THREE ANTIQUE ETCHINGS BY SEYMOUR HADEN AND FRANK BENSON The first an etching with drypoint of geese by Frank Benson, pencil signed at lower left; the second an etching by Seymour Haden, New Castle in Emlyn; the third an etching by Seymour Haden, Breaking Up of the Agamemnon, No 1., 1870; each framed.
FRANK BENSON AND HANS KLEIBER SPORTING ETCHINGS. Frank Weston Benson (1862-1951) small etching, duck at water’s edge, signed in pencil in the margin, Image 3.5”x 4.25”, Overall in black frame 12.5” x 14.25”. Two etchings by Hans Kleiber (1887-1967) including 'Evening Star', signed and titled in pencil in the margin, Image 8.25” x 11.75”, Overall 15.25” x 18.75”. Other etching titled and signed in plate 'Hunting Pheasants ‘30', Image 6.25” x 11.75”, Overall 14” x 18.5”.
SIX SPORTING FRAMED PIECES TO INCLUDE ALDERSON MAGEE "R...Six Sporting Framed Pieces to include Alderson Magee "Ruffed Grouse" scratch board, 3 3/4" x 5"; two etchings of ducks; two Frank Benson etchings "Wild Marshes" and "The Passing Flock", both pencil signed lower left, original Antoville Kappy Art Gallery, New York label on back; along with a Richard Bishop "Blacks and Greenheads" pencil signed and titled largest sight size: 12" x 14" Provenance: The Estate of Diana Atwood Johnson
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EDWIN AUGUSTUS HARLESTON(American/South Carolina, 1882-1931)
Sketch of David after Antonin Mercie sculpture, signed lower edge "E A Harleston", charcoal on paper, site 24 x 12 in.; modern frame, 35-1/2 x 22-3/4 in.
See lot 505 for the bronze by Antonin Mercié.
Literature: “Edwin Harleston ”: The Johnson Collection, LLC , thejohnsoncollection.org/edwin-harleston/. Accessed 12 Apr. 2023.
Constantly constrained by both racial barriers and family duty, Edwin Augustus Harleston, who was once described by W. E. B. Du Bois as the “leading portrait painter of the race,” was never able to fully devote himself to his art. Born in Charleston, South Carolina to a prosperous African American family, “Teddy” Harleston graduated as valedictorian from the Avery Normal Institute, the first accredited secondary school for African Americans in the area. He went on to attend Atlanta University, where he studied under Du Bois, a renowned scholar and future co-founder of the NAACP. His enduring relationship with Du Bois fueled Harleston’s academic ambitions and political activism. Determined to rise to his mentor’s challenge to the “talented tenth,” Harleston “took seriously his moral obligation to serve as a guide for [his] race” and would later serve as the first president of the Charleston chapter of the NAACP in 1917. Following his college graduation, Harleston enrolled at the prestigious School of the Museum of Fine Arts in Boston, foregoing his admission to Harvard. Over his six-year tenure in Boston, his instructors included Frank Benson and Edmund Tarbell; in 1924 and 1925, Harleston was a summer student at the Art Institute of Chicago.
Despite his promising start as a professional artist in Boston, Harleston was pressured by his father to return to Charleston in 1912 and assume responsibilities with the family funeral home. The tension between family obligations and artistic passion pervaded Harleston’s adult life. In 1920, he married Elise Forrest, who became a respected photographer. Two years later, the couple opened a photography studio—which included space for Edwin to paint—across the street from the Harleston Funeral Home. A first for the African American citizens of Charleston, the establishment sought “to furnish the people of this community who are interested in works of art with portraits, in the following media, oil painting, charcoal, pastel, and French crayons.” In the years that followed, Harleston met with modest success as a painter; racial prejudices and segregation prevented several high profile commissions from coming to fruition and derailed a planned 1926 exhibition of his work at the Charleston Museum. In response, Harleston turned his attention to painting working African Americans. In a 1923 letter to Elise, he explained his plan to carry on the legacy of Henry Ossawa Tanner by portraying African Americans “in our varied lives and types with the classic technique and the truth, not caricatures . . . to do the dignified portrait and take the picturesque composition of arrangements or scenes showing the thousand and one interests of our group in industry, religion, general social contact.”
