Fine Art Auction Catalog - October 27, 2016 6:00PM EST

Fine American and European Paintings, Drawings, Prints and Sculpture Milford, Connecticut • October 27, 2016
Fine American and European Paintings, Drawings, Prints and Sculpture Milford, Connecticut     October 27, 2016
Artist Index 170 Absentee-Phone Bid Form 173 Conditions of Sale 174 Consignment Information 172 Directions 172
Artist Index  170  Absentee-Phone Bid Form  173  Conditions of Sale  174  Consignment Information  172  Directions  172
THURSDAY ■ OCTOBER 27, 2016 ■ 6:00 P.M . FINE AMERICAN A N D EUROPEAN PAINTINGS, DRAWINGS, A N D SCULPTURE SHANNON’S AUCTION GALLERY ■ MILFORD, CT PREVIEW DATES & TIMES: October 17 - 26 Weekdays 11 a.m. – 6 p.m. October 22 Saturday 10 a.m. – 3 p.m. Closed Sunday October 27 Thursday 1 12 p.m. – 5:30 p.m. The sale will begin at 6:00 p.m. EDT on Thursday, October 27, 2016. For future consignments, please contact Gene Shannon or Sandra Germain at info@shannons.com Shannon’s Fine Art Auctioneers 354 Woodmont Road, Milford, CT 06460 www.shannons.com email: info@shannons.com (203) 877-1711 Fax (203) 877-1719 ■ ■ Front cover illustration #54 (detail) Back cover illustration #36
THURSDAY       OCTOBER 27, 2016       6 00  P.M  .  FINE AMERICAN A N D EUROPEAN PAINTINGS, DRAWINGS, A N D SCULPTURE SHAN...
1 JOHANN BERTHELSEN American (1883-1972) 5TH AVENUE oil on canvas, 16 x 12 inches, signed lower right. Private Collection, Connecticut. Estimate $3,000—$5,000 PROVENANCE 1 2 JOHANN BERTHELSEN American (1883-1972) WASHINGTON SQUARE oil on board, 12 x 9 inches, signed lower right. Private Collection, Connecticut. Estimate $3,000—$5,000 PROVENANCE 2 2
1  JOHANN BERTHELSEN American  1883-1972  5TH AVENUE  oil on canvas, 16 x 12 inches, signed lower right. Private Collectio...
3 3 JOHANN BERTHELSEN American (1883-1972) "SUMMER EVENING, THE PLAZA, NEW YORK CITY" oil on canvas, 25 x 30 inches, signed lower right, signed, titled and dated "1948" on reverse. Private Collection, Connecticut. Estimate $7,000—$10,000 PROVENANCE 3
3  3  JOHANN BERTHELSEN American  1883-1972   SUMMER EVENING, THE PLAZA, NEW YORK CITY   oil on canvas, 25 x 30 inches, si...
4 JOHN C. TERELAK American (b. 1942) FLATIRON BUILDING oil on canvas, 36 x 24 inches, signed and inscribed "©92" lower left. Private Collection, Long Island, New York. Estimate $5,000—$7,000 PROVENANCE 5 JOHN C. TERELAK American (b. 1942) DIAMOND DISTRICT oil on canvas, 16 x 20 inches, signed and dated "87" lower right. Private Collection, Long Island, New York. Estimate $2,500—$3,500 PROVENANCE 4 5 4
4  JOHN C. TERELAK American  b. 1942  FLATIRON BUILDING  oil on canvas, 36 x 24 inches, signed and inscribed    92  lower ...
6 6 DOUGLAS BREGA American (b. 1948) STORM AT GREYSTONE oil on masonite, 24 1/4 x 29 7/8 inches, signed lower right. Private Collection, Pennsylvania. Estimate $5,000—$7,000 PROVENANCE 5
6  6  DOUGLAS BREGA American  b. 1948  STORM AT GREYSTONE  oil on masonite, 24 1 4 x 29 7 8 inches, signed lower right. Pr...
7 7 EMILE ALBERT GRUPPE American (1896-1978) GLOUCESTER DOCK WORKERS oil on canvas, 19 5/8 x 23 3/4 inches, signed lower right. Private Collection, Seattle, Washington; Private Collection, West Virginia. Estimate $5,000—$7,000 PROVENANCE 8 6 8 ANTHONY THIEME American (1888-1954) GLOUCESTER HARBOR oil on artist board, 16 x 20 inches, signed lower right. Private Collection; Butterfield & Butterfield (Bohnam's San Francisco), December 09, 1992, Lot 3195; Private Collection, California. Estimate $4,000—$6,000 PROVENANCE
7  7  EMILE ALBERT GRUPPE American  1896-1978  GLOUCESTER DOCK WORKERS  oil on canvas, 19 5 8 x 23 3 4 inches, signed lowe...
