Lincoln Glenn Art

David Johnson Byram Lake, New York Monogrammed lower right; signed and titled on the reverse Oil on board 7 3/4 x 11 3/4 inches A landscape painter based in New York City and associ...

William Lee Hankey A Devon Harbor Signed lower right; titled on the stretcher Oil on canvas 24 x 29 inches William Lee Hankey (1869–1952) RWS, RI, ROI, RE, NS[clarification needed] ...

George Sotter Bucks County Landscape, 1908 Signed Lower Right: Sotter 08; signed on the reverse: G. W. Sotter Oil on artist board 12 x 9 inches Born in Pittsburgh in 1879 to Nicholas and Katherine Sotter, George William Sotter painted the rivers and mills of that city in his early youth. He apprenticed with several stained-glass studios there prior to becoming a partner in the studio of Horace Rudy in Pittsburgh around 1901. He took leave from the studio and came to Bucks County in 1902, to study at the Pennsylvania Academy of the Fine Arts as well as with Edward W. Redfield, the premier painter of the New Hope School. In 1903, he participated in the annual exhibition at the Pennsylvania Academy of the Fine Arts. He continued his studies at the Academy from 1905 – 1907 under William Merritt Chase and Thomas Anshutz. George William Sotter lived in Holicong, Pennsylvania, near New Hope, in a converted 19th Century stone barn. There, in his studio, he painted landscape scenes of Bucks County, which link Sotter to the New Hope School of American Impressionism...

Stephen Edlich Ouverture, with Cypress Forms, 1982 Signed, dated and titled on the stretcher Acrylic paint, mixed media, and burlap on canvas 60 x 40 inches An artist who worked in the post-cubist and constructivist traditions, Stephen P. Edlich gained a considerable amount of acclaim in the 1970s and 1980s for his collages, sculpture, and paintings. His promising career was cut short due to his untimely death at age 45 in 1989. Edlich was born in New York City. He received his undergraduate degree with a major in fine arts studies from New York University in 1967. During his college years, he traveled to London, where he met the art dealer Victor Waddington and created his first white on white collage. In that same year, he attended a major exhibition of the work of Ben Nicholson, which would be influential source in his art. Edlich returned to England in 1967, where he met Barbara Hepworth and Patrick Heron in London and traveled to St. Ives, Cornwall, long a favorite artists' haunt. Edlich began creating acrylic reliefs...

George Bellows Business-Men's Class, Y.M.C.A, 1916 Signed, numbered "No. 41" and titled lower margin Lithograph on wove paper 11 1/2 x 17 1/8 inches Edition of 64 Provenance: Hirschl & Adler Galleries, New York Private Collection, Ohio Literature: Mason, 20. After his arrival from Columbus, Ohio in 1904, Bellows lived at the West Side YMCA. It was there that he met Eugene Speicher, another aspiring young artist who was to become his lifelong friend. Always interested in the anatomy of the human body, Bellows often satirized the various types who, while leading a sedentary life, feel compelled to devote a portion of their daily routine to physical self-improvement. Throughout his brief but illustrious career, George Wesley Bellows created striking scenes that documented ordinary American life in all its beauty and banality. Considered an American Realist, the artist eschewed embellishment, finding inspiration in the gritty boroughs of New York City, the rocky coastline of Maine, and, later, in his friends and family. Bellows garnered early recognition for his arresting portrayals of illegal prizefighting, dramatic works executed in dark tonal palettes that underscore the brutality of the violent sport. Bellows’ elderly Methodist parents hoped their son might pursue the ministry, a calling the extroverted athlete never received. The Columbus native competed on the baseball team at Ohio State University and also served as an illustrator for the college yearbook. In the fall of 1904—just months shy of his expected graduation—Bellows defied his father’s wishes and boarded a train to New York City in hopes of becoming a magazine illustrator like his idols Howard Chandler Christy and Charles Dana Gibson. Before leaving, he reportedly turned down an offer to play professional baseball with the Cincinnati Reds...

Marsden Hartley Lemons and Pear, circa 1922-23 Oil on canvas 9 x 10 3/4 inches Provenance: Adelaide Shaffer Kuntz, Bronxville (Hartley’s friend and patron) Bertha Schaefer Gallery, New York (acquired from the above) Private Collection, Stamford, Connecticut (acquired from the above) Barridoff Galleries, Portland, Maine, April 7, 1984, Lot 29 (as Still Life with Pear and Lemons) Richard Ward Foster (acquired at above sale) Sotheby's New York, American Art, October 6, 2017, Lot 32 Private Collection (acquired from the above) Exhibited: (possibly) Kantstrasse, Berlin, Private showing in artist’s studio, 1923. (possibly) New York, Bertha Schaefer Gallery, Still Life Painting by European and American Painters, 1944. Born in Lewiston, Maine, Marsden Hartley became one of the most famous early modernist artists of twentieth-century American art, known for landscapes, still lifes, and some portraits. His painting showed a focus on monumental shapes, especially clouds and landscape forms, and his unique style has been described by critic Sadakichi Hartmann as "an extreme and up-to-date impressionism" and "emerging modernism that evolved through Impressionism". (Gerdts 291) He had a lonely, insecure childhood because his mother died when he was eight years old, and he was raised by an older sister when his father left to remarry. He studied art in Cleveland, Ohio and then in 1898 went to the Chase School in New York and at the National Academy of Design. He continued to spend much time in Maine painting landscapes, and by 1909 had his first exhibition, which was held at New York Gallery 291, run by Alfred Stieglitz. There he became involved with a social circle of modernists that included Georgia O'Keeffe, Arthur Dove, and John Marin. In 1912, he first went to Europe where he had further exposure to modernism, and from 1913 to 1915 he was in Germany. In Paris, he experimented with Cezanne-like still lifes and was befriended by Gertrude Stein. In Germany, he was influenced by Expressionism, and especially by military pageantry. It is said that his greatest contribution to early 20th-century American modernism has been his brilliant synthetic military icons known as German Officer Portraits. He developed a close homosexual relationship with a handsome young Prussian officer who was killed in World War I. Being encouraged by Stieglitz to explore American subjects, Hartley turned to American Indian objects...

Ibram Lassaw Symbiosis, 1960 Signed and dated at base Silicon bronze 24 high x 20 1/2 wide x 18 inches deep Provenance: Kootz Gallery, New York Fogg Museum, Cambridge (acquired from...

Milton Derr Spring, 1982 Signed lower right; titled and dated verso Oil on canvas 26 x 28 inches Milton Derr, also known as Milton Johnson, was a painter, illustrator and educator. Born in 1932 in Milwaukee, Wisconsin, Derr studied at the Layton School of Art, Milwaukee, the School of the Museum of Fine Arts, Boston, and the Independent Group of Painters and Sculptors, Tokyo, Japan. He been featured in many exhibitions, including several sponsored by Northeastern University’s African-American Master Artists in Residency Program, the Federal Reserve Bank of Boston, the Museum of the National Center of Afro-American Artists, the Boston Museum of Fine Arts, and the Studwasio Museum of Harlem. During the Korean War, he served in the United States Air Force. In 1964, Derr joined the faculty at the School of the Museum of Fine Arts. He also taught at Tufts University. Derr describes himself as a figurative painter whose style falls somewhere between expressionism and impressionism. He has been included among the black...

Tomkins Harrison Matteson Playing with Grandfather, 1869 Signed and dated lower left Oil on canvas 29 5/16 x 24 3/16 inches Provenance: Sotheby's New York, May 24, 2001, Lot 150 Est...

