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Go to page #: 2184 , 2185 , 2186 , 2187 , 2188 , 2189

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$4,000.00 – sparky8707

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(”American Harvesting” View was originally painted by Jasper Francis Cropsey (1823-1900) in 1851.) A number of Hudson River School artists depicted this View with slight variations. Partial AskArt Bio: A landscape, portrait, marine and history painter, Edmund C. Coates lived in New York City during his active period 1837-1872. Brooklyn and New York City directories from those years list him as Edward, Edmund C., E.C. Coates, and E.G. Coates. His paintings include landscapes of Canada and Italy although it is not known if the artist traveled to those countries or if other works inspired the scenes. He also painted in the White Mountains of New Hampshire and, listed as one of the Hudson River School painters, did numerous Hudson River Valley scenes such as Shipping on the Hudson River, 1855. His painting titled Washington's Headquarters at Newburgh, 1867, depicted a popular scene among the Hudson River painters because it was George Washington's headquarters painted against the backdrop of Storm Mountain near the town of Newburgh. (See Auction Lot #55 Washington’s Headquarters) Collections holding work by Coates include the New York Historical Society, the New York State Historical Association and the Shelburne Museum. Sources include: A Century of American Landscapes 1812-1912, Frank S. Schwarz and Son, Philadelphia, 1986 Peter Falk, Who Was Who in American Art John Howat, The Hudson River and Its Painters Top Auction Record: $40,250. Estimate: $6,000 - $12,000.

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$3,000.00 – greenpointer

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Note: There is a small raised bubble imperfection in sky. Measures: Sight: 11x14.5”. Overall 17x22”. AskArt Bio: A landscape and scenery painter and book illustrator, Granville Perkins was born October 16, 1830 in Baltimore, Maryland. At age fifteen, he became a scene painter for elaborate theatre productions, working with the Ravel family on plays such as "Mazulua, "The Green Monster" and "Jacko or the Brazilian Ape". His first formal studies were in Philadelphia at the Pennsylvania Academy of Art under American landscape painter and etcher, James Hamilton (1819-1898) (See lot 62.) He also took drawing lessons from William E. Smith. It was during these studies that he first started exhibiting at the Academy. In 1856, Perkins exhibited his first painting, #306 "Cape Croix, Cuba" that reflected his five year-long travels with the Ravels from 1851 to 1856. They visited Cuba, Jamaica, Yucatan and Central America. In 1856, he returned to Philadelphia and again studied with James Hamilton, by 1860, moving to New York City, he had a reputation for his skills with coastal and tropical landscapes. In New York, he worked as an illustrator for Harper & Bros. in Franklin Square and for "Leslie's Illustrated Newspaper". While working at Harper & Bros., he continued his art studies and was invited to exhibit at the National Academy of Design. Perkins became a frequent exhibitor at the National Academy of Design between 1862 to 1883. About 1870, Granville Perkins went to California from New York, and traveled south by ship around Cape Horn. Before this, his Latin American paintings had primarily been of Cuba, but during the 1870s and 1880s, they were mainly of South American tropical landscapes. As an accomplished watercolorist, Granville Perkins became a member of the New York Watercolor Society. He exhibited his watercolors at the National Academy of Design and at the Chicago Art Institute in 1889 and 1894. Top Auction Record: $14,300. Estimate: $2,000-$4000.

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$2,400.00 – global2306

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Note: Seller believes that this is a "A View from Moodna Creek" (Murderer’s Creek) looking east at Pollepel Island with the Fishkill Mountains (Highlands) beyond. Armstrong was born on the family homestead located on Danskammer Point on the Hudson River. This painting View was close to his home. A reprint of David’s book “Day Before Yesterday, Reminisces of a Varied Life” shall accompany this painting to the buyer. Edited by his daughter, Margaret Armstrong, it was originally published in 1920 two years after his death. Partial AskArt Bio: Known primarily for his stained glass work, David Armstrong was also a painter whose main studio was in New York City. He trained as a lawyer, and in 1862 was admitted to the bar but soon changed from that career to the profession of art. From 1869 to 1872, he was American Consulat at Rome, and in 1878 was director of the American section of the Art Department at the Paris Expo for which he received the Legion of Honor. Source: Groce & Wallace, Dictionary of Artists in America Peter Hastings Falk (Editor), Who Was Who in American Art Top Auction Sales Record: $5,463. Estimate: $3,000-$6,000.

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$2,800.00 – sturgeon

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Partial AskArt Bio: Also known as Gunther Hartwick (dates unknown), the artist was active between 1847 and 1869. Hartwick carried on the landscape traditions of the seventeenth-century Dutch, George Henry Durrie and Thomas Birch. He was in New Haven, Connecticut in the 1840s. Outstanding compositions, contrasting textures and considerable animation distinguish his works. He achieved a great, powdery softness when brushing in areas of fallen snow on trees. He exhibited two landscapes in the American Art-Union in 1849. Hartwick's canvases may be found in the following institutions: the Chicago Historical Society, the Western Reserve Historical Society, and the Malden (MA) Public Library, but most are in private collections. Source: Groce and Wallace, 1957, p. 298. Top Auction Record: $14,400.00 Estimate: $6,000-$12,000.

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$1,000.00 – global2306

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Framed 19thC American School, round “View of Cornwall on Hudson.” Oil on canvas. Sight: 11.5x11.5”. Overall: 17x17”. Estimate: $2,000-$4,000.

High Bid:
$19,600.00 – bcrispy

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Partial AskArt Bio: He began to exhibit at the National Academy of Design between 1844 and 1845. As his career began to pick up around 1853, he completed his first book illustration assignment for G. P. Putnam and Company's, "Homes of American Authors." Such illustrated weeklies as Gleason's Pictorial Drawing-Room Companion and Frank Leslie's Illustrated Newspaper also began to carry his illustrations. From 1851 to 1862 Miller worked out of his home at 1 Perry Street and from 1868 to 1877 he lived in his studio in the Dodworth Building at 806 Broadway. Magazine assignments began to decline toward the latter part of the 1860s and Miller considered dropping his career and joining the M. Knoedler Company (once Goupil). However, his career as an artist was saved through the patronage of Henry W. Gear, an artists' supplier, George M. Wing, an agent, and John L. Chambers, a secretary. Around 1873 he spent years organizing a book on American landscapes that he titled "A Thousand Gems," but it was never published. However the drawings provided much of the material for is later work in oil. He was a disciplined worker and prolific painter who produced hundreds of watercolors, oils, and pen and ink sketches. His work can be found in the collection of the New York Historical Society. Source: "American Landscape and Genre Paintings in the New York Historical Society" Top Auction Record: $46,750.00 Estimate: $15,000-$25,000.

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$2,000.00 – jonfre

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Early 19thC American School, Possible View of Troy or Albany, NY on the Hudson River. Framed oil on canvas. Relined conservation. Sight: 18.25x26.25. Overall: 25x33”. Estimate: $3,000-$5,000.

High Bid:
$4,600.00 – forester72

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The View witnesses a hay wagon at "Southgate” of the Hudson River having Anthony’s Nose Mountain on the left and Dunderberg Mountain on the right. This is the current location of the Bear Mountain bridge crossing. Sight: 21.25x35.25”. Overall 31x45”. Partial AskArt Bio for Edward Nichols: Edward Nichols, born and raised in Oxford, New Hampshire on the Connecticut River, first studied as a lawyer, but by the age of 30 had abandoned that career to study art at the Academy of Design* under the Hudson River School* artist and architect, Jasper Cropsey. Nichols "had come to believe that art---encompassing not just painting, but also furnishings, architecture, and landscape---had the power to shape and improve people and society." He married Maria Wilkinson from a highly cultured, prosperous family. Her father, Edward Watkinson, was a successful Hartford, Connecticut merchant and iron trader, and her mother, Lavina Hudson, owned the well-known Hartford newspaper, Courant. Maria was quite worldly for her era, having been a volunteer teacher in missionary schools in Beirut and Constantinople. Marrying into this family, Edward Nichols not only gained a highly cultured companion but likely gained the financial support he needed to fulfill his artistic ambitions. Edward and Maria spent two years, 1853 to 1855, honeymooning in Europe and England, where he did much sketching of architecture and landscape. They also spent much time in museums. In 1854, they had their only child, Edward Leamkngton Nichols, and shortly after returned to America, taking up residence in New York City. It was a time when Hudson River School painting flourished, and Nichols ability to paint in accord with its tenets of reverence for nature and celebration of wilderness landscape led to much appreciation of his work. He had a studio in the exclusive Tenth Street Studio Building*, a two-story exhibition gallery and studio facility. It had gaslights, skylights and much camaraderie as it was "the headquarters of the Hudson River School of painting." By 1853 Nichols was exhibiting at the National Academy of Design in New York City, and in 1859 was made an Associate Academician of the Academy. The titles of many of the paintings he exhibited at the N.A.D. provided great insight as to where and what he painted during these years. In the 1850's he was painting in Connecticut and north along the Connecticut River as far as the White Mountains* of New Hampshire. By the mid 1860's the artist moved from Hartford, Connecticut to Peekskill, New York, about 45 miles north of Manhattan, where his subject matter was of the Hudson River Valley, from Peekskill and its surrounding Hudson Highlands north to the Catskill Mountains. Other works of the Rhine Valley in Germany and of the Gulf of Mexico were listed, but it is not known whether they were done first hand or through secondary materials. During the Civil War, his paintings took on a sombre tone reflecting the seriousness of the time, but when the war ended he returned to familiar haunts. He sold property that he had purchased in New Jersey, and he and his family moved to Peekskill, New York where he died in 1871. Some of the museums his works can be found in include the Mattatuck Historical Society of Waterbury, Connecticut, the North Hampton Historical Society, North Hampton, Massachusetts, and Historic Cherry Hill of Albany, New York. Sources: Ann Y. Smith, "Edward W. Nichols and the Image of an Ideal America", Fine Art Connoisseur, June, 2010, pp. 30-35. Alexander Boyle, who was featured on the television show "America's First River, Bill Moyers on the Hudson". Boyle worked with the Metropolitan Museum of Art as the Assistant Director of a film, "American Paradise, the World of the Hudson River School" and from 1988 to 2001 was Vice-President of Godel & Co. Fine Art in New York. Nichols Auction Record: $20,000. Estimate: $3,000-$6,000.

