By Carter B. Horsley
This auction of American
Paintings at Christie's
May 22, 2009 is highlighted by a superb early landscape by Thomas
Cole, a lovely small landscape by Sanford Robinson Gifford, a
charming small painting by John F. Kensett, a very fine painting
by John George Brown, and good works by Winslow Homer, Francis
A. Silva, Albert Bierstadt, Thomas Worthington Whittredge, Ben
Shahn, George L. K. Morris, Charles Burchfield, Eric Pape, Richard
Miller, and Louis Ritman.
Lot 84 is "View in Kaaterskill
a very dramatic and lovely oil on panel by Thomas Cole (1801-1848),
the founder of the Hudson River School of Painting. Painted in
1826, it is a classic Cole composition. It measures 18 by 24 3/4
inches. Although he is second only to Winslow Homer in importance
in American painting, oddly the market has consistently undervalued
him and the painting has an estimate of only $800,000 to $1,200,000.
It sold for $1,022,500, including the buyer's premium as do all
results mentioned in this article. Of the 141 offered lots, 62
percent sold for $16,820,400.
The catalogue entry provides
"Considered the father of
painting, Thomas Cole was born in Lancashire, England in 1801
and immigrated to the United States at the age of eighteen. Leaving
Philadelphia, where his family resided, for New York in 1825,
the young artist captured the immediate attention of the New York
art world following his first sketching trip up the Hudson River
that summer. In the ensuing years, Cole's remarkable depictions
of the American wilderness would launch America's first native
art movement, the Hudson River School, a tradition of landscape
painting that would dominate the first part of the nineteenth
century. The works of these artists encouraged tourists to visit
the wilderness, and helped Americans formulate a nationalistic
interest in the grandeur and scenic beauty of nature found in
their own country's terrain.
"Successful early sales of
following that first 1825 expedition, as well as quickly rising
prices and demand for his works, enabled the artist to embark
on another extended trip to the Catskills the following summer.
Cole stayed for the early part of the season in Lake George and
spent the remainder in the village of Catskill, where the present
work was conceptualized. On his excursions, Cole roamed the wilderness
sketching, making notes, and contemplating the natural beauty
that he found, later realizing his masterful compositions in oil.
"Kaaterskill Clove, formed by
of the Kaaterskill Creek as it descends through a series of magnificent
waterfalls, became one of the most popular subjects for the Hudson
River School, and is often considered the birthplace of the movement.
A trip to the falls was a pilgrimage nearly every Hudson River
School painter was compelled to make. Thomas Cole was the first
of these artists to paint Kaaterskill Falls, and would move to
the village of Catskill in 1827, maintaining a studio within view
of its mountain peaks.
"Painted in 1826, View
Clove is an important work from this early period in Cole's
career, and exemplifies both the wonder and drama with which the
American wilderness was encountered by the artist as well as by
explorers of the time. As stated by Matthew Baigell, 'Cole's works
are unique in American art because for the first time the viewer
appears to be catapulted directly into the American wilderness.
Never before had an American artist captured so completely the
look and feel of raw nature as well as the apparent total indifference
of nature to man's presence or intentions." (Thomas Cole,
New York, 1981, p. 11) Indeed, in the present work one may witness
both the beauty and sublimity that Cole found in the American
landscape. In his composition, the dark tonalities of the shadowed
foreground contrast sharply with a backdrop theatrically bathed
in hopeful sunlight, illuminating the fiery autumnal foliage and
purple clouds that sweep across the mountain peaks. The textured
surface of this work, created through careful application of dabs
of pigment with the tip of the brush, further recreates the visceral
sensory experience of viewing a pleasing landscape, interpreted
through the filter of the artist's imagination.