Luigi Lucioni Vermont Landscape with Birch Trees, 1936 Signed and dated lower left and inscribed indistinctly verso Oil on board 20 x 15 7/8 inche...

James MacMaster Gray Morning Signed and titled lower left Watercolor on paper 10 1/4 x 14 inches Provenance: Private Collection, New Jersey

James MacMaster Irvine Harbour Signed lower right Watercolor on paper 10 1/4 x 14 inches Provenance: Private Collection, New Jersey

Bela de Kristo Nature morte, circa 1956 Signed lower right Oil on board 19 5/8 x 11 3/4 inches Provenance: Alexander Kahan Fine Arts, New York Private ...

Reginald Marsh Tugboat at Dock, circa 1937 Signed lower right Watercolor and pencil on paper 13 3/4 x 20 inches Housed in a Lowy frame. Provenance: Sotheby'...

Emile Albert Gruppe (1896 - 1978) View of Boats in Gloucester Harbor, Cape Ann, Massachusetts circa 1925 Oil on canvas 25 x 30 inches Signed lower right Emile Gruppe was an unusually prolific artist. He was at his easel almost every day and created thousands of paintings over a career that lasted 60 years. At his peak, he was completing almost 200 oil paintings a year. Yet he has never failed to find an audience for his depictions of New England in autumn and winter, or his harbor scenes of Rockport and Gloucester in Massachusetts. Gruppe was born in 1896 in Rochester, New York to an artistic family--his father, brother, sister and nephew were all artists. Emile spent his youth in Katwyk an Zee, a fishing village in Holland, where his father, Charles Gruppe, worked as both an artist and an art dealer. Emile lived in the Netherlands until he was 17, when the family returned permanently to the United States to avoid World War I. In New York City, Gruppe attended classes at the National Academy of Design and at the Art Students League, where he studied under Charles Chapman and George Bridgman. He also studied with John Carlson in Woodstock, New York, where he gained an appreciation for outdoor painting. Carlson “turned me into a painter,” he later said. Gruppe helped found the Rockport Art Association in 1921, but he is most closely linked to Gloucester where he lived from about 1940 until his death. He operated the Gloucester School of Painting from the 1940s into the 1970s and helped turn the Rocky Neck area of East Gloucester into a world-famous art colony. The school boasted an impressive faculty but Gruppe’s own exuberant plein-air demonstrations were often the highlight of the week. Gloucester, with its fleet of whimsically painted fishing vessels, crowded wharf buildings and shacks, and picturesque inhabitants, never ceased to fascinate Gruppe. He also helped popularize Rockport’s famous fishing shack known as Motif #1, sometimes called “the most often-painted building in America.” By the 1940s, Gruppe was one of the most prominent of the Cape Ann artists...

Bradley Walker Tomlin Bird, circa 1927 Signed upper center Oil on brown paper 22 1/2 x 18 3/4 inches Provenance: Miss Dorothy MacTeague, Chester...

Bumpei Usui Shanties in the Bronx, 1933 Signed lower right Oil on canvas 14 x 20 inches Provenance: The artist's estate Salander O'Reilly Galleries, New Y...

Bumpei Usui Backyard, Staten Island, 1933 Signed lower right Oil on canvas 20 x 24 inches Provenance: The artist's estate Salander O'Reilly Galleries, New...

Amaranth Ehrenhalt Untitled, 1994 Signed and dated lower left Oil on canvas 24 x 20 inches Provenance: Private Collection, Long Island Amaranth Ehrenhalt was born in 1928 in Newark, New Jersey and grew up in a Jewish family in Philadelphia. She loved painting from an early age and was soon placed in the “creatively gifted” Saturday morning program at the Philadelphia Museum of Art. She carried on with a full-tuition scholarship at the Pennsylvania Academy of the Fine Arts, where she graduated in 1951 with a Bachelor of Fine Arts. In parallel, she attended an art history class at the Barnes Foundation one afternoon per week. After graduation, Ehrenhalt was determined to travel to Paris and from there hitchhiked to Morocco, painting her impressions in her sketchbook as she went. She continued to Rome, where she taught English and continued to paint. Upon her return to the United States, Ehrenhalt settled in Greenwich Village in Manhattan, New York. Her nights were spent at the Cedar Tavern where she met Abstract Expressionist artists such as Franz Kline and Willem de Kooning. The night before Ehrenhalt left on what was meant to be a short trip to Paris, De Kooning told her: “As soon as you get back, call me. We’ll have dinner.” However, Ehrenhalt never returned to New York, as she got sucked into the bustling, creative Parisian life. In Paris, she frequented Le Select, a café that attracted many artists, including Yves Klein and Alberto Giacometti, among others. It was in Paris that she met her husband, a fellow American artist with whom she had two children. They would show their works in their home and live off the sales, until their divorce 15 years later. Though life in Paris was a struggle at times, the city had so much to offer as well, and Ehrenhalt became close with a circle of expatriate American artists among whom were Shirley Jaffe, Sam Francis and Joan Mitchell. Another important connection was Sonia Delauney...

Amaranth Ehrenhalt Untitled, 1994 Signed and dated lower left Oil on canvas 24 x 20 inches Provenance: Private Collection, Long Island Amaranth Ehrenhalt was born in 1928 in Newark, New Jersey and grew up in a Jewish family in Philadelphia. She loved painting from an early age and was soon placed in the “creatively gifted” Saturday morning program at the Philadelphia Museum of Art. She carried on with a full-tuition scholarship at the Pennsylvania Academy of the Fine Arts, where she graduated in 1951 with a Bachelor of Fine Arts. In parallel, she attended an art history class at the Barnes Foundation one afternoon per week. After graduation, Ehrenhalt was determined to travel to Paris and from there hitchhiked to Morocco, painting her impressions in her sketchbook as she went. She continued to Rome, where she taught English and continued to paint. Upon her return to the United States, Ehrenhalt settled in Greenwich Village in Manhattan, New York. Her nights were spent at the Cedar Tavern where she met Abstract Expressionist artists such as Franz Kline and Willem de Kooning. The night before Ehrenhalt left on what was meant to be a short trip to Paris, De Kooning told her: “As soon as you get back, call me. We’ll have dinner.” However, Ehrenhalt never returned to New York, as she got sucked into the bustling, creative Parisian life. In Paris, she frequented Le Select, a café that attracted many artists, including Yves Klein and Alberto Giacometti, among others. It was in Paris that she met her husband, a fellow American artist with whom she had two children. They would show their works in their home and live off the sales, until their divorce 15 years later. Though life in Paris was a struggle at times, the city had so much to offer as well, and Ehrenhalt became close with a circle of expatriate American artists among whom were Shirley Jaffe, Sam Francis and Joan Mitchell. Another important connection was Sonia Delauney...

Charles Blauvelt The Doubtful Bill, 1868 Signed and dated lower left Oil on canvas 12 1/4 x 9 1/2 inches Provenance: Private Collection, Connecticut...

