sold. Hammer Price with Buyer's Premium: 452,800 USD (83.8 by 63.5 cm) signed Norman/Rockwell, l.r. oil on canvas Painted in 1927.
61 PAUL CADMUS 1904-1999 LLOYD AND BARBARA WESCOTT Estimate: 250,000—350,000 USD Lot Sold. Hammer Price with Buyer's Premium: 452,800 USD (57.2 by 91.4 cm) signed Cadmus and dated 1942, l.r.; inscribed Lloyd and Barbara Wescott/ with Mulhocoway Butterfat Favourite/ Mulhocoway Butterfat Heather/ and Eclipse of Morston/ painted in Egg Yolk Tempera, 1942/ by Paul Cadmus on the reverse tempera on masonite
62 ANDREW WYETH B. 1917 KELP LEDGE NO. 1 Estimate:120,000—180,000 USD Lot Sold. Hammer Price with Buyer's Premium: 204,000 USD (55.9 by 76.2 cm) signed Andrew Wyeth, l.r. watercolor on paper Executed in 1942 off Huppers Island, Maine, the present work depicts Walt Anderson in his dory. This watercolor will be included in Betsy James Wyeth's forthcoming catalogue raisonné of the artist's work.
63 ANDREW WYETH B. 1917 GUM TREE Estimate: 80,000—120,000 USD Lot Sold. Hammer Price with Buyer's Premium: 156,000 USD (55.2 by 76.2 cm) signed Andrew Wyeth, l.l. watercolor on paper Executed in 1958 on the Kuerner Farm, Chadds Ford, Pennsylvania. This watercolor will be included in Betsy James Wyeth's forthcoming catalogue raisonné of the artist's work.
64 GUY WIGGINS 1883-1962 INDIAN SUMMER Estimate: 40,000—60,000 USD Lot Sold. Hammer Price with Buyer's Premium: 66,000 USD (63.5 by 76.2 cm) signed Guy Wiggins, l.r.; also signed Guy Wiggins, dated 1920 and titled Indian Summer on the reverse oil on canvas
65 ELMER LIVINGSTON MACRAE 1875-1953 MILL BRIDGE, COS COB Estimate: 20,000—30,000 USD Lot Sold. Hammer Price with Buyer's Premium: 33,000 USD (55.8 by 66 cm) signed E.L. MacRae and dated 1906, l.r.; also titled Mill Bridge and dated 1906 on an original piece of stretcher affixed to the reverse oil on canvas
66 CHILDE HASSAM 1859-1935 HARVEST MOON (MARSH AND MEADOW) Estimate: 300,000—500,000 USD Lot Sold. Hammer Price with Buyer's Premium: 363,200 USD (45.7 by 55.9 cm) signed Childe Hassam, l.l. oil on canvas Painted circa 1903. This painting will be included in Stuart P. Feld's and Kathleen Burnside's forthcoming catalogue raisonné of the artist's work.
67 EDWARD W. REDFIELD 1869-1965 THE RIVER HILL Estimate:250,000—350,000 USD Lot Sold. Hammer Price with Buyer's Premium: 419,200 USD (81.3 by 101.6 cm) signed E.W. Redfield, l.r.; also titled The River Hill on the stretcher oil on canvas This painting will be included in the forthcoming catalogue raisonné of Edward Redfield's work being compiled by Dr. Thomas Folk.
68 EDWARD W. REDFIELD 1869-1965 EARLY MORNING, GLENSIDE, PENNSYLVANIA Estimate: 60,000—80,000 USD Lot Sold. Hammer Price with Buyer's Premium: 156,000 USD (74.9 by 116.8 cm) signed E.W. Redfield and dated '98, l.r. oil on canvas This painting will be included in the forthcoming catalogue raisonné of Edward Redfield's work being compiled by Dr. Thomas Folk.
69 DANIEL GARBER 1880-1958 SYCAMORE ROAD Estimate: 125,000—175,000 USD Lot Sold. Hammer Price with Buyer's Premium: 228,000 USD (50.8 by 45.7 cm) signed Daniel Garber, l.r.; also titled and signed Sycamore Road by Daniel Garber on the reverse oil on masonite Painted in 1938.
