Union Refugees, 1865, oil on canvas, 40-1/4 x 54-1/4 in. Framed by Gill & Lagodich for Crystal Bridges Museum of American Art (2012). Custom-made replica of Rare c. 1860s American frame. Earle Galleries, Philadelphia maker, outer wood molding, scrolling foliate stenciled sand pattern on ogee profile, molding width 7-1/2 in. “This Civil War scene presents the faces of men and women, young and old, black and white, who display hope, sadness, and defiance. The issue of Union refugees— people fleeing the Southern states—was frequently discussed in Northern newspapers during the war and became the subject for this Philadelphia painter. Who would take them in? What would be their fate? The subject remains relevant today, as refugees displaced by wars worldwide leave loved ones and belongings behind to seek a better life.” —museum label.

Woman With Pink Ribbons, painted circa 1833, oil on canvas, 31-3/4 x 27 in. Custom-made replica early 19th-century American molding frame: ebonized wood, wide flat profile with gilded bead at back and sight edges; molding width 3-1/2” Framed by Gill & Lagodich for Christie’s New York. Painting: The Collection of Peter and Barbara Goodman, January 20, 2022, Lot 133, Estimate USD 800,000-1,200,000 Price realized USD 3,870,000

Composition With Masked Forms, 1941, oil on canvas, 28-1/8 x 50 in., custom float frame, ebonized walnut exterior and top edge, interior float space light-absorbing matte black. Framed by Gill & Lagodich for Colby Museum of Art. Gift of the Barsalona Family, Museum purchase from the Jere Abbott Acquisition Fund, and gift of Peter and Paula Lunder, The Lunder Collection.

Charles Ethan Porter, Chrysanthemums, ca. 1881, oil on canvas, 10 x 16”, framed by Gill & Lagodich in a custom-made variation of an 1880-90s American painting frame; gilded applied ornament on wood, Japonesque chrysanthemum pattern frieze; molding width: 4-1/2”. Virginia Museum of Fine Arts, James Barton Payne fund.

(Cracked Watermelon), c. 1890, oil on canvas, 19-1/8” x 28-3/16”. Framed by Gill & Lagodich for the Metropolitan Museum; c. 1890s American painting frame, gilded hand-carved wood, molding width 4-7/8” MMA Purchase, Nancy Dunn Revocable Trust Gift, 2015  “The largely Connecticut-based, New York- and Paris-trained Porter was among the first African American artists to exhibit his work nationally. "Untitled (Cracked Watermelon)" is one of his largest and most impressive still lifes. Its subject—originally an African gourd brought to the New World by seventeenth-century Spaniards and cultivated by colonists—is also significant. Porter chose to paint what had been an earlier symbol of American abundance—and during the Civil War period one particularly associated with free blacks—when it was increasingly defined by virulent stereotyping. By reclaiming the "American" subject in artistic terms (and with a French stylistic flavor), Porter challenged a contemporary racist trope.  A tour de force of the artist’s mature style—perfected in Paris under the influence of the work of Henri Fantin-Latour and Edouard Manet—"Untitled (Cracked Watermelon)" reveals Porter’s bravura handling of paint as well as his skills as a colorist in the composition’s dramatic light-dark contrasts of complementary colors. After decades of success painting still lifes of fruit and flowers—with the support of patrons such as Samuel Clemens and Frederic Edwin Church—Porter died in poverty and obscurity. A resurgence of interest in his work dates to the late 1980s.”

New England Village, c.1918–1923, oil on canvas, 18" x 20-3/4"; framed in a custom-made replica of original Prendergast frame in the Gill & Lagodich Collection; c. 1909 American American Arts and Crafts artist-made Prendergast painting frame; original frame for Maurice Prendergast watercolor, St. Malo.  Gilded hand-carved wood with punchwork. Rare artist-made frame. Molding width: 2-1/4” Museum of Fine Arts, Houston; Wintermann Collection of American Art, gift of Mr. and Mrs. David R. Wintermann