A few examples of appraisal values for
BLUE MOUNTAIN

• JOHN "JACK" SAVITSKY, OIL ON BOARDJohn
  JOHN "JACK" SAVITSKY, OIL ON BOARDJohn "Jack" Savitsky (American 1910-1991), oil on board Blue Mountain Farm , signed lower right, 16" x 20", frame - 21 1/2" x 25 1/4". Competitive in-house shipping is available for this lot. Condition: Good condition. No apparent damages or repairs.
• ARTHUR FITZWILLIAM TAIT (1819-1905)Quail
  ARTHUR FITZWILLIAM TAIT (1819-1905)Quail and Chicks, 1867 signed and dated "AF Tait N A 1867" lower right oil on board, 10 by 14 in. signed and dated on back Kennedy & Co., New York and Winsor & Newton labels on back This painting is number 67.5 in Henry Marsh's Tait checklist. This little gem recalls Tait's famous "The Cares of a Family," with a pair of attentive quail and six baby chicks framed by delicate grasses and flowers. Known as one of America’s earliest sporting artists, Arthur Fitzwilliam Tait was born in Liverpool, England, in 1819. From an early age, he was interested in both art and the outdoors. Tait worked for the firm of Thomas Agnew, a famous art dealer and lithographer in Manchester, trained in lithography and drawing, and explored the open land around the city. However, many of the most beautiful vistas and hunting grounds were private and off limits. While working for the art firm, Tait was exposed to the works of Edwin Landseer (1802-1873), Richard Ansdell (1818-1885), and John Frederick Herring (1815-1907), among others. In Liverpool, beginning in 1843, Tait spent time with fellow artist George Catlin (1796-1872), which may have whetted the young artist’s appetite to explore life in America. Catlin, who was twenty-three years older than Tait, had spent much of the previous decade living in the American West chronicling the lives of Native Americans through his careful drawings and sketches of their clothing, weapons, and ceremonies. There is little doubt that Catlin's stories would have captivated the young and talented Tait. In 1850 Tait boarded a boat with his wife and came to America. By 1852 Tait was pursuing his interests in wildlife and hunting, based on the subject matter of his works. He worked from a studio in New York City, but spent a great deal of time on Long Lake in the Adirondacks, where he acquired skills as an angler, hunter, and keen observer of wildlife. These skills were as important for Tait’s art as his fine ability with brush and pigment, since they gave an authenticity to his portrayals of outdoor life which was virtually unrivaled at the time. His relative freedom to paint wherever he wanted in the vast public lands of New York was obviously liberating to the artist, who had felt confined by the strict laws governing trespassing and hunting on private property in England. With this liberation and experience of the outdoors, Tait’s artistic career flourished. In 1852, only two years after Tait arrived in New York, Nathaniel Currier (1813-1888) and James Merritt Ives (1824-1895) purchased the first of many works from the budding artist. In that same year, Tait was asked to hang a half-dozen works at the National Academy of Design’s annual exhibition. By 1854 he had achieved an associate membership and four years later he became a full member. Editions of Tait’s works for Currier and Ives were reproduced by the thousands and formed some of America’s most iconic images of the Victorian era. The exceptionally popular "American Field Sports" series showcased Tait’s abilities as an upland bird and dog painter and included the four lithographs "A Chance for Both Barrels," "Flushed," "On a Point," and "Retrieving." These hunting scenes, along with his camping and woodland scenes, resonated with the public as an integral part of the American experience and continue to inform us of our history as a nation. Seminal works by Tait, such as "An Anxious Moment," "A Tight Fix," and "Trappers at Fault: Looking for the Trail," have become embedded as part of our heritage and serve as signposts along our path as a nation. Today, Tait's wilderness, frontier, and wildlife scenes hang in some of the most prominent museums and private collections, including the permanent collections of the Addison Gallery of American Art, Andover, Massachusetts; the Adirondack Museum, Blue Mountain Lake, New York; the American Museum of Western Art, Denver, Colorado; the Amon Carter Museum, Fort Worth, Texas; the Brooklyn Museum, New York; the Corcoran Gallery of Art, Washington, DC; the Denver Art Museum, Colorado; the Metropolitan Museum of Art, New York; the National Museum of Racing, Saratoga Springs, New York; the Shelburne Museum, Vermont; the Yale University Art Gallery, New Haven, Connecticut; the Tate Gallery, London; and the Victoria & Albert Museum, London, among others. Provenance: Charles Porter Schutt Collection, acquired from The Old Print Shop, New York Sarah S. Harrison Collection, by descent Renee du Pont Harrison Collection, by descent Literature: Henry M. Reed, "The A. B. Frost Book," Charleston, SC, 1993, p. 87, illustrated. Henry M. Reed, "The A. B. Frost Book," Rutland, VT, 1967, illustrated. Henry W. Lanier, "A. B. Frost The American Sportsman's Artist," New York, 1933, illustrated.