Enrico Donati Aswan IV, 1984 Signed, dated and inscribed as titled on the reverse Oil and sand on canvas 36 x 42 inches Provenance: Gimpel & Weitzenhoffer Gallery, New York Doyle, October 12, 2022 Enrico Donati, a surrealist and abstract expressionist painter, was born in Milan, Italy in 1909 and died in Manhattan on April 25, 2008. He was known for his association with the surrealist movement of the 1940's, but his artwork continued to transform itself through the many trends that have occurred during his long career. In Italy he attended the Universita degli Studi in Pavia where he studied economics. In 1934, he moved to the United States settling in New York where he studied at the New School for Social Research and the Art Students' League. Considered the surviving dean of the Surrealist Movement and a member of the New York School, Donati painted with Ernst, Matta and Tanguy in the thirties and forties, and in particular with Andre Breton, regarded by many to be the grand master of Surrealism. He helped organize the Exposition Internationale du Surrealisme in Paris in 1947 where he exhibited three of his pieces. The Surrealists were known to avoid presenting or representing reality, and put the emphasis on invention and creativity by uncovering the poetic aspect of life with its kaleidoscopic multidimensional images, using reality only to enhance imagination. Donati survived the decline of Surrealism in the late 1940's by adapting his style to current art trends as he worked with new materials and textures throughout the 1950's. One trend with which he became involved was Abstract Expressionism, which originated in the 1940s, and became popular in the 1950s. It was a movement in which artists typically applied paint, rapidly and with force, to large canvases, in an effort to show feelings and emotions. Paint might be applied with large brushes, sometimes dripping or even throwing it onto canvas. Abstract Expressionist work is characterized by a strong dependence on what appears to be accident and chance, although it is actually highly planned. Donati held a retrospective at the Palais des Beaux-Arts in Brussels in 1961 and went on to exhibit at the Betty Parsons Gallery with other forerunners of American Abstract Expressionism: Mark Rothko, Barnett Newman, and Jackson Pollock. It was at this time that Donati created some of his most inventive and extraordinary work, some of which was featured in a survey exhibition at the Alter & Gil Gallery, Beverly Hills, California, in January 2000. He has held many teaching positions and has been an active lecturer, while continuing to add to his artistic repertoire. From 1960 to 1962 he was a Visiting Lecturer at Yale University, and from 1962 to 1972 a Member of the Yale University Council for the Arts and Architecture. He has had seventy-five one-man shows, among them an exhibit of new paintings at the Maxwell Davidson Gallery (57th St., New York) in the fall of 1997. Donati's work is held in collections throughout the world, and his work has appeared in over 300 articles and publications, two hard cover books...

William Jean Beauley Great Kills, circa 1917 Signed lower right Oil on panel 40 x 50 inches Housed in its original Newcomb-Macklin gilt frame Pro...

Joseph Stella (1877 - 1946) Tree, Trunk, and Roots, Bronx, New York, circa 1924 Oil on canvas 12 x 16 inches inscribed in another hand Joseph Stella/Estate and bears Joseph Stella Estate stamp (on the reverse) Provenance: The Estate of the Artist Rabin & Kreuger, New Jersey Parke Bernet Galleries, New York, March 14, 1968, Lot 147 ACA Galleries, New York Thence by descent Stella was born June 13, 1877 at Muro Lucano, Italy, a mountain village not far from Naples. He became painter laureate of Muro Lucano when he was in his teens with a representation of the local saint in the village church. Stella immigrated to America in 1896 and studied medicine and pharmacology, but upon the advice of artist friend Carlo de Fornaro, who recognized his undeveloped talent, he enrolled at the Art Students League in 1897. Stella objected to the rule forbidding the painting of flowers, an indication of his lifelong devotion to flower painting. He also studied under William Merritt Chase in the New York School of Art and at Shinnecock Hills, Long Island in 1901-1902, displaying the bravura brushwork and dark Impressionist influence of Chase. Stella liked to paint the raw street life of immigrant society, rendering this element more emotionally than the city realists, the Aschcan School headed by Robert Henri. Stella went through a progression of styles--from realism to abstraction--mixing media and painting simultaneously in different manners, reviving styles and subjects years later. The "Survey" sent Stella to illustrate the mining disaster of 1907 in Monongah, West Virginia, and in 1908 commissioned him to execute drawings of the Pittsburgh industrial scene. Steel and electricity became a major experience in shaping his responses to the modern world, and Stella succeeded in portraying the pathos of the steelworkers and the Pittsburgh landscape. Stella went abroad in 1909 at the age of thirty-two, lonely for his native land. He returned to Italy, traveling to Venice, Florence and Rome. He took up the glazing technique of the old Venetian masters to get warmth, transparency, and depth of color. One of Stella's paintings was shown in the International Exhibition in Rome in 1910 and was acquired by the city of Rome. The influence of the French Modernists awakened his dormant individuality. His friendship with Antonio Mancini, a Futurist, also played a role in his new style. At the urging of Walter Pach...

Crash Untitled, 1989 Signed and dated lower left Watercolor and ink on paper 30 x 20 1/2 inches A contemporary of Keith Haring and a modern-day master of this present day art form o...

Elliott Thompson Eleven Thirteen, (Dancing Line Series), 1972 Signed, Elliott Thompson, dated, 2/72, and inscribed, Eleven Thirteen, on verso and agai...

Fred Parker Sonoma Mountain, 1996 Signed, dated, and titled on the reverse Acrylic, pastel, and pencil on board 21 1/2 x 29 1/2 inches

Crash Pleased to See You, 1989 Signed and dated lower left Watercolor and ink on paper 30 x 20 1/2 inches A contemporary of Keith Haring and a modern-day master of this present day ...

Seymour Fogel Untitled Oil on illustration board construction 10 x 7 1/2 inches Provenance: Estate of the artist Charles and Faith McCracken Larry and Trish Heichel Private Collection Seymour Fogel was born in New York City on August 24, 1911. He studied at the Art Students League and at the National Academy of Design under George Bridgeman and Leon Kroll. When his formal studies were concluded in the early 1930s he served as an assistant to Diego Rivera who was then at work on his controversial Rockefeller Center mural. It was from Rivera that he learned the art of mural painting. Fogel was awarded several mural commissions during the 1930s by both the Works Progress Administration (WPA) and the Treasury Section of Fine Arts, among them his earliest murals at the Abraham Lincoln High School in Brooklyn, New York in 1936, a mural in the WPA Building at the 1939-1940 New York World's Fair, a highly controversial mural at the U.S. Post Office in Safford, Arizona (due to his focus on Apache culture) in 1941 and two murals in what was then the Social Security Building in Washington, D.C., also in 1941. Fogel's artistic circle at this time included Phillip Guston, Ben Shahn, Franz Kline, Rockwell Kent and Willem de Kooning. In 1946 Fogel accepted a teaching position at the University of Texas at Austin and became one of the founding artists of the Texas Modernist Movement. At this time he began to devote himself solely to abstract, non-representational art and executed what many consider to be the very first abstract mural in the State of Texas at the American National Bank in Austin in 1953. He pioneered the use of Ethyl Silicate as a mural medium. Other murals and public works of art done during this time (the late 1940s and 1950s) include the Baptist Student Center at the University of Texas (1949), the Petroleum Club in Houston (1951) and the First Christian Church, also in Houston (1956), whose innovative use of stained glass panels incorporated into the mural won Fogel a Silver Medal from the Architectural League of New York in 1958. Fogel relocated to the Connecticut-New York area in 1959. He continued the Abstract Expressionism he had begun exploring in Texas, and began experimenting with various texturing media for his paintings, the most enduring of which was sand. In 1966 he was awarded a mural at the U.S. Federal Building in Fort Worth, Texas. The work, entitled "The Challenge of Space", was a milestone in his artistic career and ushered in what has been termed the Transcendental/Atavistic period of his art, a style he pursued up to his death in 1984. Painted and raw wood sculpture...

