Thomas Hovenden Sold at Auction Prices

Thomas Hovenden (American, 1840–1895) - The Last Moments of John Brown

Thomas Hovenden (American, 1840–1895) - The Last Moments of John Brown Signed in pencil bottom left, published by George Gebbie, etching on paper 25 ¼ x 21 ¼ in. (63.5x53.3cm) Provenance Private Collection, New Jersey.  Lot Essay Print after a painting of the same title now in the collection of the Metropolitan Museum of Art in New York depicts John Brown leaving the jail enroute to his execution. The moment is based on an account in the New York Tribune, published on December 5, 1859.

Attributed to Thomas Hovenden (1840-1895): Study for Elaine

Pencil on paper, unsigned, variously inscribed. 8 1/8 x 10 1/2 in. (sheet), unframed.

Attr. to Thomas Hovenden (Irish, 1840-1895)

Attributed to Thomas Hovenden (Irish, 1840-1895) Nude Study, oil painting on board, signed, framed. Size: 11'' x 8'', 28 x 20 cm (board); 15.5'' x 12'', 39 x 30 cm (frame). Provenance: Ilene Wood Collection.

Thomas Hovenden (Irish, 1840-1895) "Reverie" Oil Painting on Canvas

DESCRIPTION: Fine portrait oil painting on canvas by renowned Irish American artist Thomas Hovenden (1840-1895) titled "Reverie"; Depicting in a realistic manner an interior scene of a woman wearing a blue dress sitting lost in thought. Signed lower right "Hovenden". Partial preserved info paper on board attached verso with plastic over it. Plaque verso "Thomas Hovenden 1840-1895 American Reverie 1873 Oil on Canvas Lent by Bernard and S. Dean Levy, Inc". Stickers verso "The Woodmere Art Museum", "Bernard & S. Dean Levy inc", "The Hudson River Museum Domestic Bliss: Family Life in AMerican Painting 1840-1910 May 18, 1986 through July 13, 1986". Mounted in a gilt beveled wood frame. Thomas Hovendens works have been featured in a number of museums including the Metropolitan Museum of Art and the Smithsonian American Art Museum. CIRCA: 19th Century ORIGIN: United States of America DIMENSIONS: Image H: 27.25" W: 22", & Frame H: 37" W: 31.37" Provenance: (The Sondra Landy Gross Collection, Great Neck, New York Estate) Have a similar item to sell? Contact: Info@Akibaantiques.com. CONDITION: Wear consistent with age. Some chipping to the edges of the painting. Possibly professionally restored. Mild chipping to the edges and corners of the frame. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS (305)-332-9274. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.

Thomas Hovenden American, 1840-1895 Woman Sewing, 1877

Thomas Hovenden American, 1840-1895 Woman Sewing, 1877 Signed Hovenden (ul) and dated Bretagne 1877 (ur) Oil on canvas 13 1/4 x 10 1/4 inches C 

Breaking the Home Ties Photogravure

Exhibited at the World's Fair 1893. Mildew marks under glass. Painted by Thomas Hovenden. Art 27 1/2 x 34 1/2, frame 33 1/2 x 40 1/2 inches

Thomas Hovenden (1840-1895)

Thomas Hovenden (1840-1895), engraving "The Old Shaver", sight 22" x 16", overall 35" x 28".

Thomas Hovenden (1840-1995)

Thomas Hovenden (1840-1995), pencil signed engraving. Sight 20" x 14 1/2", overall 30 1/2" x 24 1/2".

Thomas Hovenden The Old Shaver Etching

Pennsylvania, New York, France, Ireland,1840-1895 Titled "The Old Shaver," depicts an older man standing with a razor blade and a shaving brush. Hovenden moved to New York from Ireland working as a gilder and frame maker while attending classes at the National Academy of Design before leaving for France seeking instruction from Jules Breton, ultimately ending up under the guidance of Alexandre Cabanel. Hovenden spent his time in France at the Pont-Aven art colony where he met his wife before moving back to the United States becoming a Professor at the Pennsylvania Academy of the Fine Arts.