9 9 PETER BELA MAYER American (1887-1993) VILLAGE BY THE COAST oil on canvas, 36 x 40 inches, signed lower right, in a Heydenryk frame. Private Collection, New York, New York; Private Collection, Connecticut. Estimate $3,000—$5,000 PROVENANCE 10 WALTER FARNDON American (1876 - 1964) BOOTHBAY HARBOR oil on board, 14 x 18 inches, signed lower right. A Connecticut Estate. Estimate $2,500—$3,500 PROVENANCE 10 7
9  9  PETER BELA MAYER American  1887-1993  VILLAGE BY THE COAST  oil on canvas, 36 x 40 inches, signed lower right, in a ...
11 11 T. M. NICHOLAS American (b. 1963) TRINITY CHURCH, NEWPORT, RHODE ISLAND - LOOKING WEST oil on canvas, 16 x 20 inches, signed lower left. Bellevue Galleries, Newport, Rhode Island; Private Collection, Rhode Island. Estimate $2,500—$3,500 PROVENANCE 12 8 12 ARRAH LEE GAUL American (1883-1980) COURTYARD WITH BLUE DOOR oil on canvas, 24 x 30 inches, signed lower right. Estate of the artist; Private Collection, Massachusetts. Estimate $3,000—$5,000 PROVENANCE
11  11 T. M. NICHOLAS American  b. 1963  TRINITY CHURCH, NEWPORT, RHODE ISLAND - LOOKING WEST  oil on canvas, 16 x 20 inch...
13 13 EVERETT LLOYD BRYANT American (1864-1945) "FLOWER MARKET" oil on canvas, 30 x 36 inches, signed lower right. Purchased from the Artist by his New York City dealer Howard Cosby Alley (1876-1947). Alley was a partner in the New York City art firm of Alley and Trask (Trask was the head of the PAFA who left academia to make money by using his contacts to gather a stable of artists). By descent to his granddaughter; Property of The Boston Art Club. Stretcher marked with the stamp of A. H. Abbott & Co., Chicago, Illinois. Estimate $8,000—$12,000 PROVENANCE 9
13  13 EVERETT LLOYD BRYANT American  1864-1945   FLOWER MARKET   oil on canvas, 30 x 36 inches, signed lower right. Purch...
14 14 BRUCE BRAITHWAITE American (b. 1950) "MANHATTAN RAINS" oil on canvas, 24 x 30 inches, signed lower right, signed, titled, numbered "#500," inscribed "(Across Chambers St./Manhattan Municipal)" and dated "2016". The artist. Estimate $3,000—$5,000 PROVENANCE 15 10  15 VINCENT JANNELLI American (1882-1962) NEW YORK SKYLINE FROM NEWARK oil on canvas, 24 x 31 inches, signed and dated "MCMXXXIX" lower right. Private Collection, New York, New York. Estimate $4,000—$6,000 PROVENANCE
14  14 BRUCE BRAITHWAITE American  b. 1950   MANHATTAN RAINS   oil on canvas, 24 x 30 inches, signed lower right, signed, ...
16 16 PETER POSKAS American (b. 1939) "WINTER MORNING, NORTH CORNWALL" oil on canvas, 27 x 56 inches, signed lower left. Sherry French Gallery, Inc., New York, New York; Private Collection, Vermont. Estimate $10,000—$15,000 PROVENANCE  11
16  16 PETER POSKAS American  b. 1939   WINTER MORNING, NORTH CORNWALL   oil on canvas, 27 x 56 inches, signed lower left....
17 17 PETER POSKAS American (b. 1939) "CORNWALL FARM" oil on canvas, 11 x 13 3/4 inches, signed on canvas on reverse. "STUDY FOR WINTER MORNING" The artist; Private Collection, Vermont. Estimate $3,000—$5,000 PROVENANCE PROVENANCE 18 12  18 PETER POSKAS American (b. 1939) oil on board, 12 x 12 1/2 inches, signed lower right. The artist; Private Collection, Vermont. Estimate $2,000—$3,000
17  17 PETER POSKAS American  b. 1939   CORNWALL FARM   oil on canvas, 11 x 13 3 4 inches, signed on canvas on reverse.   ...
19 19 PETER POSKAS American (b. 1939) "TRACERIES, EDGE OF SPRING" oil on canvas, 48 x 30 1/2 inches, signed lower right. Sherry French Gallery, Inc., New York, New York; Private Collection, Vermont. Estimate $10,000—$15,000 PROVENANCE  13
19  19 PETER POSKAS American  b. 1939   TRACERIES, EDGE OF SPRING   oil on canvas, 48 x 30 1 2 inches, signed lower right....
