A few examples of appraisal values for
MORRISON

• J. MORRISON, ABSTRACT, COLOR
  J. MORRISON, ABSTRACT, COLOR LITHOGRAPH, FRAMED, 26 X 33 INCHESJ. Morrison, Abstract, Color Lithograph, Framed, 26 x 33 inches
• GEORGE MORRISON ABSTRACT OIL ON
  GEORGE MORRISON ABSTRACT OIL ON BOARD, 1950 George Morrison (American, 1919-2000) abstract oil on masonite, signed to lower left, circa 1950, housed in a cerused wood frame. Image: 6.75" H x 6.75" W; frame: 10.25" H x 10.25" W.
• PARD MORRISON, FLOWER, 2017Pard
  PARD MORRISON, FLOWER, 2017Pard Morrison, (b. 1975) Flower, 2017, fired pigment on welded aluminum inscribed underside: PARD MORRISON / 2017 / "FLOWER" fired pigment on welded aluminum Dimensions: 6 x 6 x 6 in. (15.24 x 15.24 x 15.24 cm.) Provenance: Charlotte Jackson Fine Art, Santa Fe, New Mexico The Robert J. Dodds III Collection, New Mexico, 2017
• J MORRISON, ABSTRACT, WOOD BLOCK
  J MORRISON, ABSTRACT, WOOD BLOCK PRINT AND LA VIGNY LONG, DOVE OF PEACE, EMBOSSED LITHOGRAPHJ Morrison, Abstract, Wood Block Print and La Vigny Long, Dove of Peace, Embossed Lithograph
• George Morrison American, 1919-2000
  George Morrison American, 1919-2000 Sandscape, 1957 Estimate:$1,500-$2,500
• PAINTING, GEORGE MORRISON George
  PAINTING, GEORGE MORRISON George Morrison (American, 1919-2000), "Spectral Flow - Jasper Sky," 1990, acrylic on canvas affixed to panel, signed, titled, and dated verso, panel: 6"h x 12"w, overall (with frame): 8.25"h x 14.25"w
• C.R. MORRISON (B.1942) BRONZE,
  C.R. MORRISON (B.1942) BRONZE, 'SPINNIN & GRINNIN'Bronze sculpture, "Spinnin & Grinnin," signed in cast C.R. Morrison (Clarence R. Morrison, Montana, b.1942), dated 1989, numbered 7/ 30, mounted on a rotating wood base, bronze: approx 13.5"h, 13"w, 8"d, base: approx 2"h, 10" diam, 13.5lbs
• BRENDA MORRISON (20TH CENTURY,
  BRENDA MORRISON (20TH CENTURY, AMERICAN)Brenda Morrison (20th Century, American), Two works "Bouquet with Fruit" Oil on linen Signed lower right: Morrison; titled on a label affixed verso 24" H x 18" W "Window Ledge with Flowers," 1991 Oil on linen Signed lower right: Morrison; signed again, titled and dated verso 18" H x 18" W Provenance: Carmel Art Association Gallery, Carmel, CA Provenance: Carmel Art Association Gallery, Carmel, CA
• GEORGE MORRISON, (AMERICAN,
  GEORGE MORRISON, (AMERICAN, 1919-2000), UNTITLED, 1958, GOUACHE, 21 X 31 1/2 IN.GEORGE MORRISON, (American, 1919-2000) Untitled, 1958, gouache signed and dated George Morrison 1958, l.r. 21 x 31 1/2 in. Provenance: Gift from the artist; by descent in the family. Other Notes: This work was given by the aritst to his friend, noted American silversmith John Prip, when they were both at the Rhode Island School of Design. Condition: Condition: Not framed - wear to edges, particularly at corners.
• D Morrison, The Guardian Angel a
  D Morrison, The Guardian Angel a wax seal impression, 10cm diameter, published April 1st 1828 and retailed by Thomas Flint, 27 Burlington Arcade and a small Grand Tour terracotta panel of an allegorical scene, 5cm x 8.5cm
• Drew Morrison (American,
  Drew Morrison (American, 20th/21st century) Dough Boys and Untitled (Refrigerator Man) digital prints signed and numbered 4/150 in pencil 11 x 10 and 9 x 8 1/2 inches.