Harleston often used photographs taken by Elise as source material for his portraits. One example of this practice is Miss Bailey with the African Shawl , widely regarded as one of the artist’s finest works. Sue Bailey, a New Yorker with extensive connections in Harlem’s cultural community, was the national traveling secretary for the YWCA and, in that role, visited Charleston to establish a high school chapter for African-American girls. The three-quarter seated pose executed in strong color, reflects the artist’s sure academic foundation and mastery of mood. Harleston was quite proud of the portrait and entered it in the 1931 Harmon Foundation juried exhibition.
In addition to portrait commissions, Harleston also created paintings depicting many of the local figures—such as black street vendors—featured in works by other artists of the Charleston Renaissance era. In 1930, Aaron Douglas , one of the leading figures of the Harlem Renaissance, invited Harleston to assist him in completing a mural commission at Fisk University in Nashville. Harleston readily accepted the younger painter’s offer and spent several months working on the project alongside him. The unfinished murals form a backdrop to Harleston’s 1930 portrait of Douglas, a departure from more typical neutral backgrounds seen in other portraits, like that of Miss Bailey.
Edwin Harleston died from pneumonia at the age of forty-nine in Charleston. Today, his works are represented in the collections of the Gibbes Museum of Art, Savannah College of Art and Design Museum of Art, and the California African American Museum.
paper slightly toned, small spots of foxing, wavy at left edge, not examined out of frame; frame with light wear
1900S ARCHITECTURAL ETCHINGS BY J. PENNELL, R. LOGANJoseph Pennell (American, 1860-1926). "Stock Exchange" etching, ca. 1904. Hand signed in pencil at lower center. Hand titled in pencil at lower right. AND Robert Fulton Logan (Canadian-American, 1889-1959). "Church of Notre Dame, Dijon" etching w/ drypoint, 1926. Hand signed and numbered 17/100 in pencil below. A stunning etching of the New York Stock Exchange on Wall Street with many people in the street surrounded by tall buildings created by Joseph Pennell. According to the Metropolitan Museum of Art (where one may also find "The Stock Exchange" etching - accession number 24.90.1339) Pennell printed 90 proofs before destroying the plate for this composition. One of the best known and respected American artists from the etching revival period, Pennell was an etcher, lithographer, illustrator, as well as an author. Size of Pennell (w/o matte): 12.25" L x 7.75" W (31.1 cm x 19.7 cm)
Joining Pennell's etching is an etching w/ drypoint by Canadian-born Robert Logan. Logan created this etching of the Church of Notre-Dame in Dijon, France in 1926. By employing both etching and drypoint techniques, Fulton could depict both the rain on the upper right as well as the dramatic shafts of light gracing the side view of the church. Widely regarded as a Gothic masterpiece, The Church of Notre-Dame in Dijon, France was begun ca. 1230. Hundreds of years later, between 1865 and 1884, Parisian architect Jean Charles Laisne restored the church, returning it to its original splendor by removing later additions, re-establishing the tower at the crossing as a lantern tower, and recreating damaged sculpture. Notre Dame, Dijn is among Robert Fulton Logan's greatest and largest etchings. It was both printed and published in Paris in a single signed limited edition of 100 impressions in 1926. Logan's extensive drypointing in the foreground to create dramatic depth and shadow as well as his skillful architectural etching makes this composition stand out as a masterwork. Size of Logan (image w/o margins): 18.625" L x 10" W (47.3 cm x 25.4 cm)
Born in Philadelphia, Joseph Pennell trained at the Pennsylvania Academy of Fine Arts and at the Pennsylvania School of Industrial Art, and later he taught at the National Academy and the Art Students League in New York City. From 1883, Pennell spent most of his time in Europe, until 1917 when he moved back permanently to the United States. Over his distinguished and prolific career, he won many medals and awards in the United States and in Europe, and he is considered one of the great etching innovators of the time. Among his achievements, Pennell illustrated and authored many books, contributed to leading magazines, and was one of the founders of the Philadelphia Society of Etchers.
Robert Fulton Logan is widely respected as one of America's greatest architectural etchers of the early twentieth century, however he was actually a Canadian expatriate, living first in France and later in the United States. Logan began his artistic training under Frank Armington in Winnipeg. When he was 16, Logan enrolled at the Boston Museum of Fine Arts where he studied painting under Edmund Tarbell and etching under Frank Benson. Following this, he completed his artistic education at the Chicago Art Institute. Logan traveled to France during WWI as an officer of the US Navy. After the war, he became a director at the Bellevue Art Training Center in Paris and taught art classes at the Louvre. Logan would live and work in Paris nearly 20 years. Over the course of his career, Robert Fulton Logan created more than 100 architectural etchings of locations in France, Germany and Holland. His first significant solo exhibition was held at the American Chamber of Commerce, Paris in 1922. Following this, he had annual exhibitions at the Galerie Marcel Guiot. Upon returning to the US in 1934, Logan became the Chairman of the Department of Art at Connecticut College, where he remained until he retired in 1954. Logan was member of the Chicago Society of Etchers, the National Arts Club, and the Societe Internationale De La Gravure Originale en Noir. His etchings may be found in the esteemed collections of the British Museum, the Winnipeg Art Gallery, Cambridge University, the Bibliotheque Nationale in Paris, the Museum of Luxembourg, the Metropolitan Museum in New York City, the Library of Congress in Washington DC, and the Smithsonian Museum.
Provenance: The William F. Draper Collection, New York City, USA, acquired via descent from the late William Franklin Draper (1912-2003)
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Pennell's "Stock Exchange" is set in a matte which is stamped "Made in France". The matte has normal stains and tears commensurate with age. The etching could probably be removed from the matte if desired. The etching is hand signed in pencil at the lower center and titled in pencil at the lower right. It shows normal toning and slight stains. The Robert Logan etching w/ drypoint of the Church of Notre-Dame in Dijon, France shows expected toning and has a few tears/losses to the peripheries. It is hand signed and numbered 17/100 below. Remnants of a label reading "Made in France" on the verso. Old tape on upper edge of verso with "George" handwritten in cursive below.
WILLIAM LESTER STEVENS, AMERICAN (1888-1969), POINT PLEASANT, DELAWARE RIVER, CA. 1927-1929, OIL ON CANVAS, 42 X 48 INCHESWILLIAM LESTER STEVENS, American, (1888-1969) Point Pleasant, Delaware River, ca. 1927-1929, oil on canvas signed lower right "W. Lester Stevens" oil on canvas Dimensions: 42 x 48 inches Provenance: A New Jersey estate; Private Collection, Massachusetts. Framed dimensions: 46 7/8 x 53 1/4 x 2 1/2 inches William Lester Stevens was born in Rockport, Massachusetts, a seaside town that had been an established destination for artists. He completed his early formal training with Parker Perkins and then attended the Boston Museum School as a student of Edmund Tarbell, Frank Benson, Philip Hale and William Paxton. In 1917, Stevens joined the Army and was sent to Europe. He painted and sketched while in Europe and when he returned to Rockport found that it had become a destination for artists including Frank Duveneck, Childe Hassam, Leon Kroll and Jonas Lie. Together with his friend, Aldro T. Hibbard, Stevens was instrumental in organizing the Rockport Art Association in 1921 exhibiting the works of fifty area artists.Their shared goal was to make fine art more accessible to a broader audience. Stevens would continue to pursue these goals later in his career by organizing the Conway Festival of the HIlls and the Berkshire Arts Festival. As an established artist, Stevens first taught in Rockport and then from 1925-1926 at Boston University and from 1927-1929 at Princeton. He traveled in the south and had one-man exhibitions in Charlotte and Asheville, North Carolina, where his work was well received. When speaking of Stevens few are aware of his time spent painting in the New Hope, Pennsylvania area from 1927 to 1929. In 1927, he was appointed an instructor of freehand drawing and watercolor at Princeton University. According to his exhibition records, Stevens exhibited two paintings at the Pennsylvania Academy of the Fine Arts with New Hope area subjects, "Winter in New Jersey",1929, and "Lumberville" in 1930. In addition, a painting titled "Lumberville" was exhibited at the National Academy of Design in 1929 and at the Art Institute of Chicago in 1930. During his time at Princeton, Stevens was extremely productive and exhibited extensively. In 1928, Stevens exhibited at the American Watercolor Society and won the William S. Delano Prize. He also exhibited at the National Gallery of Art and the Corcoran Gallery of Art. Despite his rigorous academic schedule, he produced enough paintings during 1928 to send works to the New Haven Paint and Clay Club where Winter in New Jersey won the Mansfield Prize. Also, during this time he had a one man show at the American Association of University Women at the Public Library in Birmingham, Alabama, followed by an exhibition of over thirty oil paintings at the J.B. Speed Museum in Louisville, Kentucky. In 1929, Stevens gave up his teaching position at Princeton and returned to Rockport. In an article written by Charles Movalli for the 'American Artist' he wrote: "Stevens loved to talk about art - and himself. Steve thought he was the only painter in the world, a friend remembers fondly. He used to joke that 'only God and Lester Stevens can make a tree. He never tired of talking about the time his hero, Edward Redfield, the great outdoor painter, saw a Stevens painting in a show and said, "That kid's going to go far." It is likely that Redfield and his paintings of Point Pleasant first inspired Stevens to visit the area." In 1934, the Stevens family left Rockport and moved to Conway, Massachusetts where the artist remodeled an old farmhouse and built a studio facing Mount Monadnock. He painted throughout his entire life and died in Conway in 1969. By 1964 he had won more awards than any other living artist except for Sargent. Tags: American Impressionist, American Impressionism, oil painting, New Hope School, Cape Ann School, Rockport artist, Delaware, Pennsylvania Impressionism Condition: overall good condition; there are two repairs apparent under UV, one about 2 x 3 inches in the left tree, another linear repair lower center, approximately 12 x 1 inch; UV photos available upon request We are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Shannon’s is merely a subjective qualified opinion. Frames on all paintings are sold "As Is". Frames may need some conservation. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD “AS IS” IN ACCORDANCE WITH THE CONDITIONS OF SALE.
FRANK WESTON BENSON, (AMERICAN, 1862-1951), FOX ISLAND THOROUGHFARE, 1923, WATERCOLOR, SHEET: 14 7/8 X 21 IN., FRAME: 24 1/2 X 30 1/4 IN.FRANK WESTON BENSON, (American, 1862-1951) Fox Island Thoroughfare, 1923, watercolor signed and dated F.W. Benson '23 lower left 1923, watercolor Dimensions: sheet: 14 7/8 x 21 in., frame: 24 1/2 x 30 1/4 in. Provenance: The Collection of a New England Gentleman. Exhibitions: Vose Galleries (Boston, MA), Watercolor Exhibition, October 7 - December 1, 1997 label verso. With note verso indicating the painting depicts the view across the Fox Island Thoroughfare, looking toward the village of North Haven, Maine, from Frank Benson's barn. Condition: Laid down on backing card. Toned, with mat burn along edges, most visible in sky. Please note: All property is sold "AS IS" and any statement, whether oral or written, is given as a courtesy and shall not be deemed as a guarantee, warranty, or representation of the authenticity of authorship, physical condition, size, quality, rarity, importance, provenance, exhibitions, literature or historical relevance of the property or otherwise. The absence of a condition report does not imply the item is in perfect condition.
FRANK BENSON (1862-1951, MA) FRAMED ANDglazed etching, depicting ducks swimming in a marsh. Signed lower left in pencil, in plate FWB 1923. Sight size 11" x 13 1/2", overall with frame 18" x 21". Painted black frame with UV glass.
FRANK BENSON (1862-1951, MA) FRAMED ANDglazed etching depicting ducks in flight over a marsh in a storm. Signed lower left in pencil. Sight size 8" x 9 1/2", overall in black painted frame and UV glass 14 1/2" x 17 1/2". Frame shows slight scuffing. Label for Guild of Boston Artists on verso.