High Bid:
$3,800.00 – pkart

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Sight: 19.25x27.25”. Overall 24x32”. Estimate: $4,000-$7,000.

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$3,300.00 – fiona

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Framed 19thC American School View of Kosciuzko’s Monument West Point. Sight: 20.5x29”. Overall: 25.5x34”. Estimate: $6,000-$8,000.

High Bid:
$1,600.00 – greenpointer

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Partial AskArt Bio: Known for street scene paintings and etchings of New York City as well as coastal marine views on both sides of the Long Island Sound, Frederick Hunter lived at Ossining, Cold Spring on Hudson, New York. Exhibition venues included the National Academy of Design, 1881-86; Brooklyn Art Association, 1881-86; and the Pennsylvania Academy of the Fine Arts, 1881-82, 1884. Source: Peter Hastings Falk, Editor, Who Was Who in American Art Sight: 17x25”. Overall: 25.5x33.5”. Estimate $2,000-$4,000.

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$2,400.00 – landlooker123

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Partial AskArt Bio: Cyrus Cobb was born in Malden, Massachusetts (1834). He was the twin brother of the painter, Darius Cobb, the twins worked together in Boston from the mid-1850's painting portraits and collaborated on large historical and religious paintings. From 1869 to 1879, Cyrus also studied and practiced law in Boston. He gave up law and returned to art, achieving considerable fame as a sculptor. He was also a musician and was active in musical and literary circles in Boston. Source: Groce and Wallace "The New York Historical Society's Dictionary of Artists in America" Estimate: $4,000-$8,000.

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$3,000.00 – upstate1

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The Francis Skiddy was launched on the Hudson in 1852 and was in service until 1864. Link to more information: https://www.hrmm.org/history-blog/steamer-francis-skiddy-1852-1864 Sight: 21.5x35.5”. Overall: 30x44” Estimate: $4,000-$7,000.

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$1,250.00 – paulieb

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Note: The figures on the cliff appear to be African/American compared to figures in his other paintings, including Lot # 24 in this auction. Partial AskArt Bio: ANDREW W. MELROSE (1836-1901) A little known yet prolific landscape painter, Andrew Melrose was born in Selkirk, Scotland in 1836. There are few records of his activities before the War Between the States, but he is thought to have emigrated to the United States in 1856. Following a brief stay in this country, he spent some time in Toronto, Canada, where he married Margaret Grice in 1858. The couple lived in New York City for a few years, then settled permanently in Hudson County, New Jersey, residing successively in West Hoboken, Guttenberg and West New York. Melrose is not known to have studied with any professional artist, so he is presumed to have been self-taught. Many of his best-known works are views of New York, including New York City and the Hudson River Valley, typically rendered in the romantic-realist style of the Hudson River School. Melrose's search for inspiring subjects also took him to various areas of the southern and western United States, and possibly to the British Isles and Austria. He painted a few South American and Cuban scenes as well, leading some sources to suggest he traveled there, though he seems never to have actually made the trip. Instead, he appears to have been inspired by Frederic Church's imagery, as opposed to first-hand experience. Melrose's large and ambitious South American scene, "Morning in the Andes" (1870, Newark Museum of Art, Newark, New Jersey), clearly stems from Church's Heart of the Andes. Melrose's career has not been thoroughly studied, and so the method he used for composing his pictures is presently unknown. Many small paintings, like those discussed here, have a bright, almost pastel coloration, and are delicately and loosely brushed. Their size, usually 12 x 16 inches, suggests they may have been painted "en plein air". If the format had pleased the artist or patron, either at the time of execution or even years later, the small work might become the basis for a large, finished oil. On the other hand, the small pictures may have been indoor products, composed in the studio from pencil sketches made in the field, then used in various combinations in larger, more detailed compositions. Melrose was never a major figure in the art world, but he was well respected and seems to have enjoyed the patronage of several important clients. One of these, a Mr. L. Becker of Union City, commissioned Melrose to paint a large picture entitled "The Valley of the Hackensack from the Estate of L. Becker, Esq., Union City, New Jersey" (Newark Art Museum, Newark, New Jersey) for each of his four children. One version of the painting, which is also known as "View of the Hackensack Valley", is in the collection of the New Jersey Historical Society, Newark. The two remaining versions are unlocated (American Art in the Newark Museum, p. 352). Melrose exhibited landscapes and genre pictures at the National Academy of Design from 1868 through 1883. He also exhibited at the Brooklyn Art Association. In 1885, he produced what is perhaps his best known work, "New York Harbor and the Battery, NYC" (The New-York Historical Society, New York City). Replete with figures and anecdotal detail, this pleasant, light-filled picture shows a corner of Battery Park and New York Harbor at the mouth of the Hudson River. In the left distance stands the Statue of Liberty, unveiled on October 28, 1886, the gift to America from the French to commemorate the shared ideal of liberty born of revolution. A similar undated version by Melrose of the same subject, but differing in composition from the Society's version, was in the collection of Ambassador and Mrs. J. William Middendorf II of New York in 1967. It was given to the White House in 1973 by Mr. and Mrs. Joseph M. Segel. At some point in the mid-1880s, Melrose produced a chromolithograph based on the Middendorfs' version of the same subject (American Paintings and Historical Prints from the Middendorf Collection, p. 50). Many of Melrose's paintings were published as etchings or lithographs. He is also said to have illustrated books (Seibels, 1990). Melrose rarely dated his works, so it is difficult to trace his career after the mid-1880s, when he stopped exhibiting at the NAD. References: "American Art in the Newark Museum: Paintings, Drawings and Sculpture. Newark, New Jersey: The Newark Museum, 1981". "Decade Review of American Artists at Auction" 1/86-1/96. Mansfield, Ohio: Franklin & James Publishing, 1996. Kloss, William, et al. "Art in the White House: A Nation's Pride. Washington, D.C.": White House Historical Association, 1992. Koke, Richard J. "American Landscapes and Genre Paintings in the New York-Historical Society, Vol. II. New York: The New-York Historical Society, 1982. Seibels, Cynthia. "An Early Morning on the Ashley River, Going to Market". Spartanburg, South Carolina: Robert M. Hicklin Jr., Inc., 1990. Weiseman, Marjorie E., Curator of Western Art Before 1850, Oberlin College, Oberlin, Ohio, letter to author, 26 August 1999. According to Ms. Weiseman, two paintings by Melrose were bequeathed to Oberlin College by a patron, Charles F. Olney, in 1904. Both paintings, "Tellulah Chasm, Georgia" (41 3 x 23 inches) and "Waterfall in Nevada" (42 x 42 inches), were acquired by the donor before 1887. The pair was deaccessioned in 1953. Auction Record: $102,000. Estimate $3,000-$6,000.

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$1,550.00 – dvhco

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19thC American School signed Mary E. Barr framed watercolor painting of “Verplanck Landing Dock” on the Hudson river. 19thC Women landscape artists are quite rare. See old catalog label on back for details.

