AMERICAN FURNITURE & DECORATIVE ARTS


 

Auction

Monday, November 19, 2012 at 10am

CONSIGNMENTS ARE CURRENTLY
BEING ACCEPTED

To have your property evaluated for possible consignment in the next auction, please contact:

David A. Gallager
SVP, Director, American Furniture
212-427-4141, ext 271


Anne Cohen DePietro
VP, Director, American Paintings
212-427-4141, ext 281


Media Contact

Louis LeB. Webre
SVP, Marketing & Media
212-427-4141, ext 232


Including Property From

A Gentleman's Estate, Washington, DC
Estate of Elizabeth Randolph Pearre
Estate of Joan H. King
Estate of Patricia Travers
Estate of Robert Makla
Estate of Susan Erpf Van De Bovenkamp
Estate of Sydney L. Shaper
Estate of Waldo Hutchins III
Estate of William Bedford Lloyd
Estates of M. Michael Eisenberg and Barbara Yetka-Eisenberg
Property of a Mid-Atlantic Museum, to benefit the Acquisitions Fund
Property of a New York Collector
Property of a Private Collector
Property of a Prominent Philadelphia Collector
Property of a Texas Estate
Sold to Benefit the Lee B. Anderson Memorial Foundation
The Marilyn Goldstein Trust
The property of Doyle New York
The Spanierman Gallery, LLC


RELATED ARTICLES

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  • Attributed to Rubens Peale View of Belfield, circa 1869

    /carousels/2153/895062.jpg

    Sold for $40,625

    Attributed to Rubens Peale View of Belfield, circa 1869
  • William Trost Richards American, 1833-1905 Sunlit Wave

    /carousels/2153/914347.jpg

    Sold for $37,500

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  • William Sidney Mount American, 1807-1868 Country Lad on a Fence [Sketch from Nature; Boy Getting Over a Fence, Throg's Point, New Yo..

    /carousels/2153/899191.jpg

    Sold for $34,375

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  • Thomas Cole American, 1801-1848 Forest Interior and Lake Landscape Study: A double-sided work Oil on board...

    /carousels/2153/914342.jpg

    Sold for $34,375

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    /carousels/2153/895075.jpg

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    /carousels/2153/911133.jpg

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  • Alexander Helwig Wyant American, 1836-1892 Hunter in the Adirondacks, 1872

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American Landscapes Top Doyle New York's Auction of American Furniture, Decorative Arts and 19th Century Paintings on November 19, 2012

View of Belfield Attributed to Rubens Peale Achieves $40,625

Chippendale Tall Case Clock by Benjamin Morris of Bucks County Fetches $28,125

Sale Totals $1,358,469 Amid Competitive Bidding


Doyle New York's November 19, 2012 auction of American Furniture, Decorative Arts and 19th Century Paintings showcased important American furniture and decorative arts from the Colonial period through the Federal and Classical styles. Silver, ceramics, mirrors, folk art, quilts, samplers, Chinese Export porcelain and rugs. A special section of the sale offered over 160 lots of 19th century American paintings and prints, including works from the estate of noted collector Lee B. Anderson and the Spanierman Gallery, LLC Collection of American Art.

With competitive bidding from buyers in the salesroom, on the telephones and via the Internet, the sale totaled $1,358,469 against a pre-sale estimate of $1,166,975-1,783,525, with 80% sold by lot and 88% sold by value.

PAINTINGS
Highlighting the sale was an 1869 landscape attributed to Rubens Peale depicting a view of Belfield, the Peale family home near Germantown, PA. Consigned by the Estate of Lee B. Anderson, the painting sailed past its estimate of $15,000-25,000 to achieve a strong $40,625. This works is believed to be a copy of an earlier depiction of Belfield by Rubens Peale’s father, the artist Charles Wilson Peale.

Representing William Trost Richards (1833-1905) was a masterful seascape, Sunlit Wave, in which Richards  has captured the exact moment where the sunlight breaks through the clouds and illuminates an incoming wave. Consigned by The Spanierman Gallery, LLC Collection of American Art, the painting fetched $37,500, well over its estimate of $15,000-25,000.