Arnold Blanch Nude Signed lower right Oil on board 20 x 16 inches Provenance: G. David Thompson Collection, Pittsburgh Private Collection, New York Bo...

William Rickarby Miller Rapelyea House, New York, 1884 Signed and dated lower left Oil on canvas 20 x 30 inches Provenance: Kennedy Galleries, New York Born in Staindrop, County Du...

Ruth Anderson Municipal Building, Manhattan, circa 1918 Oil on canvas 25 x 19 inches Ruth A. Anderson was born in Carlisle, Pennsylvania in 1891 and die...

Isabella Howland Portrait of a Woman, Paris, 1925 Oil on canvas laid on board 19 1/2 x 16 1/2 inches Provenance: Hammer Galleries, New York Private C...

Born in Russia, the son of Friede (1878 – 1956) and Benjamin Hoffman (1878 – a. 1942). Benjamin was a dealer in mineral and seltzer water and the family resided on Snediker Avenue in Brooklyn, New York, just down the streetfrom the home where George Gershwin (1898 – 1937) was born. This area of Brooklyn, known as Brownsville, “witnessed the development of one of the largest communities of Eastern European Jewish immigrants during the last decade of the 19th century and the first two decades of the 20 th century.” Today, little remains of this once thriving Jewish section of Brooklyn, which today houses many commercial and repair businesses. Hoffman studied at the Art Students League of New York, the National Academy of Design and in the art program at Cooper Union. His work at the National Academy received praise, and in 1921 he was awarded the 2nd prize and an honorable mention from the John Armstrong Chaloner Paris Prize Foundation at the National Academy, which allowed the recipient to study in Paris, France for as long as five years. The following year he was awarded the 1 st prize in the competition (with The Reform Advocate running the headline “Young Jew Wins Art Prize”) as well as the Suydam Bronze Medal for his achievements in the Academy’s Men’s Night Class. In 1923 he was residing in Long Branch, New Jersey, when he was awarded 4th place in the Chaloner competition. Early on, Hoffman exhibited his work throughout the city, including in 1925 with the recently organized Society of Independent Artists. He also received several solo exhibitions during the first part of his career, including one at Ferargil Galleries in 1929. In the spring of 1930 a solo exhibition of his portraits, including paintings and drawings, was held at at Babcock Galleries, where a reviewer noted: “Portraiture is obviously Mr. Hoffman’s specialty… his best work is characterized by a sensitive appreciation of character set down in a vigorous decisive statement. Later that same year, in August, he participated in Babcock’s summer exhibition where reviewer Jerome Klein, writing for The Baltimore Sun, felt Hoffman’s and other artists work was already becoming old fashioned, remarking “…if an effort toward accomplishment is to be made, it must be in the language of today. It is for that reason that such contemporaries as Eugene Higgins and Nathan Hoffman, in this show, seem artists of a bygone era…” The onset of the Great Depression appears to have slowed his success, as was the case for many up-and-coming artists. By 1939 Hoffman had become a gallerist in addition to being a painter, operating the collective exhibition space “Sutton Gallery,” which was originally located at 358 East 57th Street. There Hoffman exhibited his own works as well as those created by other prominent New York artists including David Burliuk (1882 – 1967), Charles C. Curran (1861 – 1942), Louis Eilshemius (1864 – 1941), Ann Goldthwaite (1869 – 1944), Maurice Kish (1895 – 1987), Lawrence Lebduska (1894 – 1966), Bradford Perin and Ellis Wilson...

Ernest Fiene Along the Kanahawa River, West Virginia, 1936 Signed lower right Oil on canvas 26 x 36 inches Fiene made a series of paintings, drawings and lithographs which are based on his travels through Pennsylvania and West Virginia during the winter of 1935-36. The industrial areas of Pennsylvania and West Virginia are represented in numerous oils, among which are some of his most well-known. Fiene wrote of the trip, "The increasing snow and atmospheric conditions [in the Kanawha River valley} enhanced this mountainous coal mining country with a majestic beauty." Winter on the River is Fiene's only American Artists Group print and there were only two lithographs produced from the West Virginia trip. The American Artists Group (AAG), under the direction of Carl Zigrosser, who was then working at New York's famed Weyhe Gallery, published ninety-three prints by over fifty artists in 1936 and 1937. Zigrosser's goal was to popularize contemporary American art through original prints offered at the low price of $2.75. The project was also a means to provide income for impoverished artists during the Depression. The prints were featured in many of the leading print exhibitions and publications of the period. The lithograph produced from this image is now in the collection of the Amon Carter Museum, Baltimore Museum of Art, Cleveland Museum of Art, Philadelphia Museum of Art, Pensacola Museum of Art, San Francisco Fine Arts Museum, Syracuse Museum, Yale University Art Museum. Ernest Fiene was born in Elberfeld, Germany in 1894. As a teenager, Fiene immigrated to the United States in 1912. He studied art at the National Academy of Design in New York City from 1914 to 1918, taking day classes with Thomas Maynard and evening classes with Leon Kroll. Fiene continued his studies at the Beaux-Arts Institute of Design in New York from 1916 to 1918, adding classes in printmaking at the Art Students League in 1923. Fiene began his career as an artist in 1919 with his first exhibition of watercolors at the MacDowell Club arranged by his mentor Robert Henri. In 1923 the Whitney Studio Club mounted a large exhibition of his works. The following year he had an exhibition at the New Gallery in New York, which completely sold out all fifty-two works, including paintings, watercolors, drawings, and etchings. With the proceeds of sales from the New Gallery exhibition, Ernest Fiene and his younger brother Paul, a sculptor, built studios in Woodstock, New York in 1925. In the early Twenties Ernest Fiene painted mostly landscapes of Woodstock and both the Ramapo and Hudson River Valleys. The first monograph from the Younger Artists Series was published on Fiene in 1922. Published in Woodstock, the series went on to include Alexander Brook, Peggy Bacon, and Yasuo Kuniyoshi. The book reproduced 1 illustration in color and another 27 reproductions in black and white. Around 1925 Fiene became fascinated with the intensity, excitement, and opportunities for color harmonies New York City offered as a subject. His paintings shifted to urban and industrial themes with architecture, industry, and transportation becoming his subjects. By 1926 Fiene had attracted the dealer Frank K.M. Rehn, who gave him a one-man exhibition that year, which travelled to the Boston Arts Club. C.W. Kraushaar Galleries gave Fiene a one-man exhibition of urban, landscape, portrait, and still life paintings in 1927. Julianna Force, the director of the Whitney Studio Club and first director of the Whitney Museum of American Art, included two of Fiene’s paintings in a fall exhibition in 1928. The Whitney Studio Club showed Fiene’s paintings in a two-man exhibition with Glenn O. Coleman that year and acquired three of Fiene’s paintings. Also in 1928 Fiene became affiliated with Edith Halpert’s Downtown Gallery where he had an exhibition of 20 lithographs in the spring. Fiene sold his house in Woodstock in 1928 to spend more of his time in New York City. With so many successful exhibitions, Fiene returned to Paris in 1928-29 where he rented Jules Pascin's studio and studied at the Académie de la Grande Chaumière. In France, Fiene painted both landscape and urban subjects developed from ideas influenced by Cubist geometry and the use of flat areas of broad color. Upon returning to New York in 1930, Fiene used this new approach to continue to paint New York skyscraper and waterfront subjects, as well as to begin a series of paintings on changing old New York based on the excavations for Radio City Music Hall and the construction of the Empire State Building. Frank K.M. Rehn Galleries exhibited this series, titled “Changing Old New York,” in 1931. Fiene also has solo exhibitions at Rehn Galleries in 1930 and 1932. Fiene’s oil paintings are exhibited at the Chicago Arts Club in 1930 as well. Fiene was included in the Museum of Modern Art’s exhibition Painting and Sculpture by Living Americans in December of 1931. Visiting New York, Henri Matisse saw the exhibition and called Fiene’s Razing Buildings, West 49th Street the finest painting he had seen in New York. Fiene had two mural studies from his Mechanical Progress series exhibited at the Museum of Modern Art’s exhibition Murals by American Painters and Photographers in 1932. Fiene sent View from my Window which depicts Fiene working on a lithograph stone while looking out his window to the newly completed Empire State Building to the Carnegie International in 1931. In 1932 Fiene participated in the first Biennial of American Painting at the Whitney Museum and his prints were included in exhibitions at the Downtown Gallery and the Wehye Gallery. In the same year, Fiene was awarded a Guggenheim fellowship to further study mural painting in Florence, Italy. On his return from Italy in 1933 Fiene re-engaged himself in New York City life and won several public and private mural projects. Fiene resumed his active exhibition schedule, participating in two group exhibitions at the Whitney Museum and a one-man exhibition of recent paintings at the Downtown Gallery in January 1934. In 1933 he purchased a farm in Southbury, Connecticut, which added Connecticut scenes to his landscape subjects. This was also the year Fiene began to spend summers on Monhegan Island, Maine, where he painted seascapes, harbor scenes, and still lifes. Fiene’s landscape paintings attracted numerous commissions as part of the American Scene movement. Through the fall and winter of 1935-36, Fiene took an extended sketching trip through the urban, industrial, and farming areas of Pennsylvania and West Virginia. Most of the twenty-four Pennsylvania urban and rural paintings from this trip were featured in an exhibition held at the First National Bank in Pittsburgh in October of 1937 by the Pittsburgh Commission for Industrial Expansion. Fiene said of these works that he formed rhythm, opportunity for space and color, and integrity in the Pennsylvania mill and furnace paintings. Fiene received the silver medal for one of the Pittsburgh paintings...