High Bid:
$21,000.00 – global2306

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Link More Information: https://www.artfixdaily.com/blogs/post/5772-the-painter-of-peekskill Sight: 17x31”. Overall: 25”x39. Partial AskArt Bio: A lesser-known landscape painter of the Hudson River Valley in the 1860s, 70s, and 80s, Frank Anderson lived in Peekskill, New York. He exhibited his work at the Pennsylvania Academy of the Fine Arts and the National Academy of Design of New York, but was extremely shy about being involved in public events. He was a native of Ohio where his father was an inventor, and he, with similar interests, was credited with designing improvements to the telegraph. By the time he was twenty, he was sketching and painting. Frank Anderson, the artist, died at his home, in Peek skill after a brief illness from congestion of the brain. He was born in Mount Sterling, Ohio, in 1844, and had been a prominent resident of Peekskill since 1863. He has long been known as a contributor to the Academy of Design exhibition of paintings. Source: Peter Hastings Falk (ed.), Who Was Who in American Art Auction Record: $185,000. Estimate: $25,000-$50,000.

High Bid:
$2,300.00 – carpaemarkum

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Oil on canvas. Sight: 11.5x15.5”. Overall 15x20”. Estimate $3,000-$5,000.

High Bid:
$1,000.00 – dsk

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Framed oil on canvas of an operating Mill on the north Hudson River near Troy, NY. Partial AskArt Bio: Born in Montgomery, New York, Charles Tice was a portrait, landscape, and still life painter who exhibited at the National Academy of Design between 1837 and 1849. He did many views of Newburgh, New York. Died:   1870 - Newburgh, New York Known for:  Landscape, portrait, still life. Estimate $1500-$3,000.

High Bid:
$6,000.00 – fiona

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Sight: 23.5x41.5”. Overall 30x48”. Framed oil on canvas. A great View by a hard to find artist. Estimate: $7,000-$10,000.

High Bid:
$1,400.00 – crossfitter

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Framed oil on canvas. Partial AskArt Bio: ANDREW W. MELROSE (1836-1901) A little known yet prolific landscape painter, Andrew Melrose was born in Selkirk, Scotland in 1836. There are few records of his activities before the War Between the States, but he is thought to have emigrated to the United States in 1856. Following a brief stay in this country, he spent some time in Toronto, Canada, where he married Margaret Grice in 1858. The couple lived in New York City for a few years, then settled permanently in Hudson County, New Jersey, residing successively in West Hoboken, Guttenberg and West New York. Melrose is not known to have studied with any professional artist, so he is presumed to have been self-taught. Many of his best-known works are views of New York, including New York City and the Hudson River Valley, typically rendered in the romantic-realist style of the Hudson River School. Melrose's search for inspiring subjects also took him to various areas of the southern and western United States, and possibly to the British Isles and Austria. He painted a few South American and Cuban scenes as well, leading some sources to suggest he traveled there, though he seems never to have actually made the trip. Instead, he appears to have been inspired by Frederic Church's imagery, as opposed to first-hand experience. Melrose's large and ambitious South American scene, "Morning in the Andes" (1870, Newark Museum of Art, Newark, New Jersey), clearly stems from Church's Heart of the Andes. Melrose's career has not been thoroughly studied, and so the method he used for composing his pictures is presently unknown. Many small paintings, like those discussed here, have a bright, almost pastel coloration, and are delicately and loosely brushed. Their size, usually 12 x 16 inches, suggests they may have been painted "en plein air". If the format had pleased the artist or patron, either at the time of execution or even years later, the small work might become the basis for a large, finished oil. On the other hand, the small pictures may have been indoor products, composed in the studio from pencil sketches made in the field, then used in various combinations in larger, more detailed compositions. Melrose was never a major figure in the art world, but he was well respected and seems to have enjoyed the patronage of several important clients. One of these, a Mr. L. Becker of Union City, commissioned Melrose to paint a large picture entitled "The Valley of the Hackensack from the Estate of L. Becker, Esq., Union City, New Jersey" (Newark Art Museum, Newark, New Jersey) for each of his four children. One version of the painting, which is also known as "View of the Hackensack Valley", is in the collection of the New Jersey Historical Society, Newark. The two remaining versions are unlocated (American Art in the Newark Museum, p. 352). Melrose exhibited landscapes and genre pictures at the National Academy of Design from 1868 through 1883. He also exhibited at the Brooklyn Art Association. In 1885, he produced what is perhaps his best known work, "New York Harbor and the Battery, NYC" (The New-York Historical Society, New York City). Replete with figures and anecdotal detail, this pleasant, light-filled picture shows a corner of Battery Park and New York Harbor at the mouth of the Hudson River. In the left distance stands the Statue of Liberty, unveiled on October 28, 1886, the gift to America from the French to commemorate the shared ideal of liberty born of revolution. A similar undated version by Melrose of the same subject, but differing in composition from the Society's version, was in the collection of Ambassador and Mrs. J. William Middendorf II of New York in 1967. It was given to the White House in 1973 by Mr. and Mrs. Joseph M. Segel. At some point in the mid-1880s, Melrose produced a chromolithograph based on the Middendorfs' version of the same subject (American Paintings and Historical Prints from the Middendorf Collection, p. 50). Many of Melrose's paintings were published as etchings or lithographs. He is also said to have illustrated books (Seibels, 1990). Melrose rarely dated his works, so it is difficult to trace his career after the mid-1880s, when he stopped exhibiting at the NAD. References: "American Art in the Newark Museum: Paintings, Drawings and Sculpture. Newark, New Jersey: The Newark Museum, 1981". "Decade Review of American Artists at Auction" 1/86-1/96. Mansfield, Ohio: Franklin & James Publishing, 1996. Kloss, William, et al. "Art in the White House: A Nation's Pride. Washington, D.C.": White House Historical Association, 1992. Koke, Richard J. "American Landscapes and Genre Paintings in the New York-Historical Society, Vol. II. New York: The New-York Historical Society, 1982. Seibels, Cynthia. "An Early Morning on the Ashley River, Going to Market". Spartanburg, South Carolina: Robert M. Hicklin Jr., Inc., 1990. Weiseman, Marjorie E., Curator of Western Art Before 1850, Oberlin College, Oberlin, Ohio, letter to author, 26 August 1999. According to Ms. Weiseman, two paintings by Melrose were bequeathed to Oberlin College by a patron, Charles F. Olney, in 1904. Both paintings, "Tellulah Chasm, Georgia" (41 3 x 23 inches) and "Waterfall in Nevada" (42 x 42 inches), were acquired by the donor before 1887. The pair was deaccessioned in 1953. Auction Record: $102,000. Estimate $2,000-$5,000.

High Bid:
$1,450.00 – hudsonbuyer27

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Sight: 10.5x14.5”. Overall: 25.5x30.5”. Framed, matted under glass. (Two white ovals in sky of images are spotlight reflections on glass.) Partial AskArt Bio: Born in Dublin, Ireland, Craig achieved notoriety as a watercolorist in his native country before moving to New York in 1863. There he was one of the founding members of The American Society of Painters in Watercolor. The artist traveled throughout upstate New York painting landscape views and took a trip to Kentucky and Ohio in 1865. Craig died tragically while in his mid-forties, drowning in Lake George, New York. Source: Arthur F. Jones and Bruce Weber, The Kentucky Painter: From the Frontier Era to the Great War. Auction Record: $16,100. Estimate: $1,500-$3,000.

High Bid:
$3,700.00 – bcrispy

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Framed oil on canvas painting. Sight: 18x24”. Overall: 26x32”. Estimate: $6,000-$9000. Information on General George Pope Morris who lived in “Undercliff” in Cold Spring, NY depicted in this painting: https://en.wikipedia.org/wiki/George_Pope_Morris

High Bid:
$4,600.00 – bgt765

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Framed oil on canvas painting with lots of activity on land and the Hudson River in the area where the Bear Mountain bridge crosses today. Sight: 19x22”. Overall: 24x27.5”. Partial AskArt Bio: Born in Bellingborough, Lincolnshire, England, Joshua Shaw became a painter of romantic, generic rural landscapes with darkened foregrounds, often with figures, and streams and distant hills.  He was among the earliest pure landscape painters in America, and his style was related to the 17th-century idealized landscapes of Claude Lorraine, showing people at ease in the countryside.  It was a style replaced in popularity by the French Barbizon School painters whose figures were engaged in more realistic hard-working activity.  Auction Record: $129,000. Estimate: $4,000-$8,000.