Dating to 1831 was William Sidney Mount’s (1807-1868) Country Lad on a Fence [Sketch from Nature; Boy Getting Over a Fence, Throg's Point, New York]. Exhibited by Asher B. Durand at the National Academy of Design in New York, the work was then acquired by the celebrated art collector Robert Gilmor. It disappeared from sight for a century, but was known from an 1834 engraving. This charming painting achieved $34,375, many times its estimate of $8,000-12,000.

Capturing the majesty of Niagara Falls was Rembrandt Peale’s (1778-1830) circa 1831 depiction of Falls of Niagara from Goat Island from the Estate of Lee B. Anderson. The painting performed strongly at the sale, selling for $28,125 against an estimate of $15,000-25,000.

Interest in works consigned by Spanierman Gallery, LLC was robust. A particular highlight was a rare still life from 1857 by David Johnson (one of only four executed by the painter) which soared well past its estimate of $8,000-12,000 to fetch $27,500.

Strong prices were also achieved for works by Charles Codman, Robert Havell, Jr., Alexander Helwig Wyant, George Henry Story, Samuel Colman, William Stanley Haseltine, George Iness and many more.

FURNITURE & DECORATIVE ARTS
American furniture featured a Chippendale cherry tall case clock by Benjamin Morris of Bucks Country, PA. Dating to the final quarter of the 18th century, the clock featured a scroll pediment and moon dial. Competitive bidding sent the clock well over its estimate of $5,000-8,000, ultimately selling for $28,125.

An impressive Classical marble top mahogany sideboard with marble columnar supports, New York, second quarter of the 19th century, surpassed its estimate of $2,000-4,000, fetching $6,875. A pair of Federal inlaid mahogany and figured birch fold-over card tables, probably Boston, late 18th/early 19th century from the Estate of Waldo Hutchins, III, achieved $6,875, within their estimate of $6,000-9,000.

A handsome Classical mahogany bookcase, second quarter of the 19th century, estimated at $3,000-5,000 fetched $5,938; and a Classical mahogany serving table, first half of the 19th century sold for $5,313, far surpassing its estimate of $800-1,200.

Decorative arts featured a bronze bust of Young Abraham Lincoln by Max Bachmann (1862-1921) dated 1905, height 30 inches, that sold for $8,750, double its estimate of $3,500-4,500.  

SILVER
American silver in the sale was highlighted by a six-piece assembled coin silver tea and coffee service, some by Jackson & Many, New York, mid 19th century, estimated at $1,500-2,000 that sold for $5,000.


NEXT AMERICANA AUCTION: April 22, 2013
Doyle New York's next auction of American Furniture, Decorative Arts & 19th Century Paintings is scheduled for April 22, 2013. Consignments are currently being accepted. We invite you to contact us for a complimentary auction evaluation. Our specialists are always available to discuss the sale of a single item or an entire collection.

For information, please contact:
David E. Gallager, American Furniture & Decorative Arts, 212-427-4141, ext. 271, or american@DoyleNewYork.com
Anne DePietro, American Paintings, 212-427-4141, ext. 249, or paintings@DoyleNewYork.com

 

Images and interviews are available upon request.

MEDIA CONTACT

Louis LeB. Webre
SVP, Marketing & Media
212-427-4141, ext 232
Louis@DoyleNewYork.com

PAINTINGS

Lot 114
Attributed to Rubens Peale
View of Belfield, circa 1869
Bears inscription View of Charles W. Peale Homestead Near Germantown/Copied from his original by Rubens Peale for his daughter Mary Jane Peale on the stretcher
Oil on canvas laid to panel
28 1/8 x 36 1/8 inches

Provenance:
The artist
Mary Jane Peale (included in an 1884 list of paintings owned by Mary Jane Peale, and also mentioned in her will)
Mr. and Mrs. Andrew Weisenburg, Wynnewood, PA
Kennedy Galleries, Inc., New York

