A few examples of appraisal values for
ARTHUR TAIT

• ARTHUR FITZWILLIAM TAIT (BRITISH,
  ARTHUR FITZWILLIAM TAIT (BRITISH, 1819-1905)Arthur Fitzwilliam Tait (British, 1819-1905) , "Baby Chickens in a Landscape", 1892, oil on panel, signed, dated and inscribed "N.Y." lower right, signed, dated and "Godel & Co. Fine Art" label with artist, title and date en verso, 10 in. x 14 in., framed . Provenance: Godel & Co. Fine Art, New York, July 2, 2016 Provenance: Estate of Arley D. Cathey II, El Dorado, AR, sold to benefit the University of Chicago.
• In the manner of Arthur Fitzwilliam
  In the manner of Arthur Fitzwilliam Tait (American, 1819-1905), two quail chicks, oil on canvas in ornately carved frame; 7 1/2\" x 11 1/2\""; unsigned. Metal brackets on back of frame with 1880\'s patent dates. Upper left corner of frame needs small repair. Tait spent the first three decades of his life in England and arrived in New York in 1850. Steeped in admiration for the subjects of Edwin Landseer and the style of the Pre-Raphaelites
• Arthur Fitzwilliam Tait (New
  Arthur Fitzwilliam Tait (New York/England, 1819-1905) Pointer Retrieving a Quail, signed lower right "A.F. Tait NY 67", signed and inscribed verso "No. 563/A.F. Tait/1867", oil on Winsor & Newton artist board, 6-1/16 x 7-7/8 in., fine early 20th century 22 kt. gilt wood frame,
• Arthur Fitzwilliam Tait (New
  Arthur Fitzwilliam Tait (New York/England, 1819-1905) A Covey of Grouse, signed lower right "A.F. Tait NY 1865", inscribed verso stretcher that this painting is "#432", oil on canvas on panel stretcher, 10-3/4 x 15-1/2 in.; fine 22 kt. gilt wood and composition fluted cove-molding frame with corner acanthus leaf decoration,
• Arthur Fitzwilliam Tait (New
  Arthur Fitzwilliam Tait (New York/England, 1819-1905) Covey of Quail, signed lower right "A F Tait/NY 67", signed and inscribed verso "No. 523", oil on Winsor & Newton artist board, 8 x 9-7/8 in., fine 22 kt. gilt wood and composition cove-molding frame,
• Arthur Fitzwilliam Tait (New
  Arthur Fitzwilliam Tait (New York/England, 1819-1905) Prairie Shooting, signed lower left "A.F. Tait. NY 76" and signed and numbered "65", titled and inscribed "Long Lake Hamilton Co NY" verso, oil on Winsor Newton artist board, 9-1/2 x 12-1/2 in.; fine 19th century 22 kt. gilt wood and composition fluted cove-molding frame,
• Tait Arthur Fitzwilliam [American
  Tait Arthur Fitzwilliam [American 1819-1905] oil on canvas of a dog and stag in a forest signed on the stretcher "A.F. Tait 1889 Adirondack N.Y.". 14"x20"
• ARTHUR FITZWILLIAM TAIT (1819-1905,
  ARTHUR FITZWILLIAM TAIT (1819-1905, NY & ENGLAND)OIL PAINTING ON CANVAS, SIGNED LOWER RIGHT, DEPICTING A FAMILY OF GROUSE. THE PAINTING HAS HAD RESTORATION, LINED WITH MASONRY BOARD BACKING, SHOWS SEVERAL AREAS OF INPAINTING UNDER UV LIGHT. APPEARS TO BE IN ITS ORIGINAL FRAME. SIGHT SIZE 30" X 24 1/2", OVERALL 39 1/2" X 34".
• Arthur Fitzwilliam Tait (New
  Arthur Fitzwilliam Tait (New York/England, 1819-1905) "A Close Point", two spaniels and grouse in a woodland landscape, signed lower right "A.F. Tait/NY 86" and titled and signed verso original canvas and dated "1885 & 6" with New York address (conservation image provided), oil on canvas, 16-1/4 x 24-1/8 in.; fine early 20th century 22 kt. gilt wood frame,
• ARTHUR FITZWILLIAM TAIT
  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 F. TAIT OIL ON CANVAS TITLED
  ARTHUR F. TAIT OIL ON CANVAS TITLED OUR LITTLE PETArthur F. Tait (American 1819-1905) , oil on canvas titled Our Little Pets , signed lower right and dated '94 , 10" x 14". Provenance: Gerald Peters Gallery. Competitive in-house shipping is available for this lot.