"By the 1820s in the United
notions of the Beautiful, the Sublime, and the Picturesque prevailed
in artistic theory. These qualities, all thought to be supremely
found in nature, were to be ideally applied to the landscape by
artists of the time. The tensions between picturesque natural
beauty and its counterpart - the anxious unknown implicit in a
wild, unconquered terrain - were played out visually in landscapes
such as the present work by Cole through such formal compositional
devices as sweeping, crossed diagonals and dramatically heightened
contrasts between sunlight and shadow. In addition, the details
that Cole painted, 'scruffy underbrush, broken tree stumps (symbolic
of life cycles in nature), jagged mountain profiles, and unkempt
mountainsides in great detail,' all served to signal to contemporary
viewers both the hand of God in nature, as well as the untamed
and menacing aspects of the wild. (Thomas Cole, p. 11)
"Dr. Baigell outlines the
strategy seen in the present work, as well as throughout Cole's
career of imposing two long, broken diagonal lines forming a large
'X' across the picture plane: 'This structural device adds emotional
wallop, especially in the early works, because it invariably overwhelms
the few foreground horizontals...These do not have the visual
strength to suggest repose or an easy and casual entry into the
picture space...In addition, Cole arbitrarily varied sunlit and
shaded areas, thus providing hillsides and steep inclines with
extreme topographical variation as well as suggestions of mystery
and even terror.' (Thomas Cole, p. 13) In View in Kaaterskill
Clove, this compositional format is masterfully applied
the formation of the dark craggy slope that drops diagonally from
the upper left corner of the picture plane to the lower right,
crossing transversely with the misting clouds at the top of the
peaks that draw the viewer's eye downward toward the gnarled tree
at the embankment of the creek, the focal point of the composition.
"As noted by Cole scholar
Ellwood C. Parry
III, View in Kaaterskill Clove was one of an
of paintings created by Cole for the same patron, Henry Ward.
The companion to the present work, titled View on Lake George,
is of a similar size and was sold to Ward for the same price as
the present work. Another strikingly similar composition titled
Stony Gap, Kaaterskill Clove is owned by the
Museum in Omaha, Nebraska. Dr. Parry posits that the present work
is likely the initial version, and the work at the Joslyn Art
Museum may have been a replica by the artist. According to Dr.
Parry, it was not unheard of for Cole to repeat certain compositions
at this point in his career."
Eric Wilding, the head
of American Paintings
at Christie's, said after the auction that it "demonstrated
that American collectors remain hungry for high-quality works
by the country's most venerated artists," adding that "many
of the sale's top lots sold above their high estimte and attracted
competitive bids from the crowded saleroom, and from phone and
online bidders." "We are particularly pleased with the
strong prices achieved for works consigned by the Montclair Art
Museum and Hirschhorn Museum and Sculpture Garden," he said.
Sanford Robinson Gifford
(1823-1880) was one
of the major artists of the Hudson River School and Lot 83, "Lake
Sunapee, New Hampshire: a Study," is a very fine example
of his style. While most of the "school's" artists worked
in a variety of sizes, Gifford probably more than any of the others,
excelled in the small "cabinet" sizes that were highly
finished and were not always studies for larger works. This oil
on canvas measures 6 by 11 inches and was painted circa 1860-1.
It has a modest estimate of $100,000 to $150,000. It sold for
The auction has a large,
Western night scene
by Albert Bierstadt (1830-1902) entitled "Oregon Trail."
Lot 31, it is an oil on canvas tacked over board that measures
29 3/4 by 44 inches. It has an ambitious estimate of $2,000,000
to $3,000,000. It sold for $1,762,500.
The catalogue provides the
"Albert Bierstadt's paintings
the grandeur of the American West are some of the most significant
historical and artistic accomplishments of the nineteenth century.
Other artists had made expeditions throughout the West as early
as the 1830s, but Bierstadt was unrivaled in his ability to convey
an image of this wondrous region to the American public. Painted
from sketches of his trips in the late 1850s, Oregon Trail
depicts an evening camp scene that demonstrates Bierstadt's exquisite
attention to detail in rendering a complete narrative of the western
landscape as an evolving American Eden.
"As early as 1859 Bierstadt
famously rugged American West with Colonel Frederick Lander's
U.S. Government Expedition. Traveling along the Platte River to
the Wind River Mountains, the artist first witnessed the splendor
and beauty of the unspoiled frontier. On May 5, 1859, Lander led
his expedition to complete a wagon road between South Pass, Wyoming
and Fort Hall, Idaho and to visually document the work being completed
he commissioned Bierstadt and other artists to join the excursion.
After forty-five days, the group arrived at South Pass, the entrance
to the majestic Wind River mountain range and the start of Lander's
Road and on July 4th crossed the Green River and into the valley
of the Wasatch Mountains. In Oregon Trail Bierstadt
taken close studies executed during his travels to create a masterful
studio work of the most compelling composition and dynamic narrative.
