EUROPEAN, AMERICAN, MODERN, CONTEMPORARY & STREET ART


 

Auction

Tuesday, November 5, 2013 at 11am

CONSIGNMENTS ARE CURRENTLY
BEING ACCEPTED

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

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

Estate of Dr. Christian Toggenburger
Estate of Gloria Wall
Estate of Henry Balter
Estate of John Edwards
Estate of Margot L. Gumport
Estate of Mildred Goldstein
Estate of Philip Scott
Private Collection, Chevy Chase, Maryland
Private Collection, Washington, DC
Property from a California Collection
Property from the Thomas M. Messer Collection
Property of a Greenwich Village Collector
Property of a New York Collector
Property of a Tennessee Collector
Property of Portico New York, Inc.
The Estate of Baron Pierre DeMenasce
The Spanierman Gallery, LLC


RELATED ARTICLES

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  • Edward (Eduard) Jean Steichen American, 1879-1973 Autumnal Afternoon - The Poplars, Voulangis, 1909

    /carousels/2571/952524.jpg

    Sold for $161,000

    Edward (Eduard) Jean Steichen American, 1879-1973 Autumnal Afternoon - The Poplars, Voulangis, 1909
  • George Wesley Bellows American, 1882-1925 Mountain Farm, 1922

    /carousels/2571/973054.jpg

    Sold for $112,500

    George Wesley Bellows American, 1882-1925 Mountain Farm, 1922
  • John Henry Twachtman American, 1853-1902 Waterfall, Greenwich, circa late 1890s

    /carousels/2571/915905.jpg

    Sold for $106,250

    John Henry Twachtman American, 1853-1902 Waterfall, Greenwich, circa late 1890s
  • George Benjamin Luks American, 1867-1933 Man and Child with Guitar (Portrait of the Artists Brother with his Son), 1908

    /carousels/2571/965153.jpg

    Sold for $68,750

    George Benjamin Luks American, 1867-1933 Man and Child with Guitar (Portrait of the Artists Brother with his Son), 1908
  • Robert William Vonnoh American, 1858-1933 Leah, 1923

    /carousels/2571/973053.jpg

    Sold for $68,750

    Robert William Vonnoh American, 1858-1933 Leah, 1923
  • Newell Convers Wyeth American, 1882-1945 Worm Fence (Cart Track at Rocky Hill)

    /carousels/2571/906304.jpg

    Sold for $53,125

    Newell Convers Wyeth American, 1882-1945 Worm Fence (Cart Track at Rocky Hill)
  • Guy Pene Du Bois American, 1884-1958 Yvonne in Pink Hat, 1942

    /carousels/2571/978781.jpg

    Sold for $53,125

    Guy Pene Du Bois American, 1884-1958 Yvonne in Pink Hat, 1942
  • John Marin American, 1870-1953 Weehawken Grain Elevators, 1916

    /carousels/2571/979623.jpg

    Sold for $46,875

    John Marin American, 1870-1953 Weehawken Grain Elevators, 1916
  • Walter Launt Palmer American, 1854-1932 Stream In Winter, Sunset

    /carousels/2571/906314.jpg

    Sold for $40,625

    Walter Launt Palmer American, 1854-1932 Stream In Winter, Sunset
  • Guy Carleton Wiggins American, 1883-1962 Sailing Ships in a Harbor

    /carousels/2571/871706.jpg

    Sold for $34,375

    Guy Carleton Wiggins American, 1883-1962 Sailing Ships in a Harbor

          

1909 LANDSCAPE BY EDWARD STEICHEN ACHIEVES $161,000 AT DOYLE NEW YORK'S AUCTION OF AMERICAN ART

Works by American Artists Comprised Lots 151-231 in the November 5, 2013 Auction

Consignments Are Currently Being Accepted for Doyle New York's Spring 2014 American Art Auction

We Invite You to Contact Us for a Complimentary Auction Evaluation of Your American Art


Doyle New York’s auction of American Art on November 5, 2013 offered important paintings and sculpture by American artists of the late 19th and 20th centuries. Subjects include landscapes, still lifes, marine paintings, genre scenes and portraits representing a variety of schools, including Western art, American Impressionism, the regionalist schools of California and New Hope, as well as works by expatriate American artists and early modernists.