ATTRIBUTED TO THOMAS HOVENDON (IRELAND/AMERICA, 1840-1895) GATHERING FOR A MEAL.

Attributed to Thomas Hovendon (1840-1895). From Cork, Ireland, Thomas Hovenden became known for narrative genre subjects and was especially sympathetic to African American subjects. He attended Cork School of Design and then in 1863 he emigrated to the United States and attended the National Academy School in New York City and worked as an illustrator for Harper's magazine. In 1874 he went to Paris and studied art there for six years. On his return to the United States, he taught at the Philadelphia Academy where Robert Henri was one of his students. He had a reputation for being exceptionally kind and generous. At age 46, he lost his life tragically near his home at Plymouth Meeting while trying to save a young girl from a train. Relined, new stretcher. Minor inpainting throughout. Three tears and repairs with inpainting. This is not a standard shippable item and will require 3rd party shipping or pickup arrangements to be made. Artist: ATTRIBUTED TO THOMAS HOVENDON (IRELAND/AMERICA, 1840-1895). Condition: Good. Created: Circa 1875. Frame: Modern frame. Medium: Oil on canvas. Signature: Attributed. Title: GATHERING FOR A MEAL. Work Size: 34" x 37" Condition: Dimensions: Frame: 39" x 56 - 1/4".

Thomas Hovenden (1840 - 1895) Large Signed Etching

Thomas Hovenden (Pennsylvania, New York / France, Ireland, 1840 - 1895) hand signed etching. A large Etching, circa 1886, edition unknown, measures 20-in. x 13 5/8-in. plate size and 28.5-in. x 22-in. sheet size. Signed and dated in the plate. Signed in pencil lower right. Includes etched remarque of a shaving mug below the image at left. The print itself is in very good/excellent condition. The sheet has a light crease in the center margin. The print has light creases. Unframed, loose and not mounted or glued down. If lot is absent of a condition report a condition report may be requested via email. Condition report is provided as an opinion only and is no guarantee as grading can be subjective. Buyer must view photographs or scans to assist in determining condition and ask further questions if so desired. Provenance: Amity Art Foundation, Inc. collection. We ship most items in this auction in house and gladly combine shipping if possible of multiple items.

Thomas Hovenden - Breton Icon Seller

Lot 25 Thomas Hovenden Irish (1840-1895) Breton Icon Seller (1876) oil on canvas signed lower right 33 x 24 inches Provenance: From the collection of J.N. Bartfield Galleries

Thomas Hovenden American, 1840-1895 Where the Robins Sing, 1890

Thomas Hovenden American, 1840-1895 Where the Robins Sing, 1890 Signed THovenden (ll) with conjoined initials Oil on canvas 28 1/8 x 36 1/8 inches Provenance: Rifkin-Young Fine Arts, Inc., New York Exhibited: Philadelphia, PA, Woodmere Art Museum, Thomas Hovenden, (1840-1895): American Painter of Heartland and Homeland, Sep. 10 - Dec. 3, 1995 C 

Attributed To Thomas Hovenden

Attributed to Thomas Hovenden (Penna./N.Y./France/Ireland, 1840-95), interior scene with family, oil on canvas. 36" x 54".

THOMAS HOVENDEN, (American, 1840-1895), In From the Meadows or Charles I in Scotland, oil on canvas, 29 x 31 in., frame: 36 x 39 1/2 in.

THOMAS HOVENDEN (American, 1840-1895) In From the Meadows or Charles I in Scotland oil on canvas monogrammed TH and titled on stretcher bar 29 x 31 in., frame: 36 x 39 1/2 in. Provenance: By descent in a Wellesley, Massachusetts family. Exhibitions: National Academy of Design, 1883. Other Notes: Bears Kennedy & Co., New York label verso.

THOMAS HOVENDEN (1840-1895) OIL ON CANVAS

Thomas Hovenden Page and Falcon 1875 Page and Falcon in a Baroque chair within a paneled interior, signed lower left and dated 1875, Paris. Board measures 35.25 x 22.25, frame is 40.25 x 27.25 inches. We happily provide seamless in-house packing and shipping services on nearly everything we sell.