Irene Rice Pereira Composition with Figure, 1951 Inscribed, signed and dated Salford/Pereira 2/51 (lr); inscribed I Rice Pereira/2669 Great Clowes St/Sa...

John Frederick Kensett White House and Trees, circa 1853 Oil and gouache on paper 6 3/4 x 9 3/4 inches Provenance: Estate of Vincent Colyer (1824 - 1888) By descent Paul Magriel Collection Private Collection, Long Island Exhibited: New York, The Finch College Museum of Art; Southampton, New York, The Parrish Art Museum; New Orleans, Louisiana, Isaac Delgado Museum of Art; Norfolk, Virginia, Norfolk Museum of Art; Montclair, New Jersey, Montclair Art Museum; New London, Connecticut, Lyman Allyn Museum; Manchester, New Hampshire, The Currier Gallery of Art; Providence, Rhode Island, Rhode Island School of Design; Youngstown, Ohio, The Butler Institute of American Art, American Drawings (Benjamin West to the present) from the Paul Magriel Collection, June 1961 - December 1962. Portland, Oregon, Portland Art Museum, April 14 - May 15, 1963. Boston International Fine Art Show at the Cyclorama, Lincoln Glenn, October 19 - 23, 2022. In the 1850s through 1860, John Frederick Kensett, painted a series of at least five landscapes of the "Shrewsbury River" (now the Navesink River) along the New Jersey shore. Art historians have described Kensett’s paintings of the river as having evolved from a trip in the fall of 1853 at the invitation of Kensett's friend, author and lecturer George Curtis. However, letters viewable at the Smithsonian Archives of American Art website make it clear that Kensett had become acquainted with the area over a year earlier, most likely in connection with fellow artist and friend Thomas Prichard Rossiter. Kensett and Rossiter had been friends since at least the 1830s. As aspiring artists, they had traveled to Europe together in the 1840s. In 1851 Rossiter married Anna Ehrick Parmly, then in her early 20s, and Kensett attended the wedding. Anna was one of four daughters of Eleazer and Anna Maria Parmly. Eleazer, one of the major figures in American dentistry history, was a wealthy and accomplished member of New York society. When not in the city, the Parmly family gathered at Bingham Place, a sprawling estate on 275 pastoral acres spanning the peninsula between the Shrewsbury and Navesink Rivers along the New Jersey shore. The Bingham Place estate encompassed much of what is now Rumson, then known as Oceanic, N.J. It was a wide-open landscape of ocean views, orchards, lawns, and cattle-dotted pastures. There the Parmlys opened their doors to family, friends, and the summer breeze. Rossiter, newly-married into the Parmly family, was likely the reason that Kensett paid a social visit to Bingham Place in the summer of 1852. On July 11, 1852, having reluctantly departed, Kensett wrote Rossiter who was still at Bingham Place: New York to me now is that of a deserted place…marking a dismal contrast to the green lawns at Bingham Place. I saw the receding shores of Shrewsbury & the line of dust which marked your homeward course & finally the last glimpse of the Locust trees that shade the pleasant mansion & happy inmates at Bingham with any thing but a joyous spirit. A major figure in the American luminist tradition and one of the most renowned painters of the Civil War era, John Frederick Kensett was born in Cheshire, Connecticut, in 1816. He was the son of Thomas Kensett, a British immigrant engraver, and it was in his father's New Haven firm that Kensett first learned to draw. After mastering the rudiments of the graphic arts, he worked as an engraver in print shops in New Haven, Albany, and New York throughout the 1830's. During this period, he began to paint on his own, encouraged by a friend and fellow artist, John W. Casilear. In 1838, he made his first submission, a landscape, to the annual exhibitions of the National Academy of Design. Desirous of continuing his training, Kensett traveled to Europe in 1840. For the next seven years, often in the company of artists such as Casilear and Asher B...

Antonio Jacobsen The Bransford, 1903 Signed, inscribed "West Hoboken," and dated lower right Oil on canvas 22 x 50 inches Antonio Jacobsen was born in Copenhagen, Denmark, to a family of violin makers. He was an accomplished string player and throughout his life music was to remain an avocation. He studied at Copenhagen's Royal Academy, and emigrated to the the United States in 1871. He frequented the harbor around Battery Park, sketching, until he was hired by the Marvin Safe Company to decorate safes. Subsequently he received commissions from sea captains, ship owners, and steamship companies. The Old Dominion Line, the Fall River Line, and the White Star Line hired him to paint visual records of their entire fleets; he also received commissions from the Clyde, Black Ball, Mallory, Anchor, and the Red Star Lines. Jacobsen's style is often, though not exclusively, characterized by a flattened perspective. He had a complete understanding of ships and achieved great accuracy of detail in his works. In 1878 Jacobsen married; he remained in New York City until 1880, when he moved to Hoboken, New Jersey. His home became a gathering place for marine artists including James Bard, Fred Cozzens, Fred Pansing, James Buttersworth, Worden Wood...

Lawrence Rothbort Belt Parkway, circa 1950 Oil on canvas 48 x 48 inches Lawrence Rothbort was born March 1920 in Brooklyn, New York. He was a model from infancy for his father, Amer...