Exhibited:
Philadelphia, Pennsylvania Museum of Art, date unknown (lent by Mr. and Mrs. Andrew Weisenburg, Wynnewood, PA)
New London, CT, Lyman Allyn Museum, American Romantic Paintings of the 18th and 19th Centuries from the Collection of Lee B. Anderson, Feb. 26-Mar. 26, 1961, no. 62, as Belfield, The Peale Homestead

Literature:
Jesse Poesch, Germantown Landscapes: a Peale Family Amusement, Antiques 72 [Nov. 1957, p. 439].
Lillian B. Miller, et al, The Peale Family: Creation of a Legacy, 1770-1870, Washington, DC, 1996, pp. 172, 174, 183, 291 (footnote 25)

Andrew Weisenburg was married to Helen Elizabeth Mills (1885-...). Born in 1885 in Philadelphia, she was the daughter of Dr. Charles Krasner Mills and his wife Clara Elizabeth Peale, and was a practicing artist. She married Andrew Weisenburg of Philadelphia on September 4, 1918.

In 1810, Charles Willson Peale moved with his third wife, Hannah, to Belfield, a farm outside Philadelphia. Over the ensuing decade, he developed the property into a pleasure garden that eventually attracted many visitors. His son, Rubens planted the gardens, which Charles Willson Peale painted in 1816. Paul D. Schweizer discussed the painting extensively in his essay, "Fruits of Perseverance: The Art of Rubens Peale, 1855-1865" ["The Peale Family: Creation of a Legacy, 1770-1870," Washington, DC, 1996, pp. 172, 174]:

"... in the summer of 1869, Rubens began painting The Garden at Belfield (private collection), a copy of his father's View of the Garden at Belfield and one of his most ambitious landscapes... Although this may be the only work by Charles Willson that Rubens ever copied, it would be a mistake to regard this as a measure of Charles Willson's influence on his son... 'I am now eighty years and seven months of age,' Rubens remarked in a letter to this historian, Benson Lossing, 'and hope to make improvement in the art.' In doing so, he became the only member of his family who pursued four of his father's occupations: agriculturalist, naturalist, museum manager, and artist.

"It is significant that the only work by Charles Willson that Rubens copied was a landscape that his father had painted more for amuseument than anything else. Peale's View of the Garden at Belfield depicted the garden Rubens had planted at the Germantown farm as a young man. The painting, therefore, had special significance for him... When he and Mrs. Peale visited Belfield on July 7, 1857, he remarked proudly in his journal that the farm's owners 'keep up the garden as I left it, the trees that I planted are now grown to an immense size, scarcely to be recognized by me.' The opportunity to copy the painting occurred three years later, when his daughter Mary Jane, in response to her mother's pleas that she should 'try and bring something new for . . . [Rubens] to copy' when she returned to the farm from Washington, D.C., arranged to have Charles Willson's painting sent to him. Rubens's enthusiasm about copying the picture may also have been sparked by the recollection that his father had originally called the place Farm Persevere, a name that would have reminded Rubens of the encouragement he had received as a boy from Benjamin Franklin."

Dr. Schweizer believes that the present work may possibly be the landscape depicted on the rear wall in Rubens Peale in his Studio, painted by Rubens Peale, with Mary Jane Peale, circa 1860-62 ["The Peale Family: Creation of a Legacy, 1770-1870," Washington, DC, 1996, fig. 5.8, p. 183]. In his article Germantown Landscapes: a Peale Family Amusement, Jessie Poesch wrote that this work bore an inscription on the back indicating that it was painted for Mary Jane Peale [as noted in "The Peale Family," op cit, p. 291, note 25].

We thank Dr. Paul D. Schweizer for his very kind assistance in documenting the present work.