• ARTHUR FITZWILLIAM TAIT (1819-1905)On
  ARTHUR FITZWILLIAM TAIT (1819-1905)On the Qui Vive!, 1871 signed and dated "A.F. Tait N.Y. 1871" lower right oil on panel, 12 by 16 in. numbered, titled, signed, and inscribed on back "On the Qui Vive" is old slang for "on the alert," another common title for Tait's deer paintings. Depicting four deer with flying mallards behind on the shore of Racquette Lake in the Adirondacks, this bright and lively jewel of a painting reveals the artist at the peak of his painting abilities. This important work is titled and described in Tait's 1871 register entry as No. 19. It is illustrated in Cadbury and Marsh's text on the artist: "[No.] 19. Deer. on the qui vive! Buck & 3 Does. 16 x 12. Mr. Dorman, 109 E 27th St. Del'd to him March 17th & paid same time [$125.00] in his own frame by [blank]." Known as one of America’s earliest sporting artists, Arthur Fitzgerald Tait was born in Liverpool, England, in 1819. From an early age, he was interested in both art and the outdoors. Tait worked for the firm of Thomas Agnew, a famous art dealer and lithographer in Manchester, trained in lithography and drawing, and explored the open land around the city. However, many of the most beautiful vistas and hunting grounds were private and off limits. While in the employ of the art firm, Tait was exposed to the works of Edwin Landseer (1802-1873), Richard Ansdell (1818-1885), and John Frederick Herring (1815-1907), among others. In Liverpool, beginning in 1843, Tait spent time with fellow artist George Catlin (1796-1872), which may have whetted the young artist’s appetite to explore life in America. Catlin, who was twenty-three years older than Tait, had spent much of the previous decade living in the American West chronicling the lives of Native Americans through his careful drawings and sketches of their clothing, weapons, and ceremonies. There is little doubt that Catlin's stories would have captivated the young and talented Tait. In 1850 Tait boarded a boat with his wife and came to America. By 1852 Tait was pursuing his interests in wildlife and hunting, based on the subject matter of his works. He worked from a studio in New York City, but spent a great deal of time on Long Lake in the Adirondacks, where he acquired skills as an angler, hunter, and keen observer of wildlife. These skills were as important for Tait’s art as his fine ability with brush and pigment, since they gave an authenticity to his portrayals of outdoor life which was virtually unrivalled at the time. His relative freedom to paint wherever he wanted in the vast public lands of New York was obviously liberating to the artist, who had felt confined by the strict laws governing trespassing and hunting on private property in England. With this liberation and experience of the outdoors, Tait’s artistic career flourished. In 1852, only two years after Tait arrived in New York, Nathaniel Currier (1813-1888) and James Merritt Ives (1824-1895) purchased the first of many works from the budding artist. In that same year, Tait was asked to hang a half-dozen works at the National Academy of Design’s annual exhibition. By 1854 he had achieved an associate membership and four years later he became a full member. Editions of Tait’s works for Currier and Ives were reproduced by the thousands and formed some of America’s most iconic images of the Victorian era. The exceptionally popular "American Field Sports" series showcased Tait’s abilities as an upland bird and dog painter and included the four lithographs "A Chance for Both Barrels," "Flushed," "On a Point," and "Retrieving." These hunting scenes, along with his camping and woodland scenes, resonated with the public as an integral part of the American experience and continue to inform us of our history as a nation. Seminal works by Tait, such as "An Anxious Moment," "A Tight Fix," and "Trappers at Fault: Looking for the Trail," have become embedded as part of our heritage and serve as signposts along our path as a nation. Today, Tait's wilderness, frontier, and wildlife scenes hang in some of the most prominent museums and private collections, including the permanent collections of the Addison Gallery of American Art, Andover, Massachusetts; the Adirondack Museum, Blue Mountain Lake, New York; the American Museum of Western Art, Denver, Colorado; the Amon Carter Museum, Fort Worth, Texas; the Brooklyn Museum, New York; the Corcoran Gallery of Art, Washington, DC; the Denver Art Museum, Colorado; the Metropolitan Museum of Art, New York; the National Museum of Racing, Saratoga Springs, New York; the Shelburne Museum, Vermont; the Yale University Art Gallery, New Haven, Connecticut; the Tate Gallery, London; and the Victoria & Albert Museum, London, among others. Provenance: Dorman Collection Mrs. J. Augustus Barnard Collection The Metropolitan Museum of Art, New York, 1979 Private Collection Literature: Warder H. Cadbury and Henry F. Marsh, "Arthur Fitzwilliam Tait: Artist in the Adirondacks," Newark, DE, 1986, pp. 215-16, no. 71.10, illustrated.
• PANG TSENG-YING (AMERICAN/CHINESE, 1916-1997)
  PANG TSENG-YING (AMERICAN/CHINESE, 1916-1997) - BLUE MOUNTAIN GORGE Pang Tseng-Ying (American/Chinese, 1916-1997) - Blue Mountain Gorge, watercolor on paper, signed and with one seal, 21.5"h x 15"w. Provenance: Acquired directly from the artist, circa 1963, New York City.