Oregon Trail closely relates to other examples in
oeuvre that combine to create a small but crucial body of multi-figural
works that expand on the artist's theme of Manifest Destiny that
he re-visited throughout his career, including Campfire
(1863, Mead Art Museum, Amherst Massachusetts), Mountainous
Landscape by Moonlight, (1871, The Corcoran Gallery of Art,
Washington, D.C.) and The Oregon Trail (1869, The
Institute of American Art, Youngstown, Ohio).
"Collectors, critics and the
large found immediate appeal in Bierstadt's expansive compositions
of the American West such as Oregon Trail. These
works provided for Easterners a view of the West that was undergoing
rapid exploration and that was the topic of considerable interest.
This audience was stunned by the landscape's magnificence and
they delighted in the artist's interpretation of these intimate
narratives set against panoramic views. Elements seen in Oregon
Trail, such as the details in the lively camp scene and the
dramatic and masterful use of light, provided further details
which Bierstadt's Eastern audience came to enjoy and to expect
in major compositions by the painter. A capable promoter of his
own work, notes Linda Ferber, 'Bierstadt effectively appropriated
the American West, tapping public curiosity and excitement about
these emote national territories. This interest was fueled, even
during the apprehensive years of the Civil War, by the powerful
idea of Manifest Destiny. The prevalent belief that Americans
were divinely ordained masters of the continent lent special
to Bierstadt's choice of subjects.'....
"Bierstadt's synthesis of the
monumental and the finely detailed, of grand scale and the intimate
moment and infinitely varying forms, places his work among the
most successful expressions of the many paradoxes of nature. This
expression, through Bierstadt's attention to detail and evocation
of light, harmoniously brings together the spiritual and natural
world. Like no artist before him, Bierstadt established himself
as the pre-eminent painter with both the technique and the talent
to convey the powerful visual impact of the Western landscape,
to capture the mammoth scale of the open spaces and to begin to
interpret this new American landscape in a manner equal to its
majesty and grandeur."
Bierstadt is an uneven artist
capable of sheer,
awesome magnificence such as in his huge "Rocky Mountains"
at the Metropolitan Museum of Art and in his many works of dazzling
Western sunsets in such locales as Yosemite. He was, however,
not only in capturing such splendor and inspiring the nation as
Thomas Moran was equally adept and influential. Bierstadt did
not do many night scenes but they pale beside the grandeur of
his fabulous sunset paintings.
Many of Bierstadt's paintings
were oil on paper
of approximately 20 by 30 inches. Lot 74 is such a work and it
is entitled "Brook in Woods." It is a good, dynamic
composition and has a fine sense of light. It has an most estimate
of $80,000 to $120,000. It sold for $122,500. It
of the Montclair Art Museum, which has consigned several works
to this auction, and is being sold to benefit its acquisition
Thomas Worthington Whittredge
known primarily for two types of paintings: dense forest scenes
and horizontal Western landscapes but he also did a couple of
wonderfully Impressionistic beach scenes. Lot 82 is a horizontal
landscape entitled "Tiverton, Rhode Island." It is an
oil on canvas that measures only 6 3/4 by 15 1/2 inches and was
executed circa 1866. "Worthington Whittredge's masterfully
refined and exquisite renditions of nineteenth-century American
landscapes," the catalogue entry maintains, "are exceptionally
articulate visions of nature. These compositions, complemented
by the artist's masterful use of light to convey emotion and
are among the best conceived of the nineteenth century."
This restrained and subtle composition has a very modest estimate
of $20,000 to $30,000. It sold for $50,000.
A more typical Whittredge is
Lot 132, "The
Glen," an oil on canvas that measures 24 by 20 inches. Executed
in 1862, it has a very modest estimate of $60,000 to $80,000.
It sold for $108,100. It was once in the
Douglas Collins of North Falmouth, Mass., and then Hirschl &
Adler Galleries and Thomas Colville Fine Art of New Haven, Conn.
It is mentioned in Tuckerman's famous and very important 1867
book, "Book of Artists," and also in the 1949 book on
the M. and M. Karolik Collection of American Paintings. The catalogue
notes that it was possibly exhibited at the National Academy of
Design in 1862 and that it was on loan to the Museum of Fine Arts
in Springfield, Massachusetts from 1970-1976.
