Church By The Barrens, Indian Harbor, Maine, 1940, oil on board, 22 x 28 inches. Framed in an original c. 1948 Yasuo Kuniyoshi frame from the Gill & Lagodich collection; wormy chestnut, dimensional reverse profile; various markings verso: Downtown Gallery label, rubber stamp: Butler Art Institute, Molding width 4-7/8”  LOT 14, SOTHEBY’S AMERICAN ART, NEW YORK 23 MAY 2017  Lot Sold $852,500

The Last of New England—The Beginning of New Mexico, 1918/19, oil on cardboard, 24 x 30 inches. Framed by Gill & Lagodich for the Art Institute of Chicago: period c. 1930s-40s American Modernist frame, House of Heydenryk, New York maker, wormy chestnut wood with polychrome patina; silver leaf with painted gesso flat liner. Label on Verso: a HEYDENRYK frame / HHJR / THE HOUSE OF HEYDENRYK / 141 WEST 54TH STREET / NEW YORK 19, N.Y.  "In 1918 Marsden Hartley went to New Mexico in search of an appropriate subject for an authentic American modern art. In the artist’s 18 months there, the Southwest inspired him to reengage with nature and more realistic representational modes. Hartley described the scenery to his dealer, Alfred Stieglitz: “I like the country very well for it is big and clean and true, and there is nothing dirty standing between one and the sunlight, as there is in the east.” In The Last of New England—The Beginning of New Mexico, Hartley celebrated leaving the exhausted East for the unspoiled landscape of the Southwest, which he felt offered weary Americans an opportunity for rejuvenation in nature." — Art Institute of Chicago, Permanent collection label. Alfred Stieglitz Collection, 1949.546

Motif From African Textile I and II,  1925, oil on board, 29-1/2" x 9-3/8", Framed by Gill & Lagodich for Colby College Museum of Art. Matched pair of custom-made replicas of first-quarter 20th -century American frames, black-painted patinated wood; molding width 2”.  Gift of the Alex Katz Foundation Accession Number: 2013.533

Portrait of Albert Pinkham Ryder, 1938, Oil on Masonite, 28” x 22". Framed by Gill & Lagodich for the Metropolitan Museum of Art. Period c. 1930s American Modernist painting frame, House of Heydenryk, New York makers; silver-gilded beveled sight edge, wormy chestnut reverse profile, molding width: 4-3/8”  c. 1930s American Modernist painting frame, House of Heydenryk, New York makers; silver-gilded beveled sight edge, wormy chestnut reverse profile, molding width 4-3/8 in. Previously on view at the Met Breuer in the stellar exhibit “Marsden Hartley’s Maine”, March 15 – June 18, 2017, and at Colby College Museum of Art, July 8 – November 1, 2017. “Having painted a series of dark landscapes inspired by the work of Albert Pinkham Ryder in 1909, Hartley returned to his American artistic hero late in his career. This highly imaginative portrait of Ryder is Hartley’s posthumous tribute to the painter, whose isolated, melancholy existence and financial poverty struck a sympathetic chord in him. In the portrait, Ryder appears frontal and isolated, like a saint or an icon. Hartley also composed a poem and several essays about the artist, including one in which he describes Ryder’s eyebrows as ‘lichens overhanging rocks of granite.’” —Met Museum label

Church At Head Tide, Maine, 1938, oil on panel, 28" x 22". Framed by Gill & Lagodich for the Colby College Museum of Art. Period c. 1930s-40s American Modernist painting frame, hand-carved pickled wormy chestnut, patinated gesso on wood flat-and-hollow liner. Molding width: 4-7/8” Painting bequest of Adelaide Moise; Colby Museum accession number: 1986.021  was on view at The Met Breuer, New York City, in the stellar exhibit “Marsden Hartley’s Maine”, March 15 – June 18, 2017 (continued Summer into Autumn at Colby College Museum of Art, July 8 – November 1)

New Mexico Recollection No. 6, 1922, oil on board, 25-1/4” x 35-1/2”. Framed by Gill & Lagodich for the Petrie Institute of Western Art, Denver Art Museum. Custom-made replica of c. 1930s-40s American painting frame, notch-carved vintage wormy chestnut with polychrome wash finish, patinated gesso painted flat and bullnose liner, molding width 5” Painting: William Sr. and Dorothy Harmsen Collection 2001.455

Evening Storm, Schoodic, Maine, 1942, oil on masonite, 30” X 40”  Framed by Gill & Lagodich for the Museum of Modern Art exhibition loan. CUSTOM-MADE REPLICA of a period frame from the Gill & Lagodich Collection:  c. 1930s-40s American painting frame; notch-carved wormy chestnut with polychrome wash finish; gesso painted flat and bullnose liner.  Molding width: 4-7/8”   was on view at The Met Breuer, New York City, in the stellar exhibit “Marsden Hartley’s Maine”, March 15 – June 18, 2017 (continued Summer into Autumn at Colby College Museum of Art, July 8 – November 1)

Kennebec River, West Georgetown, 1939, oil on board, 22” X 28” CUSTOM-MADE REPLICA c.1930s-40s American Modernist frame style, period chestnut, reverse profile, with taupe flat-and-bevel liner. Molding width 5” Framed by Gill & Lagodich for a Private Collection, New York.   was on view at the Met Breuer, New York City, in the stellar exhibit “Marsden Hartley’s Maine”, March 15 – June 18, 2017 (continued Summer into Autumn at Colby College Museum of Art, July 8 – November 1, 2017.)

Mt. Kathadin (Maine), Autumn, No. 2, oil on canvas, 30-1/4" x 40-1/4” PERIOD FRAME c. 1930 American Modernist frame, House of Heydenryk, New York makers, hand carved, paint-finished wood. Molding width: 5” Framed by Gill & Lagodich for the Metropolitan Museum of Art. Was on view at The Met Breuer, New York City, in the stellar exhibit “Marsden Hartley’s Maine”, March 15 – June 18, 2017 (continued at Colby College Museum of Art, July 8 – November 1)

Brilliant Autumn, Landscape #28, c. 1930, oil on canvas, 25" x 31-1/4". Framed by Gill & Lagodich for Colby College Museum of Art. Period c. 1931 American Modernist painting frame, gilded carved wood over red bole; patinated gesso flat-and-hollow liner; molding width 3-3/4" Painting Gift of C. David O'Brien '58, Colby Museum Accession number 1983.006