Herman Rose (1909 - 2007) Manhattan Looking East (View from Midtown), 1952-54 Oil on canvas 26 x 28 inches Signed lower right Fairfield Porter wrote an essay in ArtNews on this exact painting in 1955. Please inquire for a copy of the article. Literature: Fairfield Porter, "Herman Rose Paints a Picture," ArtNews, April 1955 Volume 54, Number 2, illustrated. Herman Rose was best known for his depictions of cityscapes of New York City. Herman Rappaport was born in Brooklyn, New York. in 1909. Herman Rose was the professional pseudonym of Herman Rappaport. Originally trained as a draftsman and studied at the National Academy of Design from 1927 to 1929, he was later employed by the Works Progress Administration's Murals Division under Arshile Gorky from 1934 until 1939. In 1939, after experimenting with a variety of contemporary expressionistic styles, Rose decided to paint from life. Working mostly in East New York and East Canarsie in Brooklyn, and in Manhattan, Rose began to paint roof tops and street scenes. Rappaport began using the name Herman Rose when he held his first solo art exhibition in 1946 at the Charles Egan Gallery in New York City. Although he initially began as an Expressionistic painter, he became known for small, light-filled Impressionist paintings of still life, cityscapes and skies by the early 1950s. His paintings and images were often composed of very small dabs of paint and tiny, blurry "squares," which combined to create the image on canvas, his favorite medium. Often described as a "lyrical painter" Rose's work "interpreted traditional subjects: landscape, still life and the figure like the Post-Impressionists from whom he developed his own style, Rose built up forms from distinct touches of color that don't entirely blend in the viewer's eye. This gives his surfaces an active quality that flattens forms, one of the great lessons of modernism." Herman Rose's work received official recognition when Ms. Dorothy Miller of Museum of Modern Art (MoMA) included his work in an exhibition called, "15 Americans," alongside work by Clyfford Still, Mark Rothko and Jackson Pollock. New York Times art critic Hilton Kramer wrote of Rose's work in 1981, "{he} must surely be counted among the most beautiful works anyone has produced in this challenging medium for many years." The Art in America art critic Lawrence Campbell...

Bela de Tirefort (1894 – 1993) Snow at Madison Square Park, 1951 Oil on canvasboard 16 x 20 inches Signed and dated lower left; signed and titled on the reverse on artist label Prov...

Leon Dolice (1982 - 1960) Rainy Day, New York City, circa 1940 Oil on canvasboard 20 x 16 inches Signed on the reverse Provenance: Private Collection, Massachusetts Private Collecti...

Lionel S. Reiss (1894 - 1988) New York City Skyline View from the East River Watercolor on paper 13 x 19 inches Signed lower left In describing his own style, Lionel Reiss wrote, “By nature, inclination, and training, I have long since recognized the fact that...I belong to the category of those who can only gladly affirm the reality of the world I live in.” Reiss’s subject matter was wide-ranging, including gritty New York scenes, landscapes of bucolic Bucks County, Pennsylvania, and seascapes around Gloucester, Massachusetts. However, it was as a painter of Jewish life—both in Israel and in Europe before World War II—that Reiss excelled. I.B. Singer, the Nobel Prize winner for Literature, noted that Reiss was “essentially an artist of the nineteenth century, and because of this he had the power and the courage to tell visually the story of a people.” Although Reiss was born in Jaroslaw, Poland, his family immigrated to the United States in 1898 when he was four years old. Reiss's family settled on New York City’s Lower East Side and he lived in the city for most of his life. Reiss attended the Art Students League and then worked as a commercial artist for newspapers and publishers. As art director for Metro-Goldwyn-Mayer, he supposedly created the studio’s famous lion logo. After World War I, Reiss became fascinated with Jewish life in the ‘Old World.’ In 1921 he left his advertising work and spent the next ten years traveling in Europe, the Middle East, and North Africa. Like noted Jewish photographers Alter Kacyzne and Roman Vishniac, Reiss depicted Jewish life in Poland prior to World War II. He later wrote, “My trip encompassed three main objectives: to make ethnic studies of Jewish types wherever I traveled; to paint and draw Jewish life, as I saw it and felt it, in all aspects; and to round out my work in Israel.” In Europe, Reiss recorded quotidian scenes in a variety of media and different settings such as Paris, Amsterdam, the Venice ghetto, the Jewish cemetery in Prague, and an array of shops, synagogues, streets, and marketplaces in the Jewish quarters of Warsaw, Lodz, Krakow, Lublin, Vilna, Ternopil, and Kovno. He paid great attention to details of dress, hair, and facial features, and his work became noted for its descriptive quality. A selection of Reiss’s portraits appeared in 1938 in his book My Models Were Jews. In this book, published on the eve of the Holocaust, Reiss argued that there was “no such thing as a ‘Jewish race’.” Instead, he claimed that the Jewish people were a cultural group with a great deal of diversity within and between Jewish communities around the world. Franz Boas...

Henry Benson (1930 - 1998) Brooklyn Bridge, East River, 1971 Acrylic on canvas 34 x 28 inches Signed upper left corner: Henry Benson Provenance: Golden Door Gallery, New Hope, Penns...

George Picken (1898 - 1971) The Octagon at Blackwell's Island (Roosevelt Island, New York City), 1928 Oil on canvas 22 x 27 inches Signed lower right Pr...

Herman N. Hyneman (1849 - 1907) Sensation in Wall Street, New York, 1903 Oil on canvas 24 x 16 inches Signed and dated lower left Provenance: Roger King, Newport, Rhode Island Herman N. Hyneman was a noted American portrait and figure painter with ties to both Philadelphia and New York. He was born July 27,1849 to Leon and Adeline Hyneman in Philadelphia. ("Who Was Who in American Art" lists his birth date as either 1849 or 1859, but we have confirmed that the birth date is 1849). Virtually nothing is known about his early years, but given the fact that the family resided in a wealthy section of Philadelphia and the fact that he traveled to Paris to study in the studio of Leon Bonnat when he was but 20 years old, it is presumed that the family was financially comfortable if not well to do. Hyneman exhibited at the Paris Salon in 1879 and 1881, which was quite an accomplishment given his tender age. He returned to the United States in 1882 and after a year in Philadelphia, he established a studio at 58 West 57th Street, New York, NY, where he painted portraits to support himself and scenes of beautiful fair-skinned women walking in the snow to exhibit at major exhibitions throughout the United States. Hyneman exhibited at the the Brooklyn Art Association in 1882, 1883 and 1884 and at the Pennsylvania Academy of Fine Arts in 1883 and 1888. Beginning in 1882 and continuing up until 1905, he exhibited regularly at the National Academy of Design. Despite the fact that he exhibited fourteen paintings at the National Academy over a span of three different decades, he was never elected as a member. In the 1880's his paintings sold for between $100 and $1500, which were substantial sums for that period. Hyneman also exhibited at the Salmagundi Club and the Philadelphia Art Club and was a member of each organization. He won a medal at the American Art Society in 1904 and also exhibited at the Chicago Art Institute. A handwritten label on one of his paintings indicates that he also exhibited in Budapest, Hungary. In 1892, Hyneman married the noted artist Juliet Jolley (aka Jolly), who had previously modeled for him. Thereafter, they shared a studio and on at least one occasion exhibited together. The February 5, 1896 edition of the "New York Times" reported on a "pleasant studio reception" at 58 West 57th Street where the paintings of both Herman and Juliet were shown to members of New York Society including Mr. And Mrs. Edwin Blashfield. At least one of Hyneman's Painting " A Sensation on Wall Street" which depicted a lovely young woman in fur coat with Muff in front of the Stock Exchange, was made into a post card and reproductions of his paintings are known to exist, although not plentiful. At least one etching is known, "Desdemona," which was reproduced in a book by Frederic Stokes. Herman Hyneman...