One of the most charming and
lovely works in
the auction is Lot 129, "Fishing, Fort Lee, New Jersey, by
John George Brown (1831-1913), an artist best known for his paintings
of shoe-shine boys and newspaper boys. This oil on canvas, which
measures 17 by 22 1/2 inches and was painted circa 1870, shows
two young girls fishing in a quite complex composition. Brown
usually makes his figures larger and more dominant in his compositions,
whereas here, reflecting their age, they are almost miniscule
and yet this is still very much a fine genre picture as opposed
to a pure landscape painting. It has an estimate of $30,000 to
$50,000. It sold for $30,000. It was included in the
and catalogue on the artist in 1989 at the George Walter Vincent
Smith Art Museum in Springfield, Massachusetts.
Winslow Homer (1836-1910) is
far and away the
greatest American artist of all time and some observers might
say that his watercolors are better than his paintings. Lot 75,
"Two Men Rowing on a Lake," is a large watercolor that
measures 15 by 21 1/2 inches and is dated 1892 and signed in the
upper right corner, which is a bit unusual for the artist. It
is also a dark and somber work which is also a bit unusual. Unlike
most artists who stuck to one "signature," Homer had
about a dozen different signatures and his style and subject matter
varied widely as well. This is a very, very strong and powerful
work and the two men are almost lost in the overall abstraction.
It has a conservative estimate of $200,000 to $300,000 as the
market still undervalues Homer. It sold for $386,500.
lot is being sold, inexplicably, by the Montclair Art Museum even
though it was included in the 1959 exhibition on the artist at
the Adirondack Museum and is illustrated in Gordon Hendrick's
1979 book, "The Life and Work of Winslow Homer.
Lot 5 is a very fine watercolor
on paper by
Charles Ephraim Burchfield (1893-1967). Dated 1916, the watercolor,
gouache and pencil on paper measures 14 by 20 inches. It has a
modest estimate of $40,000 to $60,000. It sold for $74,500.
It is illustrated in J. I. H. Baur's 1982 book, "The Inlander:
Life and Work of Charles Burchfield, 1893-1967. The work is notable
for fabulous rhythm, ghost-like quality and spartan sensibility.
Lot 60 is a large oil on canvas
Morning, Annisquam, Massachusetts," by Eric Pape (1870-1938).
It measures 46 by 30 1/2 inches and is dated 1900. It has an estimate
of $70,000 to $100,000. It was exhibited at the Spanierman Gallery
in New York in 2005. It sold for $62,500.
The catalaogue provides the
about the artist:
"Born in San Francisco,
Pape began his art education at the San Francisco School of Design
before studying at the École De Beaux Arts in Paris with
Jules Joseph Lefebvre and Jean-Léon Gérôme.
Pape first exhibited at the Salon in 1890, and then spent two
years traveling extensively in Egypt, where he was likely inspired
to create Egyptian-themed frames for his paintings. Pape returned
to America in 1894 and for the next four years was a regular
at several magazines including The Century, Cosmopolitan,
and McClure's. By 1898 Pape settled in Boston,
and founded the Eric Pape School of Art, at which he served for
years as both Director and Head Instructor. Pape painted a group
of Impressionist works in and around Massachusetts, of which Early
Morning, Annisquam, Massachusetts is a striking example. The
work demonstrates Pape's experience as both an illustrator and
an Impressionist to create landscapes that combine dazzling color
and graphic composition."