• Arthur Fitzwilliam Tait (New
  Arthur Fitzwilliam Tait (New York/England, 1819-1905) "Motherly Solicitude, Jerseys, Orange County, New York", signed lower right "A.F.Tait.N.A./N.Y. 87.", oil on canvas, 24 x 30 in.; original 19th century gilt wood and composition frame with label for "Lewis & Son, N.Y.",
• ARTHUR FITZWILLIAM TAIT, (AMERICAN,
  ARTHUR FITZWILLIAM TAIT, (AMERICAN, 1819-1905), RABBITS, 1886, WATERCOLOR, SIGHT: 5 X 8 1/2 IN., FRAME: 11 X 14 IN.ARTHUR FITZWILLIAM TAIT, (American, 1819-1905) Rabbits, 1886, watercolor signed and dated A.F. Tait 1886, l.r. sight: 5 x 8 1/2 in., frame: 11 x 14 in. Provenance: The Lifetime Collection of a New York City Gentleman. Condition: Condition: 2 in. repaired tear extending from l.r. edge.
• ARTHUR FITZWILLIAM TAIT
  ARTHUR FITZWILLIAM TAIT (1819-1905): ''MORNING '' PUTNAM NEW YORK Oil on canvas signed and dated lower right A.F. Tait 1898; and titled and dated on verso. 14 1/4 x 22 in. 23 x 31 in. (frame).
• ARTHUR FITZWILLIAM
  ARTHUR FITZWILLIAM TAIT(British/America, 1819-1905) Ruffed Grouse Chicks, 1860, signed lower right "A.F. Tait/1860", also signed and dated verso "No 183/A F Tait 1860", oil on board, painted oval, 9-1/2 x 12-3/4 in.; period carved gilt wood and composition frame with oval spandrel, 17 x 21 in. Note: Literature: Cadbury, Warder H., Arthur Fitzwilliam Tait, and Henry F. Marsh. Arthur Fitzwilliam Tait: Artist in the Adirondacks. Cranbury, NJ: Associated University Presses, 1986.; Cadbury lists at least three paintings of this size and this subject painted in 1860, all with unknown signature information. It is not known for certain which, if any, refer to this particular painting. Condition: yellowed varnish, surface dirt layer, wear, cracking and chips at corners and edges not visible under frame; frame with wear commensurate with age
• ARTHUR FITZWILLIAM TAIT
  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.
• CURRIER AND IVES AFTER ARTHUR
  CURRIER AND IVES AFTER ARTHUR FITZWILLIAM TAIT, AMERICA...Currier and Ives after Arthur Fitzwilliam Tait, American Field Sports, Flushed, 1857, lithograph with hand coloring on paper inscribed in plate through the lower margin, image size 18 1/2 x 26 1/2 inches 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.
• Arthur Fitzwilliam Tait (New
  Arthur Fitzwilliam Tait (New York/England, 1819-1905), \"Wood Duck and Golden Eye Duck, 1853\", signed lower left \"A.F. Tait, NY 1853\", titled and inscribed verso with note \"Owned by John Osborn,
• CURRIER AND IVES AFTER ARTHUR
  CURRIER AND IVES AFTER ARTHUR FITZWILLIAM TAIT, AMERICA...Currier and Ives after Arthur Fitzwilliam Tait, American Field Sport, 1857, lithograph with hand coloring on paper, inscribed in plate throughout the lower margin, image size 18 1/2 x 26 inches. 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.
• PAINTING, ARTHUR FITZWILLIAM TAIT
  PAINTING, ARTHUR FITZWILLIAM TAIT Arthur Fitzwilliam Tait (American, 1819-1905), Untitled (Adirondack Autumn with Blue Herons), 1871, oil on canvas, signed and dated lower left, canvas: 30"h x 42"w, overall (with frame): 41"h x 53"w
• ARTHUR FITZWILLIAM TAIT
  ARTHUR FITZWILLIAM TAIT (1819-1905): HEN & CHICKENS Oil on canvas relined signed lower right. 24 x 29 5/8 in. (sight) 27 5/8 x 33 x 2 3/8 in. (frame).
• CURRIER AND IVES AFTER ARTHUR
  CURRIER AND IVES AFTER ARTHUR FITZWILLIAM TAIT "AMERICA...Currier and Ives after Arthur Fitzwilliam Tait "American Field Sport, 1857" lithograph with hand coloring on paper inscribed in plate throughout the lower margin image size 18 1/2 x 26 inches 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.