THOMAS HOVENDEN | Untitled (Man with Banjo)

oil on canvas

THOMAS HOVENDEN | Girl with Cabbage

oil on canvas

School of Thomas Hovenden, o/c

School of Thomas Hovenden (American, 1840-1895), Pennsylvania Interior Genre Scene, oil on canvas, size 36.3/4 X 53 3/4; with frame 39 X 56 1/4 inches, signed (?) lower right, relined, original stretcher veneers.

Thomas Hovenden, "Portrait of a Man", Oil

Thomas Hovenden (Irish (active United States), 1840-1895), "Untitled (Portrait of a Man)", oil on canvas, signed to lower right "Hoveden". Figural bust-length portrait painting depicting a blue-eyed gentleman dressed in green coat, with white collar. Framed approximately 20.25" x 18.25". Unframed approximately 14" x 12".

Thomas Hovenden American, 1840-1895 Female Nude Study

Thomas Hovenden American, 1840-1895 Female Nude Study Graphite and black chalk on paper 23 3/4 x 17 3/4 inches Provenance: Kennedy Galleries, New York Donald Brenwasser, New York, acquired from the above, 1962 Estate of Donald Brenwasser, no. 231 C Estate of Donald Brenwasser

Thomas Hovenden - 19th C American Interior Scene

Thomas Hovenden - 19th C American Interior Scene. Original painting and engraving both done by Thomas Hovenden. Dated 1886. Interior scene of a young girl and father by the fire, cat resting on floor. Additional image engraved in plate border or a bellows. Image measures 21 by 16.5 inches, paper measures 27.5 by 23 inches. Printed on parchment paper.

"The Old Shaver"

Full portrait of a man

THOMAS HOVENDEN ETCHING OF A GENTLEMAN WITH BANJO

HOVENDEN, Thomas, (American, 1840-1895): "Gentleman with Banjo and Pipe", Etching, sight size 18 1/2" x 12 3/4", pencil signed lower right, contemporary frame, 34 1/4" x 27 1/4".

THOMAS HOVENDEN, (AMERICAN 1840-1995), THE LAST MOMENT OF JOHN BROWN

THOMAS HOVENDEN (american 1840-1995)/span THE LAST MOMENT OF JOHN BROWN Inscribed at bottom left, 'Original pen sketch by Thomas Hovenden of his painting of John Brown being led to his execution. Sketch given by the artist to his friend John Van der Zee Sears,' pen and ink on paper 14 1/2 x 18 1/2 in. (36.8 x 47cm) provenance: /spanDaniel H. Savage Gallery, Toledo, Ohio. Private Collection, Ohio.