High Bid:
$2,600.00 – sturgeon

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Framed oil on canvas. Partial AskArt Bio: Landscape painter and merchant.  A prominent Brooklyn, Long Island, New York painter, he is best remembered as one of the first teachers of the respected American genre painter, Edward Lamson Henry (1841 – 1919). His place of birth is variously reported as Maryland or Washington, DC, or possibly New Orleans, Louisiana, where his father lived before moving permanently to New York.  Walter Mason Oddie was the son of Cornelia Wattles (1784 – 1821) and John Ward Oddie (1772 – 1865).  John Oddie was a merchant and native of Great Britain and arrived in the United States around 1800, while Cornelia Wattles was the daughter of Major Mason Wattles (1752 – 1819), who served in the continental army during the American Revolution. Walter Oddie married Julia Austin Meigs (1806 – 1892), the daughter of the Honorable Henry Meigs (1782 – 1861), the U. S. congressman, alderman, and judge from New York.  Together they had at least seven children between 1832 and 1850, including Orville Oddie (b. 1833), the New York banker and broker.  According to William Dunlap, author and compiler of A History of the Rise and Progress of the Arts of Design in the United States (1918), Oddie first became interested in art through watching his father-in-law sketch.  This, according to Dunlap, “…first induced our friend Oddie to try his hand [at art].” After a period of self-study, Oddie eventually became a student of the American Hudson River School painter Robert Walter Weir (1803 – 1889), and of Anthony Lewis De Rose (1803 – 1836), the New York portrait and historical painter.  Like so many artists of the period, he did not follow the profession of painter solely, rather he divided his time between being an artist and a merchant, though it seems he was never really that successful during his lifetime as either (he was declared bankrupt as a broker in 1843).  In his surviving diaries, he notes how the issue of money overshadowed his life, “I shall know no peace of mind until I am once more free from the turmoils of debt — and stand independent of the world as far as relates to obligation.”  It seems he devoted himself more fully to painting after his final business troubles in the early 1840s. Walter Oddie began exhibiting his paintings at the National Academy of Design in Manhattan in 1832 and was quickly raised just a year later to the honor of Associate of the National Academy (A.N.A.).  At his debut at the Academy in 1832 one contemporary critic commented that “He seems to have a passion for the thousand quiet nooks...and he portrays nature as she appears in her everyday garb...”  Three years later (1835) The American Monthly Magazine commented upon Oddie’s submissions to that year’s Academy exhibition: “The views of this artist are possessed of very decided merit – great strength, colors in general natural, perspective good – on the other hand we must confess that his figures do not, by any means, come up to his inanimate nature, and that his skies are at times somewhat harsh – these faults we are willing to designate to Mr. Oddie, because, barring these, he might, and probably will, become a firstrate artist.” At the 1836 Academy exhibition, The Knickerbocker Magazine remarked negatively that his submission was “…one unnatural mass of green, without light or shade,” but by the time of the 1837 exhibition his painting entitled “Landscape,” was heaped with praise by the same publication: “A perfect contrast to the preceding work [by C. C. Ingham]. That is all minuteness and delicacy, this all freedom and general effect. There is a world of industry and professional knowledge in the first, yet we confess that to our taste there is more of the artist in the second.  Mr. Ingham’s work landscape is astonishingly beautiful, but to our mind Mr. Oddie’s is the most pleasing, because [it is] most like nature.” And at the 1840 Academy exhibition, The Knickerbocker Magazine returned again with high praise, and a bit of worry: “Our artist should not suffer his pencil to lie so idle.  We see but few of his efforts lately.  He paints too well to abandon the art.”  The publication The American Repertory of Arts, Sciences, and Manufactures also remarked that year that “Mr. Oddie is an amateur artist, and produces pictures that would do credit to many professionals.” During the next twenty-five years he exhibited numerous canvases at the National Academy, nearly all of them depicting unidentified landscapes.  Only four of his paintings exhibited at the Academy had more specific titles, “Italian Coast Scene,” “Sea Coast,” “Bay Scene, Long Island,” and a final work, exhibited in 1859, which was entitled “Evening, Allegany Mts., West Virginia.” The last work is intriguing, as it indicates that Oddie may have been part of a group of artists that traveled to the western part of Virginia (not yet the independent state of West Virginia) in 1858 to document and illustrate scenes for the Baltimore & Ohio Railroad.  The known members of the group included the artists Asher B. Durand (1796 – 1886), Thomas Hicks (1823 – 1890), Thomas Rossiter (1818 – 1871), the artist and writer David Hunter Strother (1816 – 1888), and the New York Times editor Henry Jarvis Raymond (1820 – 1869).  The current whereabouts of Oddie’s West Virginia work remains unknown. Soon after he began exhibiting at the Academy Oddie also started exhibiting with the Apollo Association, which was in existence from 1839 through 1844 when its name change to the American Art Union became official.  In 1842 he exhibited the paintings “Landscape,” “Road Scene,” “View of an Old Mill at Tappan,” and “View Near Jamaica, Long Island.”  He exhibited with the group again in 1844, when he submitted the works “Pine Brook, New Jersey” and “Wood Scene, Spanish.”  The New Jersey scene was one of several apparently created following visits to the Somerset County region of the state, as noted in Volume 24 of the journal, The New Jersey Historical Series. His submissions to the American Art Union, which occurred between 1847 and 1852, included landscapes again.  At the 1847 exhibition two works, “Bay Scene” and “Coast Scene” were included for display and at the 1848 exhibition, of the fourteen works Oddie exhibited only one had a title other than “Landscape,” and that was the work “Caldwell’s Landing – Sunset,” which depicted a scene located along the Hudson River near Sloatsburg in Rockland County, New York.  In 1849 he showed the work “Landscape – Brook Scene,” in addition to five works simply titled “Landscape” and in 1850 the work “A Mountain Stream” was shown in addition to four works simply titled “Landscape.”  At the 1851 exhibition and sale a work entitled “View on the Housatonic,” a Connecticut scene, was shown, as was the work “Scene Near Lenox, Massachusetts,” which was listed as an unusual, circular painting.  Eight additional generically titled works – “Cascade,” “Coast Scene,” “Meadow Scope,” “Moonlight,” “Mountain Torrent,” “Saw Mills,” “Stony Brook,” (probably not the Long Island village), and “Trout Brook” were also included in the 1851 sale.  The following year, at the 1852 sale dispersing the Union’s collection, the similarly titled (or possibly the same) scenes “Scene Near Lenox, Mass.” and “View on the Housatonic” were sold as was a painting of the Delaware River.  His works in the 1852 exhibition were commented upon in the New York Times, which noted “There were some fine landscape works by Oddie… for which there was some competition.”   By the mid 1850’s Walter Oddie had joined other Hudson River School painters working in the Kaaterskill Clove, as noted in Kenneth Myers The Catskills: Painters, Writers, and Tourists in the Mountains, 1820-1895, and was also working near Lake George, but his trips would soon become fewer and fewer.  Oddie would soon be suffering from digestive problems which made it very difficult for him to work for long stretches of time.  This may explain the several years later in his life during which he did not regularly exhibit at the National Academy or anywhere else.  In his last years he lived in Bedford, part of Brooklyn on Long Island. Walter Mason Oddie died suddenly on Friday, the 15th of November 1865 in Brooklyn, Long Island, New York at the age of 57 years.  His funeral service was held from his home, located at the corner Gates and Grand Avenues that afternoon, with burial following in Lot 18458, Section 115 of Greenwood Cemetery, located in Brooklyn, Kings County, New York. While he was known to be a teacher, few of his students are known to us today.  Among them was a young Edward Lamson Henry (1841 – 1919), who began studying with Oddie during the mid-1850s in New York.  Early in his life, in 1828, Oddie wrote about and sketched the famous 19th century American daredevil, Sam Patch (1799 – 1829), when he jumped from Paterson Falls at Hoboken, New Jersey.  At least one of his drawings, “Hudson Highlands,” was turned into an engraving by J. Duthie and was later used to illustrate Washington Irving’s The Legend of Sleepy Hollow, and The Spectre Bridegroom, published by J.B. Lippincott & Company in 1875. Numerous exhibition sized oils by Oddie have come up at auction during the past two decades.  Many are fully signed and dated, though few have original titles and therefore are nearly impossible to identify as to exact location and subject.  To further complicate matters several contemporary auction houses have utilized or added titles based on the appearance of the works themselves, many of which may be inaccurate as they have often been created without anything to guarantee the location or subject.  One identified work, entitled “Susquehanna River, Near Binghamton,” shows that Oddie may have traveled to that part of New York State to paint.  He also worked in Connecticut, where his paintings “Housatonic River” and  “Landscape scene on the Connecticut [River]” were painted.  Additionally, identified scenes of Massachusetts, New Jersey, and Long Island (as mentioned above) were also exhibited during his lifetime.   The paintings created by Oddie are typical of the Hudson River School tradition and include expansive landscapes and the occasional coastal work.  They often include mountains and lakes, as well as people who are dwarfed by the huge landscapes in which they find themselves.  The paintings do not have a thick impasto, but often have very flat surfaces.  According to William Dunlap, the somewhat barren appearance of Oddie’s early landscapes was due to his inability to depict trees well.  His works are usually dated and fully signed, “Walter M. Oddie,” though a few early works are simply monogrammed “W.M.O.”  Paintings that came through the American Art Union sales often have period labels glued to their stretchers, and at least two of his paintings from the Union’s exhibition of 1849 surfaced at auction in 2011 and 2015. In addition to being an artist, Oddie also was a collector of his fellow painters creations.  Among the most notable work he acquired (by 1838) was Robert Walter Weir’s masterpiece, the “Greenwich Boat Club” (1833).  This work depicts members of the “Boat Club,” of which Oddie was a member, as Sotheby’s noted when the work was sold at auction in 2008: “The "Boat Club" refers to a group of friends that included Walter M. Oddie, an artist and informal student of Weir's… [and] it is likely that Weir's inspiration for the painting was derived from several similar outings made by the group. The men depicted likely include artists Oddie, George Miller, doctors William Draper Brincklé and James Ellsworth DeKay, poet Fitz-Greene Halleck, the guitarist known as Martinez, and Henry Meigs, Oddie's brother-in-law. Weir may have included himself in the center of the image, near the pole. Several of the men, including Weir, belonged to the Sketch Club, an informal salon formed in the 1820s. The appearance of the New York coastline in the distance suggests that the party spent the day on the shores of New Jersey. The men have turned the boat, which probably belonged to Oddie, on its side and fashioned a tent out of the sail.” While there are undoubtedly other exhibitions in which Oddie participated, those presently known include the following:  National Academy of Design, New York, NY, 1832-42, 1846-47, 1849, 1853, 1859 (WV scene); Apollo Association, New York, NY, 1842, 1844; American Art Union, New York, NY, 1847-52; Pennsylvania Academy of the Fine Arts, Philadelphia, PA, 1852, 1855; Brooklyn Art Association, Brooklyn, NY, 1863, 1879 (posthumous); The Washington Art Association, Washington, DC, c. 1856-60; Boston Athenaeum, Boston, MA, (u.d.); Brooklyn Institute, Brooklyn, NY, (u.d.). His works are known to be held in the following public institutions:  Albany Institute of History and Art, Albany, NY; Corcoran Gallery of Art, Washington, DC; Forbes Magazine Collection, New York, NY; Newark Museum, Newark, NJ; New York Historical Society, New York, NY; Reading Public Museum, Reading, PA; and the Winterthur Museum, Winterthur, DE.  The majority of his works reside in private collections throughout the United States.Auction Record: $12,650. Estimate: $4,000-$8,000.