Highlighting the sale was a 1909 landscape by Edward (Eduard) Jean Steichen (American, 1879-1973) titled Autumnal Afternoon - The Poplars, Voulangis. Strong competition sent the bidding on the work far beyond its estimate of $30,000-50,000 to achieve $161,000. Formerly in the collection of Agnes and Eugene Meyer, publishers of The Washington Post and parents of Katharine Graham, the painting had descended in the family to the consignor.

This radiant landscape was created in 1909, at a pivotal moment in Steichen's career.  Known to this point primarily for tonal landscapes that related closely to his Photo-secessionist photographs, Steichen had just begun to explore a more vibrant palette, and had leased a home in Voulangis, in the Ile de France, known as the Villa l'Oiseau Bleu, the prior year. Depicting a stand of attenuated trees, their leaves brilliant with autumnal hues, Autumnal Afternoon - The Poplars, Voulangis differs from his earlier nocturnal landscapes.

Also exceeding expectations was George Wesley Bellows’ (American, 1882-1925) 1922 view of Mountain Farm that fetched $112,500 against an estimate of $60,000-80,000. The work is a classic depiction of Woodstock for which the artist was known. Painted close to the end of his tragically shortened life, it is an excellent example of Bellows’ modernist use of warm colors.

John Henry Twachtman (American, 1853-1902) was represented by several works in the sale, including the late 1890s colorful work, Waterfall, Greenwich, which more than doubled its estimate of $30,000-50,000, selling for $106,250. Twachtman's depictions of Horseneck Falls, in the backyard of his property in Greenwich, Connecticut, became increasingly abstract in the late 1890s. In this work, he wove the falls and their surroundings into a composition that flows inward and outward from the picture plane. 

All prices include the Buyers' Premium.


NEXT AMERICAN ART AUCTION: Spring 2014

Consignments are currently being accepted for the Spring 2014 American Art auction. 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 Anne DePietro at 212-427-4141, ext 249, or email paintings@DoyleNewYork.com

Images and interviews are available upon request.

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Louis LeB. Webre
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Lot 195
Edward (Eduard) Jean Steichen
American, 1879-1973
Autumnal Afternoon - The Poplars, Voulangis, 1909
Signed Steichen and dated MDCCCIX (lc); inscribed Eduard J. Steichen /103 Bd. Montparnasse Paris and inscribed Eugene Meyer Jr./35 Central Park West on stretcher
Oil on canvas
24 x 25 inches

Provenance:
Agnes and Eugene Meyer, Mount Kisco, NY
Thence by descent in the family

Literature:
Camera Work, XLII/XLIII, Apr.-Jul., 1913, ill. (one of three paintings by Eduard J. Steichen reproduced in the volume)

Dominated by a stand of trees, this radiant landscape was created in 1909, at a pivotal moment in Steichen's career. Known to this point primarily for tonal landscapes that related closely to his Photo-secessionist photographs, Steichen had just begun to explore a more vibrant palette, and had leased a home in Voulangis, in the Ile de France, known as the Villa l'Oiseau Bleu, the prior year. His country retreat with its lush walled garden was a great source of inspiration for his paintings, and also served as a gathering place for artists and friends, including Arthur B. and Mercedes Carles, Alfred Maurer, Isadora Duncan, and the critic Charles Caffin. Among the group visiting the Steichens in Voulangis in the summer of 2010 were Agnes Ernst and Eugene Meyer, who had married the previous February.

Conceived in the environs of the village, the present work - executed in Steichen's new, more brilliant palette - was purchased by the Meyers, in whose family it has descended. It is tempting to think that they may have acquired the work during their honeymoon summer, but the date of acquisition is not documented. Every winter Steichen would bring a cache of paintings back to New York for exhibition and sale, and he used the Meyers's garage for storage. Agnes and Eugene Meyer were personal friends but also important patrons, who commissioned Steichen's most ambitious decorative series, In Exaltation of Flowers (Collection The Museum of Modern Art). Agnes was also an intimate of the avant-garde artistic circle that included Steichen and the great photographer and impresario, Alfred Stieglitz, proprietor of the gallery known familiarly as 291.