Thomas Hovenden (1840-1895) A Wayside Chat Oil on

Thomas Hovenden (1840-1895) A Wayside Chat Oil on canvas, 81 x 60cm (32 x 23_'') Signed, inscribed and dated 1875 Exhibited : ''The French Connection '' exhibition The Ava Gallery Clandeboye, August/September 2010; The Hunt Museum Limerick, September/October 2010 Cat. No. 10. Literature : ''The French Connection'' by Aoife Leach, 2010, illustrated p.16; ''American Dream'' Article on Thomas Hovenden, Irish Arts Review Vol 27 No. 3 illustrated p.98 Thomas Hovenden was born in Dunmanway, Co. Cork in 1840, but was orphaned during the Great Famine in 1847 when both his parents died and at the age of six he was sent to an orphanage in Cork city. Nine years later he became apprenticed to the Cork carver and gilder George Tolerton who noted Hovenden's skill as a draughtsman and sent him to the Cork School of Design (later to become the Crawford) in 1858. Part of the South Kensington School, the Cork School promoted the ideas of Aestheticism and the teachings of John Ruskin. Although the school focused on design, Hovenden subscribed to the notion of painting as a higher art with a social and moral purpose and advanced his draughtsmanship by sketching the schools collection of Antonio Canova's plaster cast statuary as well as plein air watercolours. Following his brother, in 1863 Hovenden emigrated to New York. There he studied at the National Academy of Design under Charles Parsons and managed to set up his own studio. With funding from an art collector John Mc Coy and his buisness partner William Walters Hovenden went to Paris in 1874. He studied at the ƒcole des Beaux Arts under Alexandre Cabnel before travelling to Pont-Aven where this work was painted. Here he was to meet other Irish artists as well as his future wife Helen Corson. When they married they returned to America and settled in Plymouth Meeting,Pennsylvania. Hovenden went on to become a member of the Society of American Artists (1881), the American Watercolour Society (1882), the Philadelphia Society of Artists (1883), the New York Etching Club (1885), and an Associate member of the National Academy of Design (1881). He succeeded Thomas Eakins as Professor of Painting and Drawing at the Pennsylvania Academy of the Fine Arts (1886-88), where his students included Alexander Calder and Robert Henri. Hovenden arrived in America at the end of the Civil War and rose to fame painting patriotic scenes in sympathy with the American version of Victorian values, and later became known for his paintings of African Americans during the Abolitionist movement. Yet it is the time he spent painting in Pont-Aven, that puts him into an Irish context, and while he is not known to have returned to Ireland, his influence is seen in the work of his contemporaries, in particular that of Aloysius O'Kelly. Hovenden and O'Kelly first met at the ƒcole des Beaux Arts in Paris in 1874 and shared accommodation at the Pension Gloanec in Pont-Aven. They found subjects for their work not only in the local Bretons but in each other, and a sketch inscribed 'A O'Kelly' was included in an exhibition of Hovenden's work at the Woodmere Art Museum, Philadelphia in 1995. In her recent book on O'Kelly, Niamh O'Sullivan argues that it is a sketch of Hovenden by O'Kelly rather than the other way around as catalogued for the exhibition. O'Sullivan also makes a direct comparison between O'Kelly's work and that of Hugh Bolton Jones, the painter who had been one of Hovenden's closest friends since 1867. O'Kelly and Hovenden's friendship may have continued in the US, where O'Kelly is thought to have spent time from the early 1880s. It is somehow poignant that O'Kelly petitioned for naturalization in 1895, the year of Hovenden's untimely death. On 15th August 1895 the headline ''ARTIST HOVENDEN A HERO'' ran in the New York Times. Sadly it was the 54 year old's obituary. Thomas Hovenden died when he was struck by a train, apparently in an attempt to save a young girl who had wandered onto the tracks. He received little attention in America from the time of his death until the retrospective held at Woodmere Art Museum in 1995 and a monograph published in 2006 by University of Pennsylvania Press, despite his success during his lifetime. The fact that his work was long overlooked has been attributed to the timing of his tragic death. Hovenden was one of the most respected academic painters of his time, however modern art in the form of Impressionism was becoming fashionable in the States in the 1890s, and as time elapsed after his death, Hovenden's legacy faded fast in the shadow of new styles. We acknowledge Aoife Leach, whose writings formed the basis for this catalogue entry

Thomas Hovenden American, 1840-1895 Woodland Crossing, 1873

Thomas Hovenden American, 1840-1895 Woodland Crossing, 1873 Signed Thovenden with conjoined first initials and dated 1873 (ll) Oil on canvas 18 x 24 inches Provenance: Private collection, MD Orphaned at a young age, Thomas Hovenden emigrated from Ireland to America in 1863, becoming one of the country's best known painters of genre scenes in the late nineteenth century. The abolitionist sympathies he shared with his wife surfaced in his well known The Last Moments of John Brown of 1884 in the Metropolitan Museum of Art and in the sensitive images of African Americans he painted during Reconstruction. Hovenden also focused on country life, capitalizing on the growing interest in the outdoors in America. The well-dressed figures have entered a Hudson River School-like forest glade, enjoying its opportunities for climbing, wading in mountain streams, and taking advantage of the privacy of shaded overhangs for romantic interludes. Painted in 1873, Woodland Crossing has some parallels with Homer's Houghton farm images of 1878. It was painted in the year before Hovenden left for a six-year sojourn in Europe, where he would focus on Breton imagery. C The Spanierman Gallery, LLC

