William Merritt Chase Auction Price Results

Lot 1: William Merritt Chase 1849-1916 , View of Shinnecock Hills oil on board

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Description: titled View of Shinnecock and inscribed W.M. Chase 51 W 10 on the reverse oil on board

Lot 1: Manner of William Merritt Chase (1849-1916),

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Description: Manner of William Merritt Chase (1849-1916), American STILL LIFE WITH FRUIT, BRASS KETTLE AND CARAFE; Oil on canvas; signed lower right 25.5" x 36" - 64.8 x 91.4 cm. Provenance: Gardiner Auctions. London, Ontario; Private Collection, Ottawa, Ontario

Lot 2: WILLIAM MERRITT CHASE (1849-1916)

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Description: signed Wm. M. Chase, l.r. oil on panel According to Mr. D. Frederick Baker, "There is no exhibited work during Chase's lifetime with the title The Bathers; the painting is one of a number of small panels that Chase painted in Shinnecock, Long Island, site of his summer school of art (1891-1902), many of which were simply titled Shinnecock, Long Island shore, beach scene or a variation using these names. The scene appears to be of Shinnecock Bay looking west from the shore, and most likely dates to the turn-of-the-century." This painting will be included in Ronald G. Pisano's catalogue raisonné of works by William Merritt Chase. A letter from Mr. Baker will accompany this lot.

Lot 2: William Merritt Chase (American, 1849-1916)

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Description: William Merritt Chase (American, 1849-1916) "Poplar Lake" (Lakeside Park). Oil on panel, (L. 52), signed at the lower left, executed in 1886, apprx. 10-1/2" x 14", framed in a wide gilt frame overall apprx. 16" x 19-3/4". Prov: Private Collection, by descent in the family having been acquired in New York ca. 1935-40. Exhibited in "William Merritt Chase: Master of American Impressionism", Spanierman Gallery, New York, November 2, 1994 - January 31, 1995, No. 5, Moore's Art Galleries, New York, "Paintings by Mr. Willliam M. Chase", March 2-3, 1887, No. 84, Boston Art Club "Pictures Studies and Sketches by Mr. Wm. M. Chase, of New York City", November 13 - December 4, 1886, lent by the artist.

Lot 3: OIL ON CANVAS - STILL LIFE (FRUIT & GOBLET) - 23.5

Description: OIL ON CANVAS - STILL LIFE (FRUIT & GOBLET) - 23.5 X 19.5 - WILLIAM MERRIT CHASE (1842-1916)

Lot 6: AMERICAN SCHOOL, LATE 19TH CENTURY Portrait of William Merritt Chase.

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Description: AMERICAN SCHOOL, LATE 19TH CENTURY Portrait of William Merritt Chase. Oil on card stock. 155x155 mm; 6 1/8x6 1/8 inches.William Merrit Chase (1849-1916) was one of America's foremost plein-air painters and important teachers. Locating in New York after his studies in Europe, he taught at the Art Students League from 1878 to 1894 and also founded the Shinnecock Hills Summer School of Art in 1891 near his summer home on eastern Long Island. This was America's first plein-air painting school, evoking the French schools abroad, and helping to bring Impressionism to an entire generation of American artists. Notable students included Charles Demuth, Marsden Hartley, Gifford and Reynolds Beal, Daniel Garber, Charles Webster Hawthorne, Edward Hopper, John Marin, Georgia O'Keeffe, Charles Sheeler, and Martha Walter, among many others. Known for his flamboyant manor, in this portrait Chase is pictured with his dramatic Van Dyck beard and mustache, a style he maintained all his life.

Lot 7: William Merritt Chase (1849-1916)

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Description: VENICE: VIEW OF THE NAVY ARSENAL signed W.M. Chase, dated 1913 and indistinctly inscribed To Madame Dubout, Paris, l.r. oil on panel 8 by 11a in. (20.3 by 29.2cm.) According to Ronald G. Pisano, Chase executed this painting during his last visit to Europe in the summer of 1913. Chase left New York in May accompanied by a group of thirty students, with whom he traveled through Madeira, Gibraltar, and Genoa before arriving in Venice. They spent seven weeks in Venice, about which time Chase remarked, "there is always something to paint here." Because the majority of his time was spent teaching and visiting friends, Chase only managed to paint a small number of oil sketches of views of the city. The present example was probably painted from the artist's balcony and later inscribed to Madame Dubout when the group stopped in Paris en route back to the United States. This painting will be included in Ronald G. Pisano's forthcoming catalogue raisonnE of the artist's work.

Lot 7: William Merritt Chase (1849-1916)

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Description: VENICE: VIEW OF THE NAVY ARSENAL signed W.M. Chase, dated 1913 and indistinctly inscribed To Madame Dubout, Paris, l.r. oil on panel 8 by 11a in. (20.3 by 29.2cm.) According to Ronald G. Pisano, Chase executed this painting during his last visit to Europe in the summer of 1913. Chase left New York in May accompanied by a group of thirty students, with whom he traveled through Madeira, Gibraltar, and Genoa before arriving in Venice. They spent seven weeks in Venice, about which time Chase remarked, "there is always something to paint here." Because the majority of his time was spent teaching and visiting friends, Chase only managed to paint a small number of oil sketches of views of the city. The present example was probably painted from the artist's balcony and later inscribed to Madame Dubout when the group stopped in Paris en route back to the United States. This painting will be included in Ronald G. Pisano's forthcoming catalogue raisonnE of the artist's work.

Lot 7: William Merritt Chase (1849-1916)

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Description: VENICE: VIEW OF THE NAVY ARSENAL signed W.M. Chase, dated 1913 and indistinctly inscribed To Madame Dubout, Paris, l.r. oil on panel 8 by 11a in. (20.3 by 29.2cm.) According to Ronald G. Pisano, Chase executed this painting during his last visit to Europe in the summer of 1913. Chase left New York in May accompanied by a group of thirty students, with whom he traveled through Madeira, Gibraltar, and Genoa before arriving in Venice. They spent seven weeks in Venice, about which time Chase remarked, "there is always something to paint here." Because the majority of his time was spent teaching and visiting friends, Chase only managed to paint a small number of oil sketches of views of the city. The present example was probably painted from the artist's balcony and later inscribed to Madame Dubout when the group stopped in Paris en route back to the United States. This painting will be included in Ronald G. Pisano's forthcoming catalogue raisonnE of the artist's work.

Lot 7: William Merritt Chase (1849-1916)

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Description: VENICE: VIEW OF THE NAVY ARSENAL signed W.M. Chase, dated 1913 and indistinctly inscribed To Madame Dubout, Paris, l.r. oil on panel 8 by 11a in. (20.3 by 29.2cm.) According to Ronald G. Pisano, Chase executed this painting during his last visit to Europe in the summer of 1913. Chase left New York in May accompanied by a group of thirty students, with whom he traveled through Madeira, Gibraltar, and Genoa before arriving in Venice. They spent seven weeks in Venice, about which time Chase remarked, "there is always something to paint here." Because the majority of his time was spent teaching and visiting friends, Chase only managed to paint a small number of oil sketches of views of the city. The present example was probably painted from the artist's balcony and later inscribed to Madame Dubout when the group stopped in Paris en route back to the United States. This painting will be included in Ronald G. Pisano's forthcoming catalogue raisonnE of the artist's work.

Lot 8: UNFRAMED ETCHING:

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Description: "Spanish Peasant". William Merritt Chase Plate line, 5-" x 3". Toned, foxed, and creased. American, 1849-1916.

Lot 8: UNFRAMED ETCHING:

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Description: "Spanish Peasant". William Merritt Chase Plate line, 5-" x 3". Toned, foxed, and creased. American, 1849-1916.

Lot 8: UNFRAMED ETCHING:

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Description: "Spanish Peasant". William Merritt Chase Plate line, 5-" x 3". Toned, foxed, and creased. American, 1849-1916.

Lot 8: UNFRAMED ETCHING:

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Description: "Spanish Peasant". William Merritt Chase Plate line, 5-" x 3". Toned, foxed, and creased. American, 1849-1916.

Lot 9: William Merritt Chase

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Description: William Merritt Chase(1849-1916)portrait of louis bettssigned Chase, c.l.oil on canvas20 by 16 in. (50.8 by 40.6 cm.)Mr. D. Frederick Baker writes, "Mr. [Ronald G.] Pisano describes this portrait as a ' "demonstration piece" meaning that it was done in front of his class to demonstrate the technique of painting. Most of these were done in an hour or less, and are fine, spontaneous paintings.' Most likely the painting was completed in one of Mr. Chase's classes at the Pennsylvania Academy of the Fine Arts in Philadelphia where Mr. Betts studied under Chase. Chase came to teach at the academy in 1896 and, except for brief periods, he taught there on and off until 1909. Mr. Pisano dates the portrait of Louis Betts to circa 1900, however, a firm date might be possible if Betts' PAFA registration card could be located."This painting will be included in Ronald G. Pisano's forthcoming catalogue raisonne of the artist's work.Provenance:Zara Symons BettsEstate of Irene Trevorrow, Bronxville, New YorkSale: Sotheby Parke Bernet, New York, October 27, 1978, lot 136, illustratedAcquired by the present owner at the above sale

Lot 9: William Merritt Chase (1849-1916)

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Description: Spanish Girl signed 'Wm.M. Chase' (upper right) oil on panel 10 x 73/4 in. (25.4 x 16.7 cm.) EXHIBITION Roslyn, New York, Nassau County Museum of Fine Art, William Cullen Bryant, The Weirs and American Impressionism, April-July 1983, no. 60, illustrated NOTES This painting will be included in Ronald G. Pisano's forthcoming catalogue raisonn‚ of the artist's work.

Lot 9: William Merritt Chase (1849-1916)

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Description: Spanish Girl signed 'Wm.M. Chase' (upper right) oil on panel 10 x 73/4 in. (25.4 x 16.7 cm.) EXHIBITION Roslyn, New York, Nassau County Museum of Fine Art, William Cullen Bryant, The Weirs and American Impressionism, April-July 1983, no. 60, illustrated NOTES This painting will be included in Ronald G. Pisano's forthcoming catalogue raisonn‚ of the artist's work.

Lot 9: William Merritt Chase (1849-1916)

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Description: Spanish Girl signed 'Wm.M. Chase' (upper right) oil on panel 10 x 73/4 in. (25.4 x 16.7 cm.) EXHIBITION Roslyn, New York, Nassau County Museum of Fine Art, William Cullen Bryant, The Weirs and American Impressionism, April-July 1983, no. 60, illustrated NOTES This painting will be included in Ronald G. Pisano's forthcoming catalogue raisonn‚ of the artist's work.

Lot 9: William Merritt Chase (1849-1916)

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Description: Spanish Girl signed 'Wm.M. Chase' (upper right) oil on panel 10 x 73/4 in. (25.4 x 16.7 cm.) EXHIBITION Roslyn, New York, Nassau County Museum of Fine Art, William Cullen Bryant, The Weirs and American Impressionism, April-July 1983, no. 60, illustrated NOTES This painting will be included in Ronald G. Pisano's forthcoming catalogue raisonn‚ of the artist's work.