Throughout his fairly brief painting career as well as in his contemporaneous photographs, Steichen favored vertical stands of trees, their trunks and foliage, often illuminated against a crepuscular sky. As early as 1903, Sidney Allan observed: "Nobody has carried the composition of lines further than Mr. Steichen. To me all his tree-trunks, whether ethereally thin, repeating their wavering lines in some moon-hazed water, or crudely massive, towering into some dismal twilight atmosphere, are purely decorative." [Sidney Allan, "A Visit to Steichen's Studio," Camera Work, April, 1903, no. 2, p. 26]

Depicting a stand of attenuated trees, their leaves brilliant with autumnal hues, Autumnal Afternoon - The Poplars, Voulangis differs from his earlier nocturnal landscapes. Charles Caffin discussed this new fascination with color in his review of Steichen's 1910 exhibition of paintings at the Montross Gallery (an exhibition in which it is possible the present work would have been included):

"Again, in the latest exhibition there were still some nocturnes, which were preferred by many who have got the nocturnal habit.. But the pictures in this genre were in the minority and did not represent the chief interest to those who are watching Steichen's growth. Evidence of the latter they found in his subjects of radiant or softened sunlight. These represented a distinct step in advance, because they showed the attack upon problems at once more difficult and more vital. Psychologically speaking, it is to express the spirituality of things plainly seen; to extract from the concrete appearances of daylight their abstract expression. Technically, it is to escape from the arbitrary restrictions of tonality and to harmonize the conflicts of local color, seen in the glow of natural light." [Charles H. Caffin, "The Art of Eduard J. Steichen," Camera Work, April, 1910, no. 30, p. 34]

As one of only three paintings by Steichen reproduced in the April-July 1913 issue of Camera Work, the exquisite art publication published as an outgrowth of 291, Autumnal Afternoon - The Poplars, Voulangis was clearly noteworthy for the painter/photographer - as well as for Stieglitz.




Sold For $161,000
Lot 186
George Wesley Bellows
American, 1882-1925
Mountain Farm, 1922
Inscribed Geo Bellows and inscribed as titled on reverse
Oil on panel
20 x 24 inches

Provenance:
Estate of the artist, 1925
Emma S. Bellows, his wife
Estate of Emma S. Bellows, 1959
H. V. Allison & Co., New York,
Lawrence Carter, New York, 1969
Sale: Parke-Bernet Galleries, New York, Dec. 10, 1970, lot 56
Mr. and Mrs. George Arden, New York
Berry-Hill Galleries, New York
Sale: Christie's, New York, 2005

Exhibited:
New York, H.V. Allison & Co., Inc., George Bellows, May 7-29, 1968, no. 13.
New York, Berry-Hill Galleries, Inc., Natural Forces: Landscapes by Bellows, Henri and Sloan, May 13-Jun. 27, 1992
New York, Berry-Hill Galleries, Inc., George Bellows, Dec. 2, 1993-Jan. 15, 1994
Greenwich, CT, Bruce Museum of Arts and Science, and elsewhere, The Woodstock Art Colony, Jun. 26, 1999-Apr. 30, 2000

Literature:
The artist's Record Book B, p. 287
H. Sturges, III, "The Woodstock Art Colony," American Art Review, Sept.-Oct. 1999, pp. 138, 143-4
"'The Woodstock Art Colony' Returns to WAA Galleries," Northeast, Mar. 2000, p. 38, illus.
"Woodstock Art Comes into its Own," Sunday Freeman, Apr. 9, 2000, illus.
Glenn C. Peck, George Bellow's Catalogue Raisonne, online version


Sold For $112,500
Lot 168
John Henry Twachtman
American, 1853-1902
Waterfall, Greenwich, circa late 1890s
Oil on canvas
30 1/8 x 30 inches

Provenance:
Alden Twachtman, the artist's son, Greenwich, CT
private collection, 1970-2000

Exhibited:
Spanierman Gallery, LLC, New York, John Twachtman: A "Painter's Painter," May 4-Jun. 24, 2006

This painting will be included in the forthcoming catalogue raisonne of the work of John Henry Twachtman by Lisa N. Peters, Ph.D. and Ira Spanierman.

Twachtman's depictions of Horseneck Falls, in the backyard of his property in Greenwich, Connecticut, became increasingly abstract in the late 1890s. Here he wove the falls and their surroundings into a composition that flows inward and outward from the picture plane. Combining this arrangement with vivid color and a confident, fluid brushwork applied with unrelieved vigor, he expressed his pleasure in this ever-changing natural phenomenon.