C Sold to Benefit the Lee B. Anderson Memorial Foundation
Sold For $40,625
Lot 45
William Trost Richards
American, 1833-1905
Sunlit Wave
Signed WMT. Richards. with conjoined first three initials (lr)
Oil on canvas
48 x 36 inches

Provenance:
Private collection, Chattanooga, TN, probably 1970
By descent in the family to private collection, Chattanooga, TN
Private collection, New York

This work is an unusually large example of Richards's seascape paintings, a subject that he believed was an ideal vehicle for capturing divine light. Describing the artist's method in a 1912 publication, William T. Richard: Masterpieces of the Sea, the Philadelphia author Harrison Morris wrote that Richards would stand "for hours in a bathing suit among the waves, trying to analyze the motion, " which, Morris believed, resulted in the "minute fidelity" of the paintings. Here, Richards has captured the exact moment where the sunlight breaks through the clouds and illuminates an incoming wave.


C The Spanierman Gallery, LLC Collection of American Art
Sold For $37,500
Lot 21
William Sidney Mount
American, 1807-1868
Country Lad on a Fence [Sketch from Nature; Boy Getting Over a Fence, Throg's Point, New York], 1831
Signed W. S. Mount. (lr); signed Wm. S. Mount. and dated 1831. on the reverse
Oil on panel
12 x 13 7/8 inches

Provenance:
The artist
Asher B. Durand, New York, by 1832
Robert Gilmor, Jr., Baltimore, by 1833
William Gilmor (1815-1870), Baltimore, nephew of the above, by 1863
Gilmor Sale, 1863, lot 33, from which purchased by Robert Gilmor, IV (1833-1906), Baltimore
Miss Margaret Painter, Owings Mills, Md.
Fanny L. Pearre, Baltimore County, MD, after 1931
Thence by descent to private collection, Baltimore, circa 1973

Exhibited:
New York, National Academy of Design, 1832, no. 93, as Sketch from Nature, Country Lad Resting on a fence, lent by Asher B. Durand
New York, American Academy of the Fine Arts, 1833 (possibly)
Baltimore, Maryland Historical Society, 1848 (as Boy Getting over a Fence, Throg's Point, N.Y.

Literature:
The Whitney Journal (notebook maintained by William Sidney Mount from 1848-1857), collection Whitney Museum of American Art, undated entry following one dated November 14, 1952, mentions "Boy resting on a fence-painted in the open air - Stony Brook - year 1831."
The Exhibition of the National Academy of Design, The Seventh (New York: Clayton & Van Norden, 1832), no. 93
National Academy of Design. Second Notice, The New-York Mirror, 9.49 (June 9, 1832), 391
William Sidney Mount to Robert Gilmor, Jr., Nov. 15, 1833, Dreer Coll., Historical Society of Pennsylvania, Philadelphia
Robert Gilmor, Jr. to William Sidney Mount, November [18], 1833, as printed in Edward P. Buffet, William Sidney Mount: A Biography [articles from The Port Jefferson Times from Dec. 1, 1923-Jun. 12, 1924], (New York: 1927)
"The Picture of a Boy on a Fence. Painted by Mount-engraved by Adams," The New-York Mirror 12.18 (Nov. 1, 1834), 137, illus.
Robert Gilmor, Jr. to Jonathan Meredith, Apr. 2, 1844, Meredith Papers, MS. 1367, Maryland Historical Society
Catalogue of Paintings, Engravings, & co. at the Picture Gallery of the Maryland Historical Society. First Annual Exhibition (Baltimore: John D. Toy, 1848), no. 31
Robert Gilmor, Jr. to Susan Smith Gilmor, May 2, [1848], tipped into Ellen Gilmor (Mrs. Thomas G.) Buchanan, Memoirs of Robert Gilmor by Himself, 1813, Copied by Ellen Gilmor for Thomas Gittings Buchanan Jr., The original in the possession of Robert Gilmor, 5th, 1908, MS. 1729, Maryland Historical Society
Robert Gilmor's Inventory & List of Debts, Jan. 29 and Feb. 6, 1849, Inventories (originals) Baltimore City, Register of Wills, Maryland Hall of Records, Annapolis
Catalogue of the Very Valuable and Original Oil Paintings, Being a Portion of the Collection of the Late Robert Gilmor. Also, Marble Statuary, Engravings, and Rare Works, To be Sold by Public Auction, at the Dwelling of Mr. William Gilmor, No. 47 Franklin Street, On Tuesday Morning, Nov. 10, 1863 (Baltimore: F. W. Bennett & Co.), lot 33
Bartlett Cowdrey and Hermann Warner Williams, Jr., William Sidney Mount, 1807-1868: An American Painter (New York: Columbia University Press, 1944), 15, no. 12 (as Country Lad on a Fence, unlocated
Alfred Frankenstein, William Sidney Mount (New York: Harry N. Abrams, 1975), 25, 249, 468
Private collector, email to the author, May 22, 2011 Lance Humphries Collection
Deborah J. Johnson, William Sidney Mount: Painter of American Life, NY, 1988, pp. 28, 118-119, 128 (endnote 61) as unlocated, illus. (engraving by Joseph Alexander Adams, 1803-1880, after the painting and entitled Boy on a Fence after Country Lad on a Fence)