• (LOT OF 3) POTTERY OR METAL PITCHERS
  (LOT OF 3) POTTERY OR METAL PITCHERS A (lot of 3) pottery or metal pitchers, consisting of a Blue Mountain Pottery pitcher with blue-green flambe glaze, relief marked, 10.5"h; an Israeli Davagi verdigris patinated brass pitcher, impressed mark, 11"h and an Indian black patinated metal ewer, 10.25"h
• PAINTING, WILLIAM KEITH William Keith
  PAINTING, WILLIAM KEITH William Keith (American, 1838-1911), Blue Mountain, 1891, oil on board, signed and dated lower left, gallery label (Denenberg Fine Arts, San Francisco, CA) affixed verso, board: 21"h x 26" w, overall (with frame): 29.5"h x 34.5"w
• 2PC ROYAL DOULTON SERIESWARE PLATESIncludes
  2PC ROYAL DOULTON SERIESWARE PLATESIncludes The Weeping Rock Blue Mountains D6311 and Mount Egmont T.C. 1063. Includes The Weeping Rock Blue Mountains D6311 and Mount Egmont T.C. 1063. The Weeping Rock Blue Mountains plate depicts a forested waterfall landscape with a white rim. 10"D. Mount Egmont is translucent china with a forested mountain landscape scene. 10.5"D. Issued: 20th c. Manufacturer: Royal Doulton Country of Origin: England Condition: Age related wear. Minor scratches. Gold trim on rim faded.
• PR. GOULD & RICHTER & 1 A. WILSON BIRD
  PR. GOULD & RICHTER & 1 A. WILSON BIRD PRINTS, 3 TOTAL1st & 2nd items: Two (2) J. Gould and H. C. Richter colored lithographs, one titled Helioster Pinicola, printed by Hullmandel & Walton, and the other titled Sternula Minute, printed by Walter. Both housed in gilt and painted wooden frames. Sight - 21" H x 14 1/8" W. 23" H x 16" W. Both last half 19th century. 3rd item Alexander Wilson (American, 1766-1813) colored engraving, engraved by F.G. Warnicke, ornithological study of a passenger pigeon, Blue mountain Warbler and Hemlock W. Sight - 10 1/8" H x 13 3/8" W. Framed - 15 1/4" H x 18" W. Condition: 1st & 2nd items: Both with overall toning and some spotting. 3rd item: Overall toning, otherwise overall good condition.
• 2 AMERICAN SCHOOL WESTERN LANDSCAPE
  2 AMERICAN SCHOOL WESTERN LANDSCAPE PAINTINGS, NILE BEH...Two (2) American School Western landscape paintings. 1st item: Nile Jurgen Behncke (Wisconsin, 1894-1954) watercolor landscape painting depicting a mesa whose right side is bathed in sunlight having shaded hills leading to a lake's edge in the mid-ground, sparsely leaved trees on the opposite bank in the foreground, and distant mountains in the background all beneath a cloud-filled blue sky. Signed "Nile Behncke" lower left. Housed and matted under glass in a wooden frame. Sight: 16 5/8" H x 21 3/4" W. Framed: 27 1/4" H x 31 3/4" W. 2nd item: E. Todd Wheeler (Illinois, 1906-1987) oil on canvas monochromatic landscape painting, titled "Grand Canyon", depicting the serpentine chasm flanked by blue mountains under a clear sky. Signed "E. T. W." lower right. Inscription with title, artist name, and date "1933" along with Mag. Associates sticker label, en verso. Housed in a modern giltwood frame. Sight: 15 3/8" H x 18 1/2" H. Framed: 18 5/8" H x 21 3/4" W. Note: E. Todd Wheeler was a prominent Chicago architect specializing in the design of hospitals and medical schools and a graduate of the University of Illinois. Between 1932-1933, due to the lack of work during the Depression, Wheeler served as a companion and painting pupil to his grandfather-in-law, Dwight H. Perkins, a preeminent Chicago architect of the era. The two, along with a few others, traveled to California for three months of landscape painting, including camping in Death Valley for three weeks. Wheeler served as the associate architect for his alma mater from 1942-1944. He was also the acting state architect from 1951-1952. (source: "Interview with E. Todd Wheeler", interviewed by Betty J. Blum for the Chicago Architects Oral History Project, published by the Art Institute of Chicago, 1995.) The Estate of Carl Klein, Brentwood, Tennessee. Condition: 1st item: Overall very good condition. 2nd item: Overall good condition with minute scattered exfoliation at the left and lower edge and lower right corner. Canvas has been affixed to board.
• 2 DARRYL STEELE O/C LANDSCAPE PAINTINGS,
  2 DARRYL STEELE O/C LANDSCAPE PAINTINGS, INCL. WESTERN ...Two (2) Darryl Glenn Steele (Tennessee, b.1956) oil on canvas landscape paintings. 1st item: Western landscape painting titled "Echoes of Sedona" depicting a steep red rock formation in front of a blue mountainous background. Signed "Steele" lower left. Additionally signed, titled, and dated "1992" en verso. Housed in a contemporary gilt frame with a linen liner. Sight: 19 3/4" H x 15 3/4" W. Framed: 26" H x 21 3/4" W. 2nd item: Farm scene landscape painting titled "Cedarwood" depicting a white house and barn with mountains in the background under a cloudy blue sky. Signed "Steele" lower right. Additionally signed, titled, and dated "1991" en verso. Housed in a contemporary gilt frame with a linen liner. Sight: 15 3/8" H x 17 1/4" W. Framed: 21 1/4" H x 23" W. The Estate of Carl Klein, Brentwood, Tennessee. Condition: 1st item: Overall excellent condition with light wear to frame. 2nd item: Overall very good condition with light grime to canvas and linen liner, and light wear to frame.