Herman N. Hyneman (1849 - 1907) Elegant Lady in Winter, Trinity Church, New York City Oil on canvas 22 x 15 inches Signed lower right Provenance: Freemans, 2005, Lot 76 Herman N. Hyneman was a noted American portrait and figure painter with ties to both Philadelphia and New York. He was born July 27,1849 to Leon and Adeline Hyneman in Philadelphia. ("Who Was Who in American Art" lists his birth date as either 1849 or 1859, but we have confirmed that the birth date is 1849). Virtually nothing is known about his early years, but given the fact that the family resided in a wealthy section of Philadelphia and the fact that he traveled to Paris to study in the studio of Leon Bonnat when he was but 20 years old, it is presumed that the family was financially comfortable if not well to do. Hyneman exhibited at the Paris Salon in 1879 and 1881, which was quite an accomplishment given his tender age. He returned to the United States in 1882 and after a year in Philadelphia, he established a studio at 58 West 57th Street, New York, NY, where he painted portraits to support himself and scenes of beautiful fair-skinned women walking in the snow to exhibit at major exhibitions throughout the United States. Hyneman exhibited at the the Brooklyn Art Association in 1882, 1883 and 1884 and at the Pennsylvania Academy of Fine Arts in 1883 and 1888. Beginning in 1882 and continuing up until 1905, he exhibited regularly at the National Academy of Design. Despite the fact that he exhibited fourteen paintings at the National Academy over a span of three different decades, he was never elected as a member. In the 1880's his paintings sold for between $100 and $1500, which were substantial sums for that period. Hyneman also exhibited at the Salmagundi Club and the Philadelphia Art Club and was a member of each organization. He won a medal at the American Art Society in 1904 and also exhibited at the Chicago Art Institute. A handwritten label on one of his paintings indicates that he also exhibited in Budapest, Hungary. In 1892, Hyneman married the noted artist Juliet Jolley (aka Jolly), who had previously modeled for him. Thereafter, they shared a studio and on at least one occasion exhibited together. The February 5, 1896 edition of the "New York Times" reported on a "pleasant studio reception" at 58 West 57th Street where the paintings of both Herman and Juliet were shown to members of New York Society including Mr. And Mrs. Edwin Blashfield. At least one of Hyneman's Painting " A Sensation on Wall Street" which depicted a lovely young woman in fur coat with Muff in front of the Stock Exchange, was made into a post card and reproductions of his paintings are known to exist, although not plentiful. At least one etching is known, "Desdemona," which was reproduced in a book by Frederic Stokes. Herman Hyneman...

Herman N. Hyneman (1849 - 1907) Julie Hyneman at Central Park Oil on canvas 25 x 20 inches Signed lower left Herman N. Hyneman was a noted American portrait and figure painter with ties to both Philadelphia and New York. He was born July 27,1849 to Leon and Adeline Hyneman in Philadelphia. ("Who Was Who in American Art" lists his birth date as either 1849 or 1859, but we have confirmed that the birth date is 1849). Virtually nothing is known about his early years, but given the fact that the family resided in a wealthy section of Philadelphia and the fact that he traveled to Paris to study in the studio of Leon Bonnat when he was but 20 years old, it is presumed that the family was financially comfortable if not well to do. Hyneman exhibited at the Paris Salon in 1879 and 1881, which was quite an accomplishment given his tender age. He returned to the United States in 1882 and after a year in Philadelphia, he established a studio at 58 West 57th Street, New York, NY, where he painted portraits to support himself and scenes of beautiful fair-skinned women walking in the snow to exhibit at major exhibitions throughout the United States. Hyneman exhibited at the the Brooklyn Art Association in 1882, 1883 and 1884 and at the Pennsylvania Academy of Fine Arts in 1883 and 1888. Beginning in 1882 and continuing up until 1905, he exhibited regularly at the National Academy of Design. Despite the fact that he exhibited fourteen paintings at the National Academy over a span of three different decades, he was never elected as a member. In the 1880's his paintings sold for between $100 and $1500, which were substantial sums for that period. Hyneman also exhibited at the Salmagundi Club and the Philadelphia Art Club and was a member of each organization. He won a medal at the American Art Society in 1904 and also exhibited at the Chicago Art Institute. A handwritten label on one of his paintings indicates that he also exhibited in Budapest, Hungary. In 1892, Hyneman married the noted artist Juliet Jolley (aka Jolly), who had previously modeled for him. Thereafter, they shared a studio and on at least one occasion exhibited together. The February 5, 1896 edition of the "New York Times" reported on a "pleasant studio reception" at 58 West 57th Street where the paintings of both Herman and Juliet were shown to members of New York Society including Mr. And Mrs. Edwin Blashfield. At least one of Hyneman's Painting " A Sensation on Wall Street" which depicted a lovely young woman in fur coat with Muff in front of the Stock Exchange, was made into a post card and reproductions of his paintings are known to exist, although not plentiful. At least one etching is known, "Desdemona," which was reproduced in a book by Frederic Stokes. Herman Hyneman...

Leon Dolice (1892 - 1960) New York Harbor (Brooklyn Bridge), circa 1930-40 Pastel on paper 12 x 19 inches Signed lower right Provenance: Spanierman Gallery, New York The romantic b...

Leon Dolice (1892 - 1960) New York Harbor Skyline at Twilight (Searching), circa 1930-40 Pastel on paper 12 x 19 inches Signed lower left Provenance: Spanierman Gallery, New York T...

William Glackens Street Fair, circa 1905 Pencil, ink and gouache on paper 10 x 14 inches Provenance: The artist Kraushaar Galleries, New York Estate ...

Jay Rosenblum Black Whole Signed and titled on the reverse Acrylic on canvas 18 x 32 inches Jay Rosenblum experimented with different versions of the "Visual Stripe motif" for more ...

Lila Katzen Inside the Black Diamond, 1964 Signed, titled, and dated on the reverse Acrylic on canvas 30 x 24 inches Lila Katzen said of her pieces in all media: “I feel marvelous w...

Bruce Crane Field at Dusk Signed lower right Oil on canvas 22 x 30 inches

Edward Millman (1907 - 1964) Candelabra, 1962 Signed lower right; titled and dated on the reverse Oil on canvas 41 3/4 x 31 1/2 inches Provenance: The ...

Joseph Yoakum Andes Mountains Peru So America, circa 1960s Colored pencil and ballpoint pen on paper 7 1/4 x 10 1/2 inches Provenance: Karen Lennox Gallery, Chicago Private Collection, South Dakota Yoakum began drawing in the early 1960s. Most of his work consists of radiantly colored landscapes with mountains, water, trees, and winding roads in abstract and complex configurations. his period of greatest activity — 1965 to 1970 — when he usually made one drawing a day. Yoakum maintained he had seen all the places represented in his drawings, a statement that may not be true in some instances. He traveled a great deal, beginning in his early teens when he ran away from home and became a circus handyman. Yoakum’s drawings can be considered memory images growing out of either actual or imagined experiences. All of his drawings have titles that grew longer and more specific over the years. He dated his works with a rubber stamp — an oddly impersonal, labor-saving device. Although Joseph Yoakum gave vastly different accounts of his background, he was, throughout his life, classified as an African American. Sometimes Yoakum claimed that he was a full-blooded ​“Nava-joe” Indian, one of twelve or thirteen children born to a farmer on an Indian reservation in Window Rock, Arizona. At other times he insisted that he was of African-American descent. He described his mother as a strong woman who was a doctor and knowledgeable in the use of herbal medicines. Yoakum’s family moved to Kansas City, Missouri, during his early childhood. His father was employed briefly in the railroad yards prior to settling permanently on a farm in nearby Walnut Grove...