Lot 10: WILLIAM MERRITT CHASE 1849-1916

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Description: signed Wm.M. Chase, l.l.oil on canvasPainted circa 1912.

Lot 11: WILLIAM MERRITT CHASE 1849-1916

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Description: signed indistinctly, l.r.; also inscribed by Wm. M. Chase in pencil on the stretcherpastel on canvasExecuted in 1891.This work is included in Ronald G. Pisano's Catalogue of Known and Documented Work in All Media by William Merritt Chase (1849-1916), Volume I.

Lot 11: William Merritt Chase (1849-1916)

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Description: Chase, William Merritt Shinnecock Hills, Long Island signed 'Wm M. Chase' (lower left) oil on canvas 28 x 31 in (72.4 x 80 cm.) PROVENANCE Eli Fordham, Southampton, New York. Spanierman Gallery, New York. Acquired by the present owner from the above. NOTES William Merritt Chase's vivid depictions of the Shinnecock hills have been repeatedly acknowledged as some of the finest accomplishments of American Impressionism. Having learned to paint in a direct and spontaneous manner from Frank Duveneck in Munich, Chase developed his signature style incorporating bold, vivacious strokes with meticulous attention to composition and color variations. In 1890, Chase accepted an invitation to join Mrs. William S. Hoyt at her home in Shinnecock, on the eastern end of Long Island. Once there, he became acquainted with Samuel Parrish and Mrs. Henry Kirke Porter, who eventually convinced him to join in their efforts to start the Shinnecock Hills Summer School of Art. Until the end of the nineteenth century, Southampton was a simple farming community with little to offer visitors other than its landscape alone. Ironically, "the nearly four thousand acres that make up Shinnecock Hills were considered of little value by the early settlers. They regarded the sand dunes covered with wire grass and scrub brush--the 'hills' in the otherwise flat landscape--as suitable only for grazing sheep. Chase's arrival at Shinnecock coincided closely with the commercial development of the region. If the area was of little practical agricultural use, by about 1890 it began to be settled by those who perceived very different value in it. A booklet published by the Long Island Railroad described the place and the state of its development in 1890, the year before Chase's arrival: 'it is hardly possible to imagine a more desirable location for a summer residence. The land is high, and from this rounded plateau one looks down upon one of the finest marine views on the Atlantic coast. The ocean, flecked with sails, is before, while behind, the winding waters of Peconic Bay, with the intermingling shores, give infinite variety of scene. Art has added to Nature's charms in the cottages that have been erected, representing the quaint English architecture of the period of Queen Anne.'" (D.S. Atkinson, William Merritt Chase, Summers at Shinnecock, Washington, DC, 1987 p. 16) The land attracted artists as well as prominent New Yorkers seeking respite from the hot, humid summers of the city. "Southampton had become a summer resort for New Yorkers and, by the nineties, rivaled Newport, Rhode Island, as a vacation retreat. The Long Island Railroad opened the far eastern portions of the island to settlement by offering frequent service to the city. The rolling, sandy hills stretched along the southern coast, an area Chase had visited in the 1880s with the Tile Club. The terrain between Shinnecock and Peconic Bay was covered with low brush resembling the heather of the Scottish Highlands and a coarse wire grass. Wildflowers produced a garden effect in the spring. Chase knew the clear skies, ever changing light, and soft air from his previous sojourn, and accepted the invitation to return." (K.L. Bryant, Jr., William Merritt Chase, A Genteel Bohemian, Columbia, Missouri, 1991, p. 150) Not only was the countryside beautiful, but Chase had an enormous natural gift for teaching. Chase's school became known as the strongest in the country. "Among his admonitions were the following: Take the first thing that you see on leaving your door. Anything in nature is good enough to paint. Stop that squinting. Try to see nature as you should, with your eyes wide open. Hold up a card with a square hole in it, and put what you see through the opening in your canvas. In painting a sandy beach, try to imagine that you are walking upon it. We all see color and form. Why not begin with color at once and work with a brush loaded with paint, rather than with black and white?" ( William Merritt Chase, A Genteel Bohemian, p. 157) In Shinnecock Hills, Long Island, Chase is quite evidently following his own advice. Chase provides his audience with a direct visual record of what he saw before him. With energetic and passionate sweeps of his brush, Chase recorded the seagrass and clouds drifting across the bright sky. In this, as "in all of the Shinnecock landscapes the foreground is often the most painterly area, for the handling becomes tighter and more controlled in the distance. Chase told his students, 'Do not put too much of the same handling in the foreground and middle distance. Break the surface of your shades. They will appear more natural.'" ( William Merritt Chase, Summers at Shinnecock, p. 25) Chase, who had great personal flair, became an attraction equal in stature to the magnificent Shinnecock landscape itself. "'No greater profusion of material can be found anywhere to delight the eye of an artist, in spite of the fact that the whole of Shinnecock can hardly boast of one tree,' one writer said, for, as another explained, 'all an artist has to do is to take out his easel and set it up anywhere, and there in front of him is a lovely picture.' Still another suggested that Chase's presence certified the beauty of the place: 'Of the beauties of Shinnecock hills and the surrounding country I think it unnecessary to speak. It is enough of a recommendation for them to have [been] chosen as the summer home of an artist like Mr. Chase." ( William Merritt Chase, Summers at Shinnecock, p. 17) To Chase's pupils and the rest of the late nineteenth-century inhabitants of Southampton, it seemed that Shinnecock was tailor-made to Chase's specifications. "Everyone knew that Chase was there to paint; indeed, one day one of his young daughters come running up to him shouting, 'Papa, come quickly! Here's a cloud posing for you.'" ( William Merritt Chase, A Genteel Bohemian, p. 163) This painting will be included in Ronald G. Pisano's forthcoming catalogue raisonn of the artist's work.

Lot 11: William Merritt Chase (1849-1916)

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Description: Chase, William Merritt Shinnecock Hills, Long Island signed 'Wm M. Chase' (lower left) oil on canvas 28 x 31 in (72.4 x 80 cm.) PROVENANCE Eli Fordham, Southampton, New York. Spanierman Gallery, New York. Acquired by the present owner from the above. NOTES William Merritt Chase's vivid depictions of the Shinnecock hills have been repeatedly acknowledged as some of the finest accomplishments of American Impressionism. Having learned to paint in a direct and spontaneous manner from Frank Duveneck in Munich, Chase developed his signature style incorporating bold, vivacious strokes with meticulous attention to composition and color variations. In 1890, Chase accepted an invitation to join Mrs. William S. Hoyt at her home in Shinnecock, on the eastern end of Long Island. Once there, he became acquainted with Samuel Parrish and Mrs. Henry Kirke Porter, who eventually convinced him to join in their efforts to start the Shinnecock Hills Summer School of Art. Until the end of the nineteenth century, Southampton was a simple farming community with little to offer visitors other than its landscape alone. Ironically, "the nearly four thousand acres that make up Shinnecock Hills were considered of little value by the early settlers. They regarded the sand dunes covered with wire grass and scrub brush--the 'hills' in the otherwise flat landscape--as suitable only for grazing sheep. Chase's arrival at Shinnecock coincided closely with the commercial development of the region. If the area was of little practical agricultural use, by about 1890 it began to be settled by those who perceived very different value in it. A booklet published by the Long Island Railroad described the place and the state of its development in 1890, the year before Chase's arrival: 'it is hardly possible to imagine a more desirable location for a summer residence. The land is high, and from this rounded plateau one looks down upon one of the finest marine views on the Atlantic coast. The ocean, flecked with sails, is before, while behind, the winding waters of Peconic Bay, with the intermingling shores, give infinite variety of scene. Art has added to Nature's charms in the cottages that have been erected, representing the quaint English architecture of the period of Queen Anne.'" (D.S. Atkinson, William Merritt Chase, Summers at Shinnecock, Washington, DC, 1987 p. 16) The land attracted artists as well as prominent New Yorkers seeking respite from the hot, humid summers of the city. "Southampton had become a summer resort for New Yorkers and, by the nineties, rivaled Newport, Rhode Island, as a vacation retreat. The Long Island Railroad opened the far eastern portions of the island to settlement by offering frequent service to the city. The rolling, sandy hills stretched along the southern coast, an area Chase had visited in the 1880s with the Tile Club. The terrain between Shinnecock and Peconic Bay was covered with low brush resembling the heather of the Scottish Highlands and a coarse wire grass. Wildflowers produced a garden effect in the spring. Chase knew the clear skies, ever changing light, and soft air from his previous sojourn, and accepted the invitation to return." (K.L. Bryant, Jr., William Merritt Chase, A Genteel Bohemian, Columbia, Missouri, 1991, p. 150) Not only was the countryside beautiful, but Chase had an enormous natural gift for teaching. Chase's school became known as the strongest in the country. "Among his admonitions were the following: Take the first thing that you see on leaving your door. Anything in nature is good enough to paint. Stop that squinting. Try to see nature as you should, with your eyes wide open. Hold up a card with a square hole in it, and put what you see through the opening in your canvas. In painting a sandy beach, try to imagine that you are walking upon it. We all see color and form. Why not begin with color at once and work with a brush loaded with paint, rather than with black and white?" ( William Merritt Chase, A Genteel Bohemian, p. 157) In Shinnecock Hills, Long Island, Chase is quite evidently following his own advice. Chase provides his audience with a direct visual record of what he saw before him. With energetic and passionate sweeps of his brush, Chase recorded the seagrass and clouds drifting across the bright sky. In this, as "in all of the Shinnecock landscapes the foreground is often the most painterly area, for the handling becomes tighter and more controlled in the distance. Chase told his students, 'Do not put too much of the same handling in the foreground and middle distance. Break the surface of your shades. They will appear more natural.'" ( William Merritt Chase, Summers at Shinnecock, p. 25) Chase, who had great personal flair, became an attraction equal in stature to the magnificent Shinnecock landscape itself. "'No greater profusion of material can be found anywhere to delight the eye of an artist, in spite of the fact that the whole of Shinnecock can hardly boast of one tree,' one writer said, for, as another explained, 'all an artist has to do is to take out his easel and set it up anywhere, and there in front of him is a lovely picture.' Still another suggested that Chase's presence certified the beauty of the place: 'Of the beauties of Shinnecock hills and the surrounding country I think it unnecessary to speak. It is enough of a recommendation for them to have [been] chosen as the summer home of an artist like Mr. Chase." ( William Merritt Chase, Summers at Shinnecock, p. 17) To Chase's pupils and the rest of the late nineteenth-century inhabitants of Southampton, it seemed that Shinnecock was tailor-made to Chase's specifications. "Everyone knew that Chase was there to paint; indeed, one day one of his young daughters come running up to him shouting, 'Papa, come quickly! Here's a cloud posing for you.'" ( William Merritt Chase, A Genteel Bohemian, p. 163) This painting will be included in Ronald G. Pisano's forthcoming catalogue raisonn of the artist's work.