• A SECOND GENERATION HUDSON RIVER SCHOOL
  A SECOND GENERATION HUDSON RIVER SCHOOL PAINTING, "THRE...A SECOND GENERATION HUDSON RIVER SCHOOL PAINTING, "Three Indigenous Bathers in Exoctic Palm and Mountainous Landscape," CIRCA 1870, oil on canvas. 28 3/4" x 35 1/2" Note: In the overall French taste, a traditional "Trois Baigneuses" theme, but with a distinctly South American landscape and indigenous cultural elements. Note in the long braids of the figure overlooking a vast pink and blue mountain landscape, and a female figure with basket atop her head, wears a silk ribbon decorated long skirt traveling from a shaded pathway. The landscape clearly issuing palms, crawling vines, and equatorial vegetation. Provenance: Property of a South Texas Collector. Condition: Trimmed, unsigned, some white color surface soil and spray mostly in lower left quadrant, mild soil, and darkening, but overall in good to very good condition, wear commensurate with age. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS." NO REFUNDS will be issued based on condition.
• KEN PAYNE (AMERICAN 1938-2012) A SCULPTURE,
  KEN PAYNE (AMERICAN 1938-2012) A SCULPTURE, "OTHER SIDE...KEN PAYNE (American 1938-2012) A SCULPTURE, "Other Side of the Blue Mountain," 1994, bronze with black, reddish brown patination, inscribed on back "© 94 / KEN PAYNE / 22/45," on a conforming wood base. Height: 36 1/2" Width: 21" Depth: 25" Condition: No discernible issues. Simpson Galleries strongly encourages in-person inspection of items by the bidder. Statements by Simpson Galleries regarding the condition of objects are for guidance only and should not be relied upon as statements of fact and do not constitute a representation, warranty, or assumption of liability by Simpson Galleries. All lots offered are sold "AS IS."
• ARTHUR FITZWILLIAM TAIT(British/America,
  ARTHUR FITZWILLIAM TAIT(British/America, 1819-1905) Sheep and Lambs, signed lower right "A.F. Tait, N.A./ N.Y. 92", oil on canvas, 14 x 22-1/4 in.; probably original ornate carved gilt wood and composition frame, 24-1/4 x 32-1/2 in.; Note: Literature:ÿCadbury, Warder H., Arthur Fitzwilliam Tait, and Henry F. Marsh.ÿArthur Fitzwilliam Tait: Artist in the Adirondacks. Cranbury, NJ: Associated University Presses, 1986.It is not known for certain whether this painting is included inÿCadbury's book.ÿ There is at least one possibility with the same dimensions, painted that same year, #92.17, p. 292, titled Nearest Way Home and described as "Sheep coming down path".ÿ That painting and this are very similar to Tait's The Gap in the Fence, #93.2, p. 293, in the Collection of the Adirondack Museum, Blue Mountain Lake, New York. It is also entirely possible that this painting was not included in Tait's own register or Cadbury's Checklist. Condition: original stretchers and tacking edge, surface dirt layer, crackle, yellowed varnish; frame with wear, some minor losses at corners, cracking
• LEVI WELLS PRENTICE(American, 1851-1935) Still
  LEVI WELLS PRENTICE(American, 1851-1935) Still Life with Pears and Grapes, signed lower right "L.W. Prentice", oil on canvas, 10 x 16 in.; original ornate period carved gilt wood shadow box frame, 19-3/4 x 25-3/4 in., Provenance: The Ann and Joel Finn Collection; Note: Exhibited: Nature Staged: The Still Lifes of Levi Wells Prentice,ÿMay 28, 1993 - October 15, 1993, Adirondack Museum, Blue Mountain Lake, NY, label verso.Literature:ÿJones, Barbara L., and Levi Wells Prentice.ÿNature Staged: The Landscape and Still Life Paintings of Levi Wells Prentice. Blue Mountain Lake, N.Y.: Adirondack Museum, 1993, pl. 48.Illustrated in the Jeffery Tillou Antiques catalog,ÿThe Ann and Joel Finn Collection, pg. 47 (lot accompanied by copy of catalog). Condition: linen lined, apparent repair with retouch at left side; frameÿin good condition, possibly regilt
• ANGEL BOTELLO HAITIAN LANDSCAPE PAINTING(Puerto
  ANGEL BOTELLO HAITIAN LANDSCAPE PAINTING(Puerto Rican/Haiti, 1913-1986) Blue Mountains, circa 1946-1947, unsigned, oil on canvas, 16-7/8 x 20-1/4 in.; modern frame, 25-3/4 x 29 in. This painting was purchased circa 1947 by the consignor's father, a diplomat and friend of Botello while the artist was still in Haiti wishing to leave. He bought a total of 3 paintings at the time. Later, and in the presence of our consignor, he brought the painting to the Galeria Botello in Puerto Rico and showed it to Angel Botello's widow who expressed that she was 'thrilled to see the picture'. Juan Botello, the artist's son, has confirmed the authenticity of this painting. Provenance: Purchased from the artist, a friend of the consignor's father, circa 1947; Private Florida Collection Condition: original strainer, flaking, crackle, surface dirt
• A PAIR OF LEVI WELLS PRENTICE (AMERICAN,
  A PAIR OF LEVI WELLS PRENTICE (AMERICAN, 1851 - 1935) P...A Pair of Levi Wells Prentice (American, 1851 - 1935) Paintings, oils on board, to include "Blue Mountain Lake Landscape", 10 1/4" x 5 1/4" signed lower left, "L.W. Prentice"; along with "White Face Mountain Landscape", signed "L.W. Prentice", 10 1/4" x 5 1/4". Condition: All lots are sold "AS IS" The condition of lots can vary widely and are unlikely to be in a perfect condition. *No credit card payments will be accepted for silver, gold, or jewelry from buyers that have not purchased from our gallery in the past. Condition: Reports are available by request and answered in the order they are received
• AMERICAN SCHOOL PAINTING, BLUE MOUNTAIN,
  AMERICAN SCHOOL PAINTING, BLUE MOUNTAIN, RACQUETTE LAKE: Oil/Canvas, strongly resembling the work of William Hart, 5.25'' x 10.25'', no visible signature, framed, 7.75'' x 12.75''. CONDITION: Some stretcher bar wear and minor craquelure, could use a cleaning.
• (2) ANTIQUE JAPANESE IMARI DISHES 19th/20th
  (2) ANTIQUE JAPANESE IMARI DISHES 19th/20th c., polychrome enameled porcelain, one decorated with a cobalt blue mountain landscape (9"dia), the other with a censer and flowering trees within a border of prancing rabbits and flowers (8.5" dia)
• A CHINESE EXPORT PORCELAIN PLATTER WITH
  A CHINESE EXPORT PORCELAIN PLATTER WITH SCENIC LANDSCAPE Circa 1800, dimpled corners, diaper pattern in iron red and gilt around the central painting of a riverside landscape with villages, boats, and green blue mountains, border of platter has butterflies and flora with scrolling leaves painted in iron red and gilt, unglazed area to underside.
• GUSTAVE WIEGAND, (1870-1957, OLD CHATAM,
  GUSTAVE WIEGAND, (1870-1957, OLD CHATAM, NY), "BLUE MOUNTAIN LAKE ADIRONDACKS", OIL ON CANVAS BOARD UNDER GLASS, 16" H X 24" WGustave Wiegand, (1870-1957, Old Chatam, NY) "Blue Mountain Lake Adirondacks" Oil on canvas board under glass Signed lower left: Gustave Wiegand, titled on the frame plaque 16" H x 24" W Oil on canvas board under glass Dimensions: 16" H x 24" W
• PAUL GRIMM, AMERICAN, CALIFORNIA 1891-1974,
  PAUL GRIMM, AMERICAN, CALIFORNIA 1891-1974, BLUE MOUNTAINS, OIL ON BOARD, 5 7/8 X 8 IN. (14.9 X 20.3 CM.), FRAME: 12 3/4 X 14 3/4 IN. (32.4 X 37.5 CM.)PAUL GRIMM, AMERICAN, CALIFORNIA, 1891-1974 BLUE MOUNTAINS, Oil on board Lower right signed: P. GRIMM Oil on board Dimensions: 5 7/8 x 8 in. (14.9 x 20.3 cm.), Frame: 12 3/4 x 14 3/4 in. (32.4 x 37.5 cm.)
• BLUE MOUNTAIN POTTERY VASE BY DOMENIC
  BLUE MOUNTAIN POTTERY VASE BY DOMENIC STANZIONEBlue Mountain Pottery vase by Domenic Stanzione. Mocha colored and signed on the bottom. 19" High. Very Good condition. Examine all photos closely. Contact AAG for more detailed information if needed. AAG is not responsible for any errors or omissions to any lots. All sales are final and sold as is. In house shipping is not available on this lot, please contact one of our third party shippers for a quote. According to Wikipedia, Blue Mountain Pottery was a Canadian pottery company located in Collingwood, Ontario. It was founded in 1953 by Dennis Tupy and Jozo Weider (b. 1908 in Zhilina Czechoslovakia) and closed in 2004. Originally producing hand-painted ski motifs on purchased blanks, production of the red clay items started in 1953-1954. It went on to produce various types of pottery, from animal figurines to jugs, pots and vases. The company's products have a large fan base and are collected worldwide. Blue Mountain Pottery items feature a unique, trademarked glazing process known as "reflowing decorating." Two different liquid glazes, one light and one dark in colour, were applied. During the firing process the glazes would run, creating streaking patterns unique to each piece. Blue Mountain Pottery items were available in the traditional green hues, but also in harvest gold, cobalt blue, mocha, pewter, red, and brown. This pottery is widely collected and has spawned the Blue Mountain Pottery Collectors Club. (978)
• LUCETTE BOURDIN (20TH CENTURY): TWO
  LUCETTE BOURDIN (20TH CENTURY): TWO WORKSeach watercolor and gouache; each signed; each titled to attached paper tag; the first: "Blue Mountains" (9 1/2 x 6 1/2 inches sight; 19 1/2 x 17 inches frame); the second: "Salvation" (14 3/4 x 22 1/4 inches sight; 16 1/2 x 20 1/2 inches frame ); Provenance: The Estate of Barbara Beretich, Artist and Collector of Art, Claremont, CA; Condition:
• "VT WIND" 1999, OIL ON CANVAS, LANDSCAPE
  "VT WIND" 1999, OIL ON CANVAS, LANDSCAPE WITH GREEN TREES AND BLUE MOUNTAINS ON A WINDSWEPT OVERLOOK, GILT FRAME, INSCRIPTION VERSO,..."VT Wind" 1999, oil on canvas, landscape with green trees and blue mountains on a windswept overlook, gilt frame, inscription verso, "Harvey", title, and date, wear consistent with age, some loss to gilt finish on frame, ss: 30" h. x 34" w.
• TWO MODERN LANDSCAPES, THE FIRST BY
  TWO MODERN LANDSCAPES, THE FIRST BY FRANKLIN WHITE (AUSTRALIAN, 1892 - 1975) OIL ON CANVAS BOARD, SIMPLISTIC SHAPES IN BOLD COLORS D...Two modern landscapes, the first by Franklin White (Australian, 1892 - 1975) oil on canvas board, simplistic shapes in bold colors depict green foothills and blue mountains beyond, signed lower left, framed, artist label on verso, ss: 9 1/2" h. x 11 1/4" w.; the second, by Terence Price, "Cielos" depicts a moody evening sky over orange mountains, signed "T.P." lower right corner, framed, label on verso, ss: 8" h. x 10"w.; wear consistent with age, neither examined out of frame.
• MARION HUSE (AMERICAN, 1896-1967), TWO
  MARION HUSE (AMERICAN, 1896-1967), TWO UNFRAMED OILS ON BOARD, INCLUDING: "STYLIZED WOMAN IN PINK", OIL ON MASONITE, UNSIGNED, WOMAN...Marion Huse (American, 1896-1967), two unframed oils on board, including: "Stylized Woman in Pink", oil on Masonite, unsigned, woman with short brown hair wearing pink, figure roughly outlined in black, background is mostly green leaves/plants, unframed, abrasions on figure, loss of paint on figure's hair, 20" h. x 16" w.; and "Vermont Landscape", oil on board, signed LR, landscape with horses grazing, small farmhouses with trees in mid-ground, blue mountains in background, unframed, inscribed verso: Vermont Landscape 4, wear/loss to edges, abrasions throughout, some toning in the white of the skyline, 18" h. x 24" w. [Works by Marion Huse are currently being offered at Vose Galleries and Childs Gallery, and have been sold by Spanierman Gallery in the past. This work was given to the Brockton Art Museum (MA) by the artist's husband, Dr. Robert Barstow; the BAM in turn gifted the Huse Collection to the New Britain Museum of American Art which later chose to sell some Huse works through auction at Winter Associates, Inc., CT] NB (370) M
• MARION HUSE (AMERICAN, 1896-1967), "VERMONT
  MARION HUSE (AMERICAN, 1896-1967), "VERMONT LANDSCAPE", OIL ON CANVAS, SIGNED LL, ABSTRACT SOFT FOCUS LANDSCAPE WITH ROLLING FIELDS...Marion Huse (American, 1896-1967), "Vermont Landscape", oil on canvas, signed LL, abstract soft focus landscape with rolling fields scattered with green trees, moving into the background a large blue mountain emerges against a blue sky, predominately green, brown and blue, dark outlines to suggest shapes, unframed, wear/loss to edges, missing nail in LL corner, LL corner has small approximately 1" tear in canvas along edge, abrasion with paint loss in UL corner, impact in UR corner, slight depressions/ripples throughout canvas, 18" h. x 24" w. [Works by Marion Huse are currently being offered at Vose Galleries and Childs Gallery, and have been sold by Spanierman Gallery in the past. This work was given to the Brockton Art Museum (MA) by the artist's husband, Dr. Robert Barstow; the BAM in turn gifted the Huse Collection to the New Britain Museum of American Art which later chose to sell some Huse works through auction at Winter Associates, Inc., CT] NB (612) M
• MARION HUSE (AMERICAN, 1896-1967), "ALBANY,
  MARION HUSE (AMERICAN, 1896-1967), "ALBANY, NEW YORK, 1945", OIL ON BOARD, SIGNED LL, URBAN LANDSCAPE WITH A SNOW COVERED FIELD IN T...Marion Huse (American, 1896-1967), "Albany, New York, 1945", oil on board, signed LL, urban landscape with a snow covered field in the foreground, tan, red and brown rectangular buildings in mid-ground with bare trees scattered throughout, blue mountains with a church steeple in the distance, unframed, inscribed verso: Albany, NY 1945/Marion Huse, wear to edges, areas of abrasion, some areas of discoloration/staining in the skyline, 17 3/4" h. x 23" w. [Works by Marion Huse are currently being offered at Vose Galleries and Childs Gallery, and have been sold by Spanierman Gallery in the past. This work was given to the Brockton Art Museum (MA) by the artist's husband, Dr. Robert Barstow; the BAM in turn gifted the Huse Collection to the New Britain Museum of American Art which later chose to sell some Huse works through auction at Winter Associates, Inc., CT] NB (615) T
• MARION HUSE (AMERICAN, 1896-1967), "VILLAGE
  MARION HUSE (AMERICAN, 1896-1967), "VILLAGE AT NIGHT", OIL ON PLYWOOD, POSSIBLE SIGNATURE IN LOWER RIGHT (POSSIBLE "M"), RURAL VILLA...Marion Huse (American, 1896-1967), "Village At Night", oil on plywood, possible signature in lower right (possible "M"), rural village at night, groupings of wheat in field, mid-ground has houses some with glowing windows and a white church with a tall steeple, blue mountains against a dark sky in background, unframed, wear/loss/chips to edge, possible cracquelure following wood grain, areas of discoloration most noticeable in mountains/sky, 18" h. x 20" w. [Works by Marion Huse are currently being offered at Vose Galleries and Childs Gallery, and have been sold by Spanierman Gallery in the past. This work was given to the Brockton Art Museum (MA) by the artist's husband, Dr. Robert Barstow; the BAM in turn gifted the Huse Collection to the New Britain Museum of American Art which later chose to sell some Huse works through auction at Winter Associates, Inc., CT] NB (24) T
• MARY WALLACE WEIR (AMERICAN, 1877-1950),
  MARY WALLACE WEIR (AMERICAN, 1877-1950), OIL ON CANVAS BOARD, DEPICTS DESERT SCENE WITH BLUE MOUNTAINS IN DISTANCE, SIGNED LOWER RIG...Mary Wallace Weir (American, 1877-1950), oil on canvas board, depicts desert scene with blue mountains in distance, signed lower right, inscribed presentation verso and dated 1938, light wear consistent with age, not examined out of frame, ss: 7" h. x 8 1/2" w.