C Estate of Elizabeth Randolph Pearre
Sold For $34,375
Lot 15
Thomas Cole
American, 1801-1848
Forest Interior and Lake Landscape Study: A double-sided work
Oil on board
7 7/8 x 10 inches

Provenance:
The artist
By descent in the family

Exhibited:
Catskill, New York, The Thomas Cole National Historic Site, Thomas Cole's "Sketch" Paintings: An Exploration of the Creative Process, May 4-Oct. 28, 2008

Rendered with the broad brush handling characteristic of the last phase of Thomas Cole's career, Forest Interior remained in the hands of the artist's descendants until it entered the Spanierman Collection. The modest scale and intimate nature of the sun-dappled scene suggests that it was rendered en plein air by Cole, possibly as a study for a larger work. At the same time, it attests to Cole's lifelong love of trees and rocks, which is reflected in his massing of the foliage, the faceted surfaces of the large rocks in the brookbed, and the patterns created by branches and trunks.


C The Spanierman Gallery, LLC Collection of American Art
Sold For $34,375
Lot 119
Rembrandt Peale
American, 1778-1860
Falls of Niagara from Goat Island, circa 1831
Oil on canvas
18 1/8 x 24 1/8 inches

Provenance:
The artist; to his estate, 1860
Estate sale after the artist's death, Thomas and Sons, Auctioneers, Philadelphia, 1862, Catalogue of Valuable Original Paintings by the Late Rembrandt Peale, no. 50, as Falls of Niagara from Goat Island
Townsend (?)
Allan Gerdau
Lyman Allyn Museum, New London, Connecticut, by gift, 1957
Lee B. Anderson, New York, NY, by exchange, by 1961

Exhibited:
New London, CT, Lyman Allyn Museum, American Romantic Paintings of the 18th and 19th Centuries from the Collection of Lee B. Anderson, 1961, no. 61
Buffalo, New York, Albright-Knox Art Gallery, Three Centuries of Niagara Falls, 1964, no. 44

Literature:
Lyman Allyn Museum, New London, CT, Complete List of American and European Drawings, Paintings, and Watercolors in the Collection of the Lyman Allyn Museum, Oct., 1960, p. 36 (as Niagara Falls Viewed from the American Side)
B. Snow, Paintings & Antiques: The New York Townhouse of Lee B. Anderson, Antiques, Nov. 1961, pp. 442-4, illus.
The American Art Journal, vol. 1, no. 2, Fall 1969, p. 26, illus.
According to Rembrandt Peale authority, Carol Soltis, this may be "the picture listed in the 'Catalogue of Valuable Paintings... by Rembrandt Peale,' Philadelphia, 1862, no. 50 (Estate sale after the artist's death). Sold to Townsend for $5.12.... Other Niagara scenes by Rembrandt in oil seem to date from the time of 1831... Peale also made at least two watercolors of the falls." We extend our thanks to Carol Soltis for her kind assistance in documenting this lot.


