2320 Paintings
326. Jacques L’Huillier (French, b. 1867) Flower Market Signed “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
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327. Robert Malcolm Lloyd (British, fl. 1879-1900) Harbor View Signed “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
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328. Georges Yoldjoglou (French, b. 1935) La Tour d’Eiffel Signed “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
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329. Duncan Campbell (American, 20th Century) Rooftops Signed 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 Drive Signed “Alfredo Helsby” l.r., titled on a presentation plaque affixed 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 Doorway Signed “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
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332. Aiden Lassell Ripley (American, 1896-1969) Shaded Park Bench Signed and dated “A.L Ripley 28” l.r. Watercolor on paper/board, sight size 15 x 19 in. (38.1 x 48.3 cm), framed. Condition: Not examined out of frame. $4,000-6,000
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333. Attributed to Francis Draper (American, fl. circa 1910) Walk in the Park Signed “Draper” l.r. Oil on canvas, 18 x 24 in. (45.7 x 60.9 cm), framed. Condition: Minute losses. $1,000-1,500
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334. Sam Thal (American, 1903-1964) A Game of Cards Signed “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
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335. Arthur Clifton Goodwin (American, 1866-1929) Skating at the Frog Pond, Boston’s Public Garden Unsigned. 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 art schools of his contemporaries. Probably best known as a painter of Boston street scenes and its waterfront during the years 1900 to 1921, he emerged as a true force as he wandered around the streets with his dilapidated easel in hand searching for his next inspiration. His first public exhibition was held at Boston’s Doll and Richards Gallery in 1904 and was followed by a major Museum of Fine Arts show in 1911 in which he shared the stage with artists including Frank Benson, Philip Hale, and John J. Enneking. While in Boston, he attracted the attention of John Singer Sargent and affluent patron of the arts Isabella Stewart Gardner. $10,000-15,000
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336. Arthur Clifton Goodwin (American, 1864-1929) At the Fountain Unsigned. Oil on canvas, 40 1/2 x 50 in. (102.0 x 127.5 cm), framed. Condition: Good. $10,000-15,000
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337. Frank Weston Benson (American, 1862-1951) Atherton Loring Jr. Age 6 of Boston’s Duxbury, Massachusetts Unsigned. Oil on canvas, 40 1/4 x 32 in. (102.2 x 81.3 cm), in a Carrig-Rohane frame inscribed “19...06, Carrig-Rohane” on the 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 the Académie Julian in Paris where his work was greatly influenced by the contrasting light and dark palettes of artists Vermeer and Velázquez. Upon returning to the United States, Benson and painter Edmund Tarbell became the leaders of the Boston School, which would produce some of the most well-known American Impressionists of the turn of the century. Benson would go on to join the group the Ten American Painters which was comprised of both New York and Boston-based Impressionists.
He worked in an array of genres including portraiture, plein air, interiors, and still lifes, although he is perhaps best known for his portraits depicting his wife and three children. He was fascinated by the concept of light and shadow and repeatedly used tenebristic techniques to achieve both dramatic and aesthetically beautiful works. His style carried throughout the bulk of his career and he only began experimenting with black and white etchings well into his fifties. Benson died in Salem, Massachusetts, in 1951. The portrait’s frame is by Boston-based framing company Carrig-Rohane, established in 1903 by artist Herman Dudley Murphy, whose shop name was inspired by his Celtic heritage and can be translated as meaning “red cliff.” Coincidentally, Murphy also studied at the Académie Julian in Paris and returned to America in 1897, the same year Benson would join the Ten American Painters. Carrig-Rohane is arguably best known for their 16th and 17th century inspired Venetian cassetta frame (such as the one adorning this portrait), characteristically identified as exhibiting a broad flat center panel with raised inner and outer edges and a sgraffito décor enhancing each of the four corners. Source: http://www.eliwilner.com/contents/period_19thc_american.cfm
$60,000-80,000
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338. Attributed to Robert Reid (American, 1862-1929) Portrait of a Lady, purported to be Mrs. Wright Unsigned, 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 of Art, Brockton, Massachusetts. $1,000-1,500 339. Kenneth R. Cranford (American, b. 1857) Bronze Plaque and Plaster Cast of “James Lawrence Dunham 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 x 50.8 cm), plaster cast framed. Condition: Cracks and losses in plaster, light abrasions in bronze, surface grime. $1,500-2,500 340. Isabelle Gabriel (French, 1902-1990)
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Still Life with Flowers and Grapes Signed “I. Gabriel” l.l., artist identified on a presentation plaque 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
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341. Marguerite Stuber Pearson (American, 1898-1978) Four O’Clock Signed “Marguerite S. Pearson ©” l.r., titled on a partial label affixed to the reverse; 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 crafted compositions of still lifes and interior scenes. Born in Philadelphia, Pearson contracted polio in her teens and as a result, spent the remainder of her life confined to a wheelchair. After initially working as an illustrator for newspapers and magazines, Pearson turned to painting in 1922. She studied at the Boston Museum of Fine Arts School and with Edmund C. Tarbell and Aldro T. Hibbard. Highly esteemed and financially successful, Pearson went on to become a member of several artist associations. In 1941, Pearson moved to Rockport, Massachusetts. $8,000-12,000
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342. British School, 20th Century Picking Flowers Signed “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) Bonnets Signed “RUTH WILCOX” l.r., identified on a presentation plaque affixed to the frame. Oil on canvas, 30 x 36 in. (76.2 x 91.4 cm), framed. Condition: Craquelure, retouch. Provenance: From the collection of the Fuller Museum of Art, Brockton, Massachusetts. Exhibitions: 109th Annual Exhibition, National Academy of Design, 1934, entry number 88, awarded the first Hallgarten Prize. $800-1,200 344. Josephine M. Wright (American, fl. circa 1925) Woman in a Garden Signed and dated “J.M. Wright 1919” l.l., identified on a label from the Brockton Art Museum affixed to the reverse. Watercolor and gouache on paper/board, sight size 19 1/2 x 15 1/2 in. (49.5 x 39.4 cm), framed. Condition: Subtle toning, not examined out of frame.
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Provenance: From the collection of the Fuller Museum of Art, Brockton, Massachusetts. $600-800
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345. Albert Herter (American, 1871-1950) 345
Portrait of a Businessman Signed 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, 1971 Signed and dated “James Colway 1971” l.l., identified on Brockton Art Museum labels and on the reverse. Watercolor on paper, sight size 14 1/2 x 16 1/2 in. (36.8 x 41.9 cm), framed. Condition: Not examined out of frame. Provenance: From the collection of the Fuller Museum of Art, Brockton, Massachusetts. $300-500
347. Leon Kroll (American, 1884-1974/75) Portrait of a Man Signed “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. Provenance: From the collection of the Fuller Museum of Art, Brockton, Massachusetts. $450-650 347
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350. Arnaldo Casella Tamburini, Jr. (Italian/American, 18851936) 348
348. Wilfred Gabriel de Glehn (British, 1870-1951) Portrait of Maud Morgan, 1921 Signed “Wilfred de Glehn” u.r., identified on labels affixed to the backing. Oil on canvas, 40 x 30 in. (101.6 x 76.2 cm), unframed. Condition: Surface grime, craquelure.
Self Portrait Unsigned, 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, damage to support l.c. Provenance: From the collection of the Fuller Museum of Art, Brockton, Massachusetts. $600-800
Provenance: From the collection of the Fuller Museum of Art, Brockton, Massachusetts. N.B. Maud Cabot Morgan was born in New York City in 1903 and graduated from Columbia University’s Barnard College in 1926. Probably best known for her work in collage, Morgan became associated with the New York School’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 Kimon Nicolaides (1892-1938) at the Art Students’ League in Manhattan. $800-1,200
349. George William Dinckel (American, b. 1890) Still Life with Pitcher and Fruit Signed “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
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351. Cecilia Beaux (American, 1855-1942) A Lady in Black, alternatively titled Mrs. D Signed “Cecilia Beaux.” l.l., identified on labels from Arden Studios, Inc., and the Museum of Fine Arts, 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 female artists of the late 19th and early 20th centuries. At the age of 16 she enrolled at the Pennsylvania Academy of Fine Arts where she specialized in portrait painting. She then traveled to Paris from 187778 to continue her studies at the Académie Julian and the Académie Colorossi, where she studied with French Salon greats William Bouguereau and Robert Tony Fleury. Upon her return to America in 1895 she accepted a position to teach at the Pennsylvania Academy of Fine Arts, a position she would hold for two decades. By 1902, she was recognized as one of the premiere portrait painters in America and won full membership into the National Academy. She respected fellow portrait artist John Singer Sargent yet regarded him as a true rival of her style, although one can observe noticeable similarities between these two artists’ brush techniques and color palette. $30,000-50,000
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352. Ernest Francisco Fenollosa (American, 1853-1908) Susan Shattuck Cabot (Mrs. Arthur Tracy) Unsigned, artist and title identified on a label from the Museum 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 family to Mrs. Henry Lyman, niece of the sitter; to Museum of Fine Arts, 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 Roses Indistinctly 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 Kibbe Signed “ELMER W. GREENE JR.” u.r., identified on fragmentary exhibition labels, including one from the National Academy, on the reverse. Oil on canvas, 72 x 36 in. (162.9 x 91.4 cm), framed. Condition: Scattered retouch, fine craquelure. Provenance: From the collection of the Fuller Museum of Art, Brockton, Massachusetts. $1,800-2,200 354
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355. European School, 19th Century Portrait of a Woman with Flowers in Her Hair Signed “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 Girl Signed 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 Woman Signed “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 examined out of frame.
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Provenance: From the collection of the Fuller Museum of Art, Brockton, Massachusetts. $1,000-1,500
358. Frank Duveneck (American, 1848-1919) Head of a Young Girl, before 1880 Unsigned, artist identified on a label from the Museum of Fine 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 Museum of Fine Arts, Boston, Massachusetts, 1928, purchase; deaccessioned from the Museum of Fine Arts.
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N.B. Most likely completed early in his career, this portrait reflects Duveneck’s artistic style while studying and teaching in Munich in the 1870s. Born Frank Decker (he adopted his stepfather’s name), Duveneck left Covington, Kentucky, in 1870 to study at the Royal Academy of Munich. There he excelled as a student, producing realistic portraits characterized by the expressive bravura brush technique. In these works, the sitter was usually bathed in light while the background 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 and married one of his students, Elizabeth Boott. Following her death in 1888, Duveneck moved back to the U.S. where he continued to teach in Boston and Cincinnati. $3,000-5,000
359. Frank Hector Tompkins (American, 1847-1922) The Young Mother, 1885 Unsigned, artist and title identified on labels from the Museum 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 alligatoring primarily to background, abrasions, surface grime. Provenance: The artist; to Museum of Fine Arts, Boston, Massachusetts, 1919, purchase; deaccessioned from the Museum 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 as well as in New York and Cincinnati, Tompkins moved to Boston where he began to show his portraits and genre scenes. He exhibited regularly at the Boston Art Club from 1881 until 1909, the Pennsylvania Academy of Fine Arts from 1887 to 1895, and the National Academy of Design in 1911. $4,500-6,500
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360. Edwin Murray MacKay (American, 1869-1926) Portrait of a Woman Signed and dated “1918, Murray MacKay” u.l., inscribed on the 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 Mirror Signed “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)
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Seated Woman Unsigned, artist identified in an inscription on the reverse of the frame. Oil on canvas, 24 x 20 in. (60.9 x 50.8 cm), framed. Condition: Minute losses. $1,000-1,500
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363. Josephine Paddock (American, 1885-1964) The Sealskin Muffs Signed “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 labeled Newcomb-Macklin Company frame. Condition: Lined, retouch, varnish inconsistencies, surface grime. Provenance: From the collection of the Fuller Museum of Art, Brockton, Massachusetts. 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 Paint and Clay Club. $3,000-5,000
364. Attributed to Alexandre Cabanel (French, 1823-1889) The Spanish Beauty Purportedly signed and dated “Alex Cabanel 1878” on the reverse, 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. $1,200-1,800 364
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365. Arthur G. Collins (American, b. 1866) Lot of Three Works: The Walled Garden, Parisian Roofs, and Cezanne Roofs Unsigned, 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, minor surface cracks to Cezanne, damage to sketchbooks. Provenance: From the collection of the Fuller Museum of Art, Brockton, Massachusetts. N.B. The lot is accompanied by approximately twenty sketchbooks belonging to Collins. $1,000-1,500
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366. Margaretha Roosenboom (Dutch, 1843-1896) A Branch of Roses Signed “Marg RoosenBoom” l.r., artist and title identified on a period label (possibly in the artist’s hand) affixed to the reverse, identifying label from the Commissioner for the Netherlands, the Arts Department, The Hague, and with a label from the General Manager of the Holland Exhibit and the World’s Columbian Exposition, Chicago. Watercolor with whiting on paper/board, sight size 28 1/2 x 19 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 Life Initialed “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
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368. Otis Philbrick (American, 1888-1973)
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Browneyed Susans Signed “Otis Philbrick” l.l. Oil on canvas, 24 x 20 in. (60.9 x 50.8 cm), framed. Condition: Signature reinforced. $600-800 369. Herbert Davis Richter (British, 1874-1955) Still Life with Flowers Signed “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 Flowers Signed “A.D. Abbatt.” l.r. Watercolor on paperboard, sight size 17 x 14 in. (43.2 x 35.6 cm), framed. Condition: Not examined out of frame. $800-1,200
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371. Jessie Wilcox Smith (American, 1863-1935) April Shower Signed “JESSIE WILCOX SMITH.” l.r., identified on labels and stamped “Property of Good Housekeeping Magazine” on the 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 present owner. N.B. This image was featured on the cover of the April 1930 issue of Good Housekeeping magazine. A native Philadelphian who enjoyed working with children, Jessie Wilcox Smith would become America’s premiere female illustrator of her time. Over the course of her 44 year career, Smith illustrated over sixty books, 200 periodicals, and close to 250 covers for Good Housekeeping. At sixteen, she left Philadelphia to become a kindergarten teacher in Cincinnati where she lived with a few of her closest cousins. She had never tried drawing until one of her cousins invited her to chaperone a private art class. Upon realizing her new-found talent, Smith’s cousin convinced her to leave teaching and attend art school.
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In 1884 she returned to Philadelphia to enroll at the School of Design for Women. A year later she transferred to the Pennsylvania Academy of Fine Arts where she studied with Thomas Eakins, who stressed the importance of accurate anatomy in painting and sculpture. Upon graduation, Smith took a position as an illustrator at Ladies’ Home Journal and would continue her studies at Drexel Institute where she worked very closely with Howard Pyle. She then began to work exclusively on book illustrations which afforded her such great success that she was able to build her own house and studio, complete with a garden which would become the backdrop for drawing the children of her friends and acquaintances. The last major book she illustrated was Johanna Spyri’s 1922 novel entitled Heidi, and after its completion redirected her talent towards portraiture. It is interesting to note that in an attempt to keep the attention of her sitters, she was known to tell the youngsters fairytales to pass the time. Some distinct characteristics of her work can be seen in her use of striking outlines and flat shapes which she usually employed to distinguish her main figures. Her work epitomized the home life of the late Victorian era and her inspiration from Art Nouveau and Japanese prints are apparent in many of her works. She also admired the work of Mary Cassatt and later traded her technique of bold black outlining for a more soft and painterly appearance. $30,000-50,000
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327. Robert Malcolm Lloyd (British, fl. 1879-1900) Harbor View Signed “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
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328. Georges Yoldjoglou (French, b. 1935) La Tour d’Eiffel Signed “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
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329. Duncan Campbell (American, 20th Century) Rooftops Signed 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 Drive Signed “Alfredo Helsby” l.r., titled on a presentation plaque affixed 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 Doorway Signed “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
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332. Aiden Lassell Ripley (American, 1896-1969) Shaded Park Bench Signed and dated “A.L Ripley 28” l.r. Watercolor on paper/board, sight size 15 x 19 in. (38.1 x 48.3 cm), framed. Condition: Not examined out of frame. $4,000-6,000
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333. Attributed to Francis Draper (American, fl. circa 1910) Walk in the Park Signed “Draper” l.r. Oil on canvas, 18 x 24 in. (45.7 x 60.9 cm), framed. Condition: Minute losses. $1,000-1,500
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334. Sam Thal (American, 1903-1964) A Game of Cards Signed “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
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335. Arthur Clifton Goodwin (American, 1866-1929) Skating at the Frog Pond, Boston’s Public Garden Unsigned. 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 art schools of his contemporaries. Probably best known as a painter of Boston street scenes and its waterfront during the years 1900 to 1921, he emerged as a true force as he wandered around the streets with his dilapidated easel in hand searching for his next inspiration. His first public exhibition was held at Boston’s Doll and Richards Gallery in 1904 and was followed by a major Museum of Fine Arts show in 1911 in which he shared the stage with artists including Frank Benson, Philip Hale, and John J. Enneking. While in Boston, he attracted the attention of John Singer Sargent and affluent patron of the arts Isabella Stewart Gardner. $10,000-15,000
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336. Arthur Clifton Goodwin (American, 1864-1929) At the Fountain Unsigned. Oil on canvas, 40 1/2 x 50 in. (102.0 x 127.5 cm), framed. Condition: Good. $10,000-15,000
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337. Frank Weston Benson (American, 1862-1951) Atherton Loring Jr. Age 6 of Boston’s Duxbury, Massachusetts Unsigned. Oil on canvas, 40 1/4 x 32 in. (102.2 x 81.3 cm), in a Carrig-Rohane frame inscribed “19...06, Carrig-Rohane” on the 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 the Académie Julian in Paris where his work was greatly influenced by the contrasting light and dark palettes of artists Vermeer and Velázquez. Upon returning to the United States, Benson and painter Edmund Tarbell became the leaders of the Boston School, which would produce some of the most well-known American Impressionists of the turn of the century. Benson would go on to join the group the Ten American Painters which was comprised of both New York and Boston-based Impressionists.
He worked in an array of genres including portraiture, plein air, interiors, and still lifes, although he is perhaps best known for his portraits depicting his wife and three children. He was fascinated by the concept of light and shadow and repeatedly used tenebristic techniques to achieve both dramatic and aesthetically beautiful works. His style carried throughout the bulk of his career and he only began experimenting with black and white etchings well into his fifties. Benson died in Salem, Massachusetts, in 1951. The portrait’s frame is by Boston-based framing company Carrig-Rohane, established in 1903 by artist Herman Dudley Murphy, whose shop name was inspired by his Celtic heritage and can be translated as meaning “red cliff.” Coincidentally, Murphy also studied at the Académie Julian in Paris and returned to America in 1897, the same year Benson would join the Ten American Painters. Carrig-Rohane is arguably best known for their 16th and 17th century inspired Venetian cassetta frame (such as the one adorning this portrait), characteristically identified as exhibiting a broad flat center panel with raised inner and outer edges and a sgraffito décor enhancing each of the four corners. Source: http://www.eliwilner.com/contents/period_19thc_american.cfm
$60,000-80,000
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338. Attributed to Robert Reid (American, 1862-1929) Portrait of a Lady, purported to be Mrs. Wright Unsigned, 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 of Art, Brockton, Massachusetts. $1,000-1,500 339. Kenneth R. Cranford (American, b. 1857) Bronze Plaque and Plaster Cast of “James Lawrence Dunham 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 x 50.8 cm), plaster cast framed. Condition: Cracks and losses in plaster, light abrasions in bronze, surface grime. $1,500-2,500 340. Isabelle Gabriel (French, 1902-1990)
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Still Life with Flowers and Grapes Signed “I. Gabriel” l.l., artist identified on a presentation plaque 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
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341. Marguerite Stuber Pearson (American, 1898-1978) Four O’Clock Signed “Marguerite S. Pearson ©” l.r., titled on a partial label affixed to the reverse; 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 crafted compositions of still lifes and interior scenes. Born in Philadelphia, Pearson contracted polio in her teens and as a result, spent the remainder of her life confined to a wheelchair. After initially working as an illustrator for newspapers and magazines, Pearson turned to painting in 1922. She studied at the Boston Museum of Fine Arts School and with Edmund C. Tarbell and Aldro T. Hibbard. Highly esteemed and financially successful, Pearson went on to become a member of several artist associations. In 1941, Pearson moved to Rockport, Massachusetts. $8,000-12,000
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342. British School, 20th Century Picking Flowers Signed “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) Bonnets Signed “RUTH WILCOX” l.r., identified on a presentation plaque affixed to the frame. Oil on canvas, 30 x 36 in. (76.2 x 91.4 cm), framed. Condition: Craquelure, retouch. Provenance: From the collection of the Fuller Museum of Art, Brockton, Massachusetts. Exhibitions: 109th Annual Exhibition, National Academy of Design, 1934, entry number 88, awarded the first Hallgarten Prize. $800-1,200 344. Josephine M. Wright (American, fl. circa 1925) Woman in a Garden Signed and dated “J.M. Wright 1919” l.l., identified on a label from the Brockton Art Museum affixed to the reverse. Watercolor and gouache on paper/board, sight size 19 1/2 x 15 1/2 in. (49.5 x 39.4 cm), framed. Condition: Subtle toning, not examined out of frame.
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Provenance: From the collection of the Fuller Museum of Art, Brockton, Massachusetts. $600-800
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345. Albert Herter (American, 1871-1950) 345
Portrait of a Businessman Signed 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, 1971 Signed and dated “James Colway 1971” l.l., identified on Brockton Art Museum labels and on the reverse. Watercolor on paper, sight size 14 1/2 x 16 1/2 in. (36.8 x 41.9 cm), framed. Condition: Not examined out of frame. Provenance: From the collection of the Fuller Museum of Art, Brockton, Massachusetts. $300-500
347. Leon Kroll (American, 1884-1974/75) Portrait of a Man Signed “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. Provenance: From the collection of the Fuller Museum of Art, Brockton, Massachusetts. $450-650 347
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350. Arnaldo Casella Tamburini, Jr. (Italian/American, 18851936) 348
348. Wilfred Gabriel de Glehn (British, 1870-1951) Portrait of Maud Morgan, 1921 Signed “Wilfred de Glehn” u.r., identified on labels affixed to the backing. Oil on canvas, 40 x 30 in. (101.6 x 76.2 cm), unframed. Condition: Surface grime, craquelure.
Self Portrait Unsigned, 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, damage to support l.c. Provenance: From the collection of the Fuller Museum of Art, Brockton, Massachusetts. $600-800
Provenance: From the collection of the Fuller Museum of Art, Brockton, Massachusetts. N.B. Maud Cabot Morgan was born in New York City in 1903 and graduated from Columbia University’s Barnard College in 1926. Probably best known for her work in collage, Morgan became associated with the New York School’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 Kimon Nicolaides (1892-1938) at the Art Students’ League in Manhattan. $800-1,200
349. George William Dinckel (American, b. 1890) Still Life with Pitcher and Fruit Signed “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
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351. Cecilia Beaux (American, 1855-1942) A Lady in Black, alternatively titled Mrs. D Signed “Cecilia Beaux.” l.l., identified on labels from Arden Studios, Inc., and the Museum of Fine Arts, 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 female artists of the late 19th and early 20th centuries. At the age of 16 she enrolled at the Pennsylvania Academy of Fine Arts where she specialized in portrait painting. She then traveled to Paris from 187778 to continue her studies at the Académie Julian and the Académie Colorossi, where she studied with French Salon greats William Bouguereau and Robert Tony Fleury. Upon her return to America in 1895 she accepted a position to teach at the Pennsylvania Academy of Fine Arts, a position she would hold for two decades. By 1902, she was recognized as one of the premiere portrait painters in America and won full membership into the National Academy. She respected fellow portrait artist John Singer Sargent yet regarded him as a true rival of her style, although one can observe noticeable similarities between these two artists’ brush techniques and color palette. $30,000-50,000
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352. Ernest Francisco Fenollosa (American, 1853-1908) Susan Shattuck Cabot (Mrs. Arthur Tracy) Unsigned, artist and title identified on a label from the Museum 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 family to Mrs. Henry Lyman, niece of the sitter; to Museum of Fine Arts, 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 Roses Indistinctly 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 Kibbe Signed “ELMER W. GREENE JR.” u.r., identified on fragmentary exhibition labels, including one from the National Academy, on the reverse. Oil on canvas, 72 x 36 in. (162.9 x 91.4 cm), framed. Condition: Scattered retouch, fine craquelure. Provenance: From the collection of the Fuller Museum of Art, Brockton, Massachusetts. $1,800-2,200 354
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355. European School, 19th Century Portrait of a Woman with Flowers in Her Hair Signed “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 Girl Signed 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 Woman Signed “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 examined out of frame.
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Provenance: From the collection of the Fuller Museum of Art, Brockton, Massachusetts. $1,000-1,500
358. Frank Duveneck (American, 1848-1919) Head of a Young Girl, before 1880 Unsigned, artist identified on a label from the Museum of Fine 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 Museum of Fine Arts, Boston, Massachusetts, 1928, purchase; deaccessioned from the Museum of Fine Arts.
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N.B. Most likely completed early in his career, this portrait reflects Duveneck’s artistic style while studying and teaching in Munich in the 1870s. Born Frank Decker (he adopted his stepfather’s name), Duveneck left Covington, Kentucky, in 1870 to study at the Royal Academy of Munich. There he excelled as a student, producing realistic portraits characterized by the expressive bravura brush technique. In these works, the sitter was usually bathed in light while the background 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 and married one of his students, Elizabeth Boott. Following her death in 1888, Duveneck moved back to the U.S. where he continued to teach in Boston and Cincinnati. $3,000-5,000
359. Frank Hector Tompkins (American, 1847-1922) The Young Mother, 1885 Unsigned, artist and title identified on labels from the Museum 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 alligatoring primarily to background, abrasions, surface grime. Provenance: The artist; to Museum of Fine Arts, Boston, Massachusetts, 1919, purchase; deaccessioned from the Museum 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 as well as in New York and Cincinnati, Tompkins moved to Boston where he began to show his portraits and genre scenes. He exhibited regularly at the Boston Art Club from 1881 until 1909, the Pennsylvania Academy of Fine Arts from 1887 to 1895, and the National Academy of Design in 1911. $4,500-6,500
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360. Edwin Murray MacKay (American, 1869-1926) Portrait of a Woman Signed and dated “1918, Murray MacKay” u.l., inscribed on the 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 Mirror Signed “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)
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Seated Woman Unsigned, artist identified in an inscription on the reverse of the frame. Oil on canvas, 24 x 20 in. (60.9 x 50.8 cm), framed. Condition: Minute losses. $1,000-1,500
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363. Josephine Paddock (American, 1885-1964) The Sealskin Muffs Signed “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 labeled Newcomb-Macklin Company frame. Condition: Lined, retouch, varnish inconsistencies, surface grime. Provenance: From the collection of the Fuller Museum of Art, Brockton, Massachusetts. 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 Paint and Clay Club. $3,000-5,000
364. Attributed to Alexandre Cabanel (French, 1823-1889) The Spanish Beauty Purportedly signed and dated “Alex Cabanel 1878” on the reverse, 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. $1,200-1,800 364
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365. Arthur G. Collins (American, b. 1866) Lot of Three Works: The Walled Garden, Parisian Roofs, and Cezanne Roofs Unsigned, 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, minor surface cracks to Cezanne, damage to sketchbooks. Provenance: From the collection of the Fuller Museum of Art, Brockton, Massachusetts. N.B. The lot is accompanied by approximately twenty sketchbooks belonging to Collins. $1,000-1,500
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366. Margaretha Roosenboom (Dutch, 1843-1896) A Branch of Roses Signed “Marg RoosenBoom” l.r., artist and title identified on a period label (possibly in the artist’s hand) affixed to the reverse, identifying label from the Commissioner for the Netherlands, the Arts Department, The Hague, and with a label from the General Manager of the Holland Exhibit and the World’s Columbian Exposition, Chicago. Watercolor with whiting on paper/board, sight size 28 1/2 x 19 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 Life Initialed “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
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368. Otis Philbrick (American, 1888-1973)
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Browneyed Susans Signed “Otis Philbrick” l.l. Oil on canvas, 24 x 20 in. (60.9 x 50.8 cm), framed. Condition: Signature reinforced. $600-800 369. Herbert Davis Richter (British, 1874-1955) Still Life with Flowers Signed “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 Flowers Signed “A.D. Abbatt.” l.r. Watercolor on paperboard, sight size 17 x 14 in. (43.2 x 35.6 cm), framed. Condition: Not examined out of frame. $800-1,200
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371. Jessie Wilcox Smith (American, 1863-1935) April Shower Signed “JESSIE WILCOX SMITH.” l.r., identified on labels and stamped “Property of Good Housekeeping Magazine” on the 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 present owner. N.B. This image was featured on the cover of the April 1930 issue of Good Housekeeping magazine. A native Philadelphian who enjoyed working with children, Jessie Wilcox Smith would become America’s premiere female illustrator of her time. Over the course of her 44 year career, Smith illustrated over sixty books, 200 periodicals, and close to 250 covers for Good Housekeeping. At sixteen, she left Philadelphia to become a kindergarten teacher in Cincinnati where she lived with a few of her closest cousins. She had never tried drawing until one of her cousins invited her to chaperone a private art class. Upon realizing her new-found talent, Smith’s cousin convinced her to leave teaching and attend art school.
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In 1884 she returned to Philadelphia to enroll at the School of Design for Women. A year later she transferred to the Pennsylvania Academy of Fine Arts where she studied with Thomas Eakins, who stressed the importance of accurate anatomy in painting and sculpture. Upon graduation, Smith took a position as an illustrator at Ladies’ Home Journal and would continue her studies at Drexel Institute where she worked very closely with Howard Pyle. She then began to work exclusively on book illustrations which afforded her such great success that she was able to build her own house and studio, complete with a garden which would become the backdrop for drawing the children of her friends and acquaintances. The last major book she illustrated was Johanna Spyri’s 1922 novel entitled Heidi, and after its completion redirected her talent towards portraiture. It is interesting to note that in an attempt to keep the attention of her sitters, she was known to tell the youngsters fairytales to pass the time. Some distinct characteristics of her work can be seen in her use of striking outlines and flat shapes which she usually employed to distinguish her main figures. Her work epitomized the home life of the late Victorian era and her inspiration from Art Nouveau and Japanese prints are apparent in many of her works. She also admired the work of Mary Cassatt and later traded her technique of bold black outlining for a more soft and painterly appearance. $30,000-50,000