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$4,100.00 – sturgeon

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Sight: 13.5 x 26.5”. Overall: 23x36”. Estimate: $6,000-$12,000.

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$3,600.00 – pkart

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Framed oil on canvas. This painting was featured in the “The Perfect River View” exhibition of 2007 at the Putnam County Historical Society & Foundation School Museum in Cold Spring, NY. It is illustrated in full color as entry #8 on page 25 of the Exhibition catalog. Sight: 17x20”. Overall: 23.5x 27.5. Estimate: $5,000-$9,000. Note: Catalog not included with sale of painting.

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$6,600.00 – bgt765

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Signed/dated 1886, this oil on canvas has a fancy embossed brass over wood frame. Sight: 15.5x20.5”. Overall 29.5”x34.5”. Partial AskArt Bio: Described as "a combination of Hudson River School and Magic Realism" in a 1997 New York Times exhibition review, the work of Frederick J. Sykes seemingly defies the traditional stylistic terms used to define paintings of the nineteenth and early twentieth century.[1] Born in England in 1851, Sykes immigrated to the United States and resided in Brooklyn during the 1880s. The artist's residency after this period is difficult to determine; however, his paintings show that he frequented vistas found in the Hudson River Valley during the 1890s. In 1900, he traveled further afield, creating works that recorded the exotic landscapes and jungles of Mexico. Painting in bright tones with an almost hyper-realistic approach, Sykes's oeuvre has been compared to that of fellow artist Levi Wells Prentice. Exhibitions of the artist's work were held in 1992 and 1997; a monograph on his paintings was also published in 1992 entitled From Real to Surreal: the Landscapes of Frederick J. Sykes. References: “Art Guide," New York Times, November 14, 1997. The majority of this biography has been extracted from Peter Hastings Falk, ed., Who Was Who in American Art 1564-1975: 400 Years of Artists in America Vol. III (Madison, CT: Sound View Press, 1999), p. 3236. Estimate: $8,000-$12,000. Note: Catalog not included with sale of painting.

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$1,950.00 – marktrain

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This View of the NorthGate to the Hudson Highlands with Pollepel Island was the subject of a 19thC Currier & Ives, New York color lithograph (See image of cover of an exhibition catalog which shall accompany the painting to successful bidder.) Sight: 19.5x23.5”. Overall: 23.25x27.5”. Partial AskArt Bio: for Thomas Chambers: Born in England to a merchant sailor and a washerwoman, Thomas Chambers became a painter known for landscape and marine scenes, especially of the Hudson River from Albany and from New York City, all in naive, primitive style with bold color, rhythmic shapes, and strong contours applied with brush-work that made his work seem vital and lively.  He differed from most painters of primitive style because, influenced by his decorative style, he used large, rhythmic shapes with light and shadow instead of flat forms.  And he certainly differed in style from the Hudson River School of Painting that, influenced by European painting, was becoming active at the time he started his career in America.  In that era, some persons were disdainful of the Hudson River painters as being too influenced by Europeans, but in the 21st century, reportedly "Chamber's cartoon like energy and rhythmic sense of design continue to appeal to modern taste". (Foster) Of the artist, it was written in a 2008 exhibition catalogue for the Philadelphia Museum of Art that he was "a self-taught artist who operated in the zone between folk and fine art (and) was this country's first modern artist." (Foster)  This designation was supported by a 1942 exhibition catalogue title of his work, T. Chambers...First American Modern." Little is known about much of the life of Thomas Chambers.  His given birth and death dates are estimates with both 1808 and 1815 listed for him, but 1808 has become the accepted date.  It is known that he came to America in 1832, likely without formal art training, and became a naturalized citizen.  About that same year, he went to New Orleans where he signed a declaration of intention to become a citizen there.  From 1834 to 1843, he was listed in the New York City directory and advertised in the City Directory as a marine and landscape painter and restorer of old paintings.  The ad read: "Fancy painting of every description done to order"; from 1843 to 1851 in Boston; and then in Albany and back to New York City.  He may have lived beyond 1866, but it is thought he returned to England and died there. Among the titles of his Hudson River paintings are Staten Island and the Narrows (Brooklyn Museum), Villa on the Hudson near Weehawken.  (New York State Historical Association) Some of his most dramatic paintings were naval battles of the American Revolution and the War of 1812.  He also did portraits, but none of them have been found.  Much that is known about his artwork comes from knowledge of prints made from his originals. From September 29, 2009 to March 7, 2010, the American Folk Art Museum held an exhibition of his work entitled Thomas Chambers (1808-1896): American Marine and Landscape Painter. Sources include: Michael David Zellman, 300 Years of American Art. Kathleen A. Foster:  Thomas Chambers (1808-1869, American Marine and Landscape Painter. Peter Falk, Who Was Who in American Art. John Howat, The Hudson River and Its Painters. Auction Record $108,000. Estimate: $4,000-$8,000.

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$550.00 – bcrispy

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Partial AskArt Bio: William Henry Chandler was a prolific pastel artist. Living in New Jersey and working from his studios in New York City, Chandler was a deeply religious man who created primarily landscape scenes. He also paints fruit and dead-game still life, seascapes and occasionally some foreign scenes. And not all "Chandler" pastels were created by Chandler's own hand. Rather, at the peak of his business, orders were sometimes so numerous that Chandler employed a stable of artists who created a large number of "original" pastels in the style of Chandler. William displayed an interest in art during his youth but had other interests as well. A hunting accident early in his life left him with a life-long limp. As a young man, Chandler moved to Chicago and obtained artistic work as a cameo engraver in a pearl button manufacturing business. While in Chicago he met and married his first wife, Jennie Freeman. Together they had three children (Kathleen, Annabel, and Nellie). Tragedy struck the Chandler household hard as Nellie died when only a few months old. And then Chandler's wife Jennie died shortly thereafter from typhoid fever. With his wife gone and two remaining children to raise, Chandler returned to northern New Jersey where he lived for the rest of his life and raised his daughters with the help of his sister. Link Wikipedia: https://en.wikipedia.org/wiki/William_Henry_Chandler_(painter) Sight: 9.5x13”. Overall: 13.5x24.5” including the wood and glass shadow box that houses the framed art. Two white ovals in images is a reflection if spotlights on glass. Estimate: $500-$1,000.