71 HAYLEY LEVER 1876-1958 CONCARNEAU (QUATORZE JUILLET) Estimate: 30,000—40,000 USD Lot Sold. Hammer Price with Buyer's Premium: 78,000 USD (101.6 by 127 cm) signed Hayley Lever and dated 1911, l.r. oil on canvas
72 HENRY B. SNELL 1858-1943 FISHERMEN AT DOCK Estimate: 30,000—50,000 USD Lot Sold. Hammer Price with Buyer's Premium: 96,000 USD (111.8 by 87.0 cm) oil on canvas
73 WILLARD L. METCALF 1858-1925 SPRING Estimate: 200,000—300,000 USD Lot Sold. Hammer Price with Buyer's Premium: 374,400 USD (53.3 by 63.5 cm) signed W.L. Metcalf and dated 1921, l.l. oil on canvas
74 EDWARD STEICHEN 1879-1973 MOONLIGHT IN THE GARDEN AT VERSAILLES Estimate: 25,000—35,000 USD Lot Sold. Hammer Price with Buyer's Premium: 36,000 USD (38.1 by 45.7 cm) oil on canvas
75 ARTHUR MELTZER . 1893 -? BYWAYS OF PENNSYLVANIA Estimate: 50,000—70,000 USD Lot Sold. Hammer Price with Buyer's Premium: 60,000 USD (81.2 by 91.4 cm) signed Arthur Meltzer, l.l. oil on canvas
76 GUY WIGGINS 1883-1962 MADISON SQUARE IN WINTER Estimate: 150,000—200,000 USD Lot Sold. Hammer Price with Buyer's Premium: 168,000 USD (101.6 by 87.6 cm) signed Guy C. Wiggins, l.l. oil on canvas
77 GUY WIGGINS 1883-1962 WINTER ON FIFTH AVENUE Estimate: 40,000—60,000 USD Lot Sold. Hammer Price with Buyer's Premium: 60,000 USD (66.7 by 40.6 cm) signed Guy Wiggins, l.l. oil on canvas Painted circa 1910s or 1920s.
78 WILLIAM H. LIPPINCOTT 1849-1920 THE SKYSCRAPER OF 1894, NEW YORK CITY Estimate: 50,000—70,000 USD Lot Sold. Hammer Price with Buyer's Premium: 78,000 USD (80 by 64.8 cm) signed Wm.H. Lippincott, l.l.; also inscribed The Skyscraper of 1894/New York City/Painted by Wm. Henry Lippincott/Studio Address 1947 Broadway/ N.Y., N.Y. on an original label on the reverse oil on canvas mounted on board
79 FREDERICK USHER DE VOLL 1873-1941 EAST RIVER, NEW YORK, WINTER Estimate: 30,000—50,000 USD Lot Sold. Hammer Price with Buyer's Premium: 66,000 USD (81.3 by 91.4 cm) signed F. Usher De Voll, l.r. oil on canvas
80 DWIGHT WILLIAM TRYON 1849-1925 SUNSET Estimate: 15,000—25,000 USD Lot Sold. Hammer Price with Buyer's Premium: 48,000 USD (30.5 by 40.6 cm) signed D.W. Tryon and dated 1919, l.r. oil on panel
81 GRANVILLE REDMOND 1871-1935 THE HILLS OF MARIN Estimate: 80,000—120,000 USD Lot Sold. Hammer Price with Buyer's Premium: 251,200 USD (45.7 by 60.9 cm) signed Granville Redmond, l.l. oil on canvas
84 JOHN H. TWACHTMAN 1853-1902 POND IN SPRING Estimate: 80,000—120,000 USD Lot Sold. Hammer Price with Buyer's Premium: 120,000 USD (39.4 by 46.4 cm) oil on panel Painted in 1889 in Greenwich, Connecticut. This painting will be included in the forthcoming catalogue raisonné of the work of John Henry Twachtman by Ira Spanierman and Dr. Lisa N. Peters.
86 GEORGE BELLOWS 1882-1925 EDGE OF THE PASTURE - GLOW OF THE SUN Estimate: 60,000—80,000 USD Lot Sold. Hammer Price with Buyer's Premium: 96,000 USD (45.7 by 55.9 cm) signed Geo. Bellows, l.l. oil on panel Painted on Matinicus Island, Maine in September 1916. This painting will be included in the forthcoming catalogue raisonné of paintings by George Bellows being compiled by Glenn C. Peck with the cooperation of the artist's daughter.
87 WILLARD L. METCALF 1858-1925 YELLOW HOUSE IN A COUNTRY LANDSCAPE Estimate: 10,000—15,000 USD Lot Sold. Hammer Price with Buyer's Premium: 36,000 USD (22.9 by 45.7 cm) signed W.L. Metcalf and dated '74, l.l. oil on panel This painting will be included in the forthcoming Willard L. Metcalf catalogue raisonné authored by Dr. Bruce W. Chambers, Ira Spanierman, Dr. William H. Gerdts and Elizabeth de Veer.