• GEORGE MORRISON, (AMERICAN,
  GEORGE MORRISON, (AMERICAN, 1919-2000), UNTITLED, 1960, WATERCOLOR, 17 3/4 X 23 1/2 IN.GEORGE MORRISON, (American, 1919-2000) Untitled, 1960, watercolor signed and dated twice, l.l. 17 3/4 x 23 1/2 in. Provenance: Gift from the artist; by descent in the family. Other Notes: This work was given by the aritst to his friend, noted American silversmith John Prip, when they were both at the Rhode Island School of Design. Condition: Condition: L-shaped tear (approx. 1 in. x 1 in.), l.c.; unframed, with corresponding wear to corners.
• Attributed to Bernard Downes
  Attributed to Bernard Downes Portrait of General George Morrison Estimate:$5,000-$7,000
• GEORGE MORRISON "HEAL" OIL ON
  GEORGE MORRISON "HEAL" OIL ON CANVAS, 1957 George Morrison (American, 1919-2000) "Heal" or "Defractional" oil painting on canvas depicting a polychrome abstract landscape beneath a vibrant red sun, dated and signed lower right, Grand Central Art Galleries stamp and label with an Art Lending Services of the Museum of Modern Art label to verso, housed in a wood frame. Image: 11.5" H x 17.25" W; frame: 18.5" H x 24" W. Provenance: From a Brooklyn townhouse.
• WELLMAN (WILLIAM) MORRISON OIL ON
  WELLMAN (WILLIAM) MORRISON OIL ON CANVAS PORTRAITWellman (William) Morrison (American d. 1857) , oil on canvas portrait of a gentleman, signed under lining, 21 1/2" x 18". Exhibited Boston Athenaeum, listed as possibly a self portrait. Provenance: The Collection of Dic and Donnie Catzen. Competitive in-house shipping is available for this lot. Condition: Relined. Newer stretcher. Several repaired tears including to forehead and shoulder.
• PAINTING, GEORGE MORRISON George
  PAINTING, GEORGE MORRISON George Morrison (American, 1919-2000), "Around the Medicine Wheel - Moon's Tears," 1990, acrylic on canvas affixed to panel, signed, titled, and dated verso, panel: 5"h x 12"w, overall (with frame): 7"h x 14.5"w
• VICTOR MAJZNER (australian b.
  VICTOR MAJZNER (australian b. 1945) "HORISON" [sic] Signed, titled and dated '1982' verso, oil on canvas 9 x 9 in. provenance: From the collection of Philip Rieff and Alison Douglas Knox. Good original condition
• SIGNED MORRISON OIL ON CANVAS STILL
  SIGNED MORRISON OIL ON CANVAS STILL LIFEOil on canvas still life with flowers. Signed lower right Morrison. 35 1/2" x 23 1/2" (with frame 45" x 34").
• GEORGE W. MORRISON (american
  GEORGE W. MORRISON (american 1820-1893) THREE IRISH LANDSCAPES Signed bottom right, each inscribed verso, watercolor on paper 10 1/8 x 14 3/8 in. provenance: Private Collection, Pennsylvania. ,000 Some fading, colors muted. Otherwise good.