• CURRIER AND IVES AFTER ARTHUR
  CURRIER AND IVES AFTER ARTHUR FITZWILLIAM TAIT AMERICAN...Currier and Ives after Arthur Fitzwilliam Tait American, 1819 - 1905 "American Field Sports, Retrieving" lithograph in colors on paper inscribed in plate throughout the lower margin image size 18 3/4 x 26 1/2 inches 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.
• CURRIER AND IVES AFTER ARTHUR
  CURRIER AND IVES AFTER ARTHUR FITZWILLIAM TAIT "AMERICA...Currier and Ives after Arthur Fitzwilliam Tait "American Field Sports, Flushed, 1857" lithograph with hand coloring on paper inscribed in plate through the lower margin image size 18 1/2 x 26 1/2 inches 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.
• CURRIER AND IVES AFTER ARTHUR
  CURRIER AND IVES AFTER ARTHUR FITZWILLIAM TAIT "AMERICA...Currier and Ives after Arthur Fitzwilliam Tait "American Field Sports on a Point" 1857 lithograph with hand coloring on paper inscribed in plate through the lower margin image size 18 1/4 x 26 inches 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.
• Arthur Oraine (British 20th
  Arthur Oraine (British 20th century) Golfing lithograph 15 x 24 inches.
• Arthur Tucker (1864-1929)/Mists
  Arthur Tucker (1864-1929)/Mists Across the Valley, Strathyre Perthshire/signed/watercolour, 25cm x 35cm Provenance: Chris Beetles
• ARMAND TATOSSIAN, RCA
  ARMAND TATOSSIAN, RCA (1948-2012)Armand Tatossian, R.C.A., "Tracks", oil on canvas, signed lower left, St. Laurent Art Centre Ottawa label verso, 19.5" h x 23.5" w. Provenance: Kingston Area Collection.
• Arthur Cox (British 1840-1917) A
  Arthur Cox (British 1840-1917) A pair of mezzotints in color after Jean Baptiste Pater signed in pencil in the lower right margin blind stamp in the lower left margin Alfred Boll & Co. Old Bond Street London matted and framed in a carved gilt frame under glass overall 31-1/2" x 25".
• ROBERT TAIT MCKENZIE (canadian
  ROBERT TAIT MCKENZIE (canadian 1867-1938) "BLIGHTY" - MAQUETTE FOR CANADIAN WAR MEMORIAL Inscribed and dated '© R Tait McKenzie 1916' on side of base, inscribed 'ROMAN BRONZE WORKS NY' on rear of base, bronze with brown patina 15 5/8 in. (39.7cm) (height) The sculpture is affixed to a white painted plinth 45 1/4 in. (114.9cm) provenance: From the collection of Philip Rieff and Alison Douglas Knox, Philadelphia, Pennsylvania. ,000-
• Arthur Parton (New York,
  Arthur Parton (New York, 1842-1914), Gleam of Light, Loch Katrine, signed lower left "Arthur Parton N.A.", oil on canvas, 20 x 30 in.; possibly original gilt wood frame with frame plate,
• ARTHUR G. LLOY (1929-1986)
  ARTHUR G. LLOY (1929-1986) CANADIANLouis Tremblay, "Cap aux Oies", oil on masonite, signed lower left and titled verso, 11.5 x 15.5 inches.
• Arthur Bowen Davi
  Arthur Bowen Davi
• Arthur Vidal Diehl (1870-1929
  Arthur Vidal Diehl (1870-1929 Massachusetts) Tug Boat on the Ocean
• ARTHUR TAYLOR AM. 1925-2010 FLY
  ARTHUR TAYLOR AM. 1925-2010 FLY FISHING QUEBEC W/CArthur Taylor American 1925-2010 "French Rock Matapedia River Quebec", watercolor. signed lower right, inscribed verso by the artist with a price of $1000. NOTE: the artist formally trained, but also a long-time Maine resident and a gifted fishing rod maker. Please see https://bangordailynews.com/2010/04/26/obituaries/arthur-j-taylor/ Dimensions: 16x12, framed 21x17 (CPOC6268)(TC) Condition: excellent, no foxing or fading, colors vivid
• ARTHUR SHEPPARD, (1875-1954),
  ARTHUR SHEPPARD, (1875-1954), "AFTER THE FIGHT. TOM KING VS JIM MACE, JANUARY 1882", OIL ON CANVAS, 30" H X 39" WArthur Sheppard, (1875-1954) "After the fight. Tom King vs Jim Mace, January 1882" Oil on canvas Signed lower right: Arthur Sheppard, and with the © lower left 30" H x 39" W Oil on canvas Dimensions: 30" H x 39" W