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$6,800.00 – pkart

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Partial AskArt Bio: He began to exhibit at the National Academy of Design between 1844 and 1845. As his career began to pick up around 1853, he completed his first book illustration assignment for G. P. Putnam and Company's, "Homes of American Authors." Such illustrated weeklies as Gleason's Pictorial Drawing-Room Companion and Frank Leslie's Illustrated Newspaper also began to carry his illustrations. From 1851 to 1862 Miller worked out of his home at 1 Perry Street and from 1868 to 1877 he lived in his studio in the Dodworth Building at 806 Broadway. Magazine assignments began to decline toward the latter part of the 1860s and Miller considered dropping his career and joining the M. Knoedler Company (once Goupil). However, his career as an artist was saved through the patronage of Henry W. Gear, an artists' supplier, George M. Wing, an agent, and John L. Chambers, a secretary. Around 1873 he spent years organizing a book on American landscapes that he titled "A Thousand Gems," but it was never published. However the drawings provided much of the material for is later work in oil. He was a disciplined worker and prolific painter who produced hundreds of watercolors, oils, and pen and ink sketches. His work can be found in the collection of the New York Historical Society. Source: "American Landscape and Genre Paintings in the New York Historical Society." Top Auction Record: $46,750.00 Estimate: $4,000-$8,000.

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$2,100.00 – jp118

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This is a View south of West Point in the Hudson Highlands known as “The Race.” This area was treacherous to navigate by sail in the 19th Century. Sloops and Schooners would wait in Peekskill Bay below the SouthGate of Anthony’s Nose and Dunderberg mountain, and in Newburgh Bay above the NorthGate of Storm King Mountain and Breakneck Mountain for favorable wind and tide conditions and then “race” through the narrow, deep waters to the safety of the opposite wide bay. There are many sunken wrecks buried below the Hudson River in the Highlands. Estimate: $4,000-$8,000.

High Bid:
$10,200.00 – fiona

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Partial AskArt Bio: George Lafayette Clough was born September 18, 1824, in Auburn, New York, and was that city's leading landscapist and, known as a Hudson River School painter, became Auburn's most noted resident painter of the mid-century.  His mother was widowed shortly after his birth, and he was raised without paternal influence.  He had little formal education and was employed by the age of ten.  By age fifteen he had taken up painting, and his first and informal art influence came from the portraitist, Randall Palmer. In 1844 Clough opened his own studio in Auburn.  About that time Charles Loring Elliott came to Auburn to paint a portrait of William Henry Seward, a local statesman, and chose Clough's studio for that purpose.  Elliott became Clough's teacher, and in 1847, he began formal study for several months in Elliott's New York City studio.  He returned to Auburn from that experience a competent professional portraitist.  Two of his portraits were exhibited at the National Academy of Design the following year.  He married and briefly shared a studio in Auburn with Joseph Meeker. In the early 1850's, he traveled to France, Holland, Italy, and Germany to study. While in each location, Clough would study the local painting traditions and copy some of their works, a common custom of American artists. Upon return to the United States, his efforts concentrated primarily on landscapes. His favorite locales included the Adirondacks, and the woodland areas of upper New York State, Pennsylvania, New England, and Eastern Ohio. When he moved to Cleveland about 1862, Clough began painting urban views. Spending most of the 1880's in the New York City area, he became involved in the Brooklyn Art Association. Source: Michael David Zellman, 300 Years of American Art, p. 208. Auction Record: $37,200. Estimate: $15,000-$30,000.

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$6,600.00 – bcrispy

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Sight: 29.5x43.5”. Overall: 33.5x47.5” Little is known about Kummer. He was born in Germany and emigrated to America settling in Missouri. Estimate $5,000-$15,000.

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$1,050.00 – sparky8707

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Partial AskArt Bio: An illustrator for William Cullen Bryant's book Picturesque America and a painter associated with the Hudson River School of painting, Harry Fenn was born in England. He trained as a wood engraver before becoming a painter. One of his strengths was his ability to capture highly detailed topographical scenes, and much of his work was intended for reproduction. He arrived in the United States in the mid 1860s purportedly to see Niagara Falls. He stayed for six years, went to Italy for art study, and then returned to illustrate his first book, Snow Bound by John Greenleaf Whittier. A second book illustration followed, Ballads of New England. These publications were the "first illustrated gift books produced in this country, and they marked an era in the history of book making." (Falk 1104). In 1870, Harry Fenn traveled extensively in the United States including to California for the project, Picturesque America. In 1873, he went to Europe and the Orient for subsequent book illustration projects, Picturesque Europe and Picturesque Palestine, Sinai and Egypt. These books brought him fame. In the early 1900s, he went to New Orleans to do color illustrations for My Winter Garden by Maurice Thompson. In the United States, Harry Fenn had a studio in New York City and lived in Montclair, New Jersey. He was a founder of the American Watercolor Society, the Salmagundi Club and the Society of Illustrators. He exhibited in New York at the National Academy of Design and the American Water Color Society. Other exhibition venues included the Boston Art Club, the Brooklyn Art Association,and the New Orleans Art Association. One of his well known paintings is View of the Colt Residence, home of the famous arms manufacturer, Samuel Colt. Palisades, Hudson River is one of the paintings that groups him among the Hudson River School painters. It is a view of the lower Hudson along the shores of New Jersey and depicts the steep perpendicular walls of trap rock and fissures of the Palisades. Sources: Peter Falk, Who Was Who in American Art John Howat, The Hudson River and Its Painters Edan Hughes, Artists in California, 1786-1940 Auction Record: $5,500. Estimate: $2,000-$5,000.

High Bid:
$1,850.00 – trustee

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Signed/dated 1885, this oil on canvas depicts a young girl with bonnet and basket walking down the road toward a woman (mother?) on a dirt road with wagon tracks. Most likely this is Yonkers, NY. Sight: 10x8”. Partial AskArt Bio: Described as "a combination of Hudson River School and Magic Realism" in a 1997 New York Times exhibition review, the work of Frederick J. Sykes seemingly defies the traditional stylistic terms used to define paintings of the nineteenth and early twentieth century.[1] Born in England in 1851, Sykes immigrated to the United States and resided in Brooklyn during the 1880s. The artist's residency after this period is difficult to determine; however, his paintings show that he frequented vistas found in the Hudson River Valley during the 1890s. In 1900, he traveled further afield, creating works that recorded the exotic landscapes and jungles of Mexico. Painting in bright tones with an almost hyper-realistic approach, Sykes's oeuvre has been compared to that of fellow artist Levi Wells Prentice. Exhibitions of the artist's work were held in 1992 and 1997; a monograph on his paintings was also published in 1992 entitled From Real to Surreal: the Landscapes of Frederick J. Sykes. References: “Art Guide," New York Times, November 14, 1997. The majority of this biography has been extracted from Peter Hastings Falk, ed., Who Was Who in American Art 1564-1975: 400 Years of Artists in America Vol. III (Madison, CT: Sound View Press, 1999), p. 3236. Estimate: $8,000-$12,000. Note: Catalog not included with sale of painting.

High Bid:
$2,000.00 – 0072

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Sight: 14x19.5”. Overall: 21.5x27”. Classic Hudson River School View in the Hudson Highlands with Pollepel Island in the background. Estimate: $2,000-$5,000.

High Bid:
$1,850.00 – dchasler

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Attributed to Daniel Charles Grose (1838-1900). Note: See image of 2003 Fair Market Value Appraisal. Partial AskArt Bio: Likely born in England, Daniel Grose lived in Canada in the 1860s and in Washington DC in the 1870s and 1880s.  His uncle was English landscape painter Francis Grose, and it is thought that Daniel settled in Canada because so many of his romantic landscapes are in Canadian museums. Judging by his subject matter of the 1860s to 1880s, he also painted in Maine, the Hudson River Valley, the Rocky Mountains, California including Yosemite, and Connecticut.  His wife was artist Estelle Grose, with whom he toured around the world for five years. He died on February 24, 1900 at his wife's mother's home in Arlington, Virginia. Source: Peter Hastings Falk (ed.), Who Was Who in American Art. Peggy and Harold Samuels, Encyclopedia of Artists of the American West Obituary, Washington Post, Feb.25, 1900. Estimate: $2,000-$6,000.