• MARION HUSE (AMERICAN, 1896-1967), FOUR
  MARION HUSE (AMERICAN, 1896-1967), FOUR UNFRAMED OILS, INCLUDING: "FROM OUR LIVING ROOM WINDOW", 1943, OIL ON BOARD, SIGNED LOWER LE...Marion Huse (American, 1896-1967), four unframed oils, including: "From Our Living Room Window", 1943, oil on board, signed lower left, rural landscape with trees surrounding houses in the foreground, hills and large blue mountains in background, unframed, wear to edge, scratches and abrasions some with paint loss, large vertical white discoloration/stain, 11 3/4" h. x 16 1/2" w.; Marion Huse (American, 1896-1967), "Still Life With Philodendron", oil on board, unsigned, philodendron in a white pot placed on floor, a red chair set in background, blue/green walls, unframed, wear to edges, some areas of abrasion, 21 3/4" h. x 18" w. "Seated Female Model", oil on Masonite, signed lower right, female figure seated with crossed legs on a red floor, figure has short dark hair and wears white and green, to the left of figure is a table with flowers in a blue vase, blue window on right, unframed, wear to edges, abrasion with paint loss to left of figure's chin, 22" h. x 18" w.; "Carriage, Winter on the Lane", oil on plywood, signed lower left, winter landscape of a snowy road, two horses pull a carriage in distance, several buildings and snowy mountains in background, unframed, wear to edges, discoloration to left of mountains, horizontal cracking in paint along wood grain, toning, 18" h. x 20" w.[Works by Marion Huse are currently being offered at Vose Galleries and Childs Gallery, and have been sold by Spanierman Gallery in the past. This work was given to the Brockton Art Museum (MA) by the artist's husband, Dr. Robert Barstow; the BAM in turn gifted the Huse Collection to the New Britain Museum of American Art which later chose to sell some Huse works through auction at Winter Associates, Inc., CT] NB (673) T
• MARION HUSE (AMERICAN, 1896-1967), FOUR
  MARION HUSE (AMERICAN, 1896-1967), FOUR UNFRAMED OILS, INCLUDING: "FEMALE MODEL READING", OIL ON CARDBOARD, SIGNED LOWER LEFT, SEATE...Marion Huse (American, 1896-1967), four unframed oils, including: "Female Model Reading", oil on cardboard, signed lower left, seated woman in a pink dress reading, figure uses one hand to turn the page and the other rests on book, book sits on a blue table next to a potted red flower and a mandolin, background is red and brown, unframed, wear/loss to edges, damage to cardboard in upper right and lower right corner, 19" h. x 24" w.; "Woman in Yellow Skirt", oil on cardboard, unsigned, 3/4 length portrait of a seated woman, woman has short brown hair and dark eyes, figure wears a gray shirt with white detailing along the collar and cuffs of sleeves with a bright yellow skirt, figure's hand holds a pink flower in front of body, background undefined blue, grey and white space, unframed, wear/loss to edges primarily upper left corner, numerous pin size holes in every corner, minor scratches, 25 3/4" h. x 17 3/4" w.; "Arrangement", oil on board, signed lower right, still life with a bowl of fruit to the left and a decanter with glasses to the right, all items sit on a red and yellow surface, to the left of the still life the background appears red while the background to the right of the still life appears blue, unframed, wear to edges, paint loss to cup to the right of fruit bowl, minor abrasions, 20" h. x 23 3/4" w.; "Berkshire Hills", oil on wood, signed lower left, rural landscape with rolling hills green in foreground with scattered trees and a farmhouse to the left, the hills grow larger as they progress into the distance and turn into blue mountains, unframed, cracquelure resulting in major paint loss throughout, 14 1/4" h. x 20" w. [Works by Marion Huse are currently being offered at Vose Galleries and Childs Gallery, and have been sold by Spanierman Gallery in the past. This work was given to the Brockton Art Museum (MA) by the artist's husband, Dr. Robert Barstow; the BAM in turn gifted the Huse Collection to the New Britain Museum of American Art which later chose to sell some Huse works through auction at Winter Associates, Inc., CT] NB (170) T
• MARION HUSE (AMERICAN, 1896-1967), "APPROACHING
