Lot 84, "Green Apples," by Winslow Homer, oil on canvas, 15 by 11
inches, 1866
Lot
84 is another work by Homer that the Fraads acquired from Hirsch
&
Adler, also in 1962. Entitled "Green Apples," it is an oil on
canvas that measures 15 by 11 inches and was painted in 1866.
It
was once in the collection of Mr. and Mrs. Lawrence A. Fleischman of
Detroit. It has an estimate of $700,000 to $900,000. It failed to sell!
Lot 64, "Listening to the Birds," by Winslow Homer, watercolor on paper
laid down on board, 5 1/2 by 11 1/4 inches
Lot
64 is a very lyrical and beautiful watercolor on paper laid down on
board by Winslow Homer entitled "Listening to the Birds." It
measures 5 1/2 by 11 1/4 inches. It has a very modest
estimate of
$250,000 to $350,000. It
sold for $322,500.
Lot 83, "Haverstraw Bay (Shad Fishing on the Hudson)," by Sanford
Robinson Gifford, oil on canvas, 9 1/2 by 20 inches, 1868
Lot
83 is an exquisite oil on canvas by Sanford Robinson Gifford
(1823-1880) entitled "Haverstraw Bay (Shad Fishing on the Hudson."
It measures 9 1/2 by 20 inches and was painted in 1868.
It
is property from the collection of Edward P. Evans. It has a
modest estimate of $250,000 to $350,000. It sold for $290,500.
Lot 66, "Light in the Forest," by Albert Bierstadt, oil on canvas, 52
by 42 inches
Lot 66 is a
large and grandiloquent oil on canvas by Albert Bierstadt
(1830-1902) entitled "Light in the Forest." It measures 52 by
42 inches and shows some elk deer by a forest pond at sunset
ina a rare, for Bierstadt, vertical format. It is the cover
illustration of the auction catalogue. It has an estimate of
$2,000,000 to $3,000,000. It
failed to sell.
Lot 74, "Landscape with Cattle," by Albert Bierstadt, oil on
board, 5 by 7 1/2 inches
Bierstadt
was a master of painting to scale and his small paintings are often
just as exciting and grandiose as his very large works. Lot
74, for example, is a good small oil on board, entitled "Landscape with
Cattle" that measures 5 by 7 1/2 inches. It has an estimate
of $40,000 to $60,000. It
sold for $98,500.
Lot 104, "View from Garrison, West Point, New York," by David Johnson,
oil on canvas, 18 1/4 by 30 inches, 1870
Lot
104 is a fine landscape by David Johnson (1827-1908), entitled "View
from Garrison, West Point, New York." An oil on canvas, it
measures 18 1/4 by 30 inches and was painted in 1870. It has
an
estimate of $150,000 to $250,000. It
sold for $278,500.
Lot 92, "Wrapped Oranges on a Tabletop," by William J. McCloskey, oil
on canvas, 11 by 24 inches
Lot
92 is a beautiful still life by William J. McCloskey (1859-1941)
entitled "Wrapped Oranges on a Tabletop." An oil on canvas,
it
measures 11 by 24 inches and was painted in 1897. Paintings
by
McCloskey, especially those with tissue paper, are quite rare.
This is property of the Collection of Edward P. Evans.
It
has an estimate of $250,000 to $350,000. It sold for $782,500.
Lot 20, "Summer Afternoon (Figures on a Bridge)," by John Twachtman,
oil on canvas, 25 by 16 inches, circa 1900
Lot
20 is a lovely painting by John Twachtman (1853-1903), one of the
country's finest Impressionists. An oil on canvas, it
measures 25 by
16 inches and is entitled "Summer Afternoon (Figures on a Bridge)."
It
was painted circa 1900. It is property of the Collection of
Edward P.
Evans. It has a modest estimate of $125,000 to $175,000. It sold for $302,500.
Lot 17, "Quai St. Michel," by Childe Hassam, oil on canvas, 21 3/4 by
28 inches, 1888
Lot
17 is a Parisian street entitled "Quai St. Michel," painted by Childe
Hassam (1859-1935) in 1888. An oil on canvas, it measures 21
3/4 by 28
inches. It was once owned by John D. Rockefeller III and is
property
from the Collection of Edward P. Evans. It has an estimate of
$2,500,000 to $3,500,000. It
sold for $2,098,500.
Lot 27, "Washington Square," by William Glackens, oil on canvas, 18 by
24 inches
Lot
27 is a nice scene of Washington Square by William Glackens
(1870-1938). An oil on canvas, it measures 18 by 24 inches.
It is
property of the Collection of Edward P. Evans. It has an
estimate of
$700,000 to $900,000 It
sold for $590,500.