C The Spanierman Gallery, LLC
Sold For $106,250
Lot 182
George Benjamin Luks
American, 1867-1933
Man and Child with Guitar (Portrait of the Artist's Brother with his Son), 1908
Signed George Luks (lr); dated 1908 and signed George Luks on the reverse
Oil on canvas
28 5/8 x 29 1/2 inches

Provenance:
The artist
Mr. Arthur F. Egner, by 1914
Descended in the family of the owner
Private collection

Exhibited:
New York, Macbeth Gallery, George B. Luks, Apr. 14-27, 1910
New York, Kraushaar Galleries, Apr. 1914
Newark, NJ, Newark Museum Association, The Free Library, Paintings by a Few Modern American Painters Lent by Arthur F. Egner, Jan. 10-Feb. 10, 1917, no. 2
Newark, NJ, The Newark Museum, An Exhibition of the Work of George Benjamin Luks, Oct. 30, 1933-Jan. 6, 1934, no. 18, p. 42 illus., lent by Arthur F. Egner
Greensburg, PA, Westmoreland Museum of American Art, Artists of the Commonwealth: Realism and its Response in Pennsylvania Painting, 1900-1950, Feb. 26-May 21, 2006; Traveled to: Loretto, PA, Southern Alleghenies Museum of Art, Aug. 4-Nov. 5, 2006; Erie, PA, Erie Art Museum, Dec. 1-Apr. 8, 2007; Doylestown, PA, James A. Michener Art Museum, May 19-Sept. 2, 2007
New York, Spanierman Gallery, LLC, American Masters 1840-1920, Feb. 14-Mar. 22, 2008
Fort Lauderdale, FL, Museum of Art, Nova Southeastern University, Return to the Ashcan, Oct. 20-Feb. 24, 2013

Literature:
R[oyal] C[ortissoz], "Art Exhibitions: New Pictures by Mr. George Luks and Some Others," New York Tribune, Apr. 21, 1910, 7
"Art at Home and Abroad: Paintings by George Luks at Kraushaar," New York Times, Apr. 19, 1914, SM11.
"George Luks at Kraushaar's," Arts and Decoration 4 (June 1914), 320
Guy Pene du Bois, "The Collection of Arthur F. Egner," Arts and Decoration (August 1917), 475 illus., 476
"George B. Luks Found Dead in 6th Av. at Dawn," New York Times, Oct. 30, 1933, 1
Catalogue of an Exhibition of the Work of George Benjamin Luks. Exh. cat., Newark, NJ: Newark Museum, 1934, p. 42 illus., no. 18. [69 of the 110 works in the exhibition were oils; The Guitar was one of twenty-two oils that were illustrated; see also Lil, no. 23]
Betsy Fahlman. Artists of the Commonwealth: Realism and Its Response in Pennsylvania Painting, 1900-1950. Exh. cat., Greensburg, PA: Westmoreland Museum of American Art, 2006, pp. 33 color illus., 34, 71
Return to the Ashcan. Exh. cat., Fort Lauderdale, FL: Museum of Art, Nova Southeastern University, 2012, p. 45 color illus. no. 20

With its brilliant and rich brushwork against a dark background, The Guitar is a classic and important Ashcan School painting from the finest period in the artist's career. It was included in every major Luks exhibition, from his first showcase at Macbeth Gallery in 1910 to his 1934 retrospective at the Newark Museum. Recently it was selected to represent the artist in Return to the Ashcan (2013). Conveying the joy of music, which was an important part of Luks's life, the painting expresses the theme of music as a binding force between generations. The critics acknowledged the importance of this painting. In 1914, it was called as "the masterpiece of its maker" and referred to as "now famous" and "the most noted of his paintings." Guy Pene du Bois described it in 1917 as "one of our great pictures." The painting was acquired directly from the artist by the important Ashcan School collector, Arthur F. Egner, a New Jersey based lawyer and founding member of the Newark Museum, who was a friend and patron of the artist. It descended in Egner's family until 1988.

The following essay was written by Luks scholar Judith Hansen O'Toole:

Painted in the year of the landmark exhibition of "The Eight" at the Macbeth Gallery, New York, which gave birth to the "Ashcan School," this picture is a portrait of the artist's youngest, and closest, sibling, William D. Luks or "Will," and Will's firstborn son Daniel Wynkoop Luks, born in 1908.