Thomas Hovenden (1840-1895) STUDY OF A YOUNG WOMAN SEEN IN THREE QUARTER PROFILE FROM BEHIND

signed lower left

Drawing of Robert E Lee by Thomas Hovenden

DRAWING OF ROBERT E. LEE-FOR 'THE LAST MOMENTS OF JOHN BROWN' by Thomas Hovenden ( 1840 - 1895), This drawing relates to the best known work by Hovenden, The Last Moments of John Brown, now in the Metropolitan Museum of Art. Considered to be a studio drawing made while the artist was developing his composition, this figure most likely represents Robert E. Lee, the officer who arrested the Abolitionist figurehead. Lee's image did not appear in the final version of the painting. Provenance: Kennedy Galleries, New York. Rag matted, SS: 13" x 8 1/4", OS: 20" x 16". Good condition. From the Marvin Sadik Collection.

Framed Pencil Studies by Thomas Hovenden

PENCIL STUDIES by Thomas Hovenden (American (born Ireland), Dunmanway 1840-1895 Plymouth Meeting, Pennsylvania) -Hovendon, best known for his genre paintings especially relating to the last days of John Brown, succeeded Thomas Eakins as instructor at the Pennsylvania Academy of the Fine Arts. Rag matted in a fine burl frame, Provenance: Kennedy Galleries, New York. SS 10 1/2" x 6 3/4". OS: 20 1/2" x 15 3/4". Good condition, unexamined out of frame. From the Marvin Sadik Collection.

Thomas Hovenden (1840-1895) The Story of the Hunt

Thomas Hovenden (1840-1895) The Story of the Hunt (1880) Oil on canvas, 63.5 x 78.75cm Signed and dated Brittany 1880 Exhibited: "The French Connection", The Ava Gallery August/ Sept 2010; The Hunt Museum Limerick, September/ October 2010, catalogue no. 11 Literature: "American Dream" by Lawrence William White, Irish Arts Review, Autumn 2010, illustrated p.99.

THOMAS HOVENDEN, (American, 1840-1895), PORTRAIT OF A GENTLEMAN, possibly Thomas Eakins, oil on canvas;, 10 5/8 x 9 1/4 inches; fram...

THOMAS HOVENDEN (American, 1840-1895) PORTRAIT OF A GENTLEMAN, possibly Thomas Eakins oil on canvas; signed, dated and inscribed T. Hovenden Pont-Aven 1879, u.r.; inscribed "To my friend...ifford, u.l.; verso canvas inscribed in pencil "Thomas Eakins 1879"; 10 5/8 x 9 1/4 inches; frame: 16 1/2 x 14 1/4 inches Other Notes: In 1879, Thomas Hovenden spent most of his time at the Artists Colony in Pont-Aven, France. Thomas Eakins, a good friend of Hovenden, possibly visited the colony to see his friends and compatriots. In 1886, Hovenden replaced Eakins as Professor of Paintings and Drawings at the Pennsylvania Academy of Fine Art, as Eakins was asked to resign over a dispute regarding the use of nude models.

Thomas Hovenden, American, 1840-1895, etched by Hamilton Hamilton, American, 1847-1928, In the Hands of The Enemy, 22 1/2" x 31 3/4"...

Thomas Hovenden, American, 1840-1895, etched by Hamilton Hamilton, American, 1847-1928, In the Hands of The Enemy, 22 1/2" x 31 3/4", depicting a wounded Civil War soldier, in original oak frame

THOMAS HOVENDEN Gentleman with Banjo and Pipe.

THOMAS HOVENDEN Gentleman with Banjo and Pipe. Etching, 1885. 505x370 mm; 19 7/8x14 1/2 inches, full margins. Signed in pencil, lower right.