Lot 64 is a large work by
Richard Edward Miller
(1875-1943), an artist whose finest works seem to have been painted
with precious jewels. Entitled "Café de Nuit,"
it is an oil on canvas that measures 35 1/4 by 46 inches and has
a somewhat ambitious estimate of $700,000 to $1,000,000 because
the women's dress cannot compare with her hat. It failed to
The catalogue entry for this
lot provides the
"When Richard Miller was living
at the turn of the century, he painted a series of works that
portrayed the city's nightlife. Café de Nuit is
part of this series in which Miller developed and expanded on
a theme that had been introduced by the Impressionists a generation
earlier. Unlike the French painters who used cafés of Paris
'to portray the reality of modern urban life....Miller's interest
was not in capturing the reality of café-life; he was drawn
instead to its decorative veneer - women in their fancy clothes;
flower stalls; rosy, polished marble tables and shining glassware"
(M.L. Kane, A Bright Oasis: The Paintings of Richard E. Miller,
New York, 1997, p. 23) The demeanor of Miller's later work, in
which he created restrained yet dynamic paintings of women, is
evident in this early work. Although Miller fills the Parisian
café with men, it is the attractive, well-dressed young
woman who is gazing at the viewer. Mary Louise Kane has noted
that "Miller, even more than his older contemporary Jean
Béraud (1849-1936), painter of fashionable Parisian street
life, confected a feast for the eye. His were not objective
vignettes but artful decorations of contemporary life, each wrapped
in its own color scheme." (A Bright Oasis: The Paintings
of Richard E. Miller, p. 23)
"Born and raised in St. Louis,
Miller started his formal art training at the St. Louis School
of Fine Arts in 1891, however in the spring of 1899, Miller traveled
to Paris to study at the Académie Julian. The extraordinary
first-hand exposure to French art had a profound effect on the
artist's approach and he soon adopted their style and subject
matter. Café de Nuit, is an exemplary work
the influence of the French teachers and painters from whom he
studied and observed, as it is reminiscent of the café
scenes by French artists at the time, in particular, Édouard
Manet. Towards the end of the century, cafés were the center
of cultural and social life in Paris. "Alfred Delvau observed
in 1862 that 'la vie de café' was 'the chosen course of
all the world, in Paris, for great and for small, for rich and
for poor, for artists and for artisans.'" (K. Adler, Manet,
Oxford, England, 1986, p. 200)
"In Café de Nuit,
depicts a café crowded with patrons and although the room
is full, the figures at the table in the foreground do not appear
to be emotionally connected. The dark-suited man looks solemnly
down at his glass while the woman, who is ornamented in a glittering
necklace and large, plumed hat, looks out at the viewer with an
ambiguous smile. The placement and poses of the figures underscore
the lack of social interaction. This poignant theme can be seen
earlier in Manet's Café-Concert (1878, The Walters
Art Gallery, Baltimore, Maryland). In the painting, a top-hatted
gentleman and a young woman are seated in close proximity, however
the woman is lost in her own thoughts while the man looks away
in the opposite direction. "As in so many of Manet's paintings
the interrelationships between the painted figures and the spectator
are complex and ambiguous, and closer examination reveals curious
anomalies. Manet did not seek to establish a clear narrative in
his paintingsand the impossibility of decoding the depicted events
is an essential element in the painting. The spectator is presented
with a puzzle, to which he or she is closely linked through the
placing of the figures, extremely near to the edge of the picture
surface. As spectators we are trespassing on an intimate scene,
yet we are not permitted to know its meaning - if indeed, it has
any meaning in a narrative sense." (Manet, p. 213) This description
of Manet's works can also be said of Café de Nuit.
"Miller is most often
the Giverny Group, a cluster of ambitious painters living in France
in the early twentieth century, whose works are characterized
by their bright hues and thick, broad brushstrokes. Miller's work,
however, is quite distinct from that of his contemporaries. Critics
and historians have noted Miller's unique palette for 'being 'in
a rather lower tone of color,' for which he was no doubt deemed
'the Whistler of the quartet' - it prompted [Guy] Pène
du Bois to say of it, 'soft and yet brilliant, delicate and yet
with a semblance of radicalism a lesson in compromise - a delightful
lesson.' The 'compromise' referred to is obviously Miller's mixing
academic and impressionist painting modes. Miller blends them
harmoniously in the creation of a decorative, dreamlike atmosphere.
He covered the canvas with small dabs, broad strokes, scraped
patches, dry swags and floating flecks of color, many independent
of literal description." (A Bright Oasis: The Paintings of
Richard E. Miller, p. 33) His mature style is seen emerging in
the palette of the early Café de Nuit. Consisting
primarily of a limited range of blacks, grays and browns, however
Miller enlivens the muted tones with strokes of brilliant red
"Café de Nuit is a masterful and complex example of Miller's
painting that presents an enigmatic moment. The work superbly
captures the particular situations that cafés presented
as strangers from differing backgrounds were often forced into
close immediacy, a theme often rendered by the French artists
of the time."
Some of the artist's later
works are more splendidly
pyrotechnical in their coloration.
Lot 63 is a fine painting by
Louis Ritman (1889-1963)
entitled "Girl in a Boat." An oil on canvas that measures
25 1/2 by 32 inches, it was painted circa 1916-1919 and has an
estimate of $200,000 to $300,000. It sold for $242,500. The
painting's brightness almost requires sunglasses. The work was
included in an exhibition on the artist at the Macbeth Gallery
in New York in 1919 and in an exhibition on the artist the following
year at the Art Institute of Chicago.
