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All books are first printings of first editions or first American editions unless otherwise noted.

Undated. 16" x 13". Oil on wood. Framed. A portrait of Cummings' wife, Marion Morehouse, reclining on a bed in a position reminiscent, presumably deliberately, of Goya's "The Naked Maja." Goya's painting was considered scandalous in its day, in a way that some of Cummings' artwork -- especially his erotic paintings of strippers, lovers, and sensuous nudes -- were in his own time, or at least he seems to have intended them to be. A stylized image, foreshortening perspective and thus alluding to Cummings' origins as an abstract, rather than realist, painter. Fine. Letter of provenance provided. [#023666] $17,000
1942. A portrait by Cummings of his mother, Rebecca Clarke Cummings, immortalized in Cummings' words: "if there are any heavens my mother will(all by herself)have one." Oil on canvas. 15" x 20". Dated on verso, September 1, 1942. [#031576] $15,000
Undated. An ink drawing of an inhabited seaside mountain, pictured in Cummings' CIOPW. On the verso are approximately 70 words in Cummings' hand, beginning "What am I doing on top of this hill at Calchidas, in the sunlight?" and describing the scene. At first glance, stream-of-consciousness description, but with more than a dozen revisions of text. 7-3/4" x 5". Edges and corners very fragile; near fine. [#018055] $13,000
Oil on composition board. 32" x 25". Dated December 25, 1947. Inscribed by Cummings on the rear of the painting: "For Marion/ love!/ Xmas/ 1947." This image was later used as a Christmas card that Cummings and Marion Morehouse had made (card included). Corners abraded. Unframed. [#014969] $12,500
Undated. 17" x 21". Pastels. Framed. A half-length figure, executed in pastels, and borrowing from Cubism in its perspectives. Undated, but apparently from the early part of Cummings' career, probably the 1920s, when his artwork was still very explicitly associated with modernist and abstract movements. Fine. Signed by Cummings on the lower right with his stylized "EEC" signature. Letter of provenance provided. [#023667] $12,000
Oil on canvasboard. 19-3/4" x 15-3/4". No date. A cityscape looking out the back of Cummings' apartment in Greenwich Village. [#014965] $11,000
1955. Oil on canvas. 15" x 20". Portrait of fellow Harvard alumnus and fellow New Hampshire painter William James, Jr. On the verso: "w.j." and "10-01-55." [#031599] $11,000
Watercolor of a sunset sky over Mount Chocorua. 18" x 12". This painting is signed by Cummings on the verso. Undated. [#031600] $9,750
1957. The porch at Joy Farm, near Silver Lake, NH. Oil on canvas. 16" x 12". On the verso: "joy farm terrace." "m.m.c.," and "july 27, 57." [#031598] $9,500
1945. A sunlit trail beneath a wooded canopy. Oil on canvasboard. 20" x 16". Dated on verso:, August 1945. [#031585] $9,500
Mt. Chocorua, 1961. The summer sun hitting the Sandwich Range. Oil on canvas. 12" x 16". On the verso: "june 30, 1961." [#031593] $9,000
Oil on canvas. 20" x 15". A roadway, presumably at Joy Farm, his home in Silver Lake, NH, as Mount Chocorua rises in the distance. Undated. "L-scape" written on canvas margin. [#031568] $9,000
Watercolor of Mount Chocorua on a partly sunny day. 17-7/8" x 12". Uncharacteristically, this painting is signed by Cummings (on the verso, which was common on the rare occasions that he did sign his work). No date. [#031581] $8,500
Flower vendor and pedestrians on a street corner in Paris. Oil on cardboard. 8-1/2" x 17-1/2". Framed. No date. [#031605] $8,500
A dirt road, likely Joy Farm Road, through wooded New Hampshire. Oil on canvas. 12" x 16". No date. [#031594] $8,000
A bare, black tree under a vivid end times sky. Oil on canvas. 16" x 12". No date. [#031626] $8,000
1962. Oil on canvas. 15" x 20". [#031573] $7,500
1937. Oil on canvasboard. 16" x 12". [#031630] $7,500
Oil on cardboard. 8-1/2" x 17". No date. [#031622] $7,500
1947. Oil on canvas by Cummings, who did not title his paintings; the title given here is purely descriptive. 18" x 24". "By E.E. Cummings" written on the wood frame, apparently in another's hand. Cummings signed only a small fraction of his work, deliberately and for philosophical reasons: he believed the work should stand on its own -- and be judged on its own merits or faults -- rather than be judged by who the creator of it was. When he backed away from the New York art scene in the late 1920s and early 1930s, Cummings was backing away from what he considered to be an artistic milieu driven by personality and ego rather than by art. After his early period as an abstract artist, he focused on representational art for the rest of his life, but often -- as in this painting -- he used a palette and a style that owed much to his early influences among modern artists: Cezanne, Matisse, and the Fauvists. One tack missing from the top of the stretched canvas; else fine. [#031362] $7,500
Watercolor. 16" x 12". Signed on back. No date. [#031588] $7,500
Oil on canvasboard. 18" x 24". Fall foliage on the flanks of Mount Chocorua. No date. [#031604] $7,000
Late fall in the Sandwich Range. Watercolor. 18" x 12". No date. [#031612] $7,000
1947-09-25. Oil on canvas. 15" x 20". [#031597] $6,500
1944-04-13. Oil on canvas. 18" x 26". [#031634] $6,500
1939. Oil on canvasboard. 10" x 14". November 4, 1939. [#031641] $6,500
Oil on canvasboard. 16" x 12". No date. [#031569] $6,500
Oil on canvasboard. 12" x 18". No date. [#031616] $6,500
Oil on canvasboard. 15" x 18". No date. [#031638] $6,500
Watercolor. 18" x 12". No date. [#031643] $6,000
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