  MARION HUSE (AMERICAN, 1896-1967), "APPROACHING RAIN", OIL ON CANVAS, SIGNED LL, RURAL LANDSCAPE WITH AN OPEN GREEN/TAN FIELD IN THE...Marion Huse (American, 1896-1967), "Approaching Rain", oil on canvas, signed LL, rural landscape with an open green/tan field in the foreground with green trees to the left, trees line the right mid-ground and in the left mid-ground a farmhouse is suggested with red/brown, farther in the distance brown hills emerge and turn to dark brown and blue mountains, skyline is dark gray/black showing the incoming storm, dark lines suggest birds flying, loosely painted, unframed, wear/loss to edges, some cracquelure to the center left side with paint loss, slight abrasions to right side in trees, 18" h. x 24" w. [Works by Marion Huse are currently being offered at Vose Galleries and Childs Gallery, and have been sold by Spanierman Gallery in the past. This work was given to the Brockton Art Museum (MA) by the artist's husband, Dr. Robert Barstow; the BAM in turn gifted the Huse Collection to the New Britain Museum of American Art which later chose to sell some Huse works through auction at Winter Associates, Inc., CT] NB (616) M
• THREE 20TH C. SWISS WORKS ON PAPER,
  THREE 20TH C. SWISS WORKS ON PAPER, ERNST MORGENTHALER AND WERNER EMIL ENGEL, INCLUDING: TWO ERNST MORGENTHALER LITHOGRAPHS (1887 -...Three 20th C. Swiss works on paper, Ernst Morgenthaler and Werner Emil Engel, including: Two Ernst Morgenthaler lithographs (1887 - 1962): one depicts a Swiss winter theme with blue mountains, tree branches in the foreground, and bird to right, signed LR, indistinct inscription LL, ed. 39/250, "Gregory James Gallery" label attached verso, frame: 17" h. x 22 1/2" w.; and one depicts seaside landscape with mountains in distance, signed "EM 62" LR, ed 30/200, plaque reads "Ernst Morgenthaler", ss: 11 1/2" h. x 15 1/4" w.; also a Werner Emil Engel (1880 - 1941) watercolor, depicts landscape of hill town, steeple in distance, signed LR, ss: 6 1/4" h. x 9 1/2" w.; all pieces framed under glass and with condition consistent with age including toning, foxing, and light wear.
• MARION HUSE (AMERICAN, 1896-1967), TWO
  MARION HUSE (AMERICAN, 1896-1967), TWO UNFRAMED OIL ON CANVAS LANDSCAPES, INCLUDING: "ABSTRACT VILLAGE", OIL ON CANVAS, UNSIGNED, LA...Marion Huse (American, 1896-1967), two unframed oil on canvas landscapes, including: "Abstract Village", oil on canvas, unsigned, landscape with fields in foreground, houses/barns surrounded by trees in mid-ground, and blue mountains in background, unframed, wear/loss to edges, small areas of abrasion, 18" h. x 22" w.; along with "Craggy Mountains", oil on canvas, unsigned, road toward a village with houses and a church, road passes in front of a graveyard, background of brown mountains against a blue sky, heavy impasto in mountains, unframed, wear to edges, hole/tear in UL corner, 17" h. x 21" w. [Works by Marion Huse are currently being offered at Vose Galleries and Childs Gallery, and have been sold by Spanierman Gallery in the past. This work was given to the Brockton Art Museum (MA) by the artist's husband, Dr. Robert Barstow; the BAM in turn gifted the Huse Collection to the New Britain Museum of American Art which later chose to sell some Huse works through auction at Winter Associates, Inc., CT]
• MARION HUSE (AMERICAN, 1896-1967), TWO
  MARION HUSE (AMERICAN, 1896-1967), TWO UNFRAMED OILS ON CANVAS CITYSCAPES, INCLUDING: "EUROPEAN VILLAGE, MODERNIST VIEW", OIL ON CAN...Marion Huse (American, 1896-1967), two unframed oils on canvas cityscapes, including: "European Village, Modernist View", oil on canvas, signed LL, depiction of a village square with several figures in the distance, stucco houses with red roofs line the square, bare trees emerge from behind the houses, blue sky with wispy clouds, unframed, wear/loss to edges, slight depression in canvas center left and upper right, 16" h. x 19 3/4" w.; along with "Pink Houses by the Bridge", oil on canvas, unsigned, semi-abstract urban landscape with a road in the foreground and progressing to back left, dark figures walk along road, pink houses to the left, to the right a bridge crosses a waterway, blue mountains in distance, dark blue sky, unframed, wear/loss to edges, impact to canvas in UR, scrapes throughout, 15" h. x 24" w. [Works by Marion Huse are currently being offered at Vose Galleries and Childs Gallery, and have been sold by Spanierman Gallery in the past. This work was given to the Brockton Art Museum (MA) by the artist's husband, Dr. Robert Barstow; the BAM in turn gifted the Huse Collection to the New Britain Museum of American Art which later chose to sell some Huse works through auction at Winter Associates, Inc., CT] NB (619) M