Lot 24, "Dock Builders," by George Bellows, oil on canvas, 30 1/4 by 38
1/4 inches, 1916
Lot
24 is a good work by George Bellows (1882-1925) entitled "Dock
Builders." An oil on canvas, it measures 30 1/4 by 38 1/4
inches and
was painted in 1916. It was once in the collection of Adolph Lewisohn
and is property from the Collection of Edward P. Evans. It has an
estimate of $2,000,000 to $3,000,000. It sold for $3,890.500.
Lot 4, "Longchamps Race Track," by Guy Pène Du Bois, oil on panel, 21
3/4 by 17 3/4 inches, 1926
Lot
4 is a very fine work by Guy Pène Du Bois (1884-1958)
entitled
"Longchamps Race Track." An oil on panel, it measures 21 3/4
by 17 3/4
inches and was painted in 1926. Pène Du Bois's style of
simplified
mannequins is as recognizable as Botero's bloated people and animals.
This is a superb instance of Art Deco streamlining.
This is property
of the collection of Edward P. Evans. It has an estimate of
$200,000
to$300,o000. it
sold for $602,500.
Lot 57, "A White Note," by James McNeil Whistler, oil on canvas, 14 1/2
by 12 1/2 inches, 1861
Lot 57 is a
very beautiful oil on canvas of a girl by a window by James McNeil
Whistler (1834-1903). Entitled "A White Note," it measures 14
1/2 by 12 1/2 inches and was painted in 1861.
The catalogue entry notes that the girl is Joanna Hifferman, Whistler's
compansion and mistress whom he used as a model for several pictures in
the 1860s."
"She posed
for the celebrated Symphony in White, No. 1: The White Girl (1862, The
National Gallery of Art,Washington, D.C.)....and Symphony in White No.
2: The Little White Girl (1864, Tate Gallery).
Detail of Lot 57
The
catalogue added that this painting "appears to be the first picture he
painted of her."
It
has a modest estimate of $300,000 to$500,000. It failed to sell.
Lot 30, "Flag Day," by Theodore Earl Butler, oil on canvas, 39 1/2 by
31 3/4 inches, 1918
Lot 30, the
back cover illustration of the auction catalogue, is a very colorful
painting of "Flag Day" by Theodore Earl Butler (1860-1930).
An oil on canvas, it measures 39 1/2 by 31 3/4 inches and was
painted in 1918. It has an estimate of $400,000 to $600,000.
It sold for
$578,500. Butler was a member of the first
generation of American Artists who spent time in Giverny, France, where
Monet was painting. He returned to New York in 1913 and
painted murals for the mansion of Cornelius Vanderbilt III at 640 Fifth
Avenue and for Solomon R. Guggenheim's summer mansion in Long Branch,
NewJersey. The flags in this painting are considerably more
animated than those in the famous flag series by Childe Hassam executed
about the same time.
Lot 7, "Flood Disaster (Homecoming - Kaw Valley)," by Thomas Hart
Benton, oil and tempera on canvas mounted on plywood, 25 1/2 by 36 1/2
inches, 1951
Lot 7,
"Flood Disaster (Homecoming -Kaw Valley)," is a good painting by Thomas
Hart Benton (1889-1975). An oil and tempera on canvas mounted
on plywood, it measures 25 1/2 by 36 1/2 inches and it was painted in
1951.
"Flood Disaster stunning illustrates Benton's skill at creating
paintings that speak clearly and powerfully to a broad popular audience
not merely to the elite. At the same time, it is a chillingly
modern work with angular, disjunctive, cubistic composition
that seems to deconstruct normal reality and speakes to the anxieties
of the modern age, according to an essay by Henry Adams in the
catalogue. The painting, which was created to help convince
Congress to offer aid for flood victims, was the cover illustration of
the November 19, 1951 edition of the New Republic.
It has an estimate of $800,000 to $1,200,000.
It sold for
$1,874,500.
Lot 40, "Abstract Sculpture," by John Storrs, bronze, 17 1/2 inches
high, circa 1930
Lot 40is a
magnificent and very powerful abstract bronze sculpture by John Storrs
(1885-1956). It is 17 1/2 inches high and was created circa
1930.
In her catalgue essay, Debra Brick Bailken observeed that this
sculpture "extends Storrs abiding interest in merging craft with
decorative, abstract features." "Therein, with its
asymmetrical rendering of striated patterns and fragmented face, he
treats the image as a robust Art Deco entity. As a subject, Storrs has
been drawn to the horse since the early 1910s when he
mined Pegasus, a symbol of inspiration, as a theme in numerous
prints, drawings and sculptures. Whatever his attraction to
the new automated culture of the 1920s, the horse remained a
potent, vital emblem for him, in which he situated 'horsepower' as a
precursor to mechanized vehicles such as the car and airplane."
The lot has an estimate of $250,000 to $350,000. It failed to sell.