The last of six children, George and Will were inseparable throughout childhood and in their adult lives. As young men, they performed as a vaudeville team, Buzzy (George) and Anstock, in the mid-1880s after a brief stint in Philadelphia where George attempted formal studies at the Pennsylvania Academy of the Fine Arts. In 1896, George had moved to New York City to further his painting and work as an illustrator when Will visited him and promptly fell in love with his brother's fiance, winning her heart. Despite this, the brothers remained close and Will, who quit his medical studies at Johns Hopkins University in order to marry Anabelle Delanoy, moved to New York City and became superintendent of the Northern Dispensary, a medical clinic in Greenwich Village. George frequently visited the dispensary both as a patient and in order to sketch the clientele.

The influences of Frans Hals (Everett Shinn quoted Luks as saying that "the world has had only two great painters, George Luks and Frans Hals") and Robert Henri are clearly evident in this painting. Its insight into the intimate relationship of father to son, teacher to pupil is palpable. The subdued palette, with the exception of both sitters' ruddy skin tones, and dark background are hallmarks of the style that drove Luks' career in the early 1900s. Neither sitter looks at the artist: the father's joyful gaze is fixed on his infant child, the child's on the miraculous instrument at hand.

The only member of The Eight not to participate in the first Independent Show in 1910, Luks was saving his work for his first one-man exhibition at the Macbeth Gallery that same year, which included The Guitar. The piece was shown again in 1914 during the artist's second year of representation by the Kraushaar Gallery. It was then that his mentor, Robert Henri, dropped Luks a note saying: "Had a good time seeing your shows-fine new stuff and fine old stuff. The baby and guitar still the wonderful thing of human interest it always was, and fine color and character and humor of life in all things. May 5th Avenue get the tonic of a Geo. Luks show every year! Yours, Henri."

It might have been from this exhibition that Arthur F. Egner, founding member of the Newark Museum, friend and collector of Luks, acquired the painting. Later Guy Pene du Bois would single it out in an article on the Egner collection and compare its strengths to those of a good Rembrandt.

Since 1993, Judith Hansen O'Toole has been director/CEO of the Westmoreland Museum of American Art in Greensburg, Pennsylvania.

She is the author of "George Luks: An American Artist," in George Luks: An American Artist, exh. cat. (Wilkes-Barre, Pa.: Sordoni Art Gallery, Wilkes College, 1987); "George Luks: Rogue, Raconteur, and Realist" in Elizabeth Kennedy, ed., The Eight and American Modernisms (Chicago: University of Chicago Press, 2009), 91-108; and George Luks: The Watercolors Rediscovered, exh. cat. (Canton, OH: Canton Museum of Art, 1994).



C The Spanierman Gallery,
Sold For $68,750
Lot 171
Robert William Vonnoh
American, 1858-1933
Leah, 1923
Signed Vonnoh and dated 19©23 (ul)
Oil on canvas
45 3/4 x 45 3/4 inches

Provenance:
The artist
Ainslie Galleries, New York
Archibald M. Henry, New York
Private collection, CA, 1972-2003
Private collection
Berry-Hill Galleries, Inc., New York

Exhibited:
New York, Ainslie Galleries, Paintings by Robert Vonnoh and Sculpture by Bessie Potter Vonnoh, Mar. 15-31, 1923
Kansas City, MS, Kansas City Art Institute, An Exhibition of Work by Robert Vonnoh, N.A., Apr. 1923
Los Angeles, CA, The Stendahl Galleries, Exhibition and Sale of Work by Robert Vonnoh, N.A. May 4, 1923, no. 10
New York, National Academy of Design, Winter Exhibition, Nov. 17-Dec. 16, 1923, no. 376
Venice, Italy, International Exhibition, XIV Exposizione Internazionale d'Art della Citta di Venezia, 1924, no. 541 (as Il Drappo)
New York, National Academy of Design and elsewhere, Commemorative Exhibition by Members of the National Academy of Design, Oct. 17, 1925-Mar. 21, 1926, no. 237
Walter Lippincott Prize, Pennsylvania Academy of Fine Arts, Philadelphia, 1926

Literature:
"Vonnoh's Half Century," International Studio, Jun. 1923, illus.
R. Cortissoz, "The Subject Picture Its Salient Feature," New York Tribune, Nov. 18, 1923, p. 8
"Some of the National Academy Pictures," The New York Times, Nov. 25, 1923, p. 10
"Vonnoh's Leah and Academy Feature," The Art News, Dec. 15, 1923, illus.
R. Vonnoh, "Leah," American Art Student, Oct. 31, 1925, pp. 22-3, illus. on cover
"Prize Winners at the Philadelphia Exhibition," Boston Evening Transcript, Feb. 6, 1926, p. 8, illus.
M.B. Hill, "Robert William Vonnoh (1858-1933)," unpublished, Graduate School of the City University of New York, Sept. 1982
Berry-Hill Galleries, American Painting XI, New York, 2003, pp. 96-9, illus.