• Photographic Archive of Miles
  Photographic Archive of Miles City Montana Photographer R.C. Morrison 1880s-1890s Cowan's is proud to present the photographic archive of pioneer Montana photographer Robert C. Morrison (1850-1938) descended directly in the family of the photographer and available for sale for the first time. R.C. Morrison arrived in Miles City Montana in 1878 when it was a tiny sutler's outpost serving General Miles' Ft. Keogh and remained there until his death sixty years later. Originally a sign painter he found a new creative outlet in photography and over those sixty years managed to photograph just about everything subject available to him. He operated a professional studio ca 1880s-1990s making him a contemporary of classic Western photographers L.A. Huffman and Christian Barthelmess but much of his work seems to have been purely for his own enjoyment. Morrison was an eccentric fellow with an eye for the unusual and you can sense an almost childlike enthusiasm for his work evidenced by offbeat subject matter and experimentation in a time when photography was viewed by most as a serious and scientific endeavor. What really distinguishes the collection though is the setting; located at the intersection of army Indian pioneer and cowboy culture Miles City embodied everything about the American West and Morrison was there to capture it from its rugged infancy until long after the railroads reservations and barbed wire had erased all notions of the frontier.With the exception of the collection presented here R.C. Morrison's heirs have donated his entire collection (including 3 600 glass negatives) to the Montana Historical Society. Several of these images were made available to the public for the first time in a Smithsonian.com feature by Donna Lucey published October 5 2009. This exclusivity combined with the diverse subject matter Morrison's unusual style and his relationship with some of the giants of Western photography make this a truly unique opportunity.The archive contains over 1 700 photographs plus related materials. About half of the photographs are duplicates varying somewhat in clarity condition and mount and roughly 10% by other photographers. The contents are summarized later in this description and fully accounted for in a spreadsheet available upon request.What we know about R.C. Morrison is limited. His photographs give us a rough sketch of his life from the time he arrived in Miles City at age 28 but with little context. It is not clear if he was a participant in or merely an observer of the varied events he photographed nor is it always clear which photographs were taken for profit and which for hobby. The documents included in the archive are primarily business related either inquiries about Morrison's sign painting business or correspondence regarding cameras and other photographic equipment. Most of what we know comes from Morrison's direct descendants who provided us with family history recorded by Morrison's daughter and granddaughter.Morrison was born in Pennsylvania in 1850 and the family believes he lived there into his young adulthood when he decided to make the journey west. For reasons unknown and without any particular destination he left the East for good around 1874. Some time later he ended up in Denver where he joined the Diamond R cattle drive as a cook following the beef north through Wyoming Western Nebraska and the Badlands earning extra money by painting signs for businesses that had sprung up around the forts and mines along the trails. One of these outposts was Fort Keogh hastily constructed by General Nelson Miles on a barren plain along the Yellowstone River in response to the Cheyenne victory over Custer in 1876. It was especially remote and the young men stationed there were easy targets for entrepreneurs who soon came peddling booze and women setting up shop just outside the gates. "Miles City " so named either in honor of or in satire of the general who despised its effect on his soldiers quickly proved to be the natural northern terminus of the cattle drives offering much needed entertainment for lonely weary cattle hands such as R.C. Morrison. He homesteaded along the North Sunday Creek in 1878 alone spending the next few years hunting buffalo painting and practicing wet-plate photography. He mostly kept to himself but did seek out guidance from local photographers likely including Huffman and Barthelmess and made efforts to befriend local Crow and Cheyenne in pursuit of their hunting and trapping secrets. And consequently he was often summoned for his own hunting prowess. It is even reported in a Miles City history book available at the Range Riders Museum (which is today operated by a descendant of Barthelmess) that Morrison acted as a guide for Theodore Roosevelt when he was in the area in the 1880s and was recognized by him when the former president visited again ca 1912. Sometime between 1882 and 1885 he married 17-year-old Canadian orphan Mary Jane Lane moved into town and purchased a small photography studio determined to provide for his children. The couple had three - Gladys Clee and Glenn - and through them R.C. seemed to overcome his antisocial isolationist bent. He was an active citizen of Miles City in the 1890s operating both a sign painting business and a photography studio. He held a reputation as an expert hunter and trapper and even played violin with the Miles City opera.But things would change. Mary Jane divorced R.C. and married William Reed a successful tin shop owner nearly half his age who would later become mayor of Miles City. This apparently led Morrison back to his solitary ways spending days at a time on the range and when his only son Glenn a firefighter was killed in a stable fire in 1915 R.C. Morrison went back out into the wild. Morrison's photographs as an older man support this account. Almost all are taken in remote locations or show Morrison hunting with his dog Monte (sometimes with up to 30 skins at a single camp). The exceptions are photographs of an aged Morrison at Miles City celebrations such as the Pioneer Days festival ca 1920-30s probably taken by his daughters. In these he appears as a true mountain man sporting a long gray beard handmade clothing and his trusty Sharps rifle as children look on in wonder as if he was a storybook character come to life Morrison wears a smile not often seen in photographs of his younger self and seems to revel in the role. (find newspaper clipping calling him Miles City's longest tenured resident).Morrison and His Relationship to Huffman and Barthelmess (1854-1906).There is no written record of the relationship between Morrison and his more famous contemporaries L.A. Huffman and Christian Barthelmess but the archive provides evidence that their must have been a brotherhood of sorts among the few early lensmen of Miles City. The three surely would have met in passing the population hovered around 1 000 until the turn-of-the-century but signs point to a mutual respect between the photographers and even a trading of negatives. Some of the earliest photographs of R.C. Morrison included in this archive including his wedding photographs were taken at Huffman's studio and he and his family were photographed by Huffman even after Morrison opened his own studio. Similarly Barthelmess family members appear in a handful of Morrison's portraits. When Christian Barthelmess was killed digging a sewer trench in 1906 it was Morrison who took his postmortem photographs (viewable in the Smithsonian article but not included in this archive) and just recently several hundred of army photographer's negatives have been identified in the Morrison collection at the MHS suggesting a deeper relationship between the two men and their families.By viewing just a small sample of the photography of Huffman and Barthelmess it is quite clear that both had a firm sense of the historical and artistic value their work would one day claim. Barthelmess was fascinated by military life and certainly understood his Indian photographs were important documentation of a vanishing native culture. Many of Huffman's shots of the round-ups on the open range seem like a wide angle view of a Frederic Remington painting capturing the essence of an era in a single expansive view so perfect that one wonders if it was contrived. They obviously weren't and the fact that Huffman chose just a couple dozen of his thousands of negatives to publish and sell in his Miles City gallery prove that they resulted from patience persistence and discrimination. Morrison seems to have shot whatever interested him at the moment with no artistic mission guiding his eye. In our opinion this was his greatest asset. While Huffman and Barthelmess provide us with an idealized sometimes poignant view of life on the range Morrison's photographs show life as it was.And while he may not have possessed a deliberate artistic vision a distinct style certainly emerged. Morrison couldn't just point-and-shoot of course and equipment was costly. The fact he spent his time and money on shots that had little commercial appeal and often included unusual subjects causes one to contemplate each photograph a little further.The archive is comprised as follows:900+ albumen cabinet cards mostly studio portraits on a variety of R.C. Morrison mounts and many with the name of the subject inscribed on verso.300+ larger albumen prints most 5 x 7 in. or 6 x 8 in. on 8 x 10 in. or 10 x 12 in. mounts of subjects including cowboys Indians soldiers Miles City street scenes the construction of two bridges and much more.200+ miscellaneous photographs including tintypes mounted prints by other photographers and early 20th century mounted and unmounted silver prints.150+ miscellaneous documents letters receipts advertisements and other ephemera including: an 1884 land grant and an 1888 bill of indenture both named to Jean Lane a relative of Morrison's wife described in the indenture as a Half-breed from Manitoba; a brand book; plans for Morrison's studio; and a rare printed piece from early Fort Keogh photographer John Fouch.Four cameras including a No. 1 Panoram-Kodak Model D and early Eastman camera with 1884 patent a Snappa camera and a large unmarked camera.Ten glass negatives including a fine 5 x 8 in. negative of a group of firemen drinking and playing poker.
• THOMAS SIDNEY MORAN (AMERICAN
  THOMAS SIDNEY MORAN (AMERICAN 1837 - 1926) 24 ¾" x 34 ¾" "Grand Canyon of Arizona, from Hermit Rim Road", 1912. Chromolithograph, signed in the plate lower left, published by Atchison, Topeka, and Santa Fe Railway System, New York, 1933, matted and framed in a gilt frame, overall 34"x 44"
• MORRIS, James Charles, (English,
  MORRIS, James Charles, (English, 1851-1888): Scottish Highland Landscape with Shepherd, his Dog, Wife, and Flock of Sheep with Loch in the Background, Oil/Canvas, 36'' x 60'', signed lower left, framed, 39'' x 62.5''. CONDITION: Older reline, several scattered spots of inpaint and touchup, repair to tear in left margin, several areas of heavy craquelure, scattered craquelure throughout.
• John Morris (American, 1920-1991)
  John Morris (American, 1920-1991) Young girl. Oil on masonite, signed at the lower right corner, approx. 10" x 8", framed in a vintage Victorian frame overall approx. 15-1/8" x 13-1/4".
• Hal Alexander Courtney Morrison
  Hal Alexander Courtney Morrison (American/Georgia 1848-1927) "Nature Morte: Largemouth Bass" oil on canvas signed lower left Charleston Renaissance Gallery label en verso 24 in. x 14 in. giltwood frame. Provenance: Steven Cabot Barnes Harvey (1949-1993) Collection of Southern Art. Note: Canadian-born physician Hal Morrison moved to Atlanta in the 1880s to pursue a career in art. He painted landscapes and portraits but is best known for nature morte oils. In examples such as this largemouth bass Morrison's understanding of anatomy and academic training as a physician combine with his artistic training to successfully render the fish fly and boards of the wall in perfect trompe l'oeil style. Illustrated: The Steven Harvey Collection of Southern Art The Charleston Renaissance Gallery 2005 p. 14.
• Scottish School, 18th century
  Scottish School, 18th century pair of portraits: robert morison and margaret russell The first inscribed 'Robert Morison' on canvas verso, evidence of paper label on verso, oil on canvas, framed. H: 29 1/2 in. W: 21 1/4 in. PROVENANCE: Robert Morison (1722-1791) married Margaret Russell (1720-1800) in 1758 in Perth, Scotland. The pair of portraits were found in Virginia. lined retouch
• Morris Blackman, American,
  Morris Blackman, American, 1930-2022, 40" x 60" Abstract Expressionist, oil on masonite, signed "MLB '64-65", artist's estate stamp on back, 40" x 60", framed 42-3/4" x 62-3/4", very good condition. Morris Blackman is an American artist who lived and worked in Philadelphia PA. He graduated from The Pennsylvania Academy of the Fine Arts (PAFA) in 1959, where he twice received the Cresson European Travelling Scholarship as well as 3 Mural Prizes, the Lux Graphic Prize and the Figure Drawing Prize. Blackman had one-man shows at PAFA and DeMena Gallery NY as well as participating in group shows at Reese Palley Gallery NJ, Fontana Gallery PA, Studio 7 NJ, Carlson Gallery NY and Margaret Locks Gallery, PA. He was a member of the Graphic Sketch Club as well as a teacher at the Philadelphia Art Museum and the Fleisher Art Memorial. His works are in many private collections in Philadelphia as well as PAFA. In 2022, Gross McCleaf Gallery of Philadelphia hosted the first major retrospective of Blackman?s work titled ?Save for Future Use.?
• ROBERT EDWARD MORRISON (BRITISH
  ROBERT EDWARD MORRISON (BRITISH 1852-1925) THE BLACKSMITH. Oil on canvas signed upper left 'R.E. Morrison;' Frame: 22'' x 16'' 19'' x 12.9'' Condition: No Specific Condition Recorded - Sold As Is
• HAL MORRISON(American/Georgia,
  HAL MORRISON(American/Georgia, 1848-1927) Portrait of a Gentleman, signed lower left "Hal Morrison", oil on canvas, 20 x 16 in.; gilt wood frame, 25 x 20-3/4 in. Provenance: Private Collection, Charleston, South Carolina Condition: surface cleaned and with modern varnish layer; frame with losses at edges
• THOMAS MORAN (AMERICAN 1837-1926) A
  THOMAS MORAN (AMERICAN 1837-1926) A CHROMOLITHOGRAPH, "...THOMAS MORAN (AMERICAN 1837-1926) A CHROMOLITHOGRAPH, "Grand Canyon of Arizona from Hermit Rim Road," a fine oversized first edition chromolithograph in bright colors, artist's printed signature "TMORAN, 1912." lower left in image, center below image "Grand Canyon of... Thomas Moran N.A.," lower left below image "Copyright. 1913, By The Atchison, Topeka & Santa Fe Railway System," opposite lower right (printed by) "American Lithographic Co, N.Y.," published by Atchison, Topeka & Santa Fe Railway System, 1913, image: 26 3/8" x 35", including blank margins 38" x 46". Note: Thomas Moran is considered to be one of the foremost artist of the American Southwest and the present day prices for his paintings reflect this respect. His oeuvre included several works of the Grand Canyon and the original 1912 painting which this print is drawn from is currently in the offices of the Burlington Northern/Santa Fe Railway Co Art Collection. This was his last work reproduced in chromolithography and was one of 2,500 printed. Many did not survive to today as they were placed unprotected in railway stations and others were given away as promotional gifts. The remaining ones were retained by the company until 1996 when they were placed with a Santa Fe New Mexico gallery where they were each offered for $4,800. Provenance: Property from a Corporate Collection, Houston, Texas. Condition: Good condition, some darkening of paper from ageing and some foxing spots scattered throughout. Not examined out of frame. 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."