C Sold to Benefit the Lee B. Anderson Memorial Foundation
Sold For $28,125
Lot 69
David Johnson
American, 1827-1908
Dish of Apples and Quinces, circa 1857
Signed with the artist's initials D.J. (lr)
Oil on canvasboard
10 3/8 x 12 1/2 inches

Provenance:
Private collection, Oklahoma

Exhibited:
Ithaca, New York, Herbert F. Johnson Museum of Art, Cornell University, Nature Transcribed: The Landscapes and Still-Lifes of David Johnson (1827-1908), Nov. 5-Dec. 23, 1988, no. 7 (pp. 23-24, illus., 65 as Apples and Quinces)
Traveled to: College Park, MD, The Art Gallery, University of Maryland, Jan. 31-Mar. 5, 1989; Athens, GA, Georgia Art Museum, University of Georgia, Mar. 25-May 7, 1989; National Academy of Design, New York, New York, July 10-Sept. 10, 1989
New York, Berry-Hill Galleries, The Apple of America: The Apple in 19th Century American Art, May 6-June 26, 1993, no. 11 (pp. 11, 25 col. illus.)
Greenwich, CT, Bruce Museum, By Arrangement: Still Life Paintings from the Art Market, Nov. 20, 2004-Jan. 17, 2005

Literature:
Owens, Gwendolyn Nature Transcribed: The Landscape and Still Lifes of David Johnson (1827-1908). exhi. cat. New Haven, CT: Eastern Press, 1988, no. 7, pp. 23-24 illus., 65 (as Apples and Quinces).
Weber, Bruce, The Apple of America: The Apple in 19th Century American Art. exhi. cat. New York: Berry-Hill Galleries, 1993, pp. 11, 25 col. illus.

David Johnson was among the artists of the Hudson River School who painted still lifes, although only four surviving examples are known. As in his landscapes, he rendered his subject two Northern Spy apples and two yellow quinces with highly controlled brushwork, rendering the irregular shapes and imperfections of the fruit in a manner in keeping with a general mid-nineteenth century interest in scientific detail. Johnson signed this work with his initials, a form he continued until about 1863, when he began to sign with interlaced monogram.


C The Spanierman Gallery, LLC Collection of American Art
Sold For $27,500
Lot 134
Charles Codman
American, 1800-1842
Sebago Pond, Main[e], 1831
Signed C. Codman and dated 1831 (lr)
Oil on canvas
25 1/2 x 34 3/4 inches

Exhibited:
New London, CT, Lyman Allyn Museum, American Romantic Paintings of the 18th and 19th Centuries from the Collection of Lee B. Anderson, Feb. 26-Mar. 26, 1961, no. 20, as Lake Sebago

A photograph attached to the stretcher, thought to depict the back of the canvas prior to lining, includes the inscription Sebago Pond, Main [sic]/Painted by Chas Codman 1831/Portland



C Sold to Benefit the Lee B. Anderson Memorial Foundation
Sold For $25,000
Lot 122
Robert Havell, Jr.
American, 1793-1878
Kaaterskill Falls, 1844
Oil on canvas
24 x 18 1/8 inches

Provenance:
Kennedy & Co., New York
Lee B. Anderson by 1967

Exhibited:
New London, CT, Lyman Allyn Museum, American Romantic Paintings of the 18th and 19th Centuries from the Collection of Lee B. Anderson, Feb. 26-Mar. 26, 1961, no. 41

Literature:
The Magazine Antiques, May 1976, p. 1040, illus. fig. 19

This lot is accompanied by a letter dated April 22, 1950 from conservator Alexander A. Kelly, indicating that the canvas was inscribed before lining Kaaterskill Falls Robt Havell Sing Sing 1844. A painting entitled The Kaaterskill Falls was exhibited at the National Academy of Design in 1844, no. 139, and may be the present work.
In an email dated September 15, 2012, Gerald Wunderlich notes that "I have no doubts it is a work by Robert Havell, Jr.... The painting is clearly an inventory item from Kennedy-despite not having a label attached. The stock number-a "W" number with five digits-is consistent, as is the price in code-$450.