Sold For $68,750
Lot 206
Newell Convers Wyeth
American, 1882-1945
Worm Fence (Cart Track at Rocky Hill)
Bears signature N. C. Wyeth (lr)
Oil on canvas
25 1/4 x 30 inches

Provenance:
The artist
Mrs. N. C. Wyeth
Carolyn Wyeth
Private collection, Atlanta, GA

Literature:
N. C. Wyeth, The Wyeths; the letters of N. C. Wyeth, 1901-1945, edited by Betsy James Wyeth, Boston, 1971

In the N.C. Wyeth archives at the Brandywine River Museum and Conservancy in Chadds Ford, Pennsylvania, this work is identified as Worm Fence in Carolyn Wyeth's inventory of the her father's studio. The painting is thought to date to the early spring of 1911, shortly after the artist purchased a property in Chadds Ford known as Rocky Hill, but before the family homestead was built, construction on which began in May of that year. The impressionistic style of this work is similar to that of the views Wyeth exhibited at the Philadelphia Sketch Club in November, 1912.

This painting is listed in the online catalogue of Wyeth's work maintained by the Brandywine River Museum and Conservancy as number 1517, under the title Cart Track at Rocky Hill. The catalogue notes that the signature is not in the artist's hand, adding that "It would seem that Wyeth did not generally sign his impressionist landscapes from this period. Many were signed by the artist's daughter Carolyn or his son Andrew when they were sold after the artist's death (see C. B. Podmaniczky, N. C. Wyeth, Catalogue Raisonne of Paintings, 2008, p. 840)."


C Property of a New York Collector
Sold For $53,125
Lot 202
Guy Pene Du Bois
American, 1884-1958
Yvonne in Pink Hat, 1942
Signed Guy Pene Du Bois and dated 42 (lr); inscribed Yvonne in Pink Hat/cat. no. 106 on an old label affixed to the stretcher
Oil on canvas
39 7/8 x 30 inches
Unframed

Provenance:
Estate of the artist


Sold For $53,125
Lot 196
John Marin
American, 1870-1953
Weehawken Grain Elevators, 1916
Signed Marin and dated 16 (lr); bears title and date on stretcher
Oil on canvas
19 1/2 x 23 1/2

Provenance:
Marlborough/Gerson Gallery, New York
Kennedy Galleries, New York
Philip Scott, Rockville Centre, NY (1980)

Exhibited:
Los Angeles, CA, Los Angeles County Museum of Art; San Francisco, CA, M.H. De Young Memorial Museum; San Diego, CA, The Fine Arts Gallery of San Diego; New York, Whitney Museum of American Art; Washington, DC, National Collection of Fine Arts, John Marin: 1870-1953, no. 48
Philadelphia, PA, Philadelphia Museum of Art, John Marin Etchings and Related Work, n.d.

Literature:
Sheldon Reich, John Marin: A Stylistic Analysis and Catalogue Raisonne, The University of Arizona Press, 1970, II, p. 424, no. 16.48 [N.B. The painting reproduced in association with the record for the present work in the catalogue raisonne erroneously depicts another, similarly titled piece (Grain Elevators at Weehawken) no. 16.18

We extend our thanks to Meredith Ward for noting this discrepancy in the catalogue.


C Estate of Philip Scott
Sold For $46,875
Lot 175
Walter Launt Palmer
American, 1854-1932
Stream In Winter, Sunset
Signed W.L. Palmer (ll)
Oil on canvas
24 x 18 inches

Provenance:
Private collection, Cincinnati, OH
Private collection, San Mateo, CA


C Property of a New York Collector
Sold For $40,625
Lot 180
Guy Carleton Wiggins
American, 1883-1962
Sailing Ships in a Harbor
Signed Guy C. Wiggins (ll)
Oil on canvas
20 x 24 inches

This is an early form of signature for Wiggins, who ceased including his middle initial by 1920.


C Property of a New York Collector
Sold For $34,375