• THOMAS MORAN (PA/CA, 1837-1926)
  THOMAS MORAN (PA/CA, 1837-1926) "Grand Canyon", oil on mahogany panel, initialed lower right, titled and identified, "From the Laura Davidson Sears Collection, The Elgin Academy Art Gallery, Elgin, Illinois"on label verso, in large ornate Dutch gold gesso frame, OS: 33 1/2" x 33", SS: 20" x 19 1/2". Good condition. Includes 12/2/67 receipt for $200 purchase from Lenz Art Studio of Milwaukee, Wisconsin.
• KEITH MORRISON ABSTRACT
  KEITH MORRISON ABSTRACT WATERCOLORKeith Anthony Morrison (African American, b. 1942) abstract watercolor painting, red, yellow and pink visually textured geometrics on a blue background. Double matted and framed in a silver metallic frame. 29-1/2" x 22-1/2" sight, 39" x 31-1/2" framed. Provenance: Kentucky collection; acquired directly from the artist. Biography: Keith Morrison was born in Jamaica and received a B.A. and M.F.A. at the School of the Art Institute of Chicago. He held positions at several universities including Fisk University from 1967-1968. Morrison represented Jamaica at the 2001 Venice Biennale, and served as a U.S. critic to the 2008 Shaghai Biennale. His works are in the collections of the Cincinnati Art Museum, the Art Institute of Chicago, the Philadelphia Museum of Art, the Corcoran Gallery of Art, the Smithsonian American Art Museum, and the National Gallery of Art, Jamaica. Provenance: Middle Tennessee collection, acquired directly from the artist. Condition: 3 minute inclusions left side center, 1/4" smudge in lower right corner, overall very good condition. Not examined out of frame.
• WILLIAM MORRIS(Washington/Hawaii,
  WILLIAM MORRIS(Washington/Hawaii, born 1957) Rhyton Vessel, 1998, with bulls and small vessels, signed on base under bull and ring "William Morris, 1998", blown glass with sand and hot sculpted, 16-1/2 x 17 x 17 in. Provenance: Donna Schneier Fine Arts, New York, New York, No. RV 298 03 01, purchased in 1999 for $63,750 with original gallery cost of $75,000 (lot is accompanied by documents and the original receipt); Jerry and Deena Kaplan Collection of Modern Art and Crafts Condition: excellent condition
• Morris Blackman, American,
  Morris Blackman, American, 1930-2022, 48" x 72" Abstract Expressionist large format, oil on masonite, signed "MLB '59-61", artist's estate stamp on back, 48" x 72", framed 50-1/4" x 74-1/4", good condition. Morris Blackman is an American artist who lived and worked in Philadelphia PA. He graduated from The Pennsylvania Academy of the Fine Arts (PAFA) in 1959, where he twice received the Cresson European Travelling Scholarship as well as 3 Mural Prizes, the Lux Graphic Prize and the Figure Drawing Prize. Blackman had one-man shows at PAFA and DeMena Gallery NY as well as participating in group shows at Reese Palley Gallery NJ, Fontana Gallery PA, Studio 7 NJ, Carlson Gallery NY and Margaret Locks Gallery, PA. He was a member of the Graphic Sketch Club as well as a teacher at the Philadelphia Art Museum and the Fleisher Art Memorial. His works are in many private collections in Philadelphia as well as PAFA. In 2022, Gross McCleaf Gallery of Philadelphia hosted the first major retrospective of Blackman?s work titled ?Save for Future Use.?
• Thomas Moran (American,
  Thomas Moran (American, 1837-1926) View of the Rocky Mountains Color print Signed and dated '96 in the plate 21 1/2" x 27 1/2"
• MORRIS KANTOR (american 1896-1974)
  MORRIS KANTOR (american 1896-1974) "TWO FACES" Signed bottom right, graphite on paper 14 x 20 in provenance: Ross R. De Vean, California. Bertha Schaefer, New York. Matt burn, toning
• MORRIS DAVIDSON (AMERICAN,
  MORRIS DAVIDSON (AMERICAN, 1898-1979), UNTITLED Watercolor on paper, signed and dated 1959 at lower right, matted and framed under glass.