"As I recall, Havell had hooked up a wagon with a little cabin on the back and traveled up the Hudson Valley for the purpose of painting pictures. In any case the brushwork and the coloration are typical of Havell's technique. The leaves are rather broadly painted, and his compositions are carefully framed, making for a rather symmetrical composition."

We thank Gerald Wunderlich for his kind assistance in documenting the present work.


C Sold to Benefit the Lee B. Anderson Memorial Foundation
Sold For $22,500
Lot 131
William Stanley Haseltine
American, 1835-1900
Narragansett Coastline, circa 1862-62
Oil on canvas
15 x 23 inches

Exhibited:
New London, CT, Lyman Allyn Museum, American Romantic Paintings of the 18th and 19th Centuries from the Collection of Lee B. Anderson, Feb. 26-Mar. 26, 1961, no. 40, as Maine Coast

We thank Andrea Fahnestock, co-curator of the exhibition Expressions of Place: The Art of William Stanley Haseltine (Fine Arts Museums of San Francisco, 1992), for her kind assistance in authenticating this work and identifying the specific location depicted.


C Sold to Benefit the Lee B. Anderson Memorial Foundation
Sold For $21,250
Lot 95
George Henry Story
American, 1835-1923
Seashells
Signed G. H. Story (lr)
Oil on artist's board
17 x 24 1/2 inches

Private collection

Exhibited:
(Probably), New York, National Academy of Design, Apr. 8-May 25, 1875 (no. 485, as Gathering Sea Shells)

As a painter of portraits, George Henry Story is known for the many images he rendered of prominent New Yorkers as well as of Abraham Lincoln, with whom he was friendly while living in Washington, D.C., in 1860. Story also painted landscapes and genre scenes, such as Seashells, probably the work he exhibited as Gathering Sea Shells at the annual of the National Academy of Design in 1875. Depicting a young girl in a white lace-edged tulle dress, the painting gives recognition to the way that beach-going had become a popular vacation activity for the fashionable in the 1870s. An article in the New York Times in July of the year described beaches in Long Branch and Newport as places "where dashing equipages, the most brilliant diamonds, the richest silks, and the most costly laces are taken for display." Yet, finding a quiet moment to assemble sea shells, the young subject evokes the quieter side of the beach experience, which the Times described as its "balm and restorative effect." (July 6) Well-versed in art of all eras, Story was curator of painting at New York's Metropolitan Museum of Art from 1889 to 1906, acting director at the museum, 1904-5, and curator emeritus, 1906-22. He was also honorary curator at the Wadsworth Athenaeum (1899-1922).


C The Spanierman Gallery, LLC Collection of American Art
Sold For $21,250
Lot 25
Alexander Helwig Wyant
American, 1836-1892
Farmhouse in a River Valley
Signed A.H. Wyant (ll)
Oil on canvas
18 3/4 x 24 3/4 inches

Provenance:
Private Collection, New York


C The Spanierman Gallery, LLC Collection of American Art
Sold For $21,250
Lot 49
Samuel Colman
American, 1832-1920
Twilight on the Bay
Signed Sam Colman. (ll)
Oil on canvasboard
6 3/4 x 12 5/8 inches

Provenance:
Kennedy Galleries, Inc., New York


Sold For $21,250
Lot 31
Alexander Helwig Wyant
American, 1836-1892
Hunter in the Adirondacks, 1872
Signed A. H. Wyant and dated 72 (ll)
Oil on canvas
9 1/8 x 14 1/8 inches

Provenance:
Kennedy Galleries, Inc., New York
This work may be found at The Wyant Website, http://alexanderwyant.edu/, at Ref. 116.013.