Lot 11: William Merritt Chase (1849-1916)

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Description: Chase, William Merritt Shinnecock Hills, Long Island signed 'Wm M. Chase' (lower left) oil on canvas 28 x 31 in (72.4 x 80 cm.) PROVENANCE Eli Fordham, Southampton, New York. Spanierman Gallery, New York. Acquired by the present owner from the above. NOTES William Merritt Chase's vivid depictions of the Shinnecock hills have been repeatedly acknowledged as some of the finest accomplishments of American Impressionism. Having learned to paint in a direct and spontaneous manner from Frank Duveneck in Munich, Chase developed his signature style incorporating bold, vivacious strokes with meticulous attention to composition and color variations. In 1890, Chase accepted an invitation to join Mrs. William S. Hoyt at her home in Shinnecock, on the eastern end of Long Island. Once there, he became acquainted with Samuel Parrish and Mrs. Henry Kirke Porter, who eventually convinced him to join in their efforts to start the Shinnecock Hills Summer School of Art. Until the end of the nineteenth century, Southampton was a simple farming community with little to offer visitors other than its landscape alone. Ironically, "the nearly four thousand acres that make up Shinnecock Hills were considered of little value by the early settlers. They regarded the sand dunes covered with wire grass and scrub brush--the 'hills' in the otherwise flat landscape--as suitable only for grazing sheep. Chase's arrival at Shinnecock coincided closely with the commercial development of the region. If the area was of little practical agricultural use, by about 1890 it began to be settled by those who perceived very different value in it. A booklet published by the Long Island Railroad described the place and the state of its development in 1890, the year before Chase's arrival: 'it is hardly possible to imagine a more desirable location for a summer residence. The land is high, and from this rounded plateau one looks down upon one of the finest marine views on the Atlantic coast. The ocean, flecked with sails, is before, while behind, the winding waters of Peconic Bay, with the intermingling shores, give infinite variety of scene. Art has added to Nature's charms in the cottages that have been erected, representing the quaint English architecture of the period of Queen Anne.'" (D.S. Atkinson, William Merritt Chase, Summers at Shinnecock, Washington, DC, 1987 p. 16) The land attracted artists as well as prominent New Yorkers seeking respite from the hot, humid summers of the city. "Southampton had become a summer resort for New Yorkers and, by the nineties, rivaled Newport, Rhode Island, as a vacation retreat. The Long Island Railroad opened the far eastern portions of the island to settlement by offering frequent service to the city. The rolling, sandy hills stretched along the southern coast, an area Chase had visited in the 1880s with the Tile Club. The terrain between Shinnecock and Peconic Bay was covered with low brush resembling the heather of the Scottish Highlands and a coarse wire grass. Wildflowers produced a garden effect in the spring. Chase knew the clear skies, ever changing light, and soft air from his previous sojourn, and accepted the invitation to return." (K.L. Bryant, Jr., William Merritt Chase, A Genteel Bohemian, Columbia, Missouri, 1991, p. 150) Not only was the countryside beautiful, but Chase had an enormous natural gift for teaching. Chase's school became known as the strongest in the country. "Among his admonitions were the following: Take the first thing that you see on leaving your door. Anything in nature is good enough to paint. Stop that squinting. Try to see nature as you should, with your eyes wide open. Hold up a card with a square hole in it, and put what you see through the opening in your canvas. In painting a sandy beach, try to imagine that you are walking upon it. We all see color and form. Why not begin with color at once and work with a brush loaded with paint, rather than with black and white?" ( William Merritt Chase, A Genteel Bohemian, p. 157) In Shinnecock Hills, Long Island, Chase is quite evidently following his own advice. Chase provides his audience with a direct visual record of what he saw before him. With energetic and passionate sweeps of his brush, Chase recorded the seagrass and clouds drifting across the bright sky. In this, as "in all of the Shinnecock landscapes the foreground is often the most painterly area, for the handling becomes tighter and more controlled in the distance. Chase told his students, 'Do not put too much of the same handling in the foreground and middle distance. Break the surface of your shades. They will appear more natural.'" ( William Merritt Chase, Summers at Shinnecock, p. 25) Chase, who had great personal flair, became an attraction equal in stature to the magnificent Shinnecock landscape itself. "'No greater profusion of material can be found anywhere to delight the eye of an artist, in spite of the fact that the whole of Shinnecock can hardly boast of one tree,' one writer said, for, as another explained, 'all an artist has to do is to take out his easel and set it up anywhere, and there in front of him is a lovely picture.' Still another suggested that Chase's presence certified the beauty of the place: 'Of the beauties of Shinnecock hills and the surrounding country I think it unnecessary to speak. It is enough of a recommendation for them to have [been] chosen as the summer home of an artist like Mr. Chase." ( William Merritt Chase, Summers at Shinnecock, p. 17) To Chase's pupils and the rest of the late nineteenth-century inhabitants of Southampton, it seemed that Shinnecock was tailor-made to Chase's specifications. "Everyone knew that Chase was there to paint; indeed, one day one of his young daughters come running up to him shouting, 'Papa, come quickly! Here's a cloud posing for you.'" ( William Merritt Chase, A Genteel Bohemian, p. 163) This painting will be included in Ronald G. Pisano's forthcoming catalogue raisonn of the artist's work.

Lot 11: William Merritt Chase (1849-1916)

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Description: Chase, William Merritt Shinnecock Hills, Long Island signed 'Wm M. Chase' (lower left) oil on canvas 28 x 31 in (72.4 x 80 cm.) PROVENANCE Eli Fordham, Southampton, New York. Spanierman Gallery, New York. Acquired by the present owner from the above. NOTES William Merritt Chase's vivid depictions of the Shinnecock hills have been repeatedly acknowledged as some of the finest accomplishments of American Impressionism. Having learned to paint in a direct and spontaneous manner from Frank Duveneck in Munich, Chase developed his signature style incorporating bold, vivacious strokes with meticulous attention to composition and color variations. In 1890, Chase accepted an invitation to join Mrs. William S. Hoyt at her home in Shinnecock, on the eastern end of Long Island. Once there, he became acquainted with Samuel Parrish and Mrs. Henry Kirke Porter, who eventually convinced him to join in their efforts to start the Shinnecock Hills Summer School of Art. Until the end of the nineteenth century, Southampton was a simple farming community with little to offer visitors other than its landscape alone. Ironically, "the nearly four thousand acres that make up Shinnecock Hills were considered of little value by the early settlers. They regarded the sand dunes covered with wire grass and scrub brush--the 'hills' in the otherwise flat landscape--as suitable only for grazing sheep. Chase's arrival at Shinnecock coincided closely with the commercial development of the region. If the area was of little practical agricultural use, by about 1890 it began to be settled by those who perceived very different value in it. A booklet published by the Long Island Railroad described the place and the state of its development in 1890, the year before Chase's arrival: 'it is hardly possible to imagine a more desirable location for a summer residence. The land is high, and from this rounded plateau one looks down upon one of the finest marine views on the Atlantic coast. The ocean, flecked with sails, is before, while behind, the winding waters of Peconic Bay, with the intermingling shores, give infinite variety of scene. Art has added to Nature's charms in the cottages that have been erected, representing the quaint English architecture of the period of Queen Anne.'" (D.S. Atkinson, William Merritt Chase, Summers at Shinnecock, Washington, DC, 1987 p. 16) The land attracted artists as well as prominent New Yorkers seeking respite from the hot, humid summers of the city. "Southampton had become a summer resort for New Yorkers and, by the nineties, rivaled Newport, Rhode Island, as a vacation retreat. The Long Island Railroad opened the far eastern portions of the island to settlement by offering frequent service to the city. The rolling, sandy hills stretched along the southern coast, an area Chase had visited in the 1880s with the Tile Club. The terrain between Shinnecock and Peconic Bay was covered with low brush resembling the heather of the Scottish Highlands and a coarse wire grass. Wildflowers produced a garden effect in the spring. Chase knew the clear skies, ever changing light, and soft air from his previous sojourn, and accepted the invitation to return." (K.L. Bryant, Jr., William Merritt Chase, A Genteel Bohemian, Columbia, Missouri, 1991, p. 150) Not only was the countryside beautiful, but Chase had an enormous natural gift for teaching. Chase's school became known as the strongest in the country. "Among his admonitions were the following: Take the first thing that you see on leaving your door. Anything in nature is good enough to paint. Stop that squinting. Try to see nature as you should, with your eyes wide open. Hold up a card with a square hole in it, and put what you see through the opening in your canvas. In painting a sandy beach, try to imagine that you are walking upon it. We all see color and form. Why not begin with color at once and work with a brush loaded with paint, rather than with black and white?" ( William Merritt Chase, A Genteel Bohemian, p. 157) In Shinnecock Hills, Long Island, Chase is quite evidently following his own advice. Chase provides his audience with a direct visual record of what he saw before him. With energetic and passionate sweeps of his brush, Chase recorded the seagrass and clouds drifting across the bright sky. In this, as "in all of the Shinnecock landscapes the foreground is often the most painterly area, for the handling becomes tighter and more controlled in the distance. Chase told his students, 'Do not put too much of the same handling in the foreground and middle distance. Break the surface of your shades. They will appear more natural.'" ( William Merritt Chase, Summers at Shinnecock, p. 25) Chase, who had great personal flair, became an attraction equal in stature to the magnificent Shinnecock landscape itself. "'No greater profusion of material can be found anywhere to delight the eye of an artist, in spite of the fact that the whole of Shinnecock can hardly boast of one tree,' one writer said, for, as another explained, 'all an artist has to do is to take out his easel and set it up anywhere, and there in front of him is a lovely picture.' Still another suggested that Chase's presence certified the beauty of the place: 'Of the beauties of Shinnecock hills and the surrounding country I think it unnecessary to speak. It is enough of a recommendation for them to have [been] chosen as the summer home of an artist like Mr. Chase." ( William Merritt Chase, Summers at Shinnecock, p. 17) To Chase's pupils and the rest of the late nineteenth-century inhabitants of Southampton, it seemed that Shinnecock was tailor-made to Chase's specifications. "Everyone knew that Chase was there to paint; indeed, one day one of his young daughters come running up to him shouting, 'Papa, come quickly! Here's a cloud posing for you.'" ( William Merritt Chase, A Genteel Bohemian, p. 163) This painting will be included in Ronald G. Pisano's forthcoming catalogue raisonn of the artist's work.

Lot 11: WILLIAM MERRITT CHASE 1849-1916 HEAD OF A GIRL 8 by 6 in. alternate 20.3 by 15.2 cm. signed Chase, l.r. oil on canvas Condition Note: Canvas is not lined. SURFACE: heavy craquelure throughout (stable and flat) UNDER ULTRA VIOLET: scattered inpaint,

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Description: WILLIAM MERRITT CHASE 1849-1916 HEAD OF A GIRL 8 by 6 in. alternate 20.3 by 15.2 cm. signed Chase, l.r. oil on canvas Condition Note: Canvas is not lined. SURFACE: heavy craquelure throughout (stable and flat) UNDER ULTRA VIOLET: scattered inpaint, mostly in background to fill-in crackle--face is mostly clear--just a few lines in area of eyes We are pleased to provide you with a general report of the condition of the property described in our catalogue. 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 Sotheby's is merely a subjective, qualified opinion. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSION CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE CATALOGUE. PROVENANCE Mary Leonhard Ran, Cincinnati Sale: Christie's, New York, March 14, 1991, lot 56

Lot 11: William Merritt Chase (1849-1916), STILL LIFE WITH FRUIT, BRASS KETTLE AND CARAFE, Oil on canvas; signed lower right, 25.5" x 36" - 64.8 x 91.4 cm.

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Description: William Merritt Chase (1849-1916), AmericanSTILL LIFE WITH FRUIT, BRASS KETTLE AND CARAFE; Oil on canvas; signed lower right25.5" x 36" - 64.8 x 91.4 cm.Provenance: Gardiner Auctions. London, Ontario;Private Collection, Ottawa, Ontario

Lot 12: William Merritt Chase

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Description: (1849-1916) PORTRAIT OF DANIEL TREADWELL Two etchings, c. 1880, from different states, on japon pelure, with margins, in generally good condition apart from light-stain, minor foxing, soiling and discoloration (primarily in the margins), and handling creases, framed (2) c. 165 by 115mm. 6a by 4ain.

Lot 12: William Merritt Chase

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Description: (1849-1916) PORTRAIT OF DANIEL TREADWELL Two etchings, c. 1880, from different states, on japon pelure, with margins, in generally good condition apart from light-stain, minor foxing, soiling and discoloration (primarily in the margins), and handling creases, framed (2) c. 165 by 115mm. 6a by 4ain.

Lot 12: William Merritt Chase

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Description: (1849-1916) PORTRAIT OF DANIEL TREADWELL Two etchings, c. 1880, from different states, on japon pelure, with margins, in generally good condition apart from light-stain, minor foxing, soiling and discoloration (primarily in the margins), and handling creases, framed (2) c. 165 by 115mm. 6a by 4ain.

Lot 12: William Merritt Chase

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Description: (1849-1916) PORTRAIT OF DANIEL TREADWELL Two etchings, c. 1880, from different states, on japon pelure, with margins, in generally good condition apart from light-stain, minor foxing, soiling and discoloration (primarily in the margins), and handling creases, framed (2) c. 165 by 115mm. 6a by 4ain.

Lot 13: CHASE, William Merritt (1849-1916, American)

Description: Sunny afternoon, Shinnecock Hills, s. panel painted 1898 Oil Painting (15x12in).

Lot 13: CHASE, William Merritt (1849-1916, American)

Description: Sunny afternoon, Shinnecock Hills, s. panel painted 1898 Oil Painting (15x12in).

Lot 13: CHASE, William Merritt (1849-1916, American)

Description: Sunny afternoon, Shinnecock Hills, s. panel painted 1898 Oil Painting (15x12in).

Lot 13: CHASE, William Merritt (1849-1916, American)

Description: Sunny afternoon, Shinnecock Hills, s. panel painted 1898 Oil Painting (15x12in).

Lot 13: William Merritt Chase (1849-1916)

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Description: MY BABY (COSY) signed Wm. M. Chase, u.r. and titled "Cosy", u.l. pastel on paper 14 by 12in. (35.6 by 30.5cm.) Executed circa 1888. The present work is a portrait of Chase's daughter Alice Diedonnee Chase (born 1887) who was called Cosy by her parents. Refering to this pastel in an article for Art Amateur in 1888, the writer described the work thus: a "delightful youngster in Japanese costume with its brilliant scheme of color, ranging from carmine to orange, this little picture was wonderfully decorative, holding the center of the wall facing the entrance to the gallery" (Ronald G. Pisano, 1992). This pastel will be included in Ronald G. Pisano's forthcoming catalogue raisonnE of the artist's work. Provenance: Estate of the artist (sold: American Art Galleries, New York, The Paintings and other Artistic Property Left by the Late William Merritt Chase, N.A., May 15, 1917, lot 172) William Macbeth, New York (acquired at the above sale) Josephine P. Everett The Pasadena Art Museum, Pasadena, California, 1946 (bequest from the above) Acquired in 1992 Exhibited: New York, H. Wunderlich & Co., The Second Exhibition of the Painters in Pastel, May 1888, no. 36 Literature: "The Pastel Exhibition," Art Amateur, June 1888, vol. 19, no. 1, p. 3.

Lot 13: William Merritt Chase (1849-1916)

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Description: MY BABY (COSY) signed Wm. M. Chase, u.r. and titled "Cosy", u.l. pastel on paper 14 by 12in. (35.6 by 30.5cm.) Executed circa 1888. The present work is a portrait of Chase's daughter Alice Diedonnee Chase (born 1887) who was called Cosy by her parents. Refering to this pastel in an article for Art Amateur in 1888, the writer described the work thus: a "delightful youngster in Japanese costume with its brilliant scheme of color, ranging from carmine to orange, this little picture was wonderfully decorative, holding the center of the wall facing the entrance to the gallery" (Ronald G. Pisano, 1992). This pastel will be included in Ronald G. Pisano's forthcoming catalogue raisonnE of the artist's work. Provenance: Estate of the artist (sold: American Art Galleries, New York, The Paintings and other Artistic Property Left by the Late William Merritt Chase, N.A., May 15, 1917, lot 172) William Macbeth, New York (acquired at the above sale) Josephine P. Everett The Pasadena Art Museum, Pasadena, California, 1946 (bequest from the above) Acquired in 1992 Exhibited: New York, H. Wunderlich & Co., The Second Exhibition of the Painters in Pastel, May 1888, no. 36 Literature: "The Pastel Exhibition," Art Amateur, June 1888, vol. 19, no. 1, p. 3.

Lot 13: William Merritt Chase (1849-1916)

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Description: MY BABY (COSY) signed Wm. M. Chase, u.r. and titled "Cosy", u.l. pastel on paper 14 by 12in. (35.6 by 30.5cm.) Executed circa 1888. The present work is a portrait of Chase's daughter Alice Diedonnee Chase (born 1887) who was called Cosy by her parents. Refering to this pastel in an article for Art Amateur in 1888, the writer described the work thus: a "delightful youngster in Japanese costume with its brilliant scheme of color, ranging from carmine to orange, this little picture was wonderfully decorative, holding the center of the wall facing the entrance to the gallery" (Ronald G. Pisano, 1992). This pastel will be included in Ronald G. Pisano's forthcoming catalogue raisonnE of the artist's work. Provenance: Estate of the artist (sold: American Art Galleries, New York, The Paintings and other Artistic Property Left by the Late William Merritt Chase, N.A., May 15, 1917, lot 172) William Macbeth, New York (acquired at the above sale) Josephine P. Everett The Pasadena Art Museum, Pasadena, California, 1946 (bequest from the above) Acquired in 1992 Exhibited: New York, H. Wunderlich & Co., The Second Exhibition of the Painters in Pastel, May 1888, no. 36 Literature: "The Pastel Exhibition," Art Amateur, June 1888, vol. 19, no. 1, p. 3.

Lot 13: William Merritt Chase (1849-1916)

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Description: MY BABY (COSY) signed Wm. M. Chase, u.r. and titled "Cosy", u.l. pastel on paper 14 by 12in. (35.6 by 30.5cm.) Executed circa 1888. The present work is a portrait of Chase's daughter Alice Diedonnee Chase (born 1887) who was called Cosy by her parents. Refering to this pastel in an article for Art Amateur in 1888, the writer described the work thus: a "delightful youngster in Japanese costume with its brilliant scheme of color, ranging from carmine to orange, this little picture was wonderfully decorative, holding the center of the wall facing the entrance to the gallery" (Ronald G. Pisano, 1992). This pastel will be included in Ronald G. Pisano's forthcoming catalogue raisonnE of the artist's work. Provenance: Estate of the artist (sold: American Art Galleries, New York, The Paintings and other Artistic Property Left by the Late William Merritt Chase, N.A., May 15, 1917, lot 172) William Macbeth, New York (acquired at the above sale) Josephine P. Everett The Pasadena Art Museum, Pasadena, California, 1946 (bequest from the above) Acquired in 1992 Exhibited: New York, H. Wunderlich & Co., The Second Exhibition of the Painters in Pastel, May 1888, no. 36 Literature: "The Pastel Exhibition," Art Amateur, June 1888, vol. 19, no. 1, p. 3.

Lot 13: WILLIAM MERRITT CHASE 1849 - 1916

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Description: WILLIAM MERRITT CHASE 1849 - 1916 THE OLD SAND ROAD signed Wm M. Chase ., l.r. oil on canvas 16 1/2 by 20 1/4 in. (41.9 by 51.4 cm) Painted circa 1894.

Lot 14: William Merritt Chase (1849-1916)

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Description: A Lady in Redsigned 'Chase.' (center left)oil on canvas20 1/4 x 16 1/4 in. (51.4 x 41.3 cm.)Painted in 1902.

Lot 14: CHASE, William Merritt (1849-1916, American)

Description: Coastal view, s. panel Oil Painting (16x11in).

Lot 14: CHASE, William Merritt (1849-1916, American)

Description: Coastal view, s. panel Oil Painting (16x11in).

Lot 14: CHASE, William Merritt (1849-1916, American)

Description: Coastal view, s. panel Oil Painting (16x11in).

Lot 14: CHASE, William Merritt (1849-1916, American)

Description: Coastal view, s. panel Oil Painting (16x11in).

Lot 14: Attributed to William Merritt Chase (Am.1849-1916)

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Description: Table Still Life With Fruit. Oil on canvas. Signed (l.l.). 29 x 34 inches.

Lot 15: CHASE, William Merritt (1849-1916, American)

Description: Sunny Spain, s. prov.exhib.lit. Oil Painting (29x19in).

Lot 15: CHASE, William Merritt (1849-1916, American)

Description: Sunny Spain, s. prov.exhib.lit. Oil Painting (29x19in).

Lot 15: CHASE, William Merritt (1849-1916, American)

Description: Sunny Spain, s. prov.exhib.lit. Oil Painting (29x19in).

Lot 15: CHASE, William Merritt (1849-1916, American)

Description: Sunny Spain, s. prov.exhib.lit. Oil Painting (29x19in).