20 20 LEVI WELLS PRENTICE American (1851-1935) STILL LIFE WITH PEACHES IN A BASKET oil on canvas, 11 3/4 x 18 inches, signed lower right. Alderfer Auction, June 11, 2010, Lot 3024; Private Collection, New Jersey. Estimate $12,000—$18,000 PROVENANCE 14 
20  20 LEVI WELLS PRENTICE American  1851-1935  STILL LIFE WITH PEACHES IN A BASKET  oil on canvas, 11 3 4 x 18 inches, si...
21 21 WILLIAM MASON BROWN American (1828-1898) AUTUMN oil on board, 18 x 15 inches, initialed lower right. Private Collection, Florida. Partial old label on the reverse, "Wm. M. Brown near Trenton, N.J." Estimate $10,000—$15,000 PROVENANCE  15
21  21 WILLIAM MASON BROWN American  1828-1898  AUTUMN  oil on board, 18 x 15 inches, initialed lower right. Private Colle...
22 22 EDMUND C. COATES American (1816-1871) "THE NAVAL ENGAGEMENT BETWEEN THE UNITED STATES AND THE MACEDONIA" oil on canvas, 27 x 35 3/4 inches, signed, dated "1855" and inscribed "SNY SLA" lower center. A Connecticut Estate. A letter and appraisal dated November 5, 1974 from Vose Galleries, Boston, Massachusetts accompany the Lot, indicating that the subject is taken directly from a painting by Thomas Birch. Estimate $5,000—$7,000 PROVENANCE 16 
22  22 EDMUND C. COATES American  1816-1871   THE NAVAL ENGAGEMENT BETWEEN THE UNITED STATES AND THE MACEDONIA   oil on ca...
23 23 MAURITZ FREDERICK H. DE HAAS American (1832-1895) BRIGANTINE, SCHOONER AND STEAMSHIP AT SEA oil on canvas, 16 1/2 x 24 5/8 inches, signed lower left. Skinner Inc., Boston, Massachusetts, May 16, 2014, Lot 445. Estimate $6,000—$8,000 PROVENANCE  17
23  23 MAURITZ FREDERICK H. DE HAAS American  1832-1895  BRIGANTINE, SCHOONER AND STEAMSHIP AT SEA  oil on canvas, 16 1 2 ...
24 24 ESTEBAN VICENTE American (1903-2001) ABSTRACT oil on canvas, 31 1/4 x 37 inches, signed and dated "'61" on the reverse. Private Collection, New York. Estimate $12,000—$18,000 PROVENANCE 18 
24  24 ESTEBAN VICENTE American  1903-2001  ABSTRACT  oil on canvas, 31 1 4 x 37 inches, signed and dated   61  on the rev...
25 25 PAUL KELPE American (1902-1985) A UNIQUE PIPE CABINET hand-painted wood, 28 3/4" H x 11 3/4" W x 11 3/4" D, lacquered wood, enameled steel. Gift from the Artist circa 1934 to H. R. Hantke, Chicago; descended in the family; Valerie Carberry Gallery, Chicago, Illinois; Private Collection, Illinois. Estimate $20,000—$30,000 PROVENANCE  19
25  25 PAUL KELPE American  1902-1985  A UNIQUE PIPE CABINET  hand-painted wood, 28 3 4  H x 11 3 4  W x 11 3 4  D, lacque...
26 26 ANDY WARHOL American (1928-1987) MARILYN MONROE (II.26), 1967 color screenprint, 36 x 36 inches, signed and numbered "33/250" on the reverse. Private Collection, Connecticut. PROVENANCE Feldman & Schellmann, II.26. Note: Published by Factory Additions, New York. Estimate $10,000—$15,000 LITERATURE 20 
26  26 ANDY WARHOL American  1928-1987  MARILYN MONROE  II.26 , 1967  color screenprint, 36 x 36 inches, signed and number...
27 27 ANDY WARHOL American (1928-1987) VEGETABLE MADE WITH BEEF STOCK (FROM CAMPBELL'S SOUP I), 1968 color screenprint, 35 x 23 inches, signed and numbered "133/250" on the reverse. Private Collection, Connecticut. PROVENANCE Feldman & Schellmann, II.48. Note: Published by Factory Additions, New York. Estimate $4,000—$6,000 LITERATURE  21
27  27 ANDY WARHOL American  1928-1987  VEGETABLE MADE WITH BEEF STOCK  FROM CAMPBELL S SOUP I , 1968  color screenprint, ...
28 28 KEITH HARING American (1958-1990) AMERICAN MUSIC FESTIVAL, NEW YORK CITY BALLET, 1988 print, 24 x 36 inches, signed and dated "'88" lