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American Art and Pennsylvania Impressionists

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  • PAUL LACROIX (AMERICAN,

    PAUL LACROIX (AMERICAN,

  • RÉGIS FRANÇOIS GIGNOUX

    RÉGIS FRANÇOIS GIGNOUX

  • GEORGE INNESS (AMERICAN,

    GEORGE INNESS (AMERICAN,

  • ROBERT WYLIE (AMERICAN,

    ROBERT WYLIE (AMERICAN,

Lot: 1 - PAUL LACROIX (AMERICAN, 1827–1869) STILL LIFE WITH BASKET OF FRUIT ON A MARBLE LEDGE WITH CRIMSON CURTAIN

Paul LaCroix (American, 1827–1869) Still Life with Basket of Fruit on a Marble Ledge with Crimson Curtain Signed, located and dated 'P. Lacroix. N.Y. 65.' on the ledge center left, oil on canvas painted in the oval32 1/2 x 26 in. Provenance Hawthorne Fine Art, New York, New York.Schwarz Gallery, Philadelphia, Pennsylvania.Acquired directly from the above on April 16, 1994.Private Collection, Westchester, New York. Footnote: Literature Frank S. Schwarz & Son, Fine American Paintings: Philadelphia Collection XLVIII, January 1992, Schwarz Gallery, Philadelphia, Pennsylvania, plate 16 (illustrated). Condition report: Frame: 43 1/2 x 36 3/4 x 3 1/4 in. The relined canvas in overall very good condition. With light, hairline craquelure throughout, and mostly visible in the background. Examination under UV light reveals very minor and localized areas of restoration (all most likely due to old flakes and missing paint). For example, see: at bottom along the bottom outer edge (below the hanging grape) and at bottom right. We also notice pinpoint retouching under the signature on the marble ledge, as well as at center left (outline of the grapes and on some grapes and strawberries at bottom left). With remnants of old greenish varnish throughout, but especially visible in the dark background (the still life itself appears to have been cleaned, with the exception of some remnants on the melon at bottom right). See specialist's pictures.

Lot: 2 - RÉGIS FRANÇOIS GIGNOUX (FRENCH, 1816–1882) THE FARM IN WINTER

Régis François Gignoux (French, 1816–1882) The Farm in Winter Oil on canvas painted in the oval22 x 27 in. (55.9 x 68.6cm) Provenance Vose Galleries, Boston, Massachusetts.Alexander Gallery, New York.Acquired directly from the above in 1990.Private Collection, USA.Shannon's, Milford, sale of October 29, 2015, lot 65.Acquired directly from the above sale.Private Collection, New York, New York; and Florida. Condition report: Frame: The (apparently) unlined canvas in overall good condition. With slight abrasions along the outer edges of the canvas (unvisible when the work is unframed) and a faint scratch on the faraway house at bottom right (along the right outer edge of the canvas). Examination under UV light reveals loose, and broad restoration in the sky, mostly at upper left and upper center, but we do notice purplish elements along the overall mountain range. With pinpoint dots of retouching at bottom center (on the ice) and on some parts of the roof of the main house at center. See specialist's pictures for more details.

Lot: 3 - GEORGE INNESS (AMERICAN, 1825–1894) UPLAND PASTURE

George Inness (American, 1825–1894) Upland Pasture Signed and dated 'G. Inness. 1862' bottom left, oil on canvas10 x 16 1/8 in. (25.4 x 41cm) Provenance Thomas Colville, Inc., New Haven, Connecticut.Private Collection, Berwyn, Pennsylvania, by 1983.Knoke Fine Arts, Marietta, Georgia.Acquired directly from the above.Private Collection, California. Footnote: Exhibited "American Collections: Art for Art’s Sake and For the Love of Glass," Marietta/Cobb Museum of Art, Marietta, Georgia, April 8-June 18, 2017 (as Going Home, Medfield, Massachusetts). Literature Michael Quick, George Inness: A Catalogue Raisonné, Rutgers University Press, New Brunswick, New Jersey and London, Vol. I, pp. 165 (mentioned), 179, 224, fig. 141, no. 198 (illustrated twice). Note The present work is an important testament to George Inness' spectacular change of style circa 1862, which coincides with the artist's move to Medfield the same year. Limited in size, the painting is fierce in spirit with a thinly painted foreground - a quick and "gestural" brushwork, as well as pure hues of red and green, which suggest the work was executed directly outdoors, although it is in fact a studio piece. As Michael Quick notes, "this direct-painting style was capable of considerable finesse, retaining its freshness while still rendering persuasive forms in finished studio paintings." In fact, through its quick style, the painting embodies Inness' new, mystical relationship to nature, by which the vivacity of the brushwork should equal the intensity of the emotion felt while examining the landscape. It also responds to the new taste the artist had witnessed in the Boston area (as opposed to New York circles which, up until 1878, didn’t favor the master's bold technique), and that some critics loosely tied with the French Barbizon painters, including Jean-Baptiste Camille Corot and Charles-François Daubigny. Condition report: Frame: 16 x 22 x 2 3/4 in. The relined canvas in overall fair to good condition, with craquelure throughout the surface of the canvas. Examination under UV light reveals scattered retouching: at bottom left (in the grass), bottom center (in the grass along the edge), bottom right quadrant (near the log, to the left of it, the right and above it). Some repairs also noticeable at upper right in the sky, along the right outer edge of the canvas. Some retouching also at upper center in the sky (to the right of the main tree), as well as along the outer edge of the canvas, and at upper left corner. Some pnpoint retouching in the bus around the main figure (very minor). The pants of the main figure appear to have enhanced. See specialist's pictures for more details.

Lot: 4 - ROBERT WYLIE (AMERICAN, 1839–1877) STILL LIFE WITH LEEKS, POTATOES AND FENNEL ON COMMODE TABLETOP

Robert Wylie (American, 1839–1877) Still Life with Leeks, Potatoes and Fennel on Commode Tabletop Signed 'Wylie' bottom center left; also with original preparer's stencil verso, oil on canvas19 3/4 x 24 in. (50.2 x 61cm)Executed circa 1860-1870. Provenance Private Collection, Philadelphia, Pennsylvania.Acquired directly from the above.Private Collection, Connecticut. Condition report: Frame: 27 3/8 x 32 1/4 x 3 in. The unlined canvas in overall good condition. With paint contraction (craquelure) throughout the work, especially visible at upper right. With slight abrasions along outer edges (due to frame rubbing, as the canvas is loose on the stretcher). Examination under UV light reveals scattered restoration (corresponding to old flakes) at upper left and center left in the background, as well as along the right end of the top outer edge and upper center right (in the background as well). The composition is intact. The work appears overall dusty and would benefit from a light cleaning.

Lot: 5 - JOHN GEORGE BROWN (AMERICAN, 1831-1913) A MERRY AIR AND A SAD HEART

John George Brown (American, 1831-1913) A Merry Air and a Sad Heart Signed and dated 'J.G Brown N.A./1879' bottom right, oil on canvas30 x 20 in. (76.2 x 50.8cm) Provenance The Artist.(Possibly) Acquired directly from the above in 1879.(Possibly) Collection of Thomas B. Clarke.(Possibly) American Art Association, New York, sale of February 15, 1899, lot 182.(Possibly) Acquired directly from the above sale. (Possibly) Collection of Edward Weston.(Possibly) The Purnell Galleries, Baltimore, Maryland.(Possibly) Acquired directly from the above in 1978.(Possibly) Private Collection, Maryland.Bonhams, New York, sale of November 24, 2020, lot 58.Acquired directly from the above sale.Private Collection, Belgium. Exhibited (Possibly) "Fifty-Fourth Annual Exhibition," National Academy of Design, New York, New York, April 1-May 31, 1879, no. 67. (Possibly) "The Private Collection of Paintings by Exclusively American Artists, Owned by Thomas B. Clarke," American Art Galleries, New York, New York, December 28, 1883-January 12, 1884, p. 25, no. 18. (Possibly) "The Thomas B. Clarke Collection of American Pictures," The Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, October 15-November 28, 1891, p. 20, no. 22. Literature Helene Barbara Weinberg, "Thomas B. Clarke: Foremost Patron of American Art from 1872 to 1899" in The American Art Journal, May 1976, vol. 8, no. 1, p. 72 (illustrated). Martha Hoppin, The World of J.G. Brown, Chesterfield, Massachusetts, 2010, p. 240 (mentioned, not illustrated). Note We wish to thank Martha Hoppin for her kind assistance in cataloguing the present lot. Condition report: Frame: 35 1/2 x 26 x 2 1/4 in. The relined condition in overall good condition. With small abrasions along the outer edges of the canvas. Examination under UV light reveals slight restoration along the same outer edges. With minor restoration in the background at upper left. With some minor retouching along the silhouette of the man's coat at left. See specialist's pictures for more details.

Lot: 6 - VIRGIL WILLIAMS (AMERICAN, 1830–1886) SETTLEMENT IN THE NAPA VALLEY, NEAR ST. HELENA, CALIFORNIA

Virgil Williams (American, 1830–1886) Settlement in the Napa Valley, Near St. Helena, California Signed, located and dated 'Virgil Williams./S.F./1885' bottom right, oil on canvas20 1/2 x 39 3/4 in. (52.1 x 101cm) Provenance Private Collection, Vermont (acquired circa 1890s).By descent in the family.Private Collection, Pennsylvania. Condition report: Frame: 21 3/4 x 40 3/4 x 1 1/2 in. The relined canvas in overall good to very good condition, with scattered abrasions along the left and bottom (right) outer edges of the canvas, due to frame rubbing. The paint has been applied thinly and we can spot the canvas ground in some parts of the composition. With a light scratch in the trees at upper left. Examination under UV light reveals very minor and scattered dots of inpainting in the sky (most likely old flakes) at upper center and upper right. With a 3-4 in. long repaired diagonal tear at upper right in the sky. The bottom of the composition itself appears intact, save for (rare) remnants of old greenish varnish at times, which suggest the painting has been selectively cleaned.

Lot: 7 - ALBERT BIERSTADT (AMERICAN, 1830–1902) ESTES PARK MORNING, COLORADO

Albert Bierstadt (American, 1830–1902) Estes Park Morning, Colorado Signed with Artist's initialed monogram 'AB' bottom right, oil on paper laid down to canvas13 1/4 x 9 1/4 in. (33.7 x 23.5cm)Executed circa 1859. Provenance Collection of Amy C. Liss, Summit, New Jersey. Footnote: Literature Katherine Manthorne and Tricia Laughlin Bloom, The Rockies and the Alps: Bierstadt, Calame and the Romance of the Mountains, Newark Museum, New Hersey; in association with G. Giles Ltd., London, 2018, p. 14, cat. 1 (illustrated). Note German born artist Albert Bierstadt moved at a very young age to the United States with his family, settling in Massachusetts, but returned to his homeland in 1853 to study and paint the Alpine mountains and landscape. After returning to America in 1857, he made his mark at the 1858 spring exhibition of the National Academy of Design, where he showed a large-size painting of Lake Lucerne and the Alps in the background. A year later he traveled out West joining Frederick W. Lander’s survey party of the Rocky Mountains, from where he returned with a trunkful of sketches, photographs, and Native American artifacts. Estes Park Morning, Colorado reveals the extent to which Bierstadt, on his first trip, was still very much conditioned by the European aesthetic and mountainous landscape that had been an important part of his training back in Düsseldorf. The painting adopts a formula which already proved successful: a dark, shady foreground contrasted with a light, golden background of snow-capped mountains and a stormy sky, dramatically separated by a middle ground of water, which captures all the glistening effects of the sun shower. A diagonally-bent repoussoir tree at bottom right connects the three successive layers, and invites the viewer to slowly penetrate the picture plane and gape in awe at the spectacular vision. Condition report: Frame: The relined canvas in overall good condition. The painting has been cleaned and presents well. With faint craquelure at bottom center. Examination under UV light reveals scattered retouching. For example: along bottom outer edge and at center of top outer edge. We also see spots of retouching in the sky at upper left, upper center and upper right. With faint lines of inpainting too in these areas (suggesting some old craquelure carefully inpainted). Minor dots on the mountain at center left, as well as in the water and around the trees at center (all minor and small, which suggest local retouching possibly corresponding to old losses).

Lot: 8 - ALBERT BIERSTADT (AMERICAN, 1830–1902) LUCERNE, SWITZERLAND

Albert Bierstadt (American, 1830–1902) Lucerne, Switzerland Signed with conjoined letters 'ABierstadt' bottom left; also located verso, oil on paper laid down to canvas13 1/2 x 19 1/2 in. (34.3 x 49.5cm) Provenance Private Collection, Illinois.Acquired directly from the above.Private Collection, Wisconsin. Footnote: Note Best remembered for his panoramic views of the dramatically-abrupt Rocky Mountains, Albert Bierstadt in fact began his career as a painter of European landscapes. In 1856, while studying abroad through Europe, the German-born artist spent time in Switzerland and Italy, together with Worthington Whittredge, whom he met in Germany. There, he completed several plein air sketches around Lucerne that would lead to studio paintings, such as the present work. Instead of focusing on the very touristic lake, the artist here depicts a panoramic view of the Swiss Alps, with a herd of cows in the foreground, which seem to announce Bierstadt's later romantic canvases set in the Hudson River Valley. The artist's picturesque landscapes of the Swiss region were painted with minutiae and a special attention to lighting, as exemplified here. In many ways, Bierstadt's sojourn and training in the Alps was essential as it prepared him to record the Rocky Mountains and Sierra Nevadas in painstaking detail as he traveled through the US. We wish to thank Melissa Speidel, Director of the Albert Bierstadt Catalogue Raisonné Project, for kindly confirming the authenticity of the present Lot. A letter of authenticity dated October 2021 will accompany the painting. Condition report: Frame: 22 x 27 x 2 in. To request a condition report, please email Raphaël Chatroux at [email protected]

Lot: 9 - AFTER FREDERIC REMINGTON (AMERICAN, 1861–1909) THE MOUNTAIN MAN

After Frederic Remington (American, 1861–1909) The Mountain Man Inscribed 'Copyright/Frederic Remington' on mountain base; also inscribed 'The Mountain Man/ Reg. No. 13/100/Cast from Frederic Remington's/Original Masterpiece/1000+ ozt. Fine Silver .999 Pure/Authorized By/Frederic/Remington Art Museum (with accompanying cypher)/Silversmiths Group USA/Liberty Mint/The Maiden Foundry/1989/88,' beneath the base, silver Height: 28 3/4 in. (73cm)Executed in 1989. Provenance Private Collection, South Carolina. Footnote: Literature Bruce Wear, The Bronze World of Frederic Remington, Tulsa, Oklahoma, 1966, pp. 72, 73 (bronze model illustrated). Harold McCracken, The Frederic Remington Book: A Pictorial History of the West, Garden City, New York, 1966, fig. 370 (bronze model illustrated). Peter Hassrick, Frederic Remington: Paintings, Drawings, and Sculpture in the Amon Carter Museum and the Sid W. Richardson Foundation Collections, New York, 1973, no. 85, pp. 194, 195 (bronze model illustrated). Patricia Janis Broder, Bronzes of the American West, New York, 1974, p. 125 (bronze model illustrated). Michael Edward Shapiro, Cast and Recast: The Sculpture of Frederic Remington, Washington, D.C., 1981, pp. 33, 69-74, 77-81, 105 (bronze models illustrated). Michael Edward Shapiro and Peter Hassrick, Frederic Remington: The Masterworks, New York, 1988, pp. 205, 210, 211, 214, 231, 267 (bronze model illustrated). Michael D. Greenbaum, Icons of the West: Frederic Remington's Sculpture, Ogdensburg, New York, 1996, pp. 105-112, 190 (bronze model illustrated). Condition report: In overall good condition. The work was recently polished but remains relaively dirty and would therefore enormously benefit from a silver dip-cleaning. With accumulated dirt and dust in the crevices of the work. Aside from localized surface grime and some bent wire pieces (lasso, reins and weapon), the sculpture does not present any signs of repair or restoration.

Lot: 10 - BRUCE CRANE (AMERICAN, 1857–1937) AUTUMN LANDSCAPE

Bruce Crane (American, 1857–1937) Autumn Landscape Signed 'BRUCE CRANE' bottom right, oil on canvas laid down to board8 1/2 x 10 1/2 in. (21.6 x 26.7cm) Provenance Knoke Galleries, Atlanta, Georgia.Acquired directly from the above at the Philadelphia Antiques Show in October 1998.Private Collection, Pennsylvania. Condition report: Frame: 12 x 14 x 1 1/2 in. In overall good condition. Examination under UV light reveals spotty restoration in the bottom part of the work, at bottom left and bottom center in the grass. Small circular repair in the sky at center. See specialist's pictures.

Lot: 11 - GEORGE GARDNER SYMONS (AMERICAN, 1863–1930) COUNTRY ROAD

George Gardner Symons (American, 1863–1930) Country Road Signed with the Artist's initials 'GS' bottom right, oil on canvas laid down to board8 5/8 x 10 5/18 in. (21.9 x 27cm) Provenance The Connecticut Gallery, Marlborough, Connecticut.A Private Estate, Princeton, New Jersey.Freeman's, sale of September 14, 2010, lot 92.Acquired directly from the above sale.Private Collection, Pennsylvania. Condition report: Frame: 13 x 15 x 1 in. In excellent original condition with no sign of inpainting as seen under UV light. We notice three "textured" pinpoints at upper center and center right: these appear to be foreign residue (parts of the board maybe) stuck to the surface of the canvas. All are unobtrusive.

Lot: 12 - PERCIVAL LEONARD ROSSEAU (AMERICAN, 1859–1937) SETTERS IN A BROOK POOL

Percival Leonard Rosseau (American, 1859–1937) Setters in a Brook Pool Signed 'Rosseau/1927' bottom left, oil on canvas40 7/8 x 30 5/8 in. (103.8 x 77.8cm) Provenance Private Collection, Philadelphia, Pennsylvania.By descent in the family.Private Collection, Philadelphia, Pennsylvania Condition report: Frame: 45 1/2 x 35 1/2 x 1 3/4 in. The (apparently) unlined canvas in overall good condition. The back of the painting is covered by a large piece of board, inserted within the stretcher and which hides the verso of the canvas. With light, flat craquelure at the bottom of the canvas in the water and at center right (in the distance). Very small paint contractions on the coat of some of the setters (see the back of the main one).With pinpoint hole in the water at bottom center. Small abrasions in the upper right corner. Examination under UV light highlights some of the craquelure (some of which appear slightly inpainted). Some minor surface soiling spots also revealed in the background, but no major retouching.

Lot: 13 - JOHN QUINCY ADAMS WARD (AMERICAN, 1830–1910) THE INDIAN HUNTER

John Quincy Adams Ward (American, 1830–1910) The Indian Hunter Signed 'JQA Ward' on the base, to the left; also marked with 'STERLING/MEDALLION/EXCALIBUR' foundry stamp bottom left, bronze with black-green patina on green marble baseHeight (including base): 16 3/4 in.Height (excluding base): 15 1/2 in.Executed in 1860. Provenance Private Collection, South Carolina. Condition report: Base: 12 7/8 x 9 in. In excellent original condition with no sign of repair or scratch. Accumulated dust in the crevices of the sculpture.

Lot: 14 - JONAS LIE (AMERICAN/NORWEGIAN, 1880–1940) SNOW

Jonas Lie (American/Norwegian, 1880–1940) Snow Signed 'Jonas Lie' bottom left; also titled and signed on stretcher verso, oil on canvas40 x 50 in. (101.6 x 127 cm.)Executed circa 1935. Provenance The Artist.William Macbeth Gallery, New York, New York.Collection of Mrs. Carll Tucker.A gift from the above.The St. Louis Art Museum, St. Louis, Missouri.Christie's, New York, sale of September 27, 2011, lot 43.Acquired directly from the above sale.Private Collection, New York, New York; and Florida. Footnote: Exhibited Carnegie Institute, Pittsburgh, Pennsylvania, n.d. "One Hundred and Thirtieth Annual Exhibition," Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, January 27-March 3, 1935, no. 185 (awarded the Jennie Sesnan Medal, for "best landscape") Condition report: Frame: 48 x 58 x 3 in. To request a condition report, please email Raphaël Chatroux at [email protected]

Lot: 15 - JONAS LIE (AMERICAN/NORWEGIAN, 1880–1940) THE FLEET

Jonas Lie (American/Norwegian, 1880–1940) The Fleet Signed 'JONAS LIE' bottom left, oil on canvas30 1/8 x 45 1/4 in. (76.5 x 114.9cm)Executed circa 1925. Provenance The Artist.The Estate of the Artist (per stamp verso).Grand Central Art Galleries, New York, New York.Private Collection.Doyle, New York, sale of November 5, 2013, lot 218.Acquired directly from the above sale.Private Collection, Pennsylvania (on long-term loan at the American Scandinavian Museum, Philadelphia, Pennsylvania). Footnote: Exhibited The Corcoran Gallery of Art, Washington D.C., 1926. "Jonas Lie (1880-1940)," Spanierman Gallery, New York, New York, January 12-February 25, 2005, no. 26. American Scandinavian Museum, Philadelphia, Pennsylvania, (long-term loan, 2018-2021). Literature William H. Gerdts and Carol Lowrey, Jonas Lie (1880-1940), Spanierman Gallery, New York, 2005, no. 26, pp. 30, 90-91 (illustrated). Condition report: Frame: The unlined canvas in overall good to very good condition, with fresh colors. We notice light abrasions along the outer edge of the canvas, most likely due to frame rubbing. Examination under UV light reveals minor scattered retouching: at bottom left on each side of the signature, at bottom center and bottom right (below the boats, in the water), center right (along the right outer edge of the work), center/upper right (in the sky, close to the right edge), upper center and upper center right (on the mountain: very small dots, which might indicate past flaking). With some fluorescence in the upper right quadrant, which we believe is due to the pigments used by the artist. See specialist's pictures for more details.

Lot: 16 - MAGNUS COLCORD HEURLIN (AMERICAN, 1895–1986) TINGOON (THE AIRPLANE)

Magnus Colcord Heurlin (American, 1895–1986) Tingoon (The Airplane) Signed 'C. Heurlin' bottom left, oil on canvas23 x 29 in. (58.4 x 73.6cm)Executed in 1952-1953. Provenance The Artist.A gift from the above. Collection of John S. Mekler, Alaska.By descent in the family. Private Collection, Virginia. Condition report: Frame: 30 x 36 x 2 in. The unlined canvas in excellent original condition with no sign of inpainting as seen under UV light. We notice vertical and diagonal streaks of (unobtrusive) craquelure along the bottom outer edge of the canvas. With some small areas of light flaking at bottom left and bottom center, in the snow. See Specialist's pictures.

Lot: 17 - MAGNUS COLCORD HEURLIN (AMERICAN, 1895–1986) POLAR BEAR

Magnus Colcord Heurlin (American, 1895–1986) Polar Bear Signed 'C. Heurlin' bottom left, oil on canvas22 x 30 in. (55.9 x 76.2cm) Provenance The Artist.A gift from the above. Collection of John S. Mekler, Alaska.By descent in the family. Private Collection, Virginia. Condition report: Frame: 26 1/2 x 34 1/4 x 1 1/2 in. The unlined canvas in overall good condition, with craquelure throughout (mix of streaks and webs). Examination under UV light does not reveal any restoration or inpainting. With very minor brown specks (and splash) at bottom center (under the bear on the snow) and bottom right (in the sky above the ship).

Lot: 18 - MAGNUS COLCORD HEURLIN (AMERICAN, 1895–1986) ALASKAN MOUNTAINS

Magnus Colcord Heurlin (American, 1895–1986) Alaskan Mountains Signed 'C. Heurlin' bottom left, oil on canvas28 1/8 x 34 in. (71.4 x 86.4cm) Provenance The Artist.A gift from the above. Collection of John S. Mekler, Alaska.By descent in the family. Private Collection, Virginia. Condition report: Frame: 34 x 40 x 2 in. The unlined canvas in excellent original condition, with no sign of inpainting as seen under UV light. With slight craquelure, mostly located in the bottom section of the canvas, in each corner.

Lot: 19 - WILSON HENRY IRVINE (AMERICAN, 1869–1936) COTTAGE NESTLED IN THE WOODS

Wilson Henry Irvine (American, 1869–1936) Cottage Nestled in the Woods Signed 'IRVINE' bottom right, oil on canvas23 1/2 x 28 1/2 in. (59.7 x 72.4cm) Provenance Skinner, Marlborough, sale of May 20, 2005, lot 229.Acquired directly from the above sale.Private Collection, Pennsylvania. Condition report: Frame: 30 3/4 x 35 3/4 x 2 1/2 in. The unlined canvas in overall very good condition, with faint hairline craquelure throughout (paint contractions rather than cracks in the canvas) and some waviness in some parts of the work (mostly at bottom). Examination under UV light does not reveal any sign of inpainting.

Lot: 20 - FREDERICK STUART CHURCH (AMERICAN, 1842–1924) THE POLAR BEAR DANCE

Frederick Stuart Church (American, 1842–1924) The Polar Bear Dance Signed, inscribed and dated 'F.S. Church/From.Heim.Far-Hills/New Jersey/1915' bottom right, oil on canvas33 x 51 in. (83.8 x 129.5cm) Provenance Private Collection, New York, New York.Estate Sale, New York, sale of August 9th, 1944.Acquired directly from the above sale. Meredith Galleries, New York, New York.Acquired directly from the above.Private Collection, Brooklyn, New York.By descent in the family.Private Collection, Pennsylvania. Condition report: Frame: 37 x 55 x 1 1/2 in. In overall fair to good condition, with faint hairline craquelure running vertically throughout the canvas. We notice some craquelure webs at times as well, for example at upper right corner. With light flaking on the main bear's face. The canvas would benefit from a light cleaning, judging from the yellowish smears in some parts of the canvas (from the old varnish, most likely). Examination under UV light does not reveal any sign of inpainting. With a small flake at center right (on one of the bears), slight abrasions along the outer edges, including the top outer edge, where we notice three pinpoint holes at upper right.

Lot: 21 - EMILE ALBERT GRUPPE (AMERICAN, 1896–1978) WINTER TWILIGHT

Emile Albert Gruppe (American, 1896–1978) Winter Twilight Signed 'Emile A. Gruppé' bottom left; also faintly signed 'Emile A. Gruppé' bottom left and titled verso, oil on canvas30 1/4 x 36 1/4 in. (76.8 x 92.1cm) Provenance Private Collection, Texas. Condition report: Frame: 38 x 44 x 2 1/2 in. The unlined canvas in overall fair to good condition. The back of the canvas is protected with a plastic sheet, which is see-through. With craquelure (sometimes vertical, other times web-like) throughout the composition, but especially visible in the bottom section of the painting (from the center line down to the bottom edge) and at upper center (where the white paint mostly lies). Examination under UV light reveals remnants of old greenish varnish throughout (especially at center right and on the trees at center left). With minuscule dots of inpainting scattered at upper left and upper right quadrants (in the sky and through the trees): most likely inpainted flakes. With similar retouching at bottom right corner (in the sky), bottom center left (along the outer edge, due to frame rubbing).

Lot: 22 - JAMES ABBOTT MCNEILL WHISTLER (AMERICAN, 1834–1903) THE COURTYARD, BRUSSELS

James Abbott McNeill Whistler (American, 1834–1903) The Courtyard, Brussels 1887. One of only several (at least seven) known impressions. Pencil signed with the Artist's butterfly monogram and inscribed ‘imp’ on tab bottom left, with Pro Patria watermark, etching on cream laid paperSheet size: 8 1/2 x 4 7/8 in. (21.6 x 12.4cm)[Kennedy 355; Mansfield 353; Wedmore 250] Provenance Scholle Collection (per inscription verso).Private Collection, New Jersey. Footnote: Note The present work is one of twelve etchings Whistler completed during his trip to Brussels in September 1887. While the exact locale depicted in the etching remains unknown, it is thought to be near the Grand Place, where Whistler stayed and worked. Part of the Brussels Set, the print was never published by a dealer. Instead, it sold over a short amount of time in fairly limited numbers. According to Margaret F. MacDonald, only seven other impressions are known, including those now in the Art Institute, Chicago; the Cleveland Museum of Art; Colby College Museum of Art; Freer Art Gallery, Washington, DC; The Hunterian Art Gallery, Glasgow; the Library of Congress, Washington, D.C.; and the Metropolitan Museum of Art, New York. Condition report: In overall very good condition. The print is affixed to the undermat at upper right and bottom right corners via paper hinges. Hence, the work flips from left to right, as a book. We notice remnants of papet hinges at the other two corners, suggesting the work was once affixed to the undermat at all four corners. With no sign of restoration ore repair: all the edges are intact, with no apparent tear. Without any surface soiling. Some inscription on the verso of the sheet, and with a circular pattern inprinted at bottom left. Frame: 21 x 17 x 1 in.

Lot: 23 - JOHN MARIN (AMERICAN, 1870–1953) PONT-NEUF, PARIS; WITH FISHERMEN STUDY VERSO

John Marin (American, 1870–1953) Pont-Neuf, Paris; with Fishermen Study verso Signed and dated 'MARIN/09' bottom left; also signed and dated 'Marin 08' verso, watercolor on wove paperSheet size: 14 1/4 x 12 1/4 in. (36.2 x 31.1cm) Provenance The Artist.Acquired directly from the above.Gerszo Collection, Mexico City, Mexico.Collection of Mrs. Dore Diener, The Hague, the Netherlands. Robert Osborne, New York. Uptown Gallery Inc., New York, New York. Acquired from the above in April, 1975.Private Estate, Philadelphia, Pennsylvania. Footnote: Note The present Lot will be accompanied by the original receipt from the Uptown Gallery, stating the work was verified by John Marin Jr., in 1972 and slated to be included in Sheldon Reich's updated edition of his Catalogue Raisonné on John Marin's works. Condition report: Frame: 19 3/4 x 17 3/4 x 1 1/2 in. In overall very good condition. The sheet is attached to the verso of the mat via two pieces of white linen tape at upper left and upper right corners (verso). With uneven edges, especially visible on the reverse as the mat covers the edges of the front sheet. With remnants of old brown tape (and cardboard, it seems) along the outer edges verso, with light mat staining and surface soiling accumulated along the outer edges of the sheet. No evidence of repair or restoration on either side of the work.

Lot: 24 - MARTHA WALTER (AMERICAN, 1875–1976) PROMENADE AU JARDIN DES TUILERIES

Martha Walter (American, 1875–1976) Promenade au Jardin des Tuileries Signed 'Martha Walter' bottom right, oil on canvas13 1/4 x 18 1/4 in. (33.7 x 46.4cm) Provenance Hammer Galleries, New York, New York.Private Collection, New York, New York. Condition report: Frame: 21 x 26 x 2 3/4 in. The wax-lined canvas in overall good to very good condition. The canvas might benefit from a very light cleaning. Examination under UV light reveals some minor restoration in the bottom left corner. We also notice that the darker greens appear purplish at times (upper left corner and upper center, as well as below the signature at bottom right): we consider it is due to the pigments, and not a sign of restoration.

Lot: 25 - MARTHA WALTER (AMERICAN, 1875–1976) SOUS LA TONNELLE, JARDIN DES TUILERIES

Martha Walter (American, 1875–1976) Sous la Tonnelle, Jardin des Tuileries Signed 'Martha Walter' bottom right; also titled in English ('Under the Arbor-/Paris Park') and numbered '739' verso, oil on board8 3/4 x 10 7/8 in. (22.2 x 27.6cm) Provenance Hammer Galleries, New York, New York (as Under the Arbor - Paris Park).Acquired directly from the above.Private Collection, New York, New York. Condition report: Frame: 13 1/2 x 15 1/2 x 2 in. In excellent original condition, with no sign of inpainting as seen under UV light.

Lot: 26 - RICHARD EDWARD MILLER (AMERICAN, 1875–1943) BATHER (NUDE)

Richard Edward Miller (American, 1875–1943) Bather (Nude) Signed 'Miller' bottom left; also signed 'R.E. Miller', dated '1930,' located 'Provincetown' and titled (three times) verso, oil on board36 x 38 in. (91.4 x 96.5cm)Executed circa 1930. Provenance Anchorage Gallery, Provincetown, Massachusetts.Private Collection, New York. Sotheby's, New York, sale of December 3, 1992, lot 123.Acquired directly from the above sale.Private Collection. Sotheby's, New York, sale of May 24, 2000, lot 22.Acquired directly from the above sale.Private Collection, New Hope, Pennsylvania. Footnote: Exhibited "Sixteenth Annual Exhibition of Paintings," Provincetown Art Association, Provincetown, Massachusetts, July 27 - Sept. 1, 1930, no. 9 (exhibited as The Bather). "Twelfth Biennial Exhibition of Contemporary American Paintings," Corcoran Gallery of Art, Washington D.C., November 1930-January 1931, no. 134 (illustrated in the accompanying leaflet). American Painting Today," Worcester Art Museum, Worcester, Massachusetts, December 1, 1933-January 15, 1934, no. 93 (exhibited as Nude). Literature (Possibly) Art and Archaeology, Vol.XXXI, no. 1, January 1931(illustrated). Note We wish to thank Marie Louise Kane for kindly confirming the authenticity of the present Lot, and for her kind assistance in cataloguing it. Condition report: Frame: 44 x 46 1/2 x 3 1/4 in. In excellent original condition, with some very faint craquelure in some parts of the board (very minor and completely unobtrusive). Examination under UV light does not reveal any sign of inpainting aside from a vertical row of pinpoint dots at bottom center left, towards the left outer edge of the board - most likely due to old chips. We note some fluorescence in several parts (sitter's chin in her reflection, her left cheekbone, some parts of her thighs, in the abckground at left etc.) but these are lijely due to the pigments used by the artist rather than a sign of restoration. See specialist's pictures for more details.

Lot: 27 - MARTHA WALTER (AMERICAN, 1875–1976) A DAY AT THE BEACH (WITH VARIOUS PENCIL SKETCHES VERSO)

Martha Walter (American, 1875–1976) A Day at the Beach (with various pencil sketches verso) Signed 'Martha Walter' bottom left, oil on board14 x 18 in. (35.6 x 45.7cm)Executed circa 1918. Provenance The Estate of the Artist (no. #7).David David Inc., Philadelphia, Pennsylvania.Hollis Taggart Galleries, New York, New York.Acquired directly from the above.Private Collection, New Jersey. Footnote: Note Impressionist Martha Walter was born in Philadelphia in 1875. She was a student at the University of the Arts, as well as the Pennsylvania Academy of the Fine Arts, where she studied under William Merritt Chase. While at the Academy, she received the prestigious Cresson Scholarship, which allowed her to travel to Europe to continue her education. She visited Spain, the Netherlands, and Italy, before enrolling at the Académie de la Grande Chaumière in France. When World War I broke out, Walter returned to the United States and began painting plein-air subjects such as Ellis Island, the fishing village of Gloucester, as well as portraits of children. She received many awards throughout her long career (she died at 101), and her work is still visible in the permanent collections of the Musée d'Orsay in Paris, the Art Institute of Chicago, the Pennsylvania Academy of the Fine Arts, as well as the Detroit Institute of Arts, and the Cincinnati Art Museum. Her intimate depictions of women (often mothers) and children is what she is best known for today. Such themes earned her great critical acclaim early on in her career, as well as financial success and as such, she frequently returned to them. In that regard, A Day at the Beach is a quintessential example of Walter's inimitable talent. Rendered in her typical impressionistic style and vivid palette, it perfectly captures, in the shortest and quickest dabs of paint, the world of delicacy and gentle sophistication that Walter was a part of. The oil was painted at the height of the artist's fame, and feature the artist's characteristic female figures at leisure, among family members, on the beach. The work conveys a sense of vitality and energy. Specifically, it showcases Walter's love of contrasts between soft, pastel-like hues (see the ladies' delicate rosy hats and cardigans scattered on the beach), and the deep, bright colors surrounding them, as exemplified by the distinct black swimsuits worn by the figures at upper left and bottom right corners. Condition report: Frame: In overall very good (almost excellent) original condition. We notice a faint line running along the left outer edge of the canvas (most likely a thread within the canvas itself). Examination under UV light reveals faint (minuscule, in fact) inpainting in parts of the aforementioned line. Otherwise untouched and fresh.

Lot: 28 - MARTHA WALTER (AMERICAN, 1875–1976) BEACH SCENE

Martha Walter (American, 1875–1976) Beach Scene Signed 'Martha Walter' bottom left, oil on canvasboard10 x 13 7/8 in. (25.4 x 35.2cm) Provenance Pocock Fine Arts, Fort Lauderdale, Florida.Acquired directly from the above.Private Collection, New York, New York. Condition report: Framed: 17in x 21in In overall very good condition. Examination under UV light does not reveal any inpainting, except for a small area of retouching at upper right along the right outer edge of the canvasboard. We believe the work would likely benefit from a light cleaning.

Lot: 29 - GUY CARLETON WIGGINS (AMERICAN, 1883–1962) OLD FASHIONED WINTER (NEW YORK PLAZA)

Guy Carleton Wiggins (American, 1883–1962) Old Fashioned Winter (New York Plaza) Signed 'Guy Wiggins' bottom right; also titled and signed verso, oil on canvasboard9 x 12 in. (22.9 x 30.5cm) Provenance Sotheby's, New York, n.d., lot 617 (per sticker verso).Private Collecion, Atlanta, Georgia. Knoke Fine Arts, Marietta, Georgia.Acquired directly from the above. Private Collection, California. Condition report: Frame: 20 x 23 x 3 in. To request a condition report, please email Raphaël Chatroux at [email protected]

Lot: 30 - JESSIE WILLCOX SMITH (AMERICAN, 1863-1935) THE LITTLE GARDENER (PORTRAIT OF EDWARD MORRIS DAVIS III)

Jessie Willcox Smith (American, 1863-1935) The Little Gardener (Portrait of Edward Morris Davis III) Signed 'JESSIE WILLCOX SMITH.' bottom left, oil on illustration board25 1/4 x 17 3/8 in. (64.1 x 44cm) Provenance The Artist.Mr. & Mrs. Isaac Roberts Davis, Spring House, Pennsylvania.Edward Morris Davis III, Philadelphia, Pennsylvania.By descent in the family.Private Collection, Pennsylvania. Condition report: Frame: 32 1/2 x 24 5/8 x 1 1/2 in. To request a condition report, please email Raphaël Chatroux at [email protected]

Lot: 31 - ELLEN BERNARD THOMPSON PYLE (AMERICAN, 1876-1936) I THINK I HEAR SOMEONE COMING UPSTAIRS

Ellen Bernard Thompson Pyle (American, 1876-1936) I Think I Hear Someone Coming Upstairs Signed 'Ellen B. Thompson' bottom center, oil en grisaille on paper laid down to illustration board11 1/4 x 7 1/4 in. (28.6 x 18.4cm) Provenance Private Collection, Massachusetts. Condition report: Frame: 19 3/8 x 15 3/8 x 1 in. To request a condition report, please email Raphaël Chatroux at [email protected]

Lot: 32 - FRANK EARLE SCHOONOVER (AMERICAN, 1877–1972) NO LONGER WAS GUTHRIE A CITY OF TENTS

Frank Earle Schoonover (American, 1877–1972) No Longer Was Guthrie a City of Tents Signed with Artist's initials and dated 'FES/26' center right, oil on canvas30 x 38 in. (76.2 x 96.5cm) Provenance Private Collection, California. Footnote: Literature Courtney Ryley Cooper, “Oklahoma” in Country Gentleman, May 1928: 28. Louise Schoonover Smith, LeeAnn Dean, John R. Schoonover, Frank E. Schoonover: Catalogue Raisonné, Vol. II, Newcastle, Delaware, 2009. Condition report: Frame: 36 1/2 x 44 1/2 x 2 in. The relined canvas in overall good condition. With very faint craquelure at upper center left, on the building's facade where the figures are rushing. We also notice a faint pencil inscription at bottom center, to the left of the main character reading: "9'/8'/Aug'. Examination under UV light reveals scattered retouching, all in the form of pinpoint, localized dots throughout, which might suggest a past flaking issue. Specifically, we can see them: at center right (above and below the signature, up until the bottom part), in the upper right corner and quadrant at large, along the top outer edge (residual points in the sky, the clouds, around the two people perched on the roof, on the main building's facade and door frame at center left). The largest concentration of these dots can be found at upper left quadrant. Some more inpainting at bottom center left, underneath the standing cowboy. The figures are generally spared and present well, except for a few dots on the cowboy at left (on his coat), and the vest and elbow of the gentleman at right. Some residual varnish on the crowd at center, and the horse's neck and face at center right. See specialist's pictures for more details.

Lot: 33 - JOSEPH F. KERNAN (AMERICAN, 1878–1958) TYING ON A FLY (SATURDAY EVENING POST COVER)

Joseph F. Kernan (American, 1878–1958) Tying on a Fly (Saturday Evening Post Cover) Signed 'J.F/-Kernan-' bottom right, oil on canvas28 1/8 x 22 3/8 in. (71.4 x 56.8cm)Executed in 1929. Provenance American Illustrators Gallery (Judy Goffman Gallery), New York, New York (as Fly Fisherman).Acquired directly from the above.Private Collection, California. Footnote: Literature The Saturday Evening Post, May 25, 1929. Note While his work graced the covers and pages of many famous American magazines between the 1920s and 1940s (including 26 Saturday Evening Post covers), the name Joseph Francis Kernan is often eclipsed in comparison to better-known peers Norman Rockwell and Maxfield Parrish. Yet, Kernan was a master of nostalgic and humorous illustrations of middle-class America and, a sportsman himself, almost always featured "the human side of outdoor sports, hunting, fishing and dogs," which were considered ideal subjects for magazines. The present work is no different in that regard, as it depicts a fly fisherman, concentrating as he is about to attach the hook to his fishing stick. Immersed in water up to his waist in a seemingly tortuous part of the river, the fisherman is not losing his cool, and seems in fact fully determined to enjoy his last smoke before some action. Condition report: Frame: 36 1/8 x 30 1/4 x 1 3/4 in. The relined canvas in overall good condition. Examination under UV light reveals scattered retouching: upper left, upper center, upper right, bottom left, center right (all in the white background: never major, and very scattered. Some repairs, so inpainted chips). The composition is mostly untouched, save for minor retouching on the man's hair, his right hand as well as his right sleeve (at his wrist). With remnants of old varnish (very splashy) throughout. See specialist's pictures for more details.

Lot: 34 - STEVAN DOHANOS (AMERICAN, 1907–1995) TYING FLIES (SATURDAY EVENING POST COVER)

Stevan Dohanos (American, 1907–1995) Tying Flies (Saturday Evening Post Cover) Signed 'Stevan Dohanos' bottom left; also signed and inscribed with date 'March 4, 1950,' oil on Masonite25 7/8 x 20 1/8 in. (65.7 x 51.1cm)Executed in 1950. Provenance Private Collection, California. Footnote: Literature The Saturday Evening Post, March 4, 1950 (cover illustration). Note Remembered for his 125 covers of the Saturday Evening Post between 1942 and 1958, Dohanos also designed over forty stamps for the United States Postal Service, and served as design coordinator for the Citizen Stamp Advisory Committee. Originally from Ohio, he also co-founded the Famous Artists School in Westport, Connecticut along with famous illustrators Norman Rockwell and Robert Fawcett, among others. While Stevan Dohanos is widely seen as one of the most talented American illustrators of his generation, he long considered himself a spiritual child of the Ashcan School of painting. Like Robert Henri, John Sloan and William Glackens before him, Dohanos painted things as he saw them. A keen observer of the world, "the humble, the homely and the drab," Dohanos found beauty in the ordinary, often times very American, things of life. The subject of the present work surely reflects Dohanos' painstaking attention to detail, as he depicts an elderly gentleman in the process of making artificial flies. His eyes fixed on his labor, the man is completely oblivious to our presence and already grins at the thrilling thought of his next fly-fishing adventure. As the artist himself explained: "From cradle to the grave we are surrounded with natural and man-made objects, many of which can serve as a theme for a painting. Almost any subject when treated with care and respect can relate to the human condition in a meaningful and poignant way. This is the intent of many of my pictures." Full of colorful details and surprising props, the present painting's level of minutiae echoes the man's patience as he delicately sews feathers, ribbons and thread together - two activities which both require their participant's full attention and are labors of love. Condition report: Frame: 31 1/2 x 25 3/4 x 1 1/2 in. In excellent original condition with no sign of inpainting as seen under UV light. We do notice a small chip in the board at center left (top bar of the opened cabinet containing the flies).

Lot: 35 - GARY T. ERBE (AMERICAN, B. 1944) GOLDEN GLOVES

Gary T. Erbe (American, B. 1944) Golden Gloves Signed 'G Erbe' (underlined) bottom right; also titled and dated '2011' (twice) on canvas and backing board verso, oil on canvas52 x 37 1/4 in. (132.1 x 94.6cm) Provenance The Artist.Acquired directly from the above in 2012.Private Collection, Pennsylvania. Footnote: Exhibited "National Juried Trompe l'Oeil Exhibition," John F. Peto Studio Museum, Island Heights, New Jersey, September 28-December 31, 2013 (First Place Winner). Condition report: Frame: 61 1/2 x 47 x 3 in. To request a condition report, please email Raphaël Chatroux at [email protected]

Lot: 36 - WILLIAM ZORACH (AMERICAN, 1887–1966) SPIRIT OF THE DANCE

William Zorach (American, 1887–1966) Spirit of the Dance Signed, copyrighted, dated and numbered 'Zorach © 1932 4/6' on the base; also with 'Modern Art Foundry New York, N.Y.' foundry stamp along the base, bronze with brown patinaHeight: 77 in. (195.6cm) Provenance The Artist.A gift from the above circa 1970.Collection of an Educational Institution.Sotheby's, New York, sale of

Lot: 37 - ARTHUR BEECHER CARLES (AMERICAN, 1882–1952) ANGÈLE

Arthur Beecher Carles (American, 1882–1952) Angèle Oil on canvas30 x 27 in. (76.2 x 68.6cm)Executed in 1922. Provenance The Artist.The Estate of the Artist.Collection of Caroline Mantovi, the Artist's Daughter.Hollis Taggart Galleries, New York, New York.Acquired directly from the above.Collection of Fredrica Wagman, New York, New York.By descent in the family.Private

Lot: 38 - ARTHUR BEECHER CARLES (AMERICAN, 1882-1952) WILDFLOWERS IN A COMPOTE VASE I

Arthur Beecher Carles (American, 1882-1952) Wildflowers in a Compote Vase I Signed 'CARLES' center right, watercolor and gouache on (thin) laid paperSheet size: 26 7/8 x 18 7/8 in. (68.3 x 47.9cm) Provenance Collection of Mr. and Mrs. Carroll B. Tyson, Chestnut Hill, Pennsylvania.By descent in the family.Sotheby's, New York, sale of October 2, 2015, lot 221 (as Flowers III, part-lot).Acquired directly from the above sale.Private Collection, New York, New York. Condition report: Frame: 33 x 27 x1 1/2 in. In overall very good condition. The sheet is affixed to the undermat via two pieces of paper tape at upper left and upper right. The sheet is slightly toned, very light, and easily brittled. With toning along the outer edges of the work (especially along the top outer edge). With some light creases thoughout the composition (due to the fibers of the paper). Small hole in the paper at center left, close to the edge (covered by the mat). Another one at top right, along the top outer edge.

Lot: 39 - ARTHUR BEECHER CARLES (AMERICAN, 1882-1952) LOUNGING NUDE

Arthur Beecher Carles (American, 1882-1952) Lounging Nude Watercolor and gouache on laid paperSheet size: 16 1/8 x 20 3/4 in. (41 x 52.7cm) Provenance The Artist.The Estate of the Artist.Collection of Mercedes Matter, the Artist's daughter, New York.Acquired directly from the above circa 1996.Private Collection, New York, New York. Condition report: Frame: 21 1/2 x 25 x 1 1/2 in. The sheet is attached to the verso of the mat via four paper straps (2 at upper left and upper right, 2 at bottom left and bottom right). The paper is slightly toned, very thin but presents well. With minor surface soiling at upper left (in the margin, not the image). With two thin creases running vertically across the work at center right (from one end to the other), 0 3/4 in. from one another. Another, horizontal one can be seen at center right (stops halfway, only about 5 in. long). Final one visible at upper left, running diagonally in the corner (4 1/2 in. long, coming up on the image slightly). The verso of the sheet is slightly dirty (brnw stains at upper center, along the outer edge, center right and bottom left. With the creases' inprint, and another one (covered by the mat recto) in upper left corner (running for about 3 in.).

Lot: 40 - ARTHUR BEECHER CARLES (AMERICAN, 1882-1952) WILDFLOWERS IN A COMPOTE VASE II

Arthur Beecher Carles (American, 1882-1952) Wildflowers in a Compote Vase II Signed 'CARLES' bottom right, watercolor and gouache on laid paper laid down to boardSheet size: 26 7/8 x 20 in. (68.3 x 50.8cm) Provenance Collection of Mr. and Mrs. Carroll B. Tyson, Chestnut Hill, Pennsylvania.By descent in the family.Sotheby's, New York, sale of October 2, 2015, lot 221 (as Flowers III, part-lot).Acquired directly from the above sale.Private Collection, New York, New York. Condition report: Frame: 33 1/2 x 27 1/2 x 1 1/2 in. The sheet is laid down to a piece of board at all edges (it is impossible to lift the sheet, which is completed adhered). The board itself is encased within foamcore board, which stabilizes it on the undermat. With a light mat stain along the outer edges of the work (about 0 1/2 in. band). Diagonal crease at bottom right along the outer edge (likely due to the work being laid down but also to the fibers of the paper). With slight area of staining/discoloration at bottom center on the compotier's base. Small loss at upper right along the outer edge (covered by the mat). Toning along the outer edge of the work (more so than elsewhere). With slight air bubbles/ripples at upper left along the outer edge. See specialist's pictures for more details.