Lot 16: William Merritt Chase (1849-1916)

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Description: An Idle Afternoon signed and inscribed 'To My Friend Wm. S. Allen Wm. M. Chase.' (lower left) oil on canvas 213/4 x 26 in. (55.3 x 66 cm.) PROVENANCE William Sullivant Vanderbilt Allen, New York, gift from the artist. Ethelinda Vanderbilt Allen Ward, New York, sister of the above. Mildred Sutton Ward, daughter of the above. By descent in the family to the present owner. NOTES In the late nineteenth century, the fresh greenery and quiet, pastoral simplicity of Brooklyn attracted many New Yorkers who had become weary of the hassles and pressure of modern urban life. William Merritt Chase was among those who opted for the resources that Brooklyn had to offer. The artist married Alice Gerson in 1886 and, in 1888, she gave birth to the first of their eight children. Realizing that his resources would not readily permit the growing family to make annual summer trips to Europe, the Chases chose a vacation spot in Bath Beach, Brooklyn, a fashionable summer resort during much of the nineteenth century. In the relaxed atmosphere of Brooklyn, Chase began to paint the subjects that would captivate him for the rest of his life. The pleasant scenery and peaceful environment produced some of the most enduring and important accomplishments of American Impressionism, most notably a series of works depicting various scenes in Prospect Park. Painted in an upscale, private park-like setting in Bath Beach, An Idle Afternoon is related stylistically and in character with Chase's Prospect Park series executed during the same period. The works of Chase's Prospect Park series have been described as "saturated with the intimacy of interior scenes despite their outdoor locales, [in which] the artist rarely revealed evidence of the surrounding city...Chase turned to the parks... which were for him genteel, feminine venues, enclaves for repose set apart from the hurly-burly of late-nineteenth century New York. To visit the parks with Chase is to experience a milieu entirely dominated by women who are accompanied sometimes by children and almost never by men. It is to focus on them as places for pleasant strolls and promenades, areas defined by paths and lawns. It is to find a refuge from unpleasant urban realities and to be invited to pause and rest." (H.B. Weinberg, D. Bolger and D.P. Curry, American Impressionism and Realism, New York, 1994, pp. 146-7) An Idle Afternoon can be described in the same manner. The work prominently features the figure of an exquisite young woman in the foreground which balances with the lush garden landscape in the background. Like many Prospect Park pictures, the dreamy attitude of the subject, who is reclining in a hammock, is juxtaposed to the more formal landscape setting in the background. The spontaneity and directness that Chase preached to generations of art students is also evident in An Idle Afternoon. Elizabeth Kornhauser notes of Shinnecock Hills (A View of Shinnecock) (Wadsworth Atheneum, Hartford, Connecticut) that "Chase followed his own advice in this work, which he left in a sketchy state that, he believed, would draw the viewer into the composition, allowing him or her to participate in its completion. Chase frequently exhibited works described as 'Sketch,' 'Study' or 'Unfinished Picture' as his most important paintings, preferable to the highly finished works of many of his contemporaries." (E.M. Kornhauser, American Paintings Before 1945 in the Wadsworth Atheneum, Volume One, Hartford, Connecticut, 1996, p. 184) Many scholars have focused on Chase's extremely warm and outgoing personality. A devoted family man, Chase was often surrounded by his wife, and any number of his children, all of whom are featured in works throughout his oeuvre . Chase's students were devoted to the charismatic master as well. Many of Chase's masterworks feature groupings of the artist's family, friends, students or models poised in an idyllic, relaxed atmosphere of elegance and comfort. An Idle Afternoon carries the artist's characteristic unencumbered tone--Chase's sitter dreamily gazes at the viewer from her resting spot on the hammock. Ron Pisano suggests that this work likely depicts Alice Chase as "the very relaxed, informal pose would suggest a personal relationship between the model and the painter. Furthermore, the young woman posing has on her lap the same, or similar, hat to that which Mrs. Chase wears in several other paintings or pastels by Chase, including Afternoon by the Sea, circa 1888 (private collection)." (R.G. Pisano, William Merritt Chase Research Report) Alice's contributions to her husband's career cannot be overestimated. Completely devoted to her husband and family, Alice Chase made a subtle but strong contribution to her husband's work. Indeed, "from the very beginning of their marriage, Alice made their residence a place of comfort and refuge for her husband. She guarded their privacy at home, even as she became a valued critic of his work. Alice accepted his need to leave the city in the summer and moved the household to a cottage at Bath Beach or Bensonhurst-by-the-Sea in what was largely pastoral Brooklyn." (K.L. Bryant, Jr., William Merritt Chase, a Genteel Bohemian, Columbia, Missouri, 1991, p. 107) Alice was also one of Chase's favorite models, and has been described as "a 'handsome and spirited brunette,' with a 'lithe and well rounded' figure, [she] had an oval face with dark eyes and bud-like lips, and small, graceful hands. 'A very paintable model,' Alice became a lovely young woman who appealed to Chase; according to the press, he had monopolized her as a model for two or three years before their marriage." ( William Merritt Chase, a Genteel Bohemian, p. 106) Chase, an enthusiastic teacher and generous person, often gave paintings to students or friends. An Idle Afternoon is affectionately inscribed to his good friend and fellow artist, William Sullivant Vanderbilt Allen, a well-to-do artist and great-grandson of Commodore Cornelius Vanderbilt. The two artists may have become acquainted while they were studying in Europe in the 1880s. Allen, who studied under Jules Lefebvre, Claude Monet, William Bougereau, and Jean-Leon G‚r“me was friendly with a number of the most outstanding American artists of his time including Chase, Willard Metcalf, and Winslow Homer. An eclectic character with a strong love of the fine arts, Allen's own work is characterized largely by sporting pictures and most notably, the bronze medal that he won at the 1889 Paris Universal Exposition for his outstanding Evening by the Lake (private collection). This painting will be included in Ronald G. Pisano's forthcoming catalogue raisonn‚ of the artist's work.

Lot 16: William Merritt Chase (1849-1916)

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Description: An Idle Afternoon signed and inscribed 'To My Friend Wm. S. Allen Wm. M. Chase.' (lower left) oil on canvas 213/4 x 26 in. (55.3 x 66 cm.) PROVENANCE William Sullivant Vanderbilt Allen, New York, gift from the artist. Ethelinda Vanderbilt Allen Ward, New York, sister of the above. Mildred Sutton Ward, daughter of the above. By descent in the family to the present owner. NOTES In the late nineteenth century, the fresh greenery and quiet, pastoral simplicity of Brooklyn attracted many New Yorkers who had become weary of the hassles and pressure of modern urban life. William Merritt Chase was among those who opted for the resources that Brooklyn had to offer. The artist married Alice Gerson in 1886 and, in 1888, she gave birth to the first of their eight children. Realizing that his resources would not readily permit the growing family to make annual summer trips to Europe, the Chases chose a vacation spot in Bath Beach, Brooklyn, a fashionable summer resort during much of the nineteenth century. In the relaxed atmosphere of Brooklyn, Chase began to paint the subjects that would captivate him for the rest of his life. The pleasant scenery and peaceful environment produced some of the most enduring and important accomplishments of American Impressionism, most notably a series of works depicting various scenes in Prospect Park. Painted in an upscale, private park-like setting in Bath Beach, An Idle Afternoon is related stylistically and in character with Chase's Prospect Park series executed during the same period. The works of Chase's Prospect Park series have been described as "saturated with the intimacy of interior scenes despite their outdoor locales, [in which] the artist rarely revealed evidence of the surrounding city...Chase turned to the parks... which were for him genteel, feminine venues, enclaves for repose set apart from the hurly-burly of late-nineteenth century New York. To visit the parks with Chase is to experience a milieu entirely dominated by women who are accompanied sometimes by children and almost never by men. It is to focus on them as places for pleasant strolls and promenades, areas defined by paths and lawns. It is to find a refuge from unpleasant urban realities and to be invited to pause and rest." (H.B. Weinberg, D. Bolger and D.P. Curry, American Impressionism and Realism, New York, 1994, pp. 146-7) An Idle Afternoon can be described in the same manner. The work prominently features the figure of an exquisite young woman in the foreground which balances with the lush garden landscape in the background. Like many Prospect Park pictures, the dreamy attitude of the subject, who is reclining in a hammock, is juxtaposed to the more formal landscape setting in the background. The spontaneity and directness that Chase preached to generations of art students is also evident in An Idle Afternoon. Elizabeth Kornhauser notes of Shinnecock Hills (A View of Shinnecock) (Wadsworth Atheneum, Hartford, Connecticut) that "Chase followed his own advice in this work, which he left in a sketchy state that, he believed, would draw the viewer into the composition, allowing him or her to participate in its completion. Chase frequently exhibited works described as 'Sketch,' 'Study' or 'Unfinished Picture' as his most important paintings, preferable to the highly finished works of many of his contemporaries." (E.M. Kornhauser, American Paintings Before 1945 in the Wadsworth Atheneum, Volume One, Hartford, Connecticut, 1996, p. 184) Many scholars have focused on Chase's extremely warm and outgoing personality. A devoted family man, Chase was often surrounded by his wife, and any number of his children, all of whom are featured in works throughout his oeuvre . Chase's students were devoted to the charismatic master as well. Many of Chase's masterworks feature groupings of the artist's family, friends, students or models poised in an idyllic, relaxed atmosphere of elegance and comfort. An Idle Afternoon carries the artist's characteristic unencumbered tone--Chase's sitter dreamily gazes at the viewer from her resting spot on the hammock. Ron Pisano suggests that this work likely depicts Alice Chase as "the very relaxed, informal pose would suggest a personal relationship between the model and the painter. Furthermore, the young woman posing has on her lap the same, or similar, hat to that which Mrs. Chase wears in several other paintings or pastels by Chase, including Afternoon by the Sea, circa 1888 (private collection)." (R.G. Pisano, William Merritt Chase Research Report) Alice's contributions to her husband's career cannot be overestimated. Completely devoted to her husband and family, Alice Chase made a subtle but strong contribution to her husband's work. Indeed, "from the very beginning of their marriage, Alice made their residence a place of comfort and refuge for her husband. She guarded their privacy at home, even as she became a valued critic of his work. Alice accepted his need to leave the city in the summer and moved the household to a cottage at Bath Beach or Bensonhurst-by-the-Sea in what was largely pastoral Brooklyn." (K.L. Bryant, Jr., William Merritt Chase, a Genteel Bohemian, Columbia, Missouri, 1991, p. 107) Alice was also one of Chase's favorite models, and has been described as "a 'handsome and spirited brunette,' with a 'lithe and well rounded' figure, [she] had an oval face with dark eyes and bud-like lips, and small, graceful hands. 'A very paintable model,' Alice became a lovely young woman who appealed to Chase; according to the press, he had monopolized her as a model for two or three years before their marriage." ( William Merritt Chase, a Genteel Bohemian, p. 106) Chase, an enthusiastic teacher and generous person, often gave paintings to students or friends. An Idle Afternoon is affectionately inscribed to his good friend and fellow artist, William Sullivant Vanderbilt Allen, a well-to-do artist and great-grandson of Commodore Cornelius Vanderbilt. The two artists may have become acquainted while they were studying in Europe in the 1880s. Allen, who studied under Jules Lefebvre, Claude Monet, William Bougereau, and Jean-Leon G‚r“me was friendly with a number of the most outstanding American artists of his time including Chase, Willard Metcalf, and Winslow Homer. An eclectic character with a strong love of the fine arts, Allen's own work is characterized largely by sporting pictures and most notably, the bronze medal that he won at the 1889 Paris Universal Exposition for his outstanding Evening by the Lake (private collection). This painting will be included in Ronald G. Pisano's forthcoming catalogue raisonn‚ of the artist's work.

Lot 16: William Merritt Chase (1849-1916)

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Description: An Idle Afternoon signed and inscribed 'To My Friend Wm. S. Allen Wm. M. Chase.' (lower left) oil on canvas 213/4 x 26 in. (55.3 x 66 cm.) PROVENANCE William Sullivant Vanderbilt Allen, New York, gift from the artist. Ethelinda Vanderbilt Allen Ward, New York, sister of the above. Mildred Sutton Ward, daughter of the above. By descent in the family to the present owner. NOTES In the late nineteenth century, the fresh greenery and quiet, pastoral simplicity of Brooklyn attracted many New Yorkers who had become weary of the hassles and pressure of modern urban life. William Merritt Chase was among those who opted for the resources that Brooklyn had to offer. The artist married Alice Gerson in 1886 and, in 1888, she gave birth to the first of their eight children. Realizing that his resources would not readily permit the growing family to make annual summer trips to Europe, the Chases chose a vacation spot in Bath Beach, Brooklyn, a fashionable summer resort during much of the nineteenth century. In the relaxed atmosphere of Brooklyn, Chase began to paint the subjects that would captivate him for the rest of his life. The pleasant scenery and peaceful environment produced some of the most enduring and important accomplishments of American Impressionism, most notably a series of works depicting various scenes in Prospect Park. Painted in an upscale, private park-like setting in Bath Beach, An Idle Afternoon is related stylistically and in character with Chase's Prospect Park series executed during the same period. The works of Chase's Prospect Park series have been described as "saturated with the intimacy of interior scenes despite their outdoor locales, [in which] the artist rarely revealed evidence of the surrounding city...Chase turned to the parks... which were for him genteel, feminine venues, enclaves for repose set apart from the hurly-burly of late-nineteenth century New York. To visit the parks with Chase is to experience a milieu entirely dominated by women who are accompanied sometimes by children and almost never by men. It is to focus on them as places for pleasant strolls and promenades, areas defined by paths and lawns. It is to find a refuge from unpleasant urban realities and to be invited to pause and rest." (H.B. Weinberg, D. Bolger and D.P. Curry, American Impressionism and Realism, New York, 1994, pp. 146-7) An Idle Afternoon can be described in the same manner. The work prominently features the figure of an exquisite young woman in the foreground which balances with the lush garden landscape in the background. Like many Prospect Park pictures, the dreamy attitude of the subject, who is reclining in a hammock, is juxtaposed to the more formal landscape setting in the background. The spontaneity and directness that Chase preached to generations of art students is also evident in An Idle Afternoon. Elizabeth Kornhauser notes of Shinnecock Hills (A View of Shinnecock) (Wadsworth Atheneum, Hartford, Connecticut) that "Chase followed his own advice in this work, which he left in a sketchy state that, he believed, would draw the viewer into the composition, allowing him or her to participate in its completion. Chase frequently exhibited works described as 'Sketch,' 'Study' or 'Unfinished Picture' as his most important paintings, preferable to the highly finished works of many of his contemporaries." (E.M. Kornhauser, American Paintings Before 1945 in the Wadsworth Atheneum, Volume One, Hartford, Connecticut, 1996, p. 184) Many scholars have focused on Chase's extremely warm and outgoing personality. A devoted family man, Chase was often surrounded by his wife, and any number of his children, all of whom are featured in works throughout his oeuvre . Chase's students were devoted to the charismatic master as well. Many of Chase's masterworks feature groupings of the artist's family, friends, students or models poised in an idyllic, relaxed atmosphere of elegance and comfort. An Idle Afternoon carries the artist's characteristic unencumbered tone--Chase's sitter dreamily gazes at the viewer from her resting spot on the hammock. Ron Pisano suggests that this work likely depicts Alice Chase as "the very relaxed, informal pose would suggest a personal relationship between the model and the painter. Furthermore, the young woman posing has on her lap the same, or similar, hat to that which Mrs. Chase wears in several other paintings or pastels by Chase, including Afternoon by the Sea, circa 1888 (private collection)." (R.G. Pisano, William Merritt Chase Research Report) Alice's contributions to her husband's career cannot be overestimated. Completely devoted to her husband and family, Alice Chase made a subtle but strong contribution to her husband's work. Indeed, "from the very beginning of their marriage, Alice made their residence a place of comfort and refuge for her husband. She guarded their privacy at home, even as she became a valued critic of his work. Alice accepted his need to leave the city in the summer and moved the household to a cottage at Bath Beach or Bensonhurst-by-the-Sea in what was largely pastoral Brooklyn." (K.L. Bryant, Jr., William Merritt Chase, a Genteel Bohemian, Columbia, Missouri, 1991, p. 107) Alice was also one of Chase's favorite models, and has been described as "a 'handsome and spirited brunette,' with a 'lithe and well rounded' figure, [she] had an oval face with dark eyes and bud-like lips, and small, graceful hands. 'A very paintable model,' Alice became a lovely young woman who appealed to Chase; according to the press, he had monopolized her as a model for two or three years before their marriage." ( William Merritt Chase, a Genteel Bohemian, p. 106) Chase, an enthusiastic teacher and generous person, often gave paintings to students or friends. An Idle Afternoon is affectionately inscribed to his good friend and fellow artist, William Sullivant Vanderbilt Allen, a well-to-do artist and great-grandson of Commodore Cornelius Vanderbilt. The two artists may have become acquainted while they were studying in Europe in the 1880s. Allen, who studied under Jules Lefebvre, Claude Monet, William Bougereau, and Jean-Leon G‚r“me was friendly with a number of the most outstanding American artists of his time including Chase, Willard Metcalf, and Winslow Homer. An eclectic character with a strong love of the fine arts, Allen's own work is characterized largely by sporting pictures and most notably, the bronze medal that he won at the 1889 Paris Universal Exposition for his outstanding Evening by the Lake (private collection). This painting will be included in Ronald G. Pisano's forthcoming catalogue raisonn‚ of the artist's work.

Lot 16: William Merritt Chase (1849-1916)

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Description: An Idle Afternoon signed and inscribed 'To My Friend Wm. S. Allen Wm. M. Chase.' (lower left) oil on canvas 213/4 x 26 in. (55.3 x 66 cm.) PROVENANCE William Sullivant Vanderbilt Allen, New York, gift from the artist. Ethelinda Vanderbilt Allen Ward, New York, sister of the above. Mildred Sutton Ward, daughter of the above. By descent in the family to the present owner. NOTES In the late nineteenth century, the fresh greenery and quiet, pastoral simplicity of Brooklyn attracted many New Yorkers who had become weary of the hassles and pressure of modern urban life. William Merritt Chase was among those who opted for the resources that Brooklyn had to offer. The artist married Alice Gerson in 1886 and, in 1888, she gave birth to the first of their eight children. Realizing that his resources would not readily permit the growing family to make annual summer trips to Europe, the Chases chose a vacation spot in Bath Beach, Brooklyn, a fashionable summer resort during much of the nineteenth century. In the relaxed atmosphere of Brooklyn, Chase began to paint the subjects that would captivate him for the rest of his life. The pleasant scenery and peaceful environment produced some of the most enduring and important accomplishments of American Impressionism, most notably a series of works depicting various scenes in Prospect Park. Painted in an upscale, private park-like setting in Bath Beach, An Idle Afternoon is related stylistically and in character with Chase's Prospect Park series executed during the same period. The works of Chase's Prospect Park series have been described as "saturated with the intimacy of interior scenes despite their outdoor locales, [in which] the artist rarely revealed evidence of the surrounding city...Chase turned to the parks... which were for him genteel, feminine venues, enclaves for repose set apart from the hurly-burly of late-nineteenth century New York. To visit the parks with Chase is to experience a milieu entirely dominated by women who are accompanied sometimes by children and almost never by men. It is to focus on them as places for pleasant strolls and promenades, areas defined by paths and lawns. It is to find a refuge from unpleasant urban realities and to be invited to pause and rest." (H.B. Weinberg, D. Bolger and D.P. Curry, American Impressionism and Realism, New York, 1994, pp. 146-7) An Idle Afternoon can be described in the same manner. The work prominently features the figure of an exquisite young woman in the foreground which balances with the lush garden landscape in the background. Like many Prospect Park pictures, the dreamy attitude of the subject, who is reclining in a hammock, is juxtaposed to the more formal landscape setting in the background. The spontaneity and directness that Chase preached to generations of art students is also evident in An Idle Afternoon. Elizabeth Kornhauser notes of Shinnecock Hills (A View of Shinnecock) (Wadsworth Atheneum, Hartford, Connecticut) that "Chase followed his own advice in this work, which he left in a sketchy state that, he believed, would draw the viewer into the composition, allowing him or her to participate in its completion. Chase frequently exhibited works described as 'Sketch,' 'Study' or 'Unfinished Picture' as his most important paintings, preferable to the highly finished works of many of his contemporaries." (E.M. Kornhauser, American Paintings Before 1945 in the Wadsworth Atheneum, Volume One, Hartford, Connecticut, 1996, p. 184) Many scholars have focused on Chase's extremely warm and outgoing personality. A devoted family man, Chase was often surrounded by his wife, and any number of his children, all of whom are featured in works throughout his oeuvre . Chase's students were devoted to the charismatic master as well. Many of Chase's masterworks feature groupings of the artist's family, friends, students or models poised in an idyllic, relaxed atmosphere of elegance and comfort. An Idle Afternoon carries the artist's characteristic unencumbered tone--Chase's sitter dreamily gazes at the viewer from her resting spot on the hammock. Ron Pisano suggests that this work likely depicts Alice Chase as "the very relaxed, informal pose would suggest a personal relationship between the model and the painter. Furthermore, the young woman posing has on her lap the same, or similar, hat to that which Mrs. Chase wears in several other paintings or pastels by Chase, including Afternoon by the Sea, circa 1888 (private collection)." (R.G. Pisano, William Merritt Chase Research Report) Alice's contributions to her husband's career cannot be overestimated. Completely devoted to her husband and family, Alice Chase made a subtle but strong contribution to her husband's work. Indeed, "from the very beginning of their marriage, Alice made their residence a place of comfort and refuge for her husband. She guarded their privacy at home, even as she became a valued critic of his work. Alice accepted his need to leave the city in the summer and moved the household to a cottage at Bath Beach or Bensonhurst-by-the-Sea in what was largely pastoral Brooklyn." (K.L. Bryant, Jr., William Merritt Chase, a Genteel Bohemian, Columbia, Missouri, 1991, p. 107) Alice was also one of Chase's favorite models, and has been described as "a 'handsome and spirited brunette,' with a 'lithe and well rounded' figure, [she] had an oval face with dark eyes and bud-like lips, and small, graceful hands. 'A very paintable model,' Alice became a lovely young woman who appealed to Chase; according to the press, he had monopolized her as a model for two or three years before their marriage." ( William Merritt Chase, a Genteel Bohemian, p. 106) Chase, an enthusiastic teacher and generous person, often gave paintings to students or friends. An Idle Afternoon is affectionately inscribed to his good friend and fellow artist, William Sullivant Vanderbilt Allen, a well-to-do artist and great-grandson of Commodore Cornelius Vanderbilt. The two artists may have become acquainted while they were studying in Europe in the 1880s. Allen, who studied under Jules Lefebvre, Claude Monet, William Bougereau, and Jean-Leon G‚r“me was friendly with a number of the most outstanding American artists of his time including Chase, Willard Metcalf, and Winslow Homer. An eclectic character with a strong love of the fine arts, Allen's own work is characterized largely by sporting pictures and most notably, the bronze medal that he won at the 1889 Paris Universal Exposition for his outstanding Evening by the Lake (private collection). This painting will be included in Ronald G. Pisano's forthcoming catalogue raisonn‚ of the artist's work.

Lot 16: CHASE, William Merritt (1849-1916)

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Description: Seaside Flowers Oil/canvas 29,5 x 39,0 inches (75.0 x 99.0cm) Signed lower right Illustrated.

Lot 16: CHASE, William Merritt (1849-1916)

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Description: Seaside Flowers Oil/canvas 29,5 x 39,0 inches (75.0 x 99.0cm) Signed lower right Illustrated.

Lot 16: CHASE, William Merritt (1849-1916)

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Description: Seaside Flowers Oil/canvas 29,5 x 39,0 inches (75.0 x 99.0cm) Signed lower right Illustrated.

Lot 16: CHASE, William Merritt (1849-1916)

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Description: Seaside Flowers Oil/canvas 29,5 x 39,0 inches (75.0 x 99.0cm) Signed lower right Illustrated.

Lot 17: Framed etching, scene with pipe smoker in broad brimmed hat, signed in plate, "Wm. M. Chase 1875", "William Merritt Chase, American School,

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Description: Framed etching, scene with pipe smoker in broad brimmed hat, signed in plate, "Wm. M. Chase 1875", "William Merritt Chase, American School, 1849-1916), sight size, 9 1/4" x 5 1/4". (Trimmed)

Lot 17: William Merritt Chase (1849-1916)

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Description: Lady with a Rose signed 'Wm. M. Chase' (center right) oil on canvas 48 x 36 in. (121.9 x 91.5 cm.) PROVENANCE Mr. Charles Lukens. Miss Mary Shepard Lukens. By descent through the sitter's family. LITERATURE The Philadelphia Inquirer, January 27, 1901, illustrated American Art Annual, 1903-04, p. 233 R.G. Pisano, William Merritt Chase, New York, 1986, p. 8 EXHIBITION Philadelphia, Pennsylvania, The Pennsylvania Academy of the Fine Arts, Seventieth Annual Exhibition, January-February 1901, no. 211, illustrated NOTES This work was awarded the Temple Gold Medal at the Pennsylvania Academy of Fine Arts in 1901. This painting will be included in Ronald G. Pisano's forthcoming catalogue raisonn‚ of the artist's work.

Lot 17: William Merritt Chase (1849-1916)

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Description: Lady with a Rose signed 'Wm. M. Chase' (center right) oil on canvas 48 x 36 in. (121.9 x 91.5 cm.) PROVENANCE Mr. Charles Lukens. Miss Mary Shepard Lukens. By descent through the sitter's family. LITERATURE The Philadelphia Inquirer, January 27, 1901, illustrated American Art Annual, 1903-04, p. 233 R.G. Pisano, William Merritt Chase, New York, 1986, p. 8 EXHIBITION Philadelphia, Pennsylvania, The Pennsylvania Academy of the Fine Arts, Seventieth Annual Exhibition, January-February 1901, no. 211, illustrated NOTES This work was awarded the Temple Gold Medal at the Pennsylvania Academy of Fine Arts in 1901. This painting will be included in Ronald G. Pisano's forthcoming catalogue raisonn‚ of the artist's work.

Lot 17: William Merritt Chase (1849-1916)

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Description: Lady with a Rose signed 'Wm. M. Chase' (center right) oil on canvas 48 x 36 in. (121.9 x 91.5 cm.) PROVENANCE Mr. Charles Lukens. Miss Mary Shepard Lukens. By descent through the sitter's family. LITERATURE The Philadelphia Inquirer, January 27, 1901, illustrated American Art Annual, 1903-04, p. 233 R.G. Pisano, William Merritt Chase, New York, 1986, p. 8 EXHIBITION Philadelphia, Pennsylvania, The Pennsylvania Academy of the Fine Arts, Seventieth Annual Exhibition, January-February 1901, no. 211, illustrated NOTES This work was awarded the Temple Gold Medal at the Pennsylvania Academy of Fine Arts in 1901. This painting will be included in Ronald G. Pisano's forthcoming catalogue raisonn‚ of the artist's work.

Lot 17: William Merritt Chase (1849-1916)

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Description: Lady with a Rose signed 'Wm. M. Chase' (center right) oil on canvas 48 x 36 in. (121.9 x 91.5 cm.) PROVENANCE Mr. Charles Lukens. Miss Mary Shepard Lukens. By descent through the sitter's family. LITERATURE The Philadelphia Inquirer, January 27, 1901, illustrated American Art Annual, 1903-04, p. 233 R.G. Pisano, William Merritt Chase, New York, 1986, p. 8 EXHIBITION Philadelphia, Pennsylvania, The Pennsylvania Academy of the Fine Arts, Seventieth Annual Exhibition, January-February 1901, no. 211, illustrated NOTES This work was awarded the Temple Gold Medal at the Pennsylvania Academy of Fine Arts in 1901. This painting will be included in Ronald G. Pisano's forthcoming catalogue raisonn‚ of the artist's work.

Lot 18: WILLIAM MERRITT CHASE (1849-1916)The Old Booksigned Wm M Chase with

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Description: initials conjoined, l.r. - - oil on canvas21 3/4 x 16 3/4 in. (55.4 x 42.4 cm.)PROVENANCEThe artistDr. Soren P. Rees, 1916Estate of J.I. Holcomb, IndianapolisCollection of Butler University, IndianapolisNew York, Sotheby Parke-Bernet (Sale: June 4, 1982, lot 6)EXHIBITEDChicago, Young's Art Gallery, Loan Collection of Paintings by Americans: Opening Exhibition of Young's Art Gallery, Dec. 1916, no. 23 Canton, Ohio, Canton Art Institute, Impressionism: An American View, Feb.-April 1983 (this exhibition travelled to Greensburg, Westmoreland County Museum of Art, April-May 1983; Youngstown, Butler Institute of American Art, June-July 1983)Palm Beach, The Society of the Four Arts, Directions in American Painting 1875-1925, Jan.-Feb. 1985 (this exhibition travelled to various locations 1985-1987)Youngstown, Youngstown State University, The John J. McDonough Museum of Art. Inaugural Exhibition, Oct. 1991-May 1992LITERATUREW. D. Peat, Chase Centennial Exhibition: Checklist of Known Work by William M. Chase, Indianapolis, 1949, as Old BookAccording to Ronald G. Pisano, this painting is similar in composition to The Windmill Etching and another work entitled Still Life with Brushes and Pottery, now in the collection of the Cincinnati Art Museum. A label on the back of the painting which reads "From William Merritt Chase/333 Fourth Ave./New York" suggests that the painting was painted after 1908 when the artist first moved into a studio space at this address. This painting will be included in Ronald G. Pisano's forthcoming catalogue raisonne of Chase's work.

Lot 18: WILLIAM MERRITT CHASE (1849-1916)The Old Booksigned Wm M Chase with

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Description: initials conjoined, l.r. - - oil on canvas21 3/4 x 16 3/4 in. (55.4 x 42.4 cm.)PROVENANCEThe artistDr. Soren P. Rees, 1916Estate of J.I. Holcomb, IndianapolisCollection of Butler University, IndianapolisNew York, Sotheby Parke-Bernet (Sale: June 4, 1982, lot 6)EXHIBITEDChicago, Young's Art Gallery, Loan Collection of Paintings by Americans: Opening Exhibition of Young's Art Gallery, Dec. 1916, no. 23 Canton, Ohio, Canton Art Institute, Impressionism: An American View, Feb.-April 1983 (this exhibition travelled to Greensburg, Westmoreland County Museum of Art, April-May 1983; Youngstown, Butler Institute of American Art, June-July 1983)Palm Beach, The Society of the Four Arts, Directions in American Painting 1875-1925, Jan.-Feb. 1985 (this exhibition travelled to various locations 1985-1987)Youngstown, Youngstown State University, The John J. McDonough Museum of Art. Inaugural Exhibition, Oct. 1991-May 1992LITERATUREW. D. Peat, Chase Centennial Exhibition: Checklist of Known Work by William M. Chase, Indianapolis, 1949, as Old BookAccording to Ronald G. Pisano, this painting is similar in composition to The Windmill Etching and another work entitled Still Life with Brushes and Pottery, now in the collection of the Cincinnati Art Museum. A label on the back of the painting which reads "From William Merritt Chase/333 Fourth Ave./New York" suggests that the painting was painted after 1908 when the artist first moved into a studio space at this address. This painting will be included in Ronald G. Pisano's forthcoming catalogue raisonne of Chase's work.

Lot 18: WILLIAM MERRITT CHASE (1849-1916)The Old Booksigned Wm M Chase with

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Description: initials conjoined, l.r. - - oil on canvas21 3/4 x 16 3/4 in. (55.4 x 42.4 cm.)PROVENANCEThe artistDr. Soren P. Rees, 1916Estate of J.I. Holcomb, IndianapolisCollection of Butler University, IndianapolisNew York, Sotheby Parke-Bernet (Sale: June 4, 1982, lot 6)EXHIBITEDChicago, Young's Art Gallery, Loan Collection of Paintings by Americans: Opening Exhibition of Young's Art Gallery, Dec. 1916, no. 23 Canton, Ohio, Canton Art Institute, Impressionism: An American View, Feb.-April 1983 (this exhibition travelled to Greensburg, Westmoreland County Museum of Art, April-May 1983; Youngstown, Butler Institute of American Art, June-July 1983)Palm Beach, The Society of the Four Arts, Directions in American Painting 1875-1925, Jan.-Feb. 1985 (this exhibition travelled to various locations 1985-1987)Youngstown, Youngstown State University, The John J. McDonough Museum of Art. Inaugural Exhibition, Oct. 1991-May 1992LITERATUREW. D. Peat, Chase Centennial Exhibition: Checklist of Known Work by William M. Chase, Indianapolis, 1949, as Old BookAccording to Ronald G. Pisano, this painting is similar in composition to The Windmill Etching and another work entitled Still Life with Brushes and Pottery, now in the collection of the Cincinnati Art Museum. A label on the back of the painting which reads "From William Merritt Chase/333 Fourth Ave./New York" suggests that the painting was painted after 1908 when the artist first moved into a studio space at this address. This painting will be included in Ronald G. Pisano's forthcoming catalogue raisonne of Chase's work.

Lot 18: WILLIAM MERRITT CHASE (1849-1916)The Old Booksigned Wm M Chase with

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Description: initials conjoined, l.r. - - oil on canvas21 3/4 x 16 3/4 in. (55.4 x 42.4 cm.)PROVENANCEThe artistDr. Soren P. Rees, 1916Estate of J.I. Holcomb, IndianapolisCollection of Butler University, IndianapolisNew York, Sotheby Parke-Bernet (Sale: June 4, 1982, lot 6)EXHIBITEDChicago, Young's Art Gallery, Loan Collection of Paintings by Americans: Opening Exhibition of Young's Art Gallery, Dec. 1916, no. 23 Canton, Ohio, Canton Art Institute, Impressionism: An American View, Feb.-April 1983 (this exhibition travelled to Greensburg, Westmoreland County Museum of Art, April-May 1983; Youngstown, Butler Institute of American Art, June-July 1983)Palm Beach, The Society of the Four Arts, Directions in American Painting 1875-1925, Jan.-Feb. 1985 (this exhibition travelled to various locations 1985-1987)Youngstown, Youngstown State University, The John J. McDonough Museum of Art. Inaugural Exhibition, Oct. 1991-May 1992LITERATUREW. D. Peat, Chase Centennial Exhibition: Checklist of Known Work by William M. Chase, Indianapolis, 1949, as Old BookAccording to Ronald G. Pisano, this painting is similar in composition to The Windmill Etching and another work entitled Still Life with Brushes and Pottery, now in the collection of the Cincinnati Art Museum. A label on the back of the painting which reads "From William Merritt Chase/333 Fourth Ave./New York" suggests that the painting was painted after 1908 when the artist first moved into a studio space at this address. This painting will be included in Ronald G. Pisano's forthcoming catalogue raisonne of Chase's work.

Lot 18: CHASE, WILLIAM MERRITT (1849-1916)

Description: The old Book Oil/canvas 22x17 inches (55x42.5 cm) Initial. (Lower Right).

Lot 18: CHASE, WILLIAM MERRITT (1849-1916)

Description: The old Book Oil/canvas 22x17 inches (55x42.5 cm) Initial. (Lower Right).

Lot 18: CHASE, WILLIAM MERRITT (1849-1916)

Description: The old Book Oil/canvas 22x17 inches (55x42.5 cm) Initial. (Lower Right).

Lot 18: CHASE, WILLIAM MERRITT (1849-1916)

Description: The old Book Oil/canvas 22x17 inches (55x42.5 cm) Initial. (Lower Right).

Lot 20: CHASE, WILLIAM MERRITT (1849-1916)

Description: The dowager, 1874, 1874 Oil/canvas 39.4x29.7 in (99.9x75.5 cm) signed & dated (Upper Right).

Lot 20: CHASE, WILLIAM MERRITT (1849-1916)

Description: The dowager, 1874, 1874 Oil/canvas 39.4x29.7 in (99.9x75.5 cm) signed & dated (Upper Right).

Lot 20: CHASE, WILLIAM MERRITT (1849-1916)

Description: The dowager, 1874, 1874 Oil/canvas 39.4x29.7 in (99.9x75.5 cm) signed & dated (Upper Right).

Lot 20: CHASE, WILLIAM MERRITT (1849-1916)

Description: The dowager, 1874, 1874 Oil/canvas 39.4x29.7 in (99.9x75.5 cm) signed & dated (Upper Right).

Lot 20: l William Merritt Chase (1849-1916)

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Description: GONDOLAS ALONG VENETIAN CANAL signed Wm. M. Chase, l.l. oil on panel 8 by 11in. (20.3 by 27.9cm.) Painted in 1913. According to Ronald G. Pisano, "[the present painting] was undoubtedly painted the summer of 1913 in Venice, where Chase held his last summer class abroad. Chase completed relatively few paintings that season. In letters he wrote home that summer, Chase complained about the constant rain and his problem in finding a suitable studio in which he could paint fish still lifes (his most popular subject of the period); he was also distracted from his usual practice of making plein-air sketches by the crowds of people in Venice that summer and by social calls to the homes and studios of artist friends and associates. Among those he visited was the widow of Mariano Fortuny, an artist he had greatly admired. According to Chase's early biographer, Katherine Metcalf Roof: 'He filled a gondola with his work--Venetian sketches, fish pictures and portrait heads--and gave the Spanish painter's widow a private view at her own house' (The Life and Art of William Merritt Chase, New York, 1917, p. 244). "The following spring (March 18-April 7, 1914), Chase exhibited a number of these paintings with 'Ten American Painters,' at the Montross Gallery in New York City. Among those paintings he displayed were several small Venetian paintings, praised by one critic for the 'characteristically spirited and amusing touches.' It is possible that Gondolas Along Venetian Canal was one of these works exhibited under a different title. Listed were: The Black Godola, After the Rain-Venice, A Passenger Boat-Venice, and Old Venetian Houses." This painting will be included in Ronald G. Pisano's forthcoming catalogue raisonnE of the artist's work. Provenance: Charles Stewart Carstairs, London, England Elizabeth Carstairs (his wife), Paris, France By descent in the family until 1991 Sale: Sotheby's, New York, March 11, 1992, lot 43, illustrated in color Acquired by the present owner at the above sale.

Lot 20: l William Merritt Chase (1849-1916)

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Description: GONDOLAS ALONG VENETIAN CANAL signed Wm. M. Chase, l.l. oil on panel 8 by 11in. (20.3 by 27.9cm.) Painted in 1913. According to Ronald G. Pisano, "[the present painting] was undoubtedly painted the summer of 1913 in Venice, where Chase held his last summer class abroad. Chase completed relatively few paintings that season. In letters he wrote home that summer, Chase complained about the constant rain and his problem in finding a suitable studio in which he could paint fish still lifes (his most popular subject of the period); he was also distracted from his usual practice of making plein-air sketches by the crowds of people in Venice that summer and by social calls to the homes and studios of artist friends and associates. Among those he visited was the widow of Mariano Fortuny, an artist he had greatly admired. According to Chase's early biographer, Katherine Metcalf Roof: 'He filled a gondola with his work--Venetian sketches, fish pictures and portrait heads--and gave the Spanish painter's widow a private view at her own house' (The Life and Art of William Merritt Chase, New York, 1917, p. 244). "The following spring (March 18-April 7, 1914), Chase exhibited a number of these paintings with 'Ten American Painters,' at the Montross Gallery in New York City. Among those paintings he displayed were several small Venetian paintings, praised by one critic for the 'characteristically spirited and amusing touches.' It is possible that Gondolas Along Venetian Canal was one of these works exhibited under a different title. Listed were: The Black Godola, After the Rain-Venice, A Passenger Boat-Venice, and Old Venetian Houses." This painting will be included in Ronald G. Pisano's forthcoming catalogue raisonnE of the artist's work. Provenance: Charles Stewart Carstairs, London, England Elizabeth Carstairs (his wife), Paris, France By descent in the family until 1991 Sale: Sotheby's, New York, March 11, 1992, lot 43, illustrated in color Acquired by the present owner at the above sale.

Lot 20: l William Merritt Chase (1849-1916)

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Description: GONDOLAS ALONG VENETIAN CANAL signed Wm. M. Chase, l.l. oil on panel 8 by 11in. (20.3 by 27.9cm.) Painted in 1913. According to Ronald G. Pisano, "[the present painting] was undoubtedly painted the summer of 1913 in Venice, where Chase held his last summer class abroad. Chase completed relatively few paintings that season. In letters he wrote home that summer, Chase complained about the constant rain and his problem in finding a suitable studio in which he could paint fish still lifes (his most popular subject of the period); he was also distracted from his usual practice of making plein-air sketches by the crowds of people in Venice that summer and by social calls to the homes and studios of artist friends and associates. Among those he visited was the widow of Mariano Fortuny, an artist he had greatly admired. According to Chase's early biographer, Katherine Metcalf Roof: 'He filled a gondola with his work--Venetian sketches, fish pictures and portrait heads--and gave the Spanish painter's widow a private view at her own house' (The Life and Art of William Merritt Chase, New York, 1917, p. 244). "The following spring (March 18-April 7, 1914), Chase exhibited a number of these paintings with 'Ten American Painters,' at the Montross Gallery in New York City. Among those paintings he displayed were several small Venetian paintings, praised by one critic for the 'characteristically spirited and amusing touches.' It is possible that Gondolas Along Venetian Canal was one of these works exhibited under a different title. Listed were: The Black Godola, After the Rain-Venice, A Passenger Boat-Venice, and Old Venetian Houses." This painting will be included in Ronald G. Pisano's forthcoming catalogue raisonnE of the artist's work. Provenance: Charles Stewart Carstairs, London, England Elizabeth Carstairs (his wife), Paris, France By descent in the family until 1991 Sale: Sotheby's, New York, March 11, 1992, lot 43, illustrated in color Acquired by the present owner at the above sale.

Lot 20: l William Merritt Chase (1849-1916)

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Description: GONDOLAS ALONG VENETIAN CANAL signed Wm. M. Chase, l.l. oil on panel 8 by 11in. (20.3 by 27.9cm.) Painted in 1913. According to Ronald G. Pisano, "[the present painting] was undoubtedly painted the summer of 1913 in Venice, where Chase held his last summer class abroad. Chase completed relatively few paintings that season. In letters he wrote home that summer, Chase complained about the constant rain and his problem in finding a suitable studio in which he could paint fish still lifes (his most popular subject of the period); he was also distracted from his usual practice of making plein-air sketches by the crowds of people in Venice that summer and by social calls to the homes and studios of artist friends and associates. Among those he visited was the widow of Mariano Fortuny, an artist he had greatly admired. According to Chase's early biographer, Katherine Metcalf Roof: 'He filled a gondola with his work--Venetian sketches, fish pictures and portrait heads--and gave the Spanish painter's widow a private view at her own house' (The Life and Art of William Merritt Chase, New York, 1917, p. 244). "The following spring (March 18-April 7, 1914), Chase exhibited a number of these paintings with 'Ten American Painters,' at the Montross Gallery in New York City. Among those paintings he displayed were several small Venetian paintings, praised by one critic for the 'characteristically spirited and amusing touches.' It is possible that Gondolas Along Venetian Canal was one of these works exhibited under a different title. Listed were: The Black Godola, After the Rain-Venice, A Passenger Boat-Venice, and Old Venetian Houses." This painting will be included in Ronald G. Pisano's forthcoming catalogue raisonnE of the artist's work. Provenance: Charles Stewart Carstairs, London, England Elizabeth Carstairs (his wife), Paris, France By descent in the family until 1991 Sale: Sotheby's, New York, March 11, 1992, lot 43, illustrated in color Acquired by the present owner at the above sale.

Lot 20: WILLIAM MERRITT CHASE, N.A. (1849-1916) Portrait of G.Colesbury Purves, Ninth President, (1903-1923), Philadelphia

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Description: Saving Fund Society, o/c/b, 50 x 40, s, accompanied by a 1916 book about the Philadelphia Saving Fund Society with photo and information about the sitter, A2.

Lot 20: WILLIAM MERRITT CHASE, N.A. (1849-1916) Portrait of G.Colesbury Purves, Ninth President, (1903-1923), Philadelphia

Estimated Price: Log in or create account to view price data

Description: Saving Fund Society, o/c/b, 50 x 40, s, accompanied by a 1916 book about the Philadelphia Saving Fund Society with photo and information about the sitter, A2.

Lot 20: WILLIAM MERRITT CHASE, N.A. (1849-1916) Portrait of G.Colesbury Purves, Ninth President, (1903-1923), Philadelphia

Estimated Price: Log in or create account to view price data

Description: Saving Fund Society, o/c/b, 50 x 40, s, accompanied by a 1916 book about the Philadelphia Saving Fund Society with photo and information about the sitter, A2.

Lot 20: WILLIAM MERRITT CHASE, N.A. (1849-1916) Portrait of G.Colesbury Purves, Ninth President, (1903-1923), Philadelphia

Estimated Price: Log in or create account to view price data

Description: Saving Fund Society, o/c/b, 50 x 40, s, accompanied by a 1916 book about the Philadelphia Saving Fund Society with photo and information about the sitter, A2.

Lot 22: CHASE, William Merritt (1849-1916, American)

Description: Pulling for shore, s. panel prov.lit.exhib. Oil Painting (30x18in).

Lot 22: CHASE, William Merritt (1849-1916, American)

Description: Pulling for shore, s. panel prov.lit.exhib. Oil Painting (30x18in).