Leon Dolice View from New York Harbor, circa 1960 Signed lower left Oil on canvas 26 x 44 inches Provenance: Private Collection, Boston Private Collection, Worcester, Massachusetts Leon Dolice was one of the masters of the New York City street scene in the decades between the world wars. He showed an unquenchable fascination with the built urban environment and combined it with an interest in modernist technique and a knowledge of European art. His work helped to redefine realist painting and remains a brooding tribute and memorial to the New York of the 1920s and 1930s. Dolice was born in Vienna, Austria in 1892, the son of a machinist. As a young man, he worked as an illustrator and stage designer and traveled the capital cities of Europe, studying the works of the ‘old masters.’ At age 28, Dolice immigrated to New York City and moved to Greenwich Village, then in its first Bohemian incarnation. Dolice developed a friendship with George Luks and became proficient at the art of copperplate etching. Dolice owned an art gallery and studio in his home on Third Avenue and 32nd street where he sold his depictions of the city. One of his favorite subjects was the Third Avenue El, directly adjacent to this studio, but he also traveled the eastern coast, painting urban scenes in Washington D.C., Baltimore, and Philadelphia. Dolice’s New York City etchings...

Orrin White California Mountain Landscape Signed lower right Oil on board 8 x 10 inches A nationally known landscape painter, who spent the prime of his career in California, Orrin White was born in Hanover, Illinois. He was artistically inclined at an early age but did not pursue an art career until he was in his thirties. After receiving a Bachelor of Arts degree from Notre Dame University...

Charles Henry Miller Flushing Landscape with Cows, circa 1880 Signed lower left Oil on canvas 13 x 19 inches Charles Henry Miller was a noted artist and painter of landscapes from Long Island, New York. The American poet Bayard Taylor called him, "The artistic discoverer of the little continent of Long Island." Miller was educated at Mount Washington Collegiate Institute, and graduated in medicine at the New York Homeopathic Institute in 1864. Before his graduation, he had occasionally painted pictures, and in 1860 he exhibited The Challenge Accepted at the National Academy of Design, in New York City. He lived in Queens at the summer estate, Queenslawn, originally purchased by his parents. He went abroad in 1864 and again in 1867, and was a pupil in the Bavarian Royal Academy at Munich under the instruction of Adolf Lier...

SHERRON FRANCIS (AMERICAN, B. 1940) Trap Rock, 1972 Acrylic on canvas 22 3/4 x 16 inches Signed, titled and dated on the reverse A reappraisal is long overdue for the second-generation abstract expressionists. Artists such as Helen Frankenthaler, Morris Louis, Dan Christensen, and Sam Francis are already well-known names. However, Sherron Francis, a female artist from the Midwestern United States, exhibited alongside many of these stars, yet has not been the recipient of a major exhibition in nearly 40 years. Francis was born in the Chicago suburb of Downers Grove, Illinois in 1940. She studied fine art at the University of Oklahoma from 1958 to 1960 before transferring to the Kansas City Art Institute for better educational opportunities. At the time, Francis remained loyal to figurative art. Philip Pearlstein, a contemporary artist and visiting professor once remarked at the confidence of Francis’ draftsman abilities. In the early 1960s, art dealers and gallerists from New York would visit the Institute to recruit artists by offering scholarships, but they only offered these scholarships to men. Francis was forced to plead with deans to allow a scholarship for women so that she could continue her studies. She ultimately graduated from the Kansas City Art Institute in 1963. In Missouri, Francis met Dan Christensen (Class of 1964), an artist friend, who would play a key role in her career throughout the next two decades. Francis then received her MFA from the University of Indiana, where she was housemates with Mernet Larsen, before assuming a teaching position at Eastern Michigan University. In 1968, with only $300 on hand, Francis moved to 16 Waverly Place in Soho. At the time, the neighborhood boasted some of the biggest names in abstract expressionism. She quickly became friends with Peter Reginato, Walter Darby Bannard, Michael Steiner, Peter Young, Larry Zox, and Larry Poons, who all lived and worked in the neighborhood. In fact, Francis introduced Larry Poons to his now wife, Paula, a friend and student of Sherron’s. Francis helped to found The Bowery Gallery in 1969 and received her first solo exhibition there in 1970 for her figurative works. After this exhibition, Francis decided to switch to abstraction. By 1971, Christensen, who was exhibiting with Andre Emmerich, introduced Francis to the legendary gallerist. There was no better gallery to be showcasing abstract expressionism and color field painting during this decade for an artist. For example, in 1972, Emmerich held solo exhibitions by art titans, such as Hans Hofmann, Al Held, Esteban Vicente, David Hockney, and Morris Louis. In 1973 alone, Emmerich gave one-person exhibitions to Helen Frankenthaler, Kenneth Noland, Hans Hofmann, Jack Bush and a new discovery: 32-year-old Sherron Francis. The January 27 - February 14 exhibition for Francis was a great success with Peter Schjeldahl commenting in the New York Times: “Francis has…sidestepped the danger of seeming hopelessly derivative of such artists as Mark Rothko, Morris Louis and Helen Frankenthaler —by, it seems to me, the use of a single canny formal device. All her canvases are tall, vertical rectangles. What this shape achieves is a physical presence that supports the paintings' fragile play of color and texture. Bearing roughly the proportions of the human body, but bigger in size, her pictures confront the viewer with a satisfying firmness, inviting delectation.” Francis’s career now took off with the stain paintings. In a 1974 article in Arts Magazine, Whee Kim writes, “She has asserted the credibility of her own answer to the problem of the outer edge of a canvas by limiting her investigations to a singular central image. In her variations on this theme, an intuitive sense of color and touch is given restricted free-play.” Schjeldahl added, “Her paintings, stained and brushed to a suavely grainy texture, each float an area of warm, soft color in a somewhat less‐intensely colored field. The areas are amorphous in shape and closely related, by hue, to the surrounding fields. Her colors run to luxurious brown‐golds, dreamy bluegreens and dusty pinks, though each canvas is alive with a variety of evanescent hues and tints. The goal of her art is to be at once as gorgeous and as delicate as possible: she intends to ravish.” In 1973, Francis exhibited at the Whitney Biennial and then received a second solo exhibition at Emmerich the following year. Corporate collections and private enthusiasts, including Helen Frankenthaler, rushed to purchase her paintings. More than sixty of her paintings sold in one year at Emmerich’s gallery. Throughout the 1970s and early 1980s, Francis exhibited at other leading American galleries, including Janie C. Lee Gallery in Houston, Barbara Kornblatt Gallery in Baltimore, Douglas Drake in Kansas City, Rubiner Gallery in Detroit, and Tibor de Nagy Gallery in New York. Francis always marched to the beat to her own drum. Although she admired the works of Jules Olitski, Jack Bush, and Kenneth Noland, Francis never felt that her work and lifestyle were influenced by others. When her friends summered in the...