THOMAS HOVENDEN 1840-1895

THE CHALLENGE measurements 32 1/4 by 40 in. alternate measurements 82 by 101.7 cm. signed Hovenden and dated 1878 lower right oil on canvas Condition Note: Lined canvas. The surface is in good condition, apart from some pressed craquelure which is more prominent on the female figure. Under UV light: selective cleaning on the lighter areas; a spot of inpainting on the man's jacket, another spot at right of female figure. We are pleased to provide you with a general report of the condition of the property described in our catalogue. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSION CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE CATALOGUE.

THOMAS HOVENDEN 1840-1895 SEATED WOMAN SMOKING A CORN-COB PIPE

graphite on paper Condition Note: in generally good condition; some soiling to sheet--scattered light stains, spots of foxing, stray marks; fading along the edges (where old mat used to be--edges are slightly darker/yellower; sheet is hinged to backing with pieces of tape along the upper edge, verso; edges are not quite straight--not a condition problem--they were cut that way We are pleased to provide you with a general report of the condition of the property described in our catalogue. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSION CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE CATALOGUE. executed circa 1885. PROVENANCE Hirschl & Adler Galleries, Inc., New York EXHIBITED Baltimore, Walters Art Gallery, The Negro in American Art, n.d.

PROPERTY FROM THE PHILIP AND MURIEL BERMAN COLLECTION u - THOMAS HOVENDEN 1840-1895 RECOUNTING

PROPERTY FROM THE PHILIP AND MURIEL BERMAN COLLECTION u - THOMAS HOVENDEN 1840-1895 RECOUNTING PAST GLORIES oil on canvas Condition Note: canvas is relined. Picture surface is good; under UV, evidence of retouching in the background far left and far right, and on the trousers of the central figure. We are pleased to provide you with a general report of the condition of the property described in our catalogue. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSION CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE CATALOGUE. PROVENANCE Garfield Fine Art Gallery, Toronto

THOMAS HOVENDEN 1840-1895 SEATED WOMAN SMOKING A CORN-COB PIPE

graphite on paper Condition Note: in generally good condition; some soiling to sheet--scattered light stains, spots of foxing, stray marks; fading along the edges (where old mat used to be--edges are slightly darker/yellower; sheet is hinged to backing with pieces of tape along the upper edge, verso; edges are not quite straight--not a condition problem--they were cut that way We are pleased to provide you with a general report of the condition of the property described in our catalogue. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSION CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE CATALOGUE. executed circa 1885. PROVENANCE Hirschl & Adler Galleries, Inc., New York EXHIBITED Baltimore, Walters Art Gallery, The Negro in American Art, n.d.

PROPERTY FROM THE PHILIP AND MURIEL BERMAN COLLECTION u - THOMAS HOVENDEN 1840-1895 RECOUNTING

PROPERTY FROM THE PHILIP AND MURIEL BERMAN COLLECTION u - THOMAS HOVENDEN 1840-1895 RECOUNTING PAST GLORIES oil on canvas Condition Note: canvas is relined. Picture surface is good; under UV, evidence of retouching in the background far left and far right, and on the trousers of the central figure. We are pleased to provide you with a general report of the condition of the property described in our catalogue. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSION CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE CATALOGUE. PROVENANCE Garfield Fine Art Gallery, Toronto

THOMAS HOVENDEN American (1840-1895)

oil on canvas, 16 x 20, signed lower right.

Thomas Hovenden (Irish/American, 1840-1895) The Warmth of the Hearth, 1886. Signed ""Thos Hovenden"" in pencil l.r. and with remarque,

*THOMAS HOVENDEN (1840-1895) SELF PORTRAIT OF THE ARTIST IN HIS STUDIO

signed indistinctly THovendon, l.r. oil on canvas 24 by 19 in.61 by 48.3 cm. Painted circa 1870. Provenance: Collection of Victor D. Spark, New York Private Collection, East Coast Private Collection, West Coast Literature: American Art Journal, 1987, vol. XIX, no. 1.