Sun Bath, 1914, oil on canvas, 36-1/8 x 30-1/8 in. Framed by Gill & Lagodich for the Chrysler Museum of Art. Period c. 1915 American Arts and Crafts painting frame; Frederick Harer, PA maker.; gilded hand-carved wood; incised signature on verso HARER; added flat gilded liner; molding width: 4-3/8 in. “Drenched in light, the pale dresses of these two young women erupt with rainbows of yellow, orange, purple, and blue. Despite their casual poses, the surrounding flower garden suggests that their feminine beauty is carefully nurtured—the product of a sophisticated education. Philip Leslie Hale and his Boston patrons believed that the pursuit of knowledge and beauty were moral duties for both sexes. Hale’s wife, Lillian Westcott Hale, and his sister, Ellen Day Hale, were also painters, while his cousin Charlotte Perkins Gilman was a prominent writer and feminist.” —museum label.

Blessed, 1898, pastel on board. Framed by Gill & Lagodich for the High Museum of Art. Period c. 1880s American Aesthetic-style frame, gilded applied composition ornament on wood. “The first work May Hallowell exhibited at the Paris Salon was a pastel portrait of a little girl, a medium that she used throughout her career. The inherent fragility of pastel pigments contributes to the ethereal mood of this picture, while the stable composition lends mass and weight to the figure. The model’s features are specific, as in a portrait, yet she is crowned with a halo. That detail, together with her solemn expression, the timeless style of her blue robe, and the vagueness of the setting, suggests an identification with the Virgin Mary, yet Hallowell leaves the meaning of the image open.” — museum label. Purchase with funds from the Lawrence and Alfred Fox Foundation for the Ralph K. Uhry Collection.

Still Life with Bust of Dante, 1883, oil on panel, 10-5/16 x 13-13/16 in. Framed by Gill & Lagodich for the High Museum of Art. Custom-made hand-carved replica frame, 17th-century Spanish, reverse profile with gilded hollow sight edge, molding width 3-1/2 in. “In this jumble of old books and sheet music, William Michael Harnett illustrates moral and immoral behavior through careful literary juxtapositions. Most provocative is a pairing of Dante’s Divine Comedy, whose saintly Beatrice guides the search for salvation, with the scandalous Juliette, the Marquis de Sade’s lustful book about a young woman’s sexual improprieties. Such moralizing reflected an American preoccupation with social codes and conduct. Harnett animates the display with objects perched in unstable positions: the whole arrangement appears ready to collapse like a house of cards.” —museum label

Still Life with Violin, 1885, oil on panel, 21-5/8 x 17-5/8 in. Framed by Gill & Lagodich for Sotheby’s New York, Nov. 19, 2019, Lot 43, sale price $500,000. Period 19th-century American painted wood frame with period gilded flat-and-hollow liner, molding width 4-3/8 in. "In 1885, William Michael Harnett worked briefly in Paris, where he is known to have completed a version of After the Hunt and at least two still lifes on panel. … In the present work, Harnett alludes to objects related to his travels abroad, including the dated vellum book of Dante's Divina Comemedia. Writing on the importance of the objects that the artist included, John Wilmerding explains that Harnett "presented objects from contemporary experience that had been subjected to use and wear, thereby linking the past to the present" (William M. Harnett, New York 1992, p. 153). The delicate balance struck between the old and the new—the European tradition and the American experiment—echoes the sentiment of the age and is infused with subtle social commentary.” —Sotheby’s catalogue note.

"The Rendevous," 1928, oil on canvas, 30" x 30". c. 1910 American Arts and Crafts painting attributed to Yates, Bucks County maker; lemon gilded hand carved wood, reverse cushion profile. Molding width: 3-3/4” Period frame from Gill & Lagodich. Petrie Institute of Western American Art - Denver Art Musuem.

Penn’s Treaty With The Indians, c. 1830-1840, oil on canvas, 17-5/8” x 23-5/8”. Framed by Gill & Lagodich for the Museum of Fine Arts, Houston. Rare c. 1830-40s American Hicks style painting frame, faux-painted wood, flat top edge and wide scoop profile with corner blocks; molding width 2-3/4”  Credit Line: The Bayou Bend Collection, gift of Alice C. Simkins in memory of Alice N. Hanszen; with frame acquired with funds provided by Miss Ima Hogg, by exchange