89 GUY WIGGINS 1883-1962 BLIZZARD ON FIFTH AVENUE Estimate: 60,000—80,000 USD Lot Sold. Hammer Price with Buyer's Premium: 84,000 USD (60.9 by 50.8 cm) signed Guy Wiggins, l.r.; also signed Guy Wiggins N.A., dated 1937 and titled Blizzard on 5th Avenue on the reverse oil on canvas
A letter of authentication from Guy A. Wiggins, Guy C. Wiggins's son, accompanied the lot.
93 EDWARD HENRY POTTHAST 1857-1927 A DAY AT THE BEACH Estimate: 50,000—70,000 USD Lot Sold. Hammer Price with Buyer's Premium: 144,000 USD (30.5 by 40.6 cm) signed E. Potthast, l.l. oil on canvas laid down on board
94 FREDERICK JUDD WAUGH 1861-1940 SMUGGLER'S COVE Estimate: 60,000—80,000 USD Lot Sold. Hammer Price with Buyer's Premium: 72,000 USD (101.6 by 127 cm) signed Waugh, l.r. oil on board Painted circa 1937.
96 ANNA MARY ROBERTSON (GRANDMA) MOSES 1860-1961 EARLY MORNING SUGARING OFF Estimate: 350,000—450,000 USD Lot Sold. Hammer Price with Buyer's Premium: 548,000 USD (91.4 by 114.3 cm) signed Moses, l.l.; also dated Feb, 15, 44, titled Early Sugaring Off and numbered 557 on an original Grandma Moses label affixed to the reverse (copyright reserved to Grandma Moses Properties, New York) tempera on canvas mounted on board
97 MILTON AVERY 1885-1965 SALLY Estimate: 50,000—70,000 USD Lot Sold. Hammer Price with Buyer's Premium: 78,000 USD (61 by 45.7 cm) signed Milton Avery and dated 1946, l.r. oil on canvasboard
98 MILTON AVERY 1885-1965 CYCLERS BY THE SEA Estimate: 50,000—70,000 USD Lot Sold. Hammer Price with Buyer's Premium: 78,000 USD (50.8 by 66 cm) signed Milton Avery and dated 1959, l.l.; inscribed "Cyclers by the Sea" by Milton Avery oil on paper mounted 20 x 26 on the reverse oil on paper mounted on canvas
99 ANNA MARY ROBERTSON (GRANDMA) MOSES 1860-1961 FOOT BRIDGE Estimate: 50,000—70,000 USD Lot Sold. Hammer Price with Buyer's Premium: 108,000 USD (40.6 by 61 cm) signed Moses, l.r.; also dated Sept. 20, 1956, titled Foot Bridge and numbered 1730 on an original Grandma Moses label affixed to the reverse (copyright reserved to Grandma Moses Properties, New York) oil on masonite
100 ROCKWELL KENT 1882-1971 SPRING FRESHET (VIEW OF THE AU SABLE RIVER) Estimate: 40,000—60,000 USD Lot Sold. Hammer Price with Buyer's Premium: 96,000 USD (50.8 by 61 cm) signed Rockwell Kent and dated 1945, l.l. oil on canvas mounted on panel This painting will be included in Scott R. Ferris' forthcoming catalogue raisonné of the artist's paintings.
This painting will be included in the catalogue raisonné currently being prepared by Richard V. West.
101 AARON SHIKLER (B. 1922) LATE AFTERNOON Estimate: 25,000—35,000 USD Lot Sold. Hammer Price with Buyer's Premium: 90,000 USD (43.2 by 35.6 cm) signed Shikler and dated '67, l.r. oil on canvas
102 GUY PÈNE DU BOIS 1884-1958 PORTRAIT OF A LADY Estimate: 25,000—45,000 USD Lot Sold. Hammer Price with Buyer's Premium: 114,000 USD (81.3 by 66 cm) signed Guy Pène du Bois and dated '41, l.r. oil on canvas
108 PAUL HOWARD MANSHIP 1885-1966 WINGED PLUTO I: A PAIR Estimate:125,000—175,000 USD Lot Sold. Hammer Price with Buyer's Premium: 307,200 USD (35.6 cm) bronze, dark brown patina Cast circa 1928.
112 HARRIET WHITNEY FRISHMUTH 1880-1980 EAGLE ON A ROCK Estimate: 20,000—30,000 USD Lot Sold. Hammer Price with Buyer's Premium: 60,0
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