Sold For $20,000
Lot 130
George Inness
American, 1825-1894
Scene in New Jersey
Possible partial signature (lr)
Oil on paper laid down to canvas
7 1/8 x 9 1/4 inches
Exhibited:
New London, Ct., Lyman Allyn Museum, American Romantic Paintings of the 18th and 19th Centuries from the Collection of Lee B. Anderson, Feb. 26-Mar. 26, 1961, no. 46

This lot is accompanied by a letter of authenticity from the Inness authority, Michael Quick, who writes, "The composition relates to Inness paintings of about 1868, which represent a view from the low foothills of the Catskills looking across the wide Hudson River Valley. It is my opinion that it was painted around that date. Painted very quickly, wet-into-wet, on what must have been an artist's board, this sketch could be a field study, but it has more the quality of a compositional study, because there is more attention to the complicated composition than to details observed on the spot. It is a painting to be viewed up close, so one can enjoy the remarkable skill in the sketch's brushwork.

I understand that this painting came from the collection of Lee B. Anderson, who owned it at least since 1967, when he registered his collection of paintings with the Bicentennial Inventory of American Art.

Having studied Scene in New Jersey, it is my opinion that it is an authentic work of George Inness. I will include it in the supplement to my catalogue raisonne."

We thank Michael Quick for his kind assistance in authenticating the present work.


C Sold to Benefit the Lee B. Anderson Memorial Foundation
Sold For $18,750

FURNITURE AND DECORATIVE ARTS

Lot 332
Chippendale Cherry Tall Case Clock
Benjamin Morris, Bucks County, Pennsylvania, last quarter of the 18th century
The scroll pediment with three finials ending in rosettes, above an arched dial with a brass plaque engraved BM, over a door flanked by fluted quarter columns, raised on bracket feet. Height 8 feet 1 inch, width 20 1/2 inches, depth 12 inches.
Provenance:
Descended in the Hughes, Paxson and Ely Families.



Sold For $28,125
Lot 396
Max Bachmann
American, 1862-1921
Bust of Young Abraham Lincoln
Signed Max Bachmann, dated copyright 1905 and inscribed First Cast
Bronze with dark brown patina
Height 30 inches


Sold For $8,750
Lot 203
Classical Marble Top Mahogany Sideboard
New York, second quarter of the 19th century
The rectangular top with a bowed outset center, above a conforming frieze with three drawers, raised on marble columnar supports continuing to a plinth base and backed by a mirror. Height 32 1/2 inches, width 6 feet 6 inches, depth 26 inches.


Sold For $6,875
Lot 375
Pair of Federal Inlaid Mahogany and Figured Birch Fold-Over Card Tables
Probably Boston, late 18th/early 19th century
Each top with a slightly bowed front and serpentine sides, raised on conch shell inlaid square tapering legs. Height 28 inches, width 36 inches, depth 17 1/2 inches.
Provenance:
Bernard & S. Dean Levy, New York



C Estate of Waldo Hutchins III
Sold For $6,875
Lot 344
Classical Mahogany Bookcase
Second quarter of the 19th century
The molded cornice above a pair of glazed and mullioned cupboard doors flanked by columnar supports, over three cupboard doors, raised on a plinth.


Sold For $5,938
Lot 193
Classical Mahogany Serving Table
First half of the 19th century
The rectangular top with rounded outset front corners and a reeded edge, above two short and one long drawer flanked by fluted half columns continuing to fluted columnar supports joined by a shelf stretcher, raised on baluster legs ending in brass hairy paw feet. Height 34 3/4 inches, width 37 inches, depth 22 1/2 inches.


Sold For $5,313
Lot 363
Assembled American Coin Silver Tea and Coffee Service
Some by Jackson & Many, New York, mid 19th century
Comprising a coffee pot, two teapots, two-handled covered sugar, cream jug and a waste bowl, each with a shell molded neck above a lobed body, on a beaded foot, some with anchor and conch shell knops. Height of coffee pot 12 3/4 inches, total 159 ounces, all in.


Sold For $5,000