Thomas Moran

THOMAS MORAN The Much Resounding Sea. Etching, roulette and drypoint with sandpaper ground on Japan paper, 1886. 370x827 mm; 14 3/4x32 5/8 inches, wide margins. Second state (of 2), with the shark remarqué printed in red ink lower right. Signed in pencil, lower left. A superb impression of this large etching. Based on the same-titled painting, an East Hampton seascape from 1884 in the National Gallery of Art, Washington, DC (Anderson 66). Klackner 45. Estimate $4,000-6,000

Lot Description Thomas Moran (1837-1926) Conway Castle signed with initials in monogram and dated 'TMoran/1917' with artist's thumbprint (lower right) oil on canvas 25 x 36 in. (63.5 x 91.4 cm.) Provenance John Mable Price, circa early 1930s. Private collection, Oklahoma, gift from the above. By descent to the present owner. Exhibited Tulsa, Oklahoma, Thomas Gilcrease Museum, n.d. View Lot Notes › This painting will be included in Stephen L. Good and Phyllis Braff's forthcoming catalogue raisonné of the artist's work.

Property of another owner Thomas Moran (American, 1837-1926) Fishing Village signed and inscribed 'TMoran After E. Isabey.' (lower right) oil on canvas 29 3/4 x 24 3/4in PROVENANCE: The artist Private collection, Pennsylvania, acquired from the above, circa 1880s By descent to the present owner EXHIBITED: New York, Milch Galleries, circa 1930s The present work is based on a composition by Eugène Isabey (French 1803-1886) in the collection of the Duke of Hamilton. It is titled in the catalogue raisonnè as Port Hollandais ? (see P. Miquel, Eugène Isabey, 1803-1886:la marine au XIXe siècle vol. two, p.170, no.839) This painting will be included in Stephen L. Good and Phyllis Braff's forthcoming catalogue raisonné of the artist's work.

Lot 307 Thomas Moran American, 1837-1926 Stormy Skies, Long Island Signed TMoran. with monogrammed first initials and dated 1885. (lr), inscribed in chalk Gloria #42/Kennedy and scratched 10340 on the stretcher Oil on canvas 12 1/8 x 28 1/8 inches Provenance: Alexander Gallery, New York This is a seminal, early Long Island subject by Thomas Moran, executed the year after he settled in Easthampton, constructing the first artist's studio on the East End. The artist painted relatively few Long Island subjects in this period, particularly since he visited Venice in 1866, and rapidly turned to painting Venetian themes. The unusual presence of cow herds in this expansive composition suggests the famed grazing area around Montauk. Moran essentially based his paintings on memory, but incorporated details from the field sketches that he characteristically made onsite. Phyllis Braff has noted the similarity between the present work and a field sketch, Montauk , graphite on watermarked laid paper, 7 x 10 inches, included in the permanent collection of the Gilcrease Institute acc. 1326.694. Executed in graphite on watermarked gray laid paper, it matches other Easthampton sketch pages dated 1885, and was inventoried by his daughters in 1916 as sketch #315. The small building near the water's edge, perhaps a fishing station, at the right in the painting also appears the the Gilcrease's drawing, and the terrain is similar in both compositions. This painting will be included in Stephen L. Good and Phyllis Braff's forthcoming catalogue raisonne of the artist's work. We extend sincere thanks to Phyllis Braff for her kind assistance in documenting this work. C Estate of Waldo Hutchins III Estimate $150,000-250,000 Frame rubbing, with corresponding inpaint. Scattered craquleure throughout. Inpainted craquelure in the storm cloud in the upper left, the storm cloud at the upper center, the grasslands in the center and the sand dunes in the lower right quadrant. Small scattered touches of inpainted craquelure elsewhere. No further restoration is visible under UV light. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.

Thomas Moran (1837-1926) The Bathers signed with monogram 'TM.' (lower right) oil on canvas 20½ x 16½ in. (52.1 x 41.9 cm.) Painted circa 1879. The artist. Mrs. Annie Chapman Coltrin, Washington, D.C., acquired from the above. A.E. Coltrin, Fullerton, California, by descent. Sotheby Parke Bernet, Los Angeles, California, 13-14 November 1972, lot 200. Gloria and Richard Manney Collection, acquired from the above. Sotheby's, New York, 27 May, 1993, lot 209. Acquired by the present owner from the above. This painting will be included in Stpehen L. Good's and Phyllis Braff's forthcoming catalogue raisonné of the artist's work.