High Bid:
$1,100.00 – westparkjim

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Framed oil on canvas. Sight: 15x9.5”. Overall: 19.5x14”. Wonderful subject matter. Estimate: $2,000-$4,000.

High Bid:
$5,400.00 – bcrispy

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Framed oil on canvas. Sight: 23.75x19.75”. Overall: 27.5x23.5”. Partial AskArt Bio: Growing up in Chicago, Annie Shaw, painter, etcher and art teacher, became in 1874 at age 22, the first woman to open an art studio in Chicago.  She showed early art talent indicated by her winning an award for pencil drawing at age twelve.  From 1868 to 1872, she studied with Henry Chapman Ford, and two years later opened her studio.  She traveled throughout the country, doing plein-aire painting, and also established a reputation for excellent teaching at the Chicago Academy of Design, predecessor of the Art Institute.  In 1876, Shaw was elected to full membership of the Academy, the first women to achieve that distinction.  It is thought that she learned etching from John Vanderpoel at the Chicago Academy of Design when she was a student. Between 1881 and 1884, she had a studio in New York City, and from 1884 to 1885 in Boston.  "A solo exhibition and sale held at the Art Institute of Chicago after her death included 241 oil paintings and 50 watercolors; of which very few can be found today.  None of her etchings are presently located." Exhibition venues include Illinois State Fair, Centennial Exhibition, Philadelphia, 1876; Metropolitan Museum of Art, Boston Museum of Fine Arts, National Academy of Design, Bohemian Art Club in Chicago, Salmagundi Club, American Watercolor Society, Society of American Artists, Providence Art Club, Chicago Inter-State Industrial, Pennsylvania Academy of the Fine Arts, Boston Art Club, and Art Institute of Chicago. Source: Peter Hastings Falk, Editor, Who Was Who in American Art. Jean S. Hunt, Walking With Women Through Chicago History II. Note: Most 19thC women landscape artists signed only with their initials so as to disguise their gender from the buying public. Annie was one of the few accomplished women artists who signed her full name. Estimate: $4,000-$8,000.

High Bid:
$2,800.00 – 0072

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Framed oil on canvas. Sight: 17x25”. Overall: 27x35”. A.P. Close was a young, established book illustrator who opted to travel with artist Edwin Lord Weeks (1849-1903) of Boston to the Middle East in 1871. Close became ill in Beirut with a fever. He died and was buried there.. His promising career was cut short. Included with this rare painting is a reprint of an 1869 book illustrated by Close: “White And Red, A Narrative of Life Among The Northwest Indians.”

High Bid:
$9,400.00 – crossfitter

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Framed oil on canvas. Partial AskArt Bio: Edmund Darch Lewis was born in Philadelphia, the son of a prominent businessman. According to family tradition he was educated at a private school and studied painting with the German-born landscapist Paul Weber (1823-1916).  He first exhibited at the Pennsylvania Academy of the Fine Arts in 1854, where he was elected an associate in 1859 and a full Academician in 1862.  He also exhibited at the Boston Athenaeum from 1858 to 1869, and the National Academy of Design in New York in 1860. Lewis never married and lived a comfortable existence with his parents up to the age of fifty.  The large, detailed, and romantic landscapes that he painted between 1860 and 1876 reflect the influence of his famous contemporaries Frederic Edwin Church (1826-1900) and Albert Bierstadt (1830-1902).  Lewis was a prolific artist whose views of Pennsylvania, New York, and New England were avidly collected by Philadelphia art patrons, and by the early 1880s he had amassed a fortune.  He devoted the last thirty years of his life to amassing a huge collection of fine and decorative arts that he displayed in his sumptuously furnished townhouse on 526 South 22nd Street. Lewis exhibited at the Pennsylvania Academy of the Fine Arts (1854-69) and was elected an associate of the Academy in 1859. He also showed at the National Academy of Design in New York (1860), the Boston Athenaeum (1858-69), and the Brooklyn Art Association (1862-70). Lewis's work is in several public collections including the Mobile Museum of Art, Alabama; Cummer Museum of Art and Gardens, Jacksonville, Florida; Worcester Art Museum, Massachusetts; Frederic Remington Art Museum, Ogdensburg, New York; and the National Cowboy and Western Heritage Museum, Oklahoma City, Oklahoma. Auction Record: $92,500. $15,000-$25,000.

High Bid:
$5,800.00 – bcrispy

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Framed oil on canvas signed in monogram. Partial AskArt Bio: Born in New Haven, Connecticut, Thomas Rossiter began his career as a portrait artist but also did historical and religious genre and Hudson River landscapes including Niagara Falls, influenced by his good friends, Thomas Cole, Asher Durand and John Kensett. He opened a studio in New Haven in 1838, and the next year in Troy, New York.  From 1840 to 1846, he was in Europe, traveling part of the time with Durand, Kensett, Cole and John Casilear.  Upon his return he settled in New York and shared a studio with Kensett and Louis Lang and earned his living from portraits.  However, his religious paintings received attention as two of them toured the United States: Miriam and Rebecca at the Wall. From 1853 to 1856, he lived in Paris, and then returned to New York to devote himself to history and religious paintings.  In 1860, he built a home and studio in Cold Spring, on the Hudson River, and lived there until his death. Source: Peter Falk, Who Was Who in American Art. Auction Record: $104,500. Estimate: $3,000-$7,000.

High Bid:
$2,900.00 – gmknyc

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Partial AskArt Bio: Charles Chapin had studios in Boston, New York City, New Orleans, Los Angeles and San Francisco.  Appearing to change locations continually, he had an itinerant career as an illustrator, art teacher and painter of portraits and landscapes in oil and watercolor. Chapin painted landscapes that reflect the drama and emotional expression characteristic of 19th-century landscape painting, especially the excitement over natural wonders such as the Grand Canyon and scenes in the Adirondack Mountains. He was also noted for his portrait of Polish actress Helena Modjeska , posed when she played the role of Mary Queen of Scots.  In New Orleans he did Creole subjects. He was a founder of the Lotus Club* in New York City, and then headed to California, where he was in San Francisco from 1876 to 1877 and exhibited with the San Francisco Art Association.  After that he went to the southern United States. From 1882 to 1885, he was active in New Orleans, listing himself as a portrait and landscape painter and "teacher of painting". (Mahe 73)  In 1882 and 1883, he spent summers in New Orleans, but was there most of the year during 1884 and 1885. In the 1880s, Chapin also painted southern Florida scenes on several winter visits to Florida where he focused primarily on the central and southern Gulf coast including the Everglades. Many persons, not knowing of his time in Florida, have mistakenly identified the location of those paintings as Louisiana, but they are distinctive from his Louisiana paintings in that the tropical foliage depicted would not grow in Louisiana.  The Florida views date almost exclusively from the 1880's. (Arnold) By 1887, he had moved to Los Angeles. Charles Chapin was an illustrator of Civil War scenes for Harper's Weekly in 1864, and also painted in Arizona.  One work by him of the Grand Canyon is dated 1886 and titled Lower Falls, Grand Canyon of the Yellowstone River.  It is in the collection of the First National Bank of Chicago. In December 1888, Chapin disappeared, and in March 1889 a body identified as his was recovered from the North River in the Adirondack region of upstate New York. Auction Record: $12,320. Estimate: $2,000-$6,000.

High Bid:
$1,850.00 – paulieb

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Framed oil on board. Sight: 11.5x6.5”. Overall: 20x15”. Partial AskArt Bio: George Lafayette Clough was born September 18, 1824, in Auburn, New York, and was that city's leading landscapist and, known as a Hudson River School painter, became Auburn's most noted resident painter of the mid-century.  His mother was widowed shortly after his birth, and he was raised without paternal influence.  He had little formal education and was employed by the age of ten.  By age fifteen he had taken up painting, and his first and informal art influence came from the portraitist, Randall Palmer. In 1844 Clough opened his own studio in Auburn.  About that time Charles Loring Elliott came to Auburn to paint a portrait of William Henry Seward, a local statesman, and chose Clough's studio for that purpose.  Elliott became Clough's teacher, and in 1847, he began formal study for several months in Elliott's New York City studio.  He returned to Auburn from that experience a competent professional portraitist.  Two of his portraits were exhibited at the National Academy of Design the following year.  He married and briefly shared a studio in Auburn with Joseph Meeker. In the early 1850's, he traveled to France, Holland, Italy, and Germany to study. While in each location, Clough would study the local painting traditions and copy some of their works, a common custom of American artists. Upon return to the United States, his efforts concentrated primarily on landscapes. His favorite locales included the Adirondacks, and the woodland areas of upper New York State, Pennsylvania, New England, and Eastern Ohio. When he moved to Cleveland about 1862, Clough began painting urban views. Spending most of the 1880's in the New York City area, he became involved in the Brooklyn Art Association. Source: Michael David Zellman, 300 Years of American Art, p. 208. Auction Record: $37,200. Estimate: $2,000-$6,000.

High Bid:
$3,200.00 – jp118

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Framed oil on canvas. Sight: 26x36”. Overall: 32x42”. Estimate: $4,000-$7,000.

High Bid:
$3,500.00 – b99

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Framed oil on board. The four-masted schooner Hope Sherwood launched in 1903, it was 172.8 feet long and had a breadth of 36.6 feet. Info: https://provlibdigital.org/islandora/object/islandora%3A10187?solr_nav%5Bid%5D=d381f2c7fc5cc232a172&solr_nav%5Bpage%5D=3&solr_nav%5Boffset%5D=2 . Partial AskArt Bio: Antonio Jacobsen, America's folk art hero recognized for his unsurpassed contributions to America's maritime history, recorded domestic and international ships as they passed through the age of sail to steam. He was a prolific painter and throughout his life painted an estimated 6000 paintings. Jacobsen was born in Copenhagen, Denmark, on 2 November 1850, where, for generations his family had been violin makers. His father encouraged him to practice a similar craft. At an early age he enrolled at the Royal Academy of Design in Copenhagen, however, reversed family fortunes forced him to withdraw. At the age 18 it was compulsory for him to join the Danish military forces, but he decided instead, to sail for America. He left his family behind and arrived in New York in the early 1870's. Like many other immigrants, he went to New York City's Battery Park looking for work. He passed his days sketching the ships that sailed in and out of the harbor. Not before long a representative from Marvin Safe Company noticed his drawings and offered him a job decorating safes. His ability as an artist was further recognized as he began to receive commissions from sea captains and ship owners and eventually Steamship companies, to record their entire fleet. The Old Dominion Line, The Fall River Line and The White Star Line are some of the steamship companies that commissioned him to paint portraits of all the ship in their respective fleets. In addition, the Clyde Line, the Black Ball Line and the Mallory Line, the Anchor Line and Red Star Lines also sought his services. The notoriety that Jacobsen received from all these commissions helped establish him as the foremost chronicler of American shipping in the late 19th and early 20th centuries. In 1878, he married Mary Melania Schmidt. The couple established residence, combining their working and living space, in New York City at 257 Eight Ave. Three children were born to the couple: Carl Ferdinand, Helen and Alphonse. Both of Jacobsen's sons were competent painters. In 1880, with Jacobsen's increasing prosperity, the couple was able to move to a beautiful house in Hoboken, New Jersey. This home became a mecca for seafarers and artists as well. On Sundays, Jacobsen would arrange concerts, at his house, of him and his friends playing chamber music or string quartets. Several of the artists that visited include Fred Pansing (well-known ship painter at the time), James Buttersworth (painter of yacht pictures), F. Bishop (marine artist from New Haven), and Frederick Cozzens (Staten Island artist, who specialized in harbor scenes). Jacobsen's work was sought after in his day, and if he was short of funds, he had no trouble finding commissions. At a time when a certified public accountant was earning forty or fifty dollars a week, Jacobsen earned $150 to $200 with little effort. When lithographs became popular, however, orders for Jacobsen's paintings dwindled and he refused any attempt to commercialize his paintings. As the years passed, Jacobsen's style became more progressive; he depended less on commissions and more on his own creativity. His rigid style softened and he painted imaginative marine works including racing scenes, shipwrecks and some ocean views. Works by Jacobsen can be seen in most major collections of maritime art including the: Peabody Museum, Salem, MA.; The Mariners Museum, Newport News, VA. Auction Record: $224,500. Estimate: $5,000-$15,000.

High Bid:
$6,800.00 – bcrispy

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Partial AskArt Bio: A landscape, portrait, marine and history painter, Edmund C. Coates lived in New York City during his active period 1837-1872. Brooklyn and New York City directories from those years list him as Edward, Edmund C., E.C. Coates, and E.G. Coates. His paintings include landscapes of Canada and Italy although it is not known if the artist traveled to those countries or if other works inspired the scenes. He also painted in the White Mountains of New Hampshire and, listed as one of the Hudson River School painters, did numerous Hudson River Valley scenes such as Shipping on the Hudson River, 1855. His painting titled Washington's Headquarters at Newburgh, 1867, depicted a popular scene among the Hudson River painters because it was George Washington's headquarters painted against the backdrop of Storm Mountain near the town of Newburgh. (Note: Reference is to this painting). Collections holding work by Coates include the New York Historical Society, the New York State Historical Association and the Shelburne Museum. Sources include: A Century of American Landscapes 1812-1912, Frank S. Schwarz and Son, Philadelphia, 1986. Peter Falk, Who Was Who in American Art. John Howat, The Hudson River and Its Painters. Top Auction Record: $40,250. Estimate: $6,000 - $12,000.

High Bid:
$5,600.00 – bcrispy

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Framed oil on canvas. Partial AskArt Bio: A painter, sculptor, writer, and teacher, John Weir was a highly talented man whose painting was overshadowed by his father, Robert Weir, the long-time West Point Academy drawing teacher, and his brother, J Alden Weir, well-known impressionist painter. His distinguished reputation was primarily based on his accomplishments as a teacher and administrator. For many years, from 1869 to 1913, John Weir was the Director of the Yale University School of Fine Arts. He was also a commissioner of the art exhibition at the Centennial Exposition in Philadelphia. Weir was born at West Point, New York, and by age 20, had a studio in New York City in the Tenth Street Studio Building, the first building in America dedicated to art studios, and there he associated with many leading painters of the day. He earned attention early in his career for paintings of industrial scenes, some of the earliest in American art history. Examples are "The Gun Foundry," 1866 in the Putnam County, New York Historical Society, and "Forging the Shaft," of 1867, which was subsequently destroyed. He did them in monumental sizes with much chiaroscuro (contrasting light and dark) effect, showing labor figures in the fiery glow of furnaces. He spent a year in Europe, painting panoramic landscapes, and then returned to New Haven, Connecticut to become associated with its School of Fine Arts. Much of the remainder of his painting was impressionist in style and depicted quiet landscapes, especially of the Hudson River region. These pieces, unlike his industrial scenes, did not much distinguish him from the numerous other painters doing the same style and similar subject matter. He also painted portraits including that of Yale president Theodore Dwight Woolsey and Benjamin Silliman, a professor. Weir died in Providence, Rhode Island in 1926. Source: "300 Years of American Art" by Michael David Zellman, and "Dictionary of American Art" by Matthew Baigell. Auction Record: $88,000. Estimate: $3,000-$6,000.

High Bid:
$2,600.00 – jhurewit

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C-1840/50 this painting has an expansive View looking northeast from west shore having a single observing figure. Note: the artist was not familiar with the varying depths of the Hudson or he/she would not have placed the steamboat along the inside of Pollepel Island in this composition. Even at high tide, the steamboat would have great difficulty navigating in the shallows found in that area. This is the only View from this vantage point that I have ever seen. Rare and early. Estimate: $3,000-$5,000.

High Bid:
$5,200.00 – paulieb

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Sight: 17.5x13.5”. Overall: 23x19”. Partial AskArt Bio: William Hart is a formidable Hudson River School artist who painted portraits, landscapes, allegorical and genre paintings. He was born in Paisley, Scotland on March 31, 1823, five years before his brother and fellow painter James Hart (1828-1901).  The Harts moved to Albany, New York in 1831.  William apprenticed to a carriage maker, but by the time he was 18 he turned to portrait painting. In 1840, he began to travel across the country painting landscapes, and by 1845 he had painted in Troy, New York; Richmond, Virginia; and in Michigan, where he spent three years.  After a brief trip to Scotland, he returned to Albany in 1847 and opened a studio in New York City in 1854. Hart painted Peace and Plenty the following year.  In 1855, he was elected an Associate of the National Academy after having established his reputation as a fine landscape painter with Peace and Plenty.  In 1858, he was elected a Full Member of National Academy of Design in New York City, and in 1865, was a founder and President of the American Water Color Society from 1870 to 1873. He was a frequent exhibitor in New York City, Philadelphia, Boston, Baltimore and Washington.  His last years were spent in Mt. Vernon, New York, where he died on June 17, 1894.  His work is represented in the Metropolitan Museum, the Brooklyn Museum of Art, the National Gallery, Corcoran Gallery of Art, Museum of Fine Arts, Boston and in many other museums and institutions. Source: Matthew Baigell, Dictionary of American Art Michael David Zellman, 300 Years of American Art. Peter Falk, Who Was Who in American Art. Auction Record: $134,500. Estimate: $4,000-$8,000.

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