Lot: 41 - ARTHUR BEECHER CARLES (AMERICAN, 1882-1952) STILL LIFE WITH PITCHER AND FRUIT ON FLOWERED CLOTH

Arthur Beecher Carles (American, 1882-1952) Still Life with Pitcher and Fruit on Flowered Cloth Oil on canvas32 1/8 x 36 1/4 in. (81.6 x 92.1cm)Executed circa 1922. Provenance Collection of Earl Horter, Philadelphia, Pennsylvania (acquired in 1939).To his wife, Mrs. Elizabeth Lenth Horter, Pennsylvania.The Estate of Elizabeth Lenth Horter.Acquired directly from the above in 1985.Private Collection, New York, New York. Footnote: Exhibited "Modern Annual Exhibition," Rhode Island, n.d. (per label on frame verso). "Mad for Modernism: Earl Horter and His Collection," Philadelphia Museum of Art, Philadelphia, Pennsylvania, March 7-May 16, 1999. Literature Innis Shoemaker et. al, Mad for Modernism: Earl Horter and His Collection, an exhibition catalogue, Philadelphia Museum of Art, Philadelphia, 1999, p. III, pl. 61 (illustrated). Condition report: Frame: 38 x 42 x 2 in. The relined canvas in overall good condition. Examination under UV light reveals small, scattered retouched flakes in the upper right quadrant (in the background), as well as at center left and upper left. We also spot some retouching touches on the drape at bottom left. See specialist's pictures.

Lot: 42 - ARTHUR BEECHER CARLES (AMERICAN, 1882-1952) STILL LIFE WITH DRAPE

Arthur Beecher Carles (American, 1882-1952) Still Life with Drape Oil on canvas31 x 35 in. (78.7 x 88.9cm)Executed circa 1930. Provenance The Artist.The Estate of the Artist.Collection of Mercedes Matter, the Artist's daughter.Graham Gallery, New York, New York.Private Collection.Janet Fleisher Gallery, Philadelphia, Pennsylvania.Acquired directly from the above.Private Collection.Sotheby's, New York, sale of November 29, 1995, lot 92.Acquired directly from the above sale.Private Collection, New Mexico. Footnote: Exhibited (Possibly) "Arthur B. Carles, 1882-1952: Retrospective Exhibition," Graham Gallery, New York, New York, April 14-May 9, 1959. (Possibly) "Arthur B. Carles Retrospective, " Janet Fleisher Gallery, Philadelphia, Pennsylvania, September 5-30, 1975. Note The present work was executed in the 1930s. It is evocative of Carles' mature years, when the artist fully embraced the Cubist heritage he had first discovered in France through the paintings of Pablo Picasso (1881-1973) and Georges Braque (1882-1963). At the same time, it remains true to Carles' first and true passion for colors; the jagged, intersecting forms of the composition being typical of the artist's abstract pieces from the same time period. Unlike Carles' other abstract pieces which used a floral still life as a point of reference however, the present work seems more exuberant and further disconnected from reality. The only figurative element is a strange, ghostly figure on the right of the composition, who remains mostly hidden behind a black curtain. The rest of the painting revolves around dynamic, bold lines flying across the canvas. Yet, everything seems contained through Carles' expert use of colors. As Barbara A. Wolanin explained: "Carles integrated Cubism into his vision, not overlaying it, but using it to rein in his fauve tendencies." Through his solid blacks, tender pinks and contrasting blues, Carles implies a soothing mood of mystery that ultimately transcends the geometry introduced by the abstract shapes. Each pattern is completed by a certain color, which has its own quality and which instills a certain energy in the canvas. In this regard, Carles' approach to color resembles music: each hue acts as a note that the artist summons to diffuse a feeling, which ultimately resonates onto the canvas as a colorful symphony. Condition report: Frame: 40 7/8 x 45 x 1 7/4 in. The relined canvas in overall good condition. The surface of the work is a bit dusty and would beenfit from a light brushing. Examination under UV light reveals scattered, minor areas of restoration (mostly inpainted losses): repair at bottom center, framed by two small areas of restoration; at center left; at bottom left; at center left (along the left outer edge); at upper right quadrant (not the corner per se, but closer to the right outer edge, by the side of the figure). See Specialist's pictures for more details.

Lot: 43 - JAMIE WYETH (AMERICAN, B. 1946) SALTWATER ICE

Jamie Wyeth (American, B. 1946) Saltwater Ice Signed 'J. WYETH' bottom left, oil on board36 3/4 x 30 1/2 in. (93.3 x 77.5cm)Executed in 1997. Provenance The Artist.Acquired directly from the above in 1997.Private Collection, Maine.Acquired directly from the above through Adelson Galleries, New York, New York. Private Collection, New Hampshire. Footnote: Exhibited "Wondrous Strange: The

Lot: 44 - JOSEPH STELLA (AMERICAN, 1877–1946) THE JADE NECKLACE

Joseph Stella (American, 1877–1946) The Jade Necklace Oil on canvas21 3/4 x 18 1/8 in. (55.2 x 46cm) Provenance The Artist.The Estate of the Artist. Richard York Gallery, New York, New York.The Artist's nephew, Sergio Stella.By descent in the family.Private Collection, New Jersey. Condition report: Frame: 29 x 25 1/4 x 2 in. The unlined canvas in overall good to very good condition. Examination under UV light reveals pinpoint dots of restoration in the background at upper left and center left, upper right and center right. With a small repair on the woman's coat at bottom left. With remnants of old greenish varnish on the woman's coat and hair (hence a shiny finish).

Lot: 45 - STUART DAVIS (AMERICAN, 1892-1964) PORTRAIT OF A WOMAN IN PROFILE

Stuart Davis (American, 1892-1964) Portrait of a Woman in Profile Signed and dated 'STUART DAVIS 1914' bottom right, oil on canvas30 1/4 x 24 in. (76.8 x 61cm) Provenance Esther Stuttman Gallery, New York, New York.Gertrude Stein Gallery, New York, New York, circa 1971.Acquired directly from the above.Private Collection, New York.Sotheby's New York, sale of October 20, 2016, lot 5.Acquired directly from the above sale (after the sale).Private Collection, New York. Footnote: Literature Ani Boyajian and Mark Rutkoski, Stuart Davis: A Catalogue Raisonné, Vol. III, New Haven, Connecticut, 2007, p. 26, no. 1357 (illustrated). Condition report: Frame: 36 3/4 x 30 1/2 x 2 3/4 in. The relined canvas in overall good condition. Examination under UV light reveals scattered, small areas of inpainting. For example: upper left corner, bottom left corner, bottom center (along the edge and on the yellow part of the woman's garment) and bottom/center right (above the signature, towards the right edge). We also notice areas on the sitter's cheek and cheek bone. We also see a repair underneath her chin. See specialist's pictures for more details.

Lot: 46 - DONALD DE LUE (AMERICAN, 1900–1988) THE ROCKET THROWER

Donald de Lue (American, 1900–1988) The Rocket Thrower Signed and copyrighted 'De LUE ©' on the base, bronze with golden brown patinaHeight: 57 1/4 in. (145.4cm)Cast circa 1962 by Lera Bronze Foundry, Reggio, Italy (Master caster Antonio Santini) Provenance Private Collection, New Jersey. Footnote: Literature D. Roger Howlett, The Sculpture of Donald DeLue: Gods, Prophets and Heroes, Godine, Boston, 1990, pp. 102-106, 110-111 (other models, including preparatory ones, illustrated). Note The Rocket Thrower is an important work of Donald De Lue's, which the sculptor presented at New York World's Fair in 1964. "Peace Through Understanding" was the slogan for the fair, and "Man's Entry into Space" was its major theme. Rising forty-five feet into the air on the main axis, the work was meant to suggest "man’s relationship to space and his venturesome spirit backed up by all the powers of his intelligence for the exploration of a new dimension while channeling older models." Executed in merely six months, the work was one of the most difficult De Lue ever completed, and even had to be cast in Italy to meet the increasing demands of the Fair's committee. Channeling aspects of the Antique sculpture and more recent models like Antoine Bourdelle's Archer, the work received mixed-reviews. However lukewarm some critics may have been, they contributed to to the sculpture's posterity, and even bestowed it an iconic status, symbolically making it the visual separation between figurative art and abstract art in sculpture. The present work is part of a series of reduced bronzes approved by the Fair Committee for commerce. Condition report: In excellent original condition, with no sign of repair or restoration. With accumulated dust in the crevices. Some accumulated verdigris residue on the base.

Lot: 47 - DONALD DE LUE (AMERICAN, 1900–1988) SPIRIT OF AMERICAN YOUTH

Donald de Lue (American, 1900–1988) Spirit of American Youth Signed, dated and inscribed 'De Lue SC © 1955/ DLNMB DELANO' (on the circular base, to the left), bronze with golden brown patina on grey marble baseHeight: 37 1/4 in. (94.6cm)Width: 15 in. (38.1cm)Depth: 7 in. (17.8cm) Provenance Collection of Philip Schiavo, New York.Acquired directly from the above.Private Collection, Pennsylvania.By descent in the family.Private Collection, Pennsylvania. Footnote: Literature D. Roger Howlett, The Sculpture of Donald DeLue: Gods, Prophets and Heroes, Godine, Boston, 1990, pp. 48, 70-75 (other models, including preparatory ones, illustrated). Note By the time the present work was created, Donald de Lue's career was flourishing, and the artist finally enjoyed working alone without needing to assist other sculptors. The Spirit of American Youth, which shows a graceful young ephebe rising from the waves, was commissioned by the American Battle Monuments for the Omaha Beach Memorial at Brookgreen Gardens, South Carolina, to commemorate the heroic deaths of the Allies on D-Day. The project called for a twenty-two feet sculpture, cast in bronze - by far the largest figure De Lue would have produced to date. As the artist himself recalled: "I knew the opportunity would never present itself again so I put every effort to it I possibly could do." In 1951, José García Mazás wrote: "On the Spirit of American Youth, De Lue was able to lend eloquence of expression to his masterpiece, from the feet, which surge from the froth of a wave, to the moving shape of the head of the young giant. The arms express the idea of limitless flight into the blue. This entire endeavor is a hymn to resurrection, which is exactly what triumph should signify to those who died in Normandy." De Lue's style is marked by a tendency to exaggerate the figure's musculature, which comes from his observation of post-Alexandrian Hellenic sculptures. Yet, the physique of the man here appears secondary as De Lue makes a point of picturing the Allies' victory, not as a triumph of physical force, but as a result of sheer determination and morale. Although De Lue was not the only sculptor to be awarded a public commission, Spirit of American Youth stands out as the epitome of "architectural sculpture," which slowly disappeared in favor of "unadorned glass boxes." Condition report: Base: 7 x 7 in. In overall good condition, with accumulated dust in the crevices of the work and patina consistent with ageware. No evidence of repair no scratches. Some green residue on the interior of the wave (opposite the man's ankles). Again on the man's waist (to the left). The srface of the bronz is dotted with multiple pinpoint crevices (part of the artist's working method, not a sign of abrasion).

Lot: 48 - ELIZABETH CATLETT (AMERICAN, 1915-2012) THE FAMILY

Elizabeth Catlett (American, 1915-2012) The Family Signed with the Artist's initials 'E.C.' to the rear of base, bronze with brown patina on wooden baseHeight (without the base): 14 7/8 in. Height (including the base): 17 in.Executed in 2002. Provenance Collection of Lewis and Louise Hirchfeld Cullman, New York, New York.A gift from the above.Northside Child Development, New York, New York. Private Collection, California. Condition report: Base: 6 1/8 x 6 1/4 in. In excellent original condition with no evidence of repair. Very light scratch on the woman's left shoulder. With accumulated dust in the crevices of the work.

Lot: 49 - ANDREW WYETH (AMERICAN, 1917–2009) THE JOHNSON PLACE

Andrew Wyeth (American, 1917–2009) The Johnson Place Signed 'ANDREW WYETH' bottom left; also dedicated and signed 'To Mrs. Seal who tried to/teach me something/Warmest regards, Andy' bottom right; also inscribed with title verso, pen and ink wash with elements of drybrush technique on paper laid down to boardSheet size: 14 5/8 x 25 1/2 in. (37.1 x 64.8cm)Executed in 1939.In its original frame. Provenance The Artist.A gift from the above.Collection of Estelle Seal, Chadds Ford, Pennsylvania.By descent in the family.Private Collection, Naples, Florida. Footnote: Exhibited "Exhibition of the Work of Andrew Wyeth," St. Andrew's School, Middletown, Delaware, April 1-22, 1940, no. 72. "Drawings by Andrew Wyeth," Pennsylvania Museum and School of Industrial Art, Philadelphia, Pennsylvania, January 1941. "Water Colors (sic) and Drawings by Andrew Wyeth," Baldwin Galleries, Wilmington, Delaware, February 1941. Brandywine River Museum, Chadds Ford, Pennsylvania (on long-term loan from 2004-2010). Note This panoramic view of a outstretched farm in winter depicts Adam Johnson's house, a frequent model, farmer and Andrew Wyeth's neighbor in Chadds Ford. The small figure of a boy at left was living with Johnson by the time the work was completed, at dusk. Condition report: Frame: 23 1/2 x 34 x 1 in. In overall good condition. The sheet is laid down to a piece of board on the back, and the mat sealed on top. When the latter is removed, one can inspect the full sheet and its outer edges. With mat staining along the outer edges of the work (a 0 1/8 to 0 1/2 recess band from the actual borders of the sheet). With some faint air bubbles (ripples) in the paper at center left, upper and upper right (all in the sky) as well as at bottom right (to the left of the dedication in the snow), most likely due to the process of laying the work down. With two faint rust-colored vertical lines visible in the sky above the house at upper center and at upper center left, and with minor surface soiling in the sky at upper right (and in the covered margin along the right outer edge of the sheet). With remnants of old tape along the top of the left outer edge of the sheet (covered by the mat). Otherwise no evidence of repairs or restoration.

Lot: 50 - JAMIE WYETH (AMERICAN, B. 1946) APPLE BASKET

Jamie Wyeth (American, B. 1946) Apple Basket Signed 'Jamie Wyeth' bottom right, watercolor on paperSheet size: 22 7/8 x 18 5/16 in. (58.1 x 46.5cm)Executed circa 1960s. Provenance The Artist.Acquired directly from the above through Mrs. Betsy Wyeth.Private Collection, Maine.By descent in the family.Private Collection, South Carolina. Footnote: Note The present work is an early watercolor by Jamie Wyeth, then deeply influenced by his father Andrew Wyeth, and depicts the family barn in Cushing, Maine. Condition report: Frame: 31 1/2 x 26 1/2 x 1 in. In overall good condition. The sheet is affixed to the undermat via three pieces of white linen hinging tape at top (upper left, upper center and upper right), on both sides (see shadow of the reverse tape uptop along the top outer edge). With remnants of linen tape verso along the left outer edge, at bottom. The paper is wrinkly at times - due to the medium. See for example along the right and left outer edges of the works (building's left edge and in the sky). We notice a fold in the paper at upper left, on the outer edge (on the building's shadowed facade). The colors are fresh and overall present well (no real toning of the white). With several, minor, tears alongside the outer edges of the work. For example: at upper right, on the right outer edge of the paper (in the sky, partly covered by the mat), at bottom right, along the right outer edge of the paper (in the grass, three very minor areas covered by the mat), at bottom left, along the left outer edge of the paper (in the grass, repaired 'Y-shaped' tear, about 0 1/4 in. wide and long); bottom center left along the left outer edge (in the grass, faint repaired 'Y-shaped' tear again). With light scratching on the apples: this is part of the artist's working method (to capture the light), and not a condition issue. The verso is slightly stained and wrinkled, with slight discoloration around the edges but presents overall well. See specialist's pictures for more details.

Lot: 51 - BO BARTLETT (AMERICAN, B. 1955) THINKING, WONDER, TUB, BAPTISM, HEIR

Bo Bartlett (American, B. 1955) Thinking, Wonder, Tub, Baptism, Heir Titled on the right edge of the canvas, oil on linen64 x 81 1/4 in. (162.6 x 206.4cm)Executed between 1992-1995. Provenance Forum Gallery, New York, New York.Acquired directly from the above.Collection of Thomas J. Perkins, San Francisco and Belvedere, Calfiornia. Clars Auction Gallery, Oakland, sale of November 13, 2006, lot 6199.Acquired directly from the above sale.Private Collection, New Hampshire. Footnote: Note The present painting depicts the artist's son, Eliot (1987-2014). About the work, the artist reminisces: "This Tub painting is highly personal for me. It is of my youngest son Eliot. It was started after I’d begun to spend a lot of time with my mentor Andrew Wyeth. There is a stillness in the piece. We can feel time... It’s about the passage of time... and redemption. The pure light pours into the room... and a refraction creates the fleeting illusion of a halo above Eliot’s head." Condition report: Frame: 65 1/4 x 82 1/2 x 2 in. The unlined canvas in excellent original condition, without any sign of restoration as seen under UV light. With light abrasions along the outer edges of the work. See specialist's pictures for more details.

Lot: 52 - MORGAN COLT (AMERICAN, 1876–1926) BUTCHER WAGON

Morgan Colt (American, 1876–1926) Butcher Wagon Signed 'Morgan Colt' bottom right, oil on canvas30 x 36 1/4 in. (76.2 x 92.1cm)Executed in 1922. Provenance Plymouth Meeting Gallery, Plymouth Meeting, Pennsylvania.Acquired directly from the above in January 1994.Collection of Virginia and Stuart Peltz, Bucks County, Pennsylvania. Footnote: Exhibited "One Hundred Seventeenth

Lot: 53 - GEORGE WILLIAM SOTTER (AMERICAN, 1879–1953) BUCKS COUNTY MOONLIGHT

George William Sotter (American, 1879–1953) Bucks County Moonlight Signed 'GW Sotter' bottom right, oil on Masonite 13 3/4 x 16 1/4 in. (34.9 x 41.3cm) Provenance Brown Brothers, Buckingham, sale of October 16, 1985, lot 279.Acquired directly from the above sale.Collection of Virginia and Stuart Peltz, Bucks County, Pennsylvania. Footnote: Literature Brian H. Peterson, Pennsylvania Impressionism, James A. Michener Art Museum, Doylestown and University of Pennsylvania Press, Philadelphia, 2002, p. 252, no. 169 (illustrated as Untitled). Condition report: Frame: 17 x 19 1/2 x 2 in. In excellent original condition with no sign of inpainting as seen under UV light.

Lot: 54 - WALTER EMERSON BAUM (AMERICAN, 1884–1956) ROAD TO TOWN, AUTUMN

Walter Emerson Baum (American, 1884–1956) Road to Town, Autumn Signed 'BAUM' bottom right, oil on canvas36 x 30 in. (91.4 x 76.2cm) Provenance Jim's of Lambertville, Lambertville, New Jersey.Acquired directly from the above.Collection of Virginia and Stuart Peltz, Bucks County, Pennsylvania. Condition report: Frame: 45 3/4 x 39 3/4 x 2 1/2 in. The unlined canvas in excellent original condition. Examination under UV light does not reveal any sign of inpainting. In what appears to be the original frame.

Lot: 55 - DANIEL GARBER (AMERICAN, 1880–1958) UP THE RIVER, WINTER

Daniel Garber (American, 1880–1958) Up the River, Winter Signed '-DANIEL GARBER-' bottom center left, oil on canvas30 x 30 in. (76.2 x 76.2cm)Executed in January 1915. Provenance The Artist.Acquired directly from the above through E. J. Halow, Reading, Pennsylvania.Collection of George Nye, Manistee, Michigan.Collection of J. Bennett Nolan, Reading, Pennsylvania (before 1932).

Lot: 56 - KENNETH R. NUNAMAKER (AMERICAN, 1890–1957) WINTER GLEN

Kenneth R. Nunamaker (American, 1890–1957) Winter Glen Signed 'K. NUNAMAKER' bottom left; also with Artist's stamp on upper stretcher bar verso, oil on canvas14 x 14 in. (35.6 x 35.6cm) Provenance Collection of Virginia and Stuart Peltz, Bucks County, Pennsylvania. Condition report: Frame: 19 3/4 x 19 1/2 x 2 1/2 in. The unlined canvas in excellent original condition with no sign of inpainting as seen under UV light. We notice several spots covered by remnants of old varnish (the most important one being at upper right). The canvas has slightly bucked in the upper left corner (very minor, and non obtrusive).

Lot: 57 - ARTHUR MELTZER (AMERICAN, 1893–1989) RIVER'S EDGE

Arthur Meltzer (American, 1893–1989) River's Edge Signed 'Arthur Meltzer' bottom right; also titled verso and with original preparer's label on stretcher verso; also inscribed 'Romance of a Rose/P. van Roekens' on stretcher verso, oil on canvas12 x 14 in. (30.5 x 35.6cm) Provenance Collection of Virginia and Stuart Peltz, Bucks County, Pennsylvania. Condition report: Frame: 19 1/4 x 21 3/8 x 1 1/2 in. The unlined canvas in excellent original condition, with no sign of inpainting as seen under UV light. We notice the canvas is a bit loose at upper right. The work is protected by a layer of artist's board on the back - a method usually used by the artist himself to prevent the canvas from being poked.

Lot: 58 - FERN ISABEL COPPEDGE (AMERICAN, 1883–1951) DECEMBER AFTERNOON (CARVERSVILLE)

Fern Isabel Coppedge (American, 1883–1951) December Afternoon (Carversville) Signed 'Fern I. Coppedge' bottom right; also signed, inscribed with Artist's address (4011 Baltimore Ave/Philadelphia, PA) and titled on upper stretcher verso, oil on canvas30 x 30 in. (76.2 x 76.2cm)Executed circa 1924-1925.In a Phillip N. Yates frame. Provenance Hirschl & Adler, New York, New York.Acquired directly from the above in January 1998. Collection of Stuart and Virginia Peltz, Massachusetts. Footnote: Exhibited National Association of Women Painters and Sculptors, New York, New York, n.d. Literature Revue du Vrai et du Beau, Paris, January 25, 1927. Page Talbott and Patricia Tanis Sydney, The Philadelphia Ten: A Woman's Artist Group 1917-1945, Galleries at Moore and American Art Review Press, 1998, p. 74, pl. 37 (illustrated). Brian H. Peterson, Pennsylvania Impressionism, James A. Michener Art Museum, Doylestown and University of Pennsylvania Press, Philadelphia, 2002, p. 113, no. 22 (illustrated). Note The present work depicts the small village of Carversville, named after its first postmaster, and situated about forty-five miles north of Philadelphia, in Bucks County. A quaint hamlet, Carversville is currently protected by a Historic District Ordinance which prevents its population from growing much larger or being developed with new homes or businesses. Recognizable by the confluence of two streams, the Cuttalossa Creek and the Paunacussing Creek, the Carversville island was one of the artist's favorite painting locations, not far from Lumberville (where she lived). Several other oils by the artist depict the same locale, with only the vantage point differing. See for example, Freeman's sale of December 5, 2019, lot 119 (Snow Bridge Creek). Here, the artist once again demonstrates her mastery at capturing the so-distinct winter light, giving the impression of a cold, grey December day. To do so, Coppedge uses a very restricted color palette, which reminds us of the muted harmonies Redfield himself displays in his winter scenes. She depicts the gentle muddied-turquoise flow of the Paunacussing Creek, which borders bright houses on the riverbanks, all subtly covered with blotches of green-yellows, brown-oranges and opalescent blues. In the background, one can spot the Bridge in Solebury Township, a historic double-arched stone bridge erected in 1854, which Coppedge here treats as a mosaic, outlining each squared stone with various shades of yellow, mauve and blue. Condition report: Frame: 39 x 39 x 2 1/4 in. The unlined canvas in excellent original condition. With light craquelure at center in the snow. Examination under UV light reveals miniscule dots of inpainting (due to old flakes it seems) at upper center (sky), center right (snow) and bottom left (snow as well). See Specialist's pictures for more details.

Lot: 59 - CLARENCE RAYMOND JOHNSON (AMERICAN, 1894–1981) UNTITLED (HOUSE AND OUTBUILDINGS IN SUNLIGHT)

Clarence Raymond Johnson (American, 1894–1981) Untitled (House and Outbuildings in Sunlight) Signed 'C. Johnson' bottom right; also inscribed 'No. 5' on upper stretcher verso, oil on canvas25 x 30 in. (63.5 x 76.2cm) Provenance (Possibly) Plymouth Meeting Gallery, Plymouth Meeting.Acquired directly from the above.Collection of Virginia and Stuart Peltz, Bucks County, Pennsylvania. Footnote: Exhibited "The Painterly Voice: Bucks County's Fertile Ground," James A. Michener Art Museum, Doylestown, Pennsylvania, October 22, 2011-April 1, 2012. Condition report: Frame: 32 1/2 x 37 1/2 x 2 1/2 in. The unlined canvas in excellent original condition, with no sign of inpainting as seen under UV light. With slight craquelure in the sky at upper center right (very minor). We do note that some colors (notably the blues) fluoresce under UV light: this is due to the pigments, and is not a sign of restoration. With areas of the canvas intentionally left bare: this is part of the artisti's working method.

Lot: 60 - WILLIAM FRANCIS TAYLOR (AMERICAN/CANADIAN, 1883–1970) THE CANAL IN WINTER (THE TOWPATH)

William Francis Taylor (American/Canadian, 1883–1970) The Canal in Winter (The Towpath) Signed 'Wm Francis Taylor' upper right, oil on canvas20 x 24 in. (50.8 x 61cm)Executed circa 1920. Provenance Blackburn & Ward, Point Pleasant, Pennsylvania.Acquired directly from the above.Collection of Virginia and Stuart Peltz, Bucks County, Pennsylvania. Condition report: Frame: 27 1/2 x 31 1/2 x 2 1/4 in. The unlined canvas in excellent original condition, with a nicely preserved impasto and light vertical craquelure throughout the canvas, especially visible in the white areas of the composition. Examination under UV light does not reveal any sign of inpainting.

Lot: 61 - FERN ISABEL COPPEDGE (AMERICAN, 1883–1951) SNOWY COUNTRY SIDE (LAMBERTVILLE IN WINTER)

Fern Isabel Coppedge (American, 1883–1951) Snowy Country Side (Lambertville in Winter) Signed bottom center right; also titled, signed and inscribed with Artist's address (4011 Baltimore Ave) on upper stretcher verso, oil on canvas25 1/8 x 30 1/8 in. (63.8 x 76.5cm)Executed circa 1920. Provenance Beacon Hill Fine Art, New York, New York.Acquired directly from the above.Collection of Virginia and Stuart Peltz, Bucks County, Pennsylvania. Footnote: Exhibited The Parrish Art Museum, Southampton (now Water Mill), New York, July 1922. Corcoran Gallery of Art, Washington, D.C. 1922. "An American Tradition: The Pennsylvania Impressionists," Beacon Hill Fine Art, New York, New York, November 24, 1994-February 3, 1996 (as View of New Hope). Literature The New York Herald, July 2, 1922. The Philadelphia Public Ledger, December 2, 1923. Debra Force, An American Tradition: The Pennsylvania Impressionists, an exhibition catalogue, Beacon Hill Fine Art, New York, 1995, p. 31 (illustrated as New Hope Village). Condition report: Frame: 32 1/2 x 37 1/2 x 2 in. The relined canvas in overall very good condition, with very fresh colors. Examination under UV light reveals scattered areas of (very minor restoration). See for example at upper center right (on the hill), upper right corner (repair in the sky, just above the hill), at center and center left (the main house's right side and the house further to the left). Inpainted minuscule flakes at upper center left (in the tree). The painting appears to have been cleaned as only residual varnish can be seen at center left, on the trees.

Lot: 62 - JOHN FULTON FOLINSBEE (AMERICAN, 1892–1972) MOTHER AND DAUGHTER (PORTRAIT OF THE ARTIST’S WIFE AND DAUGHTER)

John Fulton Folinsbee (American, 1892–1972) Mother and Daughter (Portrait of the Artist’s Wife and Daughter) Signed and dated 'John Folinsbee-/Mar. 1917-' bottom right, oil on canvas30 1/8 x 24 1/8 in. (76.5 x 61.3cm) Provenance Richard Stuart Gallery, Pipersville, Pennsylvania.Acquired directly from the above in 1982 through Ruth Baldwin Folinsbee (the Artist's

Lot: 63 - KENNETH R. NUNAMAKER (AMERICAN, 1890–1957) RIVER ROAD AT CENTRE BRIDGE

Kenneth R. Nunamaker (American, 1890–1957) River Road at Centre Bridge Signed 'K. NUNAMAKER' bottom left, oil on canvas44 x 50 in. (111.8 x 127cm)Executed in 1920. Provenance The Swan Hotel, Lambertville, New Jersey.Plymouth Meeting Gallery, Plymouth Meeting, Pennsylvania.Acquired directly from the above in 1989.Collection of Virginia and Stuart Peltz, Bucks County, Pennsylvania. Footnote: Exhibited "The Pennsylvania Impressionists: An American Tradition," Woodmere Art Museum, Philadelphia, Pennsylvania, June 6–August 15, 1998; also Dixon Gallery and Gardens, Memphis, Tennessee, January–February 22, 1998; also Gibbes Museum of Art, Charleston, South Carolina, March 28–May 10, 1998 (traveling exhibition). "The Painterly Voice: Bucks County's Fertile Ground," James A. Michener Art Museum, Doylestown, Pennsylvania, October 22nd, 2011-April 1st, 2012. Literature Brian H. Peterson, Pennsylvania Impressionism, James A. Michener Art Museum, Doylestown and University of Pennsylvania Press, Philadelphia, 2002, p. 180, no. 95 (illustrated, as River Road at Center [sic] Bridge). Note Nunamaker joined the New Hope School in 1918, well after its foundation. Foregoing his earlier career in advertising in the Midwest, Nunamaker moved east because he heard murmurings of the natural beauty of the Delaware River. As exemplified in the present work, Nunamaker's work was strongly influenced by Edward Redfield. In fact, the two artists lived and painted near each other in Centre Bridge, the famous British-sounding village depicted here. Although Redfield had very few students, he took Nunamaker under his wing, and taught him how to best capture the ever-changing effects of light, and suggest, through a vigorous and heavy impasto, the rugged beauty of the Pennsylvania countryside. The present work showcases how indebted Nunamaker was to his mentor, as we are presented with an impressively large atmospheric landscape, composed of a thickly layered impasto and a rich color palette made of deep oranges, browns and soft purples and greens - the embodiment of the luscious fall season itself. Condition report: Frame: 51 3/4 x 57 1/2 x 1 1/2 in. The wax-lined canvas in very good, close to excellent original condition. Examination under UV light only reveals broad etouching along the top outer edge of the canvas. The rest of the composition is intact. With remnants of old greenish varnish along the right outer edge of the canvas.

Lot: 64 - WILLIAM LANGSON LATHROP (AMERICAN, 1859–1938) FEEDING THE CHICKENS

William Langson Lathrop (American, 1859–1938) Feeding the Chickens Signed and dated 'WL Lathrop/.01.' bottom right, oil on canvas19 x 25 in. (48.3 x 63.5cm) Provenance Plymouth Meeting Gallery, Plymouth Meeting, Pennsylvania.Acquired directly from the above in January 1994.Collection of Stuart and Virginia Peltz, Bucks County, Pennsylvania. Condition report: Frame: 27 5/8 x 33 3/4 x 2 1/2 in. The unlined canvas in excellent original condition, with no sign of inpainting as seen under UV light. With some remnants of old greenish varnish along the outer edges of the canvas (which appears mostly cleaned). The upper right quadrant exhibits some parts of the canvas that are bare: this is part of the artist's working method.

Lot: 65 - EDWARD WILLIS REDFIELD (AMERICAN, 1869–1965) COUNTRY ROAD WINTER

Edward Willis Redfield (American, 1869–1965) Country Road Winter Signed 'Edward W. REDFIELD.' bottom left, oil on canvas26 x 32 in. (66 x 81.3cm)In a Phillip N. Yates frame. Provenance Plymouth Meeting Gallery, Plymouth Meeting, Pennsylvania.Acquired directly from the above in October 2000. Collection of Stuart and Virginia Peltz, Massachusetts. Footnote: Literature John M.W. Fletcher, Edward Willis Redfield, An American Impressionist 1869-1965: The Redfield Letters, Vol. II, Lahaska, Pennsylvania, 2002, no. 334, p. 407 (illustrated as Village Road Winter). Note The present work will be included in the forthcoming Catalogue Raisonné of Edward Redfield's work, compiled by Dr. Thomas C. Folk. Condition report: Frame: 33 1/2 x 39 x 2 in. The unlined canvas in very good (close to excellent) condition. With hairline craquelure visible throughout the work, especially in the bottom left quadrant (see Specialist's details). We notice the ground of the canvas is apparent at the tip of the tree's branches, especially at center and upper left: this appears to be consistent with the artist's working method, and is not a sign of abrasions or losses. Examination under UV light does not reveal any sign of inpainting.

Lot: 66 - WALTER EMERSON BAUM (AMERICAN, 1884–1956) ROAD TO HEXAKOPF MOUNTAIN

Walter Emerson Baum (American, 1884–1956) Road to Hexakopf Mountain Signed and dated 'WE BAUM/1935' bottom right; also titled, signed and dated verso, oil on canvasboard22 x 27 3/4 in. (55.9 x 70.5cm) Provenance Brown Brothers, Buckingham, sale of October 16, 1985, lot 274.Acquired directly from the above sale.Collection of Virginia and Stuart Peltz, Bucks County, Pennsylvania. Condition report: Frame: 29 1/4 x 35 1/4 x 1 1/2 in. In excellent original condition with no sign of inpainting under UV light. The dark greens appear purplish at bottom right under UV light, but it is due to the pigments, and not a sign of restoration.

Lot: 67 - HARRY LEITH-ROSS (AMERICAN, 1886–1973) BUCKS COUNTY LANDSCAPE (GRAZING COWS)

Harry Leith-Ross (American, 1886–1973) Bucks County Landscape (Grazing Cows) Signed 'Leith-Ross' bottom right, oil on board 8 1/4 x 10 1/4 in. (21 x 26.3cm) Provenance The Coryelle Gallery at the Porkyard, Lambertville, New Jersey.Acquired directly from the above circa 1980s.Collection of Stuart and Virginia Peltz, Massachusetts. Condition report: Frame: 14 5/8 x 16 3/4 x 2 1/2 in. In excellent original condition with no sign of inpainting as seen under UV light. With a minuscule chip in the board at upper center (corresponding to the sky area).

Lot: 68 - WALTER ELMER SCHOFIELD (AMERICAN, 1867–1944) DECEMBER DAY

Walter Elmer Schofield (American, 1867–1944) December Day Signed 'Schofield' bottom right; also signed and illegibly dated '19*2' verso and titled on upper stretcher bar verso, oil on canvas31 1/8 x 36 1/8 in. (79.1 x 91.8cm)Executed circa 1920. Provenance Freeman's, Philadelphia, 1950.Private Collection, Pennsylvania.Sotheby's, New York, sale of December 3, 1987, lot 242.Acquired directly from the above sale.Collection of Sheldon and Judith Streisand.Doyle, New York, sale of November 7, 2018, lot 33.Acquired directly from the above sale.Private Collection, New Jersey. Condition report: Frame: The unlined canvas in overall good condition, with minor, light craquelure (especially visible at upper right and along bottom outer edge as well in the white areas). Examination under UV light reveals scattered restoration at bottom left (underneath the tree, in the snow) and bottom left corner. Minor pinpoint dots of restoration at bottom right. Very thin vertical repair at upper right, near the right outer edge (about 2 in. long). Wih remnants of old greenish varnish at times (especially visible at bottom right in the bushes, as well as in the main tree at center, and to the left near the outer edge). See specialist's pictures for more details.

Lot: 69 - MARY ELIZABETH PRICE (AMERICAN, 1877–1965) TIGER LILIES

Mary Elizabeth Price (American, 1877–1965) Tiger Lilies Titled and signed 'M. ELIZABETH PRICE' on upper stretcher verso, oil with silver and gold leaf on canvas24 1/4 x 50 1/8 in. (61.6 x 127.3cm) Provenance Art Alliance, Philadelphia, Pennsylvania, Pennsylvania.Grand Central Galleries, New York, New York.Collection of Donald B. Rice, Trenton, New Jersey.By descent in the Rice family.Collection of Richard C. Peters, New Jersey.Inherited directly from the above. Private Collection, California. Footnote: Note Mary Elizabeth Price made a name for herself by painting decorative floral panels and screens, which she rendered in a close-up, yet painterly manner, as shown in the present lot. Price started to explore the genre in the late 1920s and continued onwards, using the countless irises, peonies, poppies, lilies, delphinium and hollyhocks that grew in her lush garden at "Pumpkinseed Cottage" as her main source of inspiration. Through her captivating still lifes, Price revived an old technique of Italian Renaissance painting. Like the Florentine and Sienese artists of the 15th century, she used a bold palette of oil colors, which she richly applied to a gilded surface of gesso (sometimes covered by no less than sixteen different shades of mostly gold, sometimes silver leaf), preliminarily incised with intricate designs. The present work is unusual as it depicts a flower arrangement in a horizontal format against a silver-only background. The use of silver ground, Price's restraint of color and the overall simplicity of the design, as well as the flatness of the arrangement all contribute to a highly decorative effect, which ties the artist with the Arts & Crafts movement of the time. The use of tiger lilies, an exotic flower which happened to be one of the artist's favorites, also indicates a Far-East inspiration, specifically Korean floral panels, which also typically stand against gold or silver ground so as to give a transcendental dimension to the work. Condition report: Frame: 28 x 54 x 2 1/2 in. To request a condition report, please email Raphaël Chatroux at [email protected]

Lot: 70 - SAMUEL GEORGE PHILLIPS (AMERICAN, 1890–1965) SUMMER ALONG THE DELAWARE RIVER

Samuel George Phillips (American, 1890–1965) Summer Along the Delaware River Signed 'S. George Philips' bottom right, oil on canvas27 x 32 in. (68.6 x 81.3cm) Provenance Private Collection, Pennsylvania, circa 1960.By descent in the family.Private Collection, New Hope, Pennsylvania. Condition report: Frame: 34 x 39 1/4 x 1 1/2 in. The unlined canvas in overall good condition. With small losses in the upper right quadrant (in the two hills), as well as at bottom center and upper left (in the tree): all relatively minor and rather unobtrusive as the ground color of the canvas is purple, and therefore matches with the overall harmony of the work. With a small puncture line at bottom right near the bottom edge. Examination under UV light does not reveal any sign of inpainting. The canvas might benefit from a light cleaning.

Lot: 71 - SAMUEL GEORGE PHILLIPS (AMERICAN, 1890–1965) DELAWARE WATER GAP

Samuel George Phillips (American, 1890–1965) Delaware Water Gap Signed 'S. GEORGE PHILLIPS' bottom left, oil on canvas27 1/8 x 34 1/8 in. (68.9 x 86.7cm) Provenance Private Collection, Hudson, New York. Condition report: Frame: 37 3/4 x 45 x 2 in. The relined canvas in excellent original condition, with no sign of inpainting as seen under UV light. With light craquelure in the sky at upper left and at center, touching on to the water.

Lot: 72 - JOHN FULTON FOLINSBEE (AMERICAN, 1892–1972) NEW HOPE FROM LAMBERTVILLE

John Fulton Folinsbee (American, 1892–1972) New Hope from Lambertville Signed 'John Folinsbee' bottom right; also illegibly dedicated 'to Rev. and Mrs. Murray/From the New Hope Church 195*' and inscribed with title on frame verso, oil on canvasboard10 x 13 7/8 in. (25.4 x 35.2cm)Executed circa 1950. Provenance Private Collection, Langhorne, Pennsylvania.Private Collection, Fairless Hills, Pennsylvania. Footnote: Note The present work, which is a new addition to the Catalogue Raisonné of the Artist's work, will be accompanied by a letter from the John F. Folinsbee Art Trust, confirming the authenticity of the painting. Condition report: Frame: 15 x 19 x 1 1/2 in. In overall very good condition. With two small flakes at upper center in the sky, and a small brown smudge at upper right. Examination under UV light does not reveal any sign of inpainting.

Lot: 73 - JOHN FULTON FOLINSBEE (AMERICAN, 1892–1972) GLOUCESTER HARBOR (EVENING)

John Fulton Folinsbee (American, 1892–1972) Gloucester Harbor (Evening) Signed 'John F. Folinsbee-' bottom right; aslo titled on stretcher verso, oil on canvas32 1/4 x 40 in. (81.9 x 101.6cm)Executed in 1926. Provenance The Artist.Grand Central Art Galleries, New York, New York.Acquired directly from the above.Private Collection, Connecticut.By descent in the family. Footnote: Exhibited "John Folinsbee," Carson Pirie Scott & Co., Chicago, Illinois, February 1926. Literature Kirsten M. Jensen, Folinsbee Considered, Hudson Hills Press, Manchester, 2013, p. 249, no. 947 (illustrated in black and white, listed as "location unknown"). Note As many Pennsylvania Impressionists before him and contemporary to him, Folinsbee often spent his summers away from Pennsylvania. The artist first visited Gloucester in 1916 and continued to explore the picturesque region throughout the 1910s and 1920s, usually in the company of his good friends Jonas Lie and Harry Leith-Ross. The present work is a newly discovered canvas, one of approximately twenty oils the artist completed during this period. Contrary to the majority of the other works, all limited in size, Gloucester Harbor (Evening) is striking for its impressive, exhibition format, which suggests the artist had high hopes for it. The work indeed displays a rather new color palette, made of soft, almost pastel-like colors (as opposed to pure touches of color), and a broader, smoother touch, which subtly contrasts with Folinsbee's earlier canvases made of short, rapid brushtrokes going in every direction. This new style can be seen as an inspiration from his immediate companions in Gloucester, but can also be linked to the general evolution underway in the 1920s-1930s among members of the New Hope School, who thought it necessary to differentiate themselves from the founding members of the group, such as Edward Redfield, to embrace a more modernist expression, and stay relevant in the art world. Condition report: Frame: 36 1/4 x 44 1/2 x 1 1/4 in. The unlined canvas in overall very good, close to excellent original condition. With the ground of the canvas apparent along the outer edges of the canvas: not so much abrasions as part of the artist's working method. Examination under UV light does not reveal any sign of restoration aside from pigments fluorescence.

Lot: 74 - WALTER EMERSON BAUM (AMERICAN, 1884–1956) BUCKS COUNTY MILL

Walter Emerson Baum (American, 1884–1956) Bucks County Mill Signed 'W E BAUM' bottom left; also titled verso, oil on canvas25 x 30 in. (63.5 x 76.2cm) Provenance The Artist.Acquired directly from the above circa 1940s.Collection of Mansel Rankin, Ohio.By descent in the family.Private Collection, Arizona.By descent in the family.Private Collection, Minnesota. Condition report: Frame: 31 x 36 x 2 in. The unlined canvas in overall very good condition, with small smudges in the bottom left corner. Certain areas of the canvas fluoresce under UV light: these correspond to patches where the canvas appears mostly bare, and integrated with the snow. It is not due to any restoration or inpainting. Similar areas in the upper parts around the trees. See Specialist's pictures.

Lot: 75 - FERN ISABEL COPPEDGE (AMERICAN, 1883-1951) GLOUCESTER HARBOR

Fern Isabel Coppedge (American, 1883-1951) Gloucester Harbor Signed 'Fern I. Coppedge' bottom left, oil on canvas18 1/8 x 21 in. (46 x 53.3cm) Provenance Private Collection, Pennsylvania.By descent in the family.Private Collection, California. Condition report: Frame: 26 x 29 x 1 in. The unlined canvas in very good condition. Examination under UV light reveals three dots of inpainting in the foreground at bottom center right (in the grass). Otherwise untouched.

Lot: 76 - ANTONIO PIETRO MARTINO (AMERICAN, 1902–1989) THE REPAIR YARD

Antonio Pietro Martino (American, 1902–1989) The Repair Yard Signed and datd 'A.P. Martino/1924' bottom right, oil on canvas30 x 36 in. (76.2 x 91.4cm) Provenance The Artist.The Estate of the Artist.Acquired directly from the above.Private Collection, Gloucester, Massachusetts. Condition report: Frame: 35 x 41 x 1 1/2 in. The unlined canvas in overall very good condition. Examination under UV light reveals a small repair at center left (in the sky, to the left of the mast). With some retouching at upper right corner and at bottom center right (to the left of the shed) as well.

Lot: 77 - ANTONIO PIETRO MARTINO (AMERICAN, 1902–1989) THE OLD LOCK

Antonio Pietro Martino (American, 1902–1989) The Old Lock Signed and dated 'A.P. Martino/1929' bottom right; also titled on upper stretcher verso, oil on canvas30 x 36 1/8 in. (76.2 x 91.8cm) Provenance Alderfer Auction, Hatfield, sale of March 9, 2000, lot 454.Acquired directly from the above sale.Gratz Gallery, Doylestown, Pennsylvania.Acquired directly from the above.Private Collection, California. Condition report: Frame: 39 x 45 x 2 in. The wax-lined canvas in overall good condition. The surface of the work is a bit dusty and would generally benefit from a light cleaning. With areas where the canvas is bare, such as at bottom right (part of the artist's working method). Examination under UV light does not reeval any sign of restoration, apart from minuscule, pinpoint specks (brownish) at bottom right (in the water) and at center right (on the bottom part of the lock).

Lot: 78 - SAMUEL GEORGE PHILLIPS (AMERICAN, 1890–1965) THE DELAWARE VALLEY

Samuel George Phillips (American, 1890–1965) The Delaware Valley Signed 'Phillips' bottom right, oil on canvas40 x 36 in. (101.6 x 91.4cm) Provenance Private Collection, Washington, D.C.David David Gallery, Philadelphia, Pennsylvania.Private Collection, New England.David David Gallery, Philadelphia, Pennsylvania.Acquired directly from the above in 2005.Private Collection, Carversville, Pennsylvania. Condition report: Frame: 48 1/2 x 44 1/2 x 2 1/4 in. The relined canvas in overall very good (close to excllent) original condition, with no sign of inpainting as seen under UV light. We do notice some remnants of old varnish, which indicates the painting has been cleaned. With some fluorescence on top of the hills at upper center, which is due to the pigments used by the artist in our opinion, rather than a sign of restoration. See specialist's pictures.

Lot: 79 - EDWARD WILLIS REDFIELD (AMERICAN, 1869–1965) SLEIGHING BY THE RIVER NEAR CENTRE BRIDGE

Edward Willis Redfield (American, 1869–1965) Sleighing by the River near Centre Bridge Signed 'E.W. REDFIELD' bottom left, oil on canvas26 x 32 in. (66 x 81.3cm)Executed circa 1940s.In a Frederick Harer frame. Provenance The Artist.Acquired directly fom the above in 1943.Collection of Lloyd Andrew Good, Pennsylvania.By descent in the family.Private Collection, Pennsylvania. Footnote: Note The present Lot will be accompanied by copies of original letters sent by the artist to the first owners of the painting, which descended within the family. A copy of a letter of authenticty by Dr. Thomas D. Folk dated September 16, 2016 will also be available. The painting is set to included in the forthcoming Catalogue Raisonné of Edward Redfield's work. Condition report: Frame: 39 x 33 x 2 1/8 in. The unlined canvas in excellent original condition with no sign of inpainting as seen under UV light. Some areas of the canvas are bare: part of the artist's working method.

Lot: 80 - SAMUEL GEORGE PHILLIPS (AMERICAN, 1890–1965) FALL ON THE DELAWARE

Samuel George Phillips (American, 1890–1965) Fall on the Delaware Signed 'S. George Phillips' bottom right, oil on canvas24 7/8 x 30 1/8 in. (63.2 x 76.5cm)In a Newcomb-Macklin frame. Provenance The Artist.The Estate of the Artist.Acquired directly from the above.Private Collection, Maryland. Condition report: Frame: 30 1/2 x 35 1/2 x 2 in. The relined canvas in overall good condition, with no sign of inpainting as seen under UV light.

Lot: 81 - ANTONIO PIETRO MARTINO (AMERICAN, 1902–1989) STUDY FOR FEBRUARY (MANAYUNK IN THE SNOW)

Antonio Pietro Martino (American, 1902–1989) Study for February (Manayunk in the Snow) Signed 'Antonio Martino' bottom right, oil on board12 7/8 x 19 1/4 in. (32.7 x 48.9cm) Provenance Private Collection, Carversville, Pennsylvania. Condition report: Frame: 18 1/2 x 25 x 1 1/2 in. In excellent original condition, with a glossy varnish finish. Examination under UV light reveals remnants of old varnish at center (drips and circles). Pinpoint restoration at bottom left, but otherwise untouched.

Lot: 82 - WALTER EMERSON BAUM (AMERICAN, 1884–1956) WINTER GLOW

Walter Emerson Baum (American, 1884–1956) Winter Glow Signed 'W E BAUM' bottom left; also titled, numbered '9,' located 'Saucon Country' and titled verso, oil on board9 x 14 in. (22.9 x 35.6cm)Executed circa 1935. Provenance Jim's of Lambertville, Lambertville, New Jersey.Acquired directly from the above on March 18, 2006. Private Collection, Carversville, Pennsylvania. Footnote: Literature James M. Alterman, New Hope for American Art, Jim's of Lambertville, Lambertville, 2005, p. 48 (illustrated). Condition report: Frame: 16 1/8 x 21 1/8 x 2 in. In overall very good condition, with no sign of inpainting as seen under UV light. We notice some light specks in the upper left and right corners (very minimal and unobtrusive).

Lot: 83 - JOHN FULTON FOLINSBEE (AMERICAN, 1892–1972) THE RARITAN

John Fulton Folinsbee (American, 1892–1972) The Raritan Signed 'John F. Folinsbee' bottom left; also titled on upper stretcher verso, oil on canvas32 x 40 in. (81.28 x 101.6cm)Executed in 1925. Provenance The Artist. The Estate of the Artist. Richard York Gallery, New York, New York. Sotheby's, New York, sale of September 9, 1995, lot 155. Acquired directly

Lot: 84 - FRED WAGNER (AMERICAN, 1861–1940) VILLAGE IN THE SNOW

Fred Wagner (American, 1861–1940) Village in the Snow Signed 'FRED WAGNER' bottom left, oil on canvas laid down to board24 x 30 in. (61 x 76.2cm) Provenance Pook & Pook, Downington, sale of October 5, 2012, lot 256.Acquired directly from the above sale.Private Collection, Pennsylvania. Condition report: Frame: In overall good condition. The canvas appears dirty and would benefit from a light cleaning. With light craquelure throughout the composition, especially visible in the foreground. With brown smudges at bottom right. The board is slightly warped, which can be seen at center right (where the canvas has buckled). Examination under UV light reveals several areas of inpainting such as: upper center left (along the top outer edge), at center right (on the snow hill), at upper center left (on upper window), at center left (to the left of the figures, in the snow below the house), as well as at bottom right (small pinpoint dots of inpainting) and upper right (inpainted paint flake just below the house, between the trees). See Specialist's pictures for more details.

Lot: 85 - ROY CLEVELAND NUSE (AMERICAN, 1885–1975) THE MILLER QUARRY, RUSHLAND, PA

Roy Cleveland Nuse (American, 1885–1975) The Miller Quarry, Rushland, PA Signed with Artist's monogram 'RN' bottom left, oil on canvas laid down to board11 5/8 x 15 3/4 in. (29.5 x 40cm). Provenance Fischman Weiner Gallery, Philadelphia, Pennsylvania.A gift from the above.Private Collection, Florida.Freeman's, Philadelphia, sale of October 9, 2003, lot 194.Acquired directly from the above sale.Private Collection, Pennsylvania. Condition report: Frame: 16 x 20 x 1 in. In excellent original condition with very fresh colors, and no sign of inpainting as seen under UV light.

Lot: 86 - FERN ISABEL COPPEDGE (AMERICAN, 1883–1951) LUMBERVILLE WINTER

Fern Isabel Coppedge (American, 1883–1951) Lumberville Winter Signed 'Fern I. Coppedge' bottom center right, oil on canvas20 x 24 in. (50.8 x 61cm)Executed circa 1930. Provenance Newman Galleries, Philadelphia, Pennsylvania.Acquired directly from the above.Private Collection, Carversville, Pennsylvania. Condition report: Frame: 28 1/2 x 32 1/2 x 2 1/2 in. The wax-lined canvas in overall excellent original condition, with no sign of inpainting as seen under UV light, except for a small repair on the blue hill at upper right (very minor old scratch).

Lot: 87 - HENRY BAYLEY SNELL (AMERICAN, 1858–1943) GLOUCESTER HARBOR

Henry Bayley Snell (American, 1858–1943) Gloucester Harbor Signed 'Henry B. Snell' bottom left, oil on canvas laid down to board22 5/8 x 28 3/8 in. (57.5 x 72.1cm) Provenance The Coryell Gallery at the Porkyard, Lambertville, New Jersey.(Presumably) acquired directly from the above.Private Collection, Pennsylvania.Freeman's, Philadelphia, sale of December 3, 2006, lot 93.Acquired directly from the above sale.Private Collection, Philadelphia, Pennsylvania. Condition report: Frame: 29 1/2 x 35 1/4 x 2 in. In overall good condition, with slight vertical craquelure throughout, especially visible in the sky along the top outer edge. Some others at center right on the rocks and at center left in the water. With some ripples in the canvas at bottom left (most likely from the work being laid down). Examination under UV light reveals remnants of old glowing varnish throughout (at bottom left, bottom right, center right and sporadically in the sky). Minor pinpoint restoration at bottom center in the rocks. Otherwise untouched.

Lot: 88 - GEORGE WILLIAM SOTTER (AMERICAN, 1879-1953) MELTING SNOW (BUCKS COUNTY LANDSCAPE)

George William Sotter (American, 1879-1953) Melting Snow (Bucks County Landscape) Signed and illegibly dated 'G.W. Sotter/0*' bottom right, o il on canvas 17 5/8 x 22 1/2 in. (44.8 x 57.2cm) Provenance Richard Stuart Gallery, Pipersville, Pennsylvania (per partially-torn label verso).Gratz Gallery, Doylestown, Pennsylvania.Private Collection, Pennsylvania. Condition report: Frame: 24 1/2 x 29 1/2 x 2 in. The relined canvas in overall good condition, with light craquelure throughout the work. Examination under UV light reveals scattered restoration throughout: upper left corner, at center left (along the left outer edge of the canvas) , center right (in the sky) as well as at center right (along the outer right edge of the canvas). With some varnish at upper center along the left outer edge, as well as remnants in the bottom part of the composition, along the bottom edge and to the right.

Lot: 89 - EDWARD WILLIS REDFIELD (AMERICAN, 1869–1965) ABANDONED ROAD

Edward Willis Redfield (American, 1869–1965) Abandoned Road Signed 'E.W. REDFIELD' bottom right; also titled and signed on upper stretcher verso, oil on canvas28 x 32 in. (71.1 x 81.3cm)Executed circa 1925. Provenance Jim's of Lambertville, Lambertville, New Jersey.Acquired directly from the above in 2006.Private Collection, Carversville, Pennsylvania. Footnote: Note Executed at the height of the artist's career in the mid-1920s, Abandoned Road (presented here at auction for the first time) captures a crisp, beautiful winter's day in the countryside after a snowstorm has passed. As a horse-drawn sleigh glides down a narrow snow-covered path, the gentle flow of a nearby stream stretches into the distance. Unlike the artist's typically muted winter scenes (see Lots 65 and 79), this work bursts with life through warm, vivid colors and a bold, lush impasto that recalls the energy typically at play in Redfield's spring scenes. Here, the dazzling blue sky contrasts beautifully with the white patches of snow in the foreground, while the brilliant yellow and lime green foliage of the trees dots the canvas with a vibrancy that suggests the long-awaited end of winter and the swift return to life. Condition report: Frame: 39 1/4 x 43 x1/4 x 2 1/2 in. The unlined canvas in excellent original condition, with a superb, beautifully-preserved impasto throughout. Examination under UV light does not reveal any sign of inpainting. We notice some parts of the canvas are bare (untouched), especially in the foliage: this is part of the artist's working method, and not a sign of abrasions. With a very slight ripple in the canvas upper right corner.

Lot: 90 - JOHN FULTON FOLINSBEE (AMERICAN, 1892–1972) SOLEBURY SPRING

John Fulton Folinsbee (American, 1892–1972) Solebury Spring Signed 'John Folinsbee' bottom right, oil on canvas24 x 30 in. (61 x 76.2cm)Executed circa 1935. Provenance The Artist.Collection of Ruth Baldwin Folinsbee, the Artist's wife.Bianco Gallery, Buckingham, Pennsylvania.Acquired directly from the above in June 1997.Private Collection, Bucks County, Pennsylvania. Footnote: Exhibited "Bucks County Painters," Richard Stuart Gallery, Pipersville, Pennsylvania, 1980s. "The Paintings of John Folinsbee," New Jersey State Museum, Trenton, New Jersey, October 30, 1982–January 9, 1983, no. 25. "John Folinsbee Retrospective," Washington Art Association, Washington, Connecticut, 1984, no. 49 (lent by the Estate of the artist through Richard Stuart Gallery). "Inaugural Exhibition of Twentieth Century Art," James A. Michener Art Museum, Doylestown, Pennsylvania, 1988–89. Literature The Paintings of John Folinsbee, an exhibition catalogue, New Jersey State Museum, Trenton, 1982, p. 15, no. 25 (illustrated). Inaugural Exhibition of Twentieth-Century American Art, an exhibition catalogue, James A. Michener Arts Center, Doylestown, 1988, p. 26 (illustrated). Kirsten M. Jensen, Folinsbee Considered, Hudson Hills Press, Manchester, 2013, p. 262, no. 988 (illustrated, as "location unknown"). Condition report: Frame: 31 1/2 x 37 1/4 x 1 1/2 in. The unlined canvas in overall good condition. We notice several areas with minor paint contractions (craquelure). For example: bottom left; center (left), center right. All not at all distracting. With some paint lifting in the upper left corner (white clouds). The upper left corner of the canvas is slightly buckled (canvas appears a tad wavy at upper center). With a minuscule paint loss at bottom right in the grass. Examination under UV light does not reveal any sign of inpinting.

Lot: 91 - RAE SLOAN BREDIN (AMERICAN, 1881–1933) BREAKING SKIES

Rae Sloan Bredin (American, 1881–1933) Breaking Skies Signed 'R.S. Bredin' bottom right, oil on canvas30 x 39 7/8 in. (76.2 x 101.3cm) Provenance J.M. Stringer Gallery, Bernardsville, New Jersey.Private Collection, New Jersey.Freeman's, Philadelphia, sale of December 8, 2013, lot 150.Acquired directly from the above sale.Private Collection, Philadlephia, Pennsylvania. Condition report: Frame: 37 x 47 1/2 x 2 3/4 in. The relined canvas in overall good condition. The paint has been lightly applied, and we can see the thread of the canvas at times. With small splattered dots at bottom right in the sky, small abrasions along the left outer edge of the canvas. Examination under UV light reveals a few areas of inpainting: small dots of retouching along the left outer edge of the canvas, small repair at bottom left in the sky above the faraway hill, another one below the house at center right. Smaller repair at bottom right in the grass. Main restration consists in a long vertical repaired tear at center in the sky, running along 11 in., up to the beginning of the hill. See Specialist's pictures.

Lot: 92 - JOHN PIERCE BARNES (AMERICAN, 1893–1954) SUNLIT HOUSES

John Pierce Barnes (American, 1893–1954) Sunlit Houses Signed 'JP. Barnes' verso; also titled on the upper stretcher verso, oil on canvas30 x 36 in. (76.2 x 91.4cm) Provenance Bianco Galleries, Buckingham, Pennsylvania.Acquired directly from the above in 1995.Private Collection, Carversville, Pennsylvania. Footnote: Exhibited The Pennsylania Academy of the Fine Arts, Philadelphia, Pennsylvania, 1922 (per label verso, not found in the exhibition checklist). Condition report: Frame: 40 1/2 x 46 1/2 x 2 in. The unlined canvas in excellent original condition with no sign of inpainting as seen under UV light. With light craquelure throughout.

Lot: 93 - GEORGE WILLIAM SOTTER (AMERICAN, 1879–1953) UNTITLED (SUMMER FARMLAND)

George William Sotter (American, 1879–1953) Untitled (Summer Farmland) Signed 'GEORGE [underlined]/SOTTER' bottom right, oil on canvas25 x 30 in. (63.5 x 76.2m)Executed circa 1915.In a Bernard Badura frame. Provenance Rago Auctions, Lambertville, sale of September 15, 2007, lot 1 (as The Artist's Studio).Acquired directly from the above sale.Private Collection, New Hope, Pennsylvania. Footnote: Exhibited "The Painterly Voice: Bucks Couny's Fertile Ground," James A. Michener Art Musem, Doylestown, Pennsylvania, October 22, 2011-April 1, 2012. "George Sotter: Light and Shadow," James A. Michener Art Musem, Doylestown, Pennsylvania, July 29-December 31, 2017 (as Untitled). Note The present work was executed shortly after George Sotter's return from California, and definite departure from Pittsburgh. The artist's move to the countryside marks a new interest in pastoral scenes, and a clearer, brighter palette not dissimilar to Redfield's - Sotter's former instructor. The spirit of the Father of Pennsylvania Impressionism can be see here in the acidic greens, yellows and the energic brushwork which capture the untamed, lush landscape of Bucks County. The painting here seems to depict the artist's studio, a Quaker farmstead known as Walnut Grove Farm, located on Ash Mill Road in Holicong, Pennsylvania. Condition report: Frame: 30 1/2 x 35 3/4 x 1 1/2 in. The unlined canvas in excellent original condition. Examination under UV light does not reveal any sign of inpainting. We notice the paint has been applied very thinly in the upper section of the canvas (see top of the trees), which leaves some parts of the canvas bare (part of the artist's working method, not abrasions).

Lot: 94 - DANIEL GARBER (AMERICAN, 1880–1958) SYCAMORES

Daniel Garber (American, 1880–1958) Sycamores Signed 'Daniel Garber' bottom right, oil on canvas52 1/8 x 56 1/8 in. (132.4 x 142.6cm)Executed in September 1923.In its original exhibition Frederick Harer frame. Provenance The Artist. Acquired directly from the above in 1924. Albright Art Gallery, Buffalo, New York. Deaccessioned through Coleman Auction

Lot: 95 - FERN ISABEL COPPEDGE (AMERICAN, 1883–1951) LOCK KEEPER’S COTTAGE

Fern Isabel Coppedge (American, 1883–1951) Lock Keeper’s Cottage Oil on canvas16 1/8 x 16 1/8 in. (41 x 41cm)Executed circa 1921. Provenance Gratz Gallery, Doylestown, Pennsylvania.Acquired directly from the above in 2005.Private Collection, Carversville, Pennsylvania. Condition report: Frame: 20 5/8 x 20 5/8 x 1 1/2 in. The unlined canvas in overall good condition. Examination under UV light reveals several areas of retoration, the main one being visible at upper left, right above the house, on the tip of the hill and in the sky (see specialist's pictures). We also notice localized and overall minor, pinpoint retouching in certain areas such as: at upper left (on the house's roof and at left in the foliage), at bottom left in the bushes, as well at center right and bottom right (the tips of the hollyhocks and along the tree trunks). See specialist's pictures for more details.

Lot: 96 - WALTER ELMER SCHOFIELD (AMERICAN, 1867–1944) BY THE LAKE (MOST LIKELY TUJUNGA, CALIFORNIA)

Walter Elmer Schofield (American, 1867–1944) By the Lake (Most Likely Tujunga, California) Signed 'Schofield' bottom left, oil on panel20 x 24 in. (50.8 x 61cm)Executed circa 1934. Provenance Collection of George Turner Marsh, San Francisco, California. By descent in the Marsh family. Private Collection, Northern California. Footnote: Note The present work dates from Schofield's extended trip out-west in the mid-1930s. Travelling through California and Arizona, the artist was in search of new subject matters that would contrast from his winter scenes set along the Delaware River, his spring scenes from the Cornish coast and his summer scenes in Maine. In California specifically, the artist made a series of paintings of Tujunga Canyon and the Grand Tujunga ranch, just northeast of Los Angeles. Unexpectedly, the artist felt attracted to the desert landscape and said: "There is no doubt in my mind that the State of California and particularly Southern California is a perfect paradise for the out-of-doors painters. Coupled with the wonderful climate, there is a great divesity of physical features." The present work aligns perfectly with the other body of work the artist produced in the area, and in fact relies on the same contrast between yellows and blues, earthy tones and lighter hues, to suggest the chromatic reality of life out-west: an immaculate blue sky overhanging the most golden earth. Condition report: Frame: 25 x 29 x 1 1/2 in. In overall good condition, with bright colors. We notice painting's contractons on the white boat (to the side) as well as cracks within the panel at upper right in the sky (very faint, minor). Examination under UV light reveals minor restoration above and to the right of the boat (in the water) as well as at upper center (cloud, sky and in the dip where the two hills meet) as well as at upper right (in the sky, through the branches, within the aforementioned cracks). The upper left corner of the painting fluoresces but this is due to the panel being bare (as part of the artist's working method) and not a sign of restoration. The main element of restoration can be found at bottom right, to the right of the boat: abraded ring that has been touched up. See specialist's pictures for more details.

Lot: 97 - ROY CLEVELAND NUSE (AMERICAN, 1885–1975) FALL VALLEY

Roy Cleveland Nuse (American, 1885–1975) Fall Valley Signed with the Artist's monogram 'RN' bottom left, oil on canvas22 1/8 x 24 1/8 in. (56.2 x 61.3cm) Provenance The Artist.By descent in the family.Private Collection, New Hampshire. Condition report: Frame: 24 1/2 x 26 1/2 x 1 1/2 in. The unlined canvas in excellent original condition, with no sign of inpainting as seen under UV light. The work might however benefit from a light cleaning, especially in the sky.

Lot: 98 - GEORGE WILLIAM SOTTER (AMERICAN, 1879–1953) CLOUDS BILLOWING OVER A CHURCH

George William Sotter (American, 1879–1953) Clouds Billowing Over a Church Signed 'G. Sotter' bottom right, oil on canvas36 x 40 in. (91.4 x 101.6cm) Provenance Private Collection, Maine.Freeman's, Philadelphia, sale of December 8, 2013, lot 174.Acquired directly from the above sale.Private Collection, Philadelphia, Pennsylvania. Condition report: Frame: 43 1/4 x 47 x 1 1/2 in. The relined canvas in overall good condition, with craquelure running diagonally across the canvas, with slight abrasions along the top outer edge of the canvas (we see the canvas' edge). Examination under UV light reveals sporadic restoration: in upper left and right corners as well as along the top outer edge (most likely covering frame abrasions), at center, center left an right (clouds and sky). With minor dots of inpainting at bottom left and throughout the bottom of the work (very minor). We also notice long streaks running down the right part of the canvas (from the top to the center, across the sky). Given their look and texture, we believe these correspond to old varnish drips. See specialist's pictures for more details.

Lot: 99 - EDWARD WILLIS REDFIELD (AMERICAN, 1869–1965) MAINE SQUALL

Edward Willis Redfield (American, 1869–1965) Maine Squall Dedicated, signed and dated 'To Mattie/E.W.Redfield/1948' bottom left, oil on canvas26 1/4 x 32 1/8 in. (66.7 x 81.6cm)In a Frederick Harer frame. Provenance Private Collection, Pennsylvania.Acquired directly from the above.Private Collection, New Jersey. Footnote: Note In 1903, Edward Redfield and his wife, Elise, started summering in Boothbay Harbor and Monhegan Island, Maine. With its rugged hills and shallow beaches, Maine's landscape provided Redfield the liberating opportunity to explore and capture untouched forms of nature unique to the northern seacoast. The seascapes Redfield painted in Maine during this period are considered among his best works. They reflect his ferocious painterly method with rapid, spontaneous brushstrokes echoing the artist's energy. Robert Henri, who often joined the Redfields in Maine, noted the impression the artist had on local inhabitants, "slinging the paint over big canvases, astounding the natives and astounding the local artists with his rapidity as well as his results..." Painted circa 1930s, the present work depicts an agitated sea along the rugged shoreline, with what appears to be Monhegan Island in the distance, where Redfield often stayed and in fact painted several canvases. Here the artist builds up paint with multiple layers of thick pigment to indicate a change in the weather and the upcoming storm, as revealed by the menacing clouds in the background and the already-pouring rain at upper right. The result is a rich impastoed texture reminiscent of the artist's earlier snow scenes set in Bucks County. Through lively and rigorous brushstrokes, Redfield infuses a sense of power to the scene, indicating an ongoing fascination with the ever-changing elements. Vividly colored rocks in the foreground provide a strong contrast with the pastel-blue sky and the water's whitecaps in the background, producing a well-balanced jewel-toned work celebrating Maine's so distinct landscape, and capricious weather. Condition report: Frame: 34 x 40 x 2 1/2 in. The unlined canvas in overall very good (close to excellent) original condition. Loight craquelure at upper right (very faint). Examination under UV light reveals small dots of inpainting along left outer edge of the canvas, at center mostly (in the sky, sea and top of the rocks) as well as at upper right. See Specialist's pictures.

Lot: 100 - JOHN FULTON FOLINSBEE (AMERICAN, 1892–1972) OUTTIDE, MAINE

John Fulton Folinsbee (American, 1892–1972) Outtide, Maine Signed 'John Folinsbee' bottom right; also signed on the frame verso and titled and signed on the upper stretcher verso, oil on canvas16 x 24 in. (40.6 x 61cm)Executed circa 1950sIn its original frame. Provenance The Artist.A (wedding) gift from the above in 1953.Private Collection, New York, New York. Condition report: Frame: 21 x 29 1/4 x 2 in. The unlined canvas in overall good condition. With slight craquelure at upper right corner in the sky. The canvas is a bit wavy at times and might need restretching. Examination under UV light reveals no sign of inpainting or repair.

Lot: 101 - MARY ELIZABETH PRICE (AMERICAN, 1877–1965) MALLOW AND LILY

Mary Elizabeth Price (American, 1877–1965) Mallow and Lily Signed 'M. ELIZABETH PRICE' bottom center right; also titled and signed verso, oil with gold and silver leaf on Masonite44 x 42 1/8 in. (111.8 x 107cm) Provenance Private Collection, New Jersey.By descent in the family.Private Collection, New Jersey. Footnote: Exhibited National Academy of Design, New York, New York, n.d. (per initialed inscription verso). Condition report: Frame: 46 x 44 x 1 1/2 in. In overall good condition. The painting appears lightly cleaned. We notice some painting contraction (craquelure) in various areas of the painting, notably at bottom center (yellow mallow and lily furthest down). Also to be seen in the upper tier of the (golden) background (although some of the lines are in fact due to gold leaf superpositions). With a small chip in the red mallow at upper left corner. Examination under UV light reveals a thick layer of greenish, milky varnish throughout the composition. We also see scattered, very minor inpainted flecks in several parts of the composition. See for example at bottom left quandrant (green leaf), center left (green leaf along the left outer edge) and near the left lily (on the leaf), upper left quadrant (red mallow), center right (on the gold background near a delphinium). With a small dent in the board at upper right (along the right outer edge, partly covered by the frame). Some other purplish areas in the gold background, which are due to the varnish recesses and drips in our opinion, and not a sign of retouching. See specialist's pictures (and video) for more details.

Lot: 102 - MARY ELIZABETH PRICE (AMERICAN, 1877–1965) CHEERFUL BARGE 269

Mary Elizabeth Price (American, 1877–1965) Cheerful Barge 269 Signed 'M. ELIZABETH PRICE' bottom right; also titled and signed verso, oil on canvas32 x 40 in. (81.3 x 101.6cm)Executed circa 1929. Provenance Bianco Galleries, Buckingham, Pennsylvania.Acquired directly from the above.Private Collection, New Hope, Pennsylvania. Footnote: Exhibited: "Phillips Mill Inaugural

Lot: 103 - JOHN FULTON FOLINSBEE (AMERICAN, 1892–1972) GARDEN GATE

John Fulton Folinsbee (American, 1892–1972) Garden Gate Signed 'John F. Folinsbee' bottom right, oil on board8 1/8 x 10 3/8 in. (20.6 x 26.4cm)Executed circa 1922. Provenance Private Collection, Pennsylvania.By descent in the family.Private Collection, Pennsylvania. Footnote: Exhibited "Paintings by John Folinsbee," Ferargil Galleries, New York, March 1–15, 1922, no. 21. "Exhibition of Modern American Paintings," Dayton Museum of Arts, Dayton, Ohio, January 21–February 9, 1923. Note The present work likely depicts the artist's wife, Ruth Baldwin Folinsbee, in their garden in Woodstock, New York. Earlier versions of the artist's garden exist, including a touching portrait of his first-born Beth, toddling along the flowered alleys. Condition report: Frame: 12 1/2 x 14 1/2 x 1 3/4 in. In excellent original condition with no sign of inpainting as seen under UV light.

Lot: 104 - WALTER ELMER SCHOFIELD (AMERICAN, 1867-1944) IN BRITTANY

Walter Elmer Schofield (American, 1867-1944) In Brittany Oil on canvas30 x 38 1/8 in. (76.2 x 96.8cm) Provenance The Artist.Collection from Sarah M. Phillips (née Schofield).Acquired directly from the above in 1949.Private Collection.Gratz Gallery, Doylestown, Pennsylvania.Private Collection, Pennsylvania. Condition report: Frame: 42 1/2 x 50 1/2 x 3 1/2 in. The unlined canvas in excellent original condition with no sign of inpainting as seen under UV light. We notice a small paint flake at bottom right. With light craquelure throughout, especially visible in the white areas of the canvas. Some wavyness to the canvas at bottom left, along with craquelure. The paint has been applied in a very thick manner.

Lot: 105 - WALTER EMERSON BAUM (AMERICAN, 1884–1956) HEREFORD ROAD

Walter Emerson Baum (American, 1884–1956) Hereford Road Signed ' W E BAUM' bottom right; also titled, signed and dated '1936' verso, oil on canvas30 x 36 in. (76.2 x 91.4 cm) Provenance Bianco Gallery, Buckingham, Pennsylvania.Acquired directly from the above circa 1997.Private Collection, Carversville, Pennsylvania. Condition report: Frame: 37 1/4 x 43 1/4 x 2 1/2 in. The unlined canvas in excellent original condition with no sign of inpainting as seen under UV light.

Lot: 106 - WALTER EMERSON BAUM (AMERICAN, 1884–1956) AUTUMN TREES

Walter Emerson Baum (American, 1884–1956) Autumn Trees Signed 'W.E. BAUM' bottom right; also dated '1922,' titled and signed on upper stretcher verso, oil on canvas25 x 30 in. (63.5 x 76.2cm) Provenance Private Collection, Kentucky. Condition report: Frame: 30 1/2 x 35 1/4 x 1 1/2 in. The relined canvas in overall good condition. The work would very much benefit from a light cleaning. Examination under UV light reveals minor restoration at upper center left in the sky. The rest of the composition appears intact.

Lot: 107 - WILLIAM LANGSON LATHROP (AMERICAN, 1859–1938) HILLY PASTURES

William Langson Lathrop (American, 1859–1938) Hilly Pastures Signed and dated 'W L LATHROP/1901' bottom right; also inscribed with title on upper stretcher verso, and carved signed on bottom stretcher verso, oil on canvas19 x 25 in. (48.3 x 63.5cm) Provenance The Artist.By descent in the family.Macbeth Gallery, New York, New York.Bianco Galleries, Buckingham, Pennsylvania (as Old Farm, Hidden Valley).Gratz Gallery, Doylestown, Pennsylvania.Acquired directly from the above in 2005.Private Collection, Carversville, Pennsylvania. Condition report: Frame: 28 1/2 x 34 5/8 x 2 in. The resin-lined canvas in overall fair to good condition. With parts of the canvas ground visible at bottom left (part of the artist's working method as the paint has been thinly applied). Examination under UV light reveals remnants of old, shiny green varnish throughout the composition. With scattered retouching at upper right quadrant (corner, along the upper outer edge and upper center right in the sky). With two main repairs at bottom left (underneath the haystacks row) and bottom center (in the pasture itself). With some localized pinpoint dots of inpainting at upper left (along the hill and in the sky), on the farm (center right) and in the landscape (center left). See Specialist's pictures for more details.

Lot: 108 - GEORGE WILLIAM SOTTER (AMERICAN, 1879–1953) BUCKS COUNTY NOCTURNE

George William Sotter (American, 1879–1953) Bucks County Nocturne Signed 'G.W. Sotter' bottom right, oil on Masonite16 x 20 in. (40.6 x 50.8cm) Provenance Alderfer Auction Company, Hatfield, sale of December 10, 2010, lot 3223.Acquired directly from the above sale.Private Collection.Bonhams, New York, sale of November 28, 2012, lot 21.Acquired directly from the above sale (after the sale).Private Collection, New York, New York; and Florida. Condition report: Frame: 19 x 23 x 1 1/2 in. In overall good condition. The painting appears a bit dusty and would likely benefit from a light cleaning (see yellowed varnish at bottom left). Examination under UV light reveals two mains areas of restoration (relatively minor): at bottom left corner and upper left, along the top outer edge of the painting. We also notice pinpoint, minuscule dots of retouching throughout: center left (shed's facade and roof as well as on some of the branches to the left), bottom right (in the snow) as well as at center (main building's roof) and upper center and upper center right (in the sky). See specialist's pictures for more details.

Lot: 109 - LAURENCE A. CAMPBELL (AMERICAN, 1939) 5TH AVENUE, NEW YORK CITY

Laurence A. Campbell (American, 1939) 5th Avenue, New York City Signed 'Laurence A. Campbell' bottom left; also titled and signed verso, oil on board12 x 16 in. (30.5 x 40.6cm) Provenance Lambertville Gallery of Fine Arts, Lambertville, New Jersey.Acquired directly from the above.Private Collection, New Hope, Pennsylvania. Condition report: Frame: 20 1/2 x 24 1/4 x 1 1/2 in. In excellent original condition with no sign of inpainting as seen under UV light.

Lot: 110 - ARTHUR MELTZER (AMERICAN, 1893–1989) THE VALLEY IN WINTER

Arthur Meltzer (American, 1893–1989) The Valley in Winter Signed 'Arthur Meltzer' bottom right, oil on canvas12 x 14 1/8 in. (30.5 x 35.9cm)In an Arthur Meltzer frame. Provenance Private Estate, New Jersey.Acquired directly from the above.Private Collection, Pennsylvania. Condition report: Frame: 17 x 19 x 2 1/4 in. The unlined canvas in excellent original condition, with no sign of inpainting as seen under UV light.

Lot: 111 - ARTHUR MELTZER (AMERICAN, 1893-1989) THE ROBE OF WINTER

Arthur Meltzer (American, 1893-1989) The Robe of Winter Signed and dated 'Arthur Meltzer '67' bottom right; also with artist and title on labels verso, oil on canvas42 1/8 x 46 1/8 in. (107 x 117.2cm) Provenance Columbus Museum of Art, Ohio (a gift from General Edward Orton, Jr., Talfourd P. Linn, Frederick W. Schumacher, Orlando A. Miller and John R. Gobey in 1928).Garth's Auctions, Columbus, sale of January 29-30, 2010, lot 202.Acquired directly from the above sale.Private Collection, New Jersey.Freeman's, Philadelphia, sale of December 4, 2016, lot 71. Acquired directly from the above sale.Private Collection, Philadelphia, Pennsylvania. Footnote: Exhibited National Academy of Design, New York, New York, n.d. "One Hundred Twenty-Fifth Annual Exhibition," Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, 1925, no. 23. "Third Annual Exhibition," Philadelphia Art Week Association, Philadelphia, Pennsylvania, May 2 - 10, 1925. "American Paintings and Sculpture: Thirty-Eighth Annual Exhibition," The Art Institute of Chicago, Chicago, Illinois, 1925. Columbus Museum of Art, Columbus, Ohio (on long-term loan). Condition report: Frame: 46 1/2 x 50 1/2 x 2 in. The wax-lined canvas in excellent original condition. Minor scuffs seen in the bottom right corner. Examination under UV light

Lot: 112 - ANTONIO PIETRO MARTINO (AMERICAN, 1902–1989) MANAYUNK WINTER

Antonio Pietro Martino (American, 1902–1989) Manayunk Winter Signed 'Antonio P. Martino' bottom left, oil on canvas30 x 40 in. (76.2 x 101.6cm) Provenance Newman Galleries, Philadelphia, Pennsylvania.Private Collection, New Jersey. Condition report: Frame: 37 3/4 x 47 3/4 x 3 in. The unlined canvas in excellent original condition with no sign of inpainting as seen under UV light. With remnants of old greenish varnish on some of the buildings, but no retouching.

Lot: 113 - WALTER EMERSON BAUM (AMERICAN, 1884–1956) SNOWED CREEK

Walter Emerson Baum (American, 1884–1956) Snowed Creek Signed 'BAUM' bottom right, oil on board15 1/4 x 18 3/4 in. (38.7 x 47.6cm) Provenance Private Collection, California. Condition report: Frame: 20 x 23 5/8 x 2 in. The wax-lined canvas in excellent original condition. Minor scuffs seen in the bottom right corner. Examination under UV light

Lot: 114 - WALTER EMERSON BAUM (AMERICAN, 1884–1956) WINTER CREEK

Walter Emerson Baum (American, 1884–1956) Winter Creek Signed 'WE BAUM' bottom right, oil on canvas20 x 24 1/8 in. (50.8 x 61.3cm) Provenance Private Collection, Doylestown, Pennsylvania. Condition report: Frame: 25 3/4 x 29 3/4 x 1 3/4 in. The (apparently) unlined canvas in overall fair to good condition. The surface of the work is a bit ripply at times (the canvas is bulging in some parts, see for example ripple at bottom left corner). Some faint craquelure in parts of the canvas, mostly visible in the white and in the corners of the canvas. Examination under UV light reveals a slight repair at center left in the trees (with associated, oversized patch verso). The verso of the canvas presents a paint stain at bottom right (most likely due to the artist himself).

Lot: 115 - FERN ISABEL COPPEDGE (AMERICAN, 1883–1951) THE WINTER VALLEY

Fern Isabel Coppedge (American, 1883–1951) The Winter Valley Signed 'Fern I. Coppedge' bottom center right, oil on canvas18 x 20 in. (45.7 x 50.8cm) Provenance Private Collection, Pennsylvania. Condition report: Frame: 24 x 26 x 2 in. The unlined canvas in very good condition. With a faint upper stretcher bar mark running along the top edge of the canvas. Examination under UV light reveals purplish specks in the sky, due to dust and not to restoration. We also notice a small repaired puncture hole at bottom center right, on the left-hand side of the cabin's roof at bottom right. See Specialist's pictures.

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