Lot 38 is an excellent small
painting by George
Wesley Bellows (1882-1925) that well demonstrates his marvelous
painterliness. Entitled "Cloud Shadows," it is an oil
on panel that measures 15 by 19 1/2 inches. It has an estimate
of $600,000 to $800,000. It sold for $962,500.
"George Bellows made his first
the island of Monhegan, Maine during the summer of 1911 with fellow
artists, Robert Henri and Randall Davey. Though only three miles
long and one-half mile wide, the island contained some of the
most spectacular scenery to be found anywhere along the Maine
Coast. Bellows was so inspired by Monhegan's crashing waves, craggy
shorelines and local residents that he returned two summers later
with his wife and two-year-old daughter for an extended four month
"On his first trip to Monhegan,
had painted mostly small sketches, measuring eleven by fifteen
inches. Henri had encouraged the use of small panels so that the
artists could explore the island and paint with relative ease.
When he returned in 1913, Bellows chose to work on a larger format
of fifteen by nineteen and one-half inches. The new size still
allowed him to carry his easel around the island, while permitting
"The paintings from this visit,
Cloud Shadows, retain the artist's distinctive and
handling of paint augmented by a relatively new use of strong
primary hues. Without question the seminal February 1913 Armory
Show in New York that introduced Expressionism and Fauvism to
the New York artist's society had its impact on Bellows, as well.
In Cloud Shadows Bellows applies thick and generous
of paint with a palette knife, creating a three dimensional surface
effect that dramatizes the scene portrayed. The architecture and
figures along the shore are depicted using quick, confident strokes
of primary reds, yellows, blues and whites. The rolling hills
are pure yellows and greens, and the sky, water and rocks create
an organic jumble of blues and blacks. There is a genuine immediacy
of emotion so eloquently transcribed that it vividly captures
that summer day nearly a century ago.
"Bellows wrote of his body of
the summer of 1913: 'I painted a great many pictures and arrived
at a pure kind of color which I never hit before. And which seems
to me cleaner and purer than most of the contemporary effort in
that direction.' (M. Quick, "Technique and Theory: The Evolution
of George Bellows's Painting Style," George Bellows, Fort
Worth, Texas, 1992, p. 43) Bellows also wrote to Robert Henri:
'I have been working with the colors and not much hue (more neutral
color) and find a lot of new discoveries for me in the process.'
(George Bellows, p. 44) Bellows was in fact so pleased with this
group of paintings of Monhegan that he organized an exhibit of
many of them in January 1914 at New York's Montross Gallery. Critics
of the show compared them to seascapes of Homer: 'Following in
Winslow Homer's footsteps, Bellows, like Rockwell Kent, has translated
with crude colors, oftentimes, but...with remarkable strength
and sympathy, the scenery, the sea and the humans of the stern
and rockbound Maine Coast.' ('George Bellows at Montross,' American
Art News 12, January 24, 1914) The intimacy of Cloud Shadows,
underscored by the direct application of paint that creates a
thick impasto on the surface and the overall visually engaging
quality of the scene, are hallmarks of some of the artist's strongest
works during this period."
Ben Shahn (1898-1969) is one of
American artists of the 20th Century and "Ohio Skyline,"
Lot 118, is an unusual strong composition for an artist better
known for his strong lines and even stronger subject matter. A
termpera on paperboard, it measures 10 by 25 1/2 inches and was
executed in 1945. It has a modest estimate of $25,000 to $35,000.
It sold for $42,500. It was included in the 1947
on the artist at the Museum of Modern Art in New York and at the
United States Capitol's "Homage to Ben Shahn" in 1978.
It was illustrated in the October 4, 1954 issue of Life
magazine and was the cover illustration of F. K. Pohl's 1993 book
"Ben Shahn: With Ben Shahn's Writings." It is property
of the Montclair Art Museum.
Lot 118 is a very large and
bold oil on canvas
by George Lovett Kingsland Morris (1905-1975), one of the nation's
most important Modernists in the middle of the 20th Century. Entitled
"Labyrinth," it is an oil on canvas that measures 49
1/4 by 36 inches and was executed in 1957. It is property of the
Montclair Art Museum. It has a conservative estimate of $50,000
to $70,000. It sold for $104,500.
Milton Avery's 1944
"Sketching by the
Sea," Lot 10, was the top lot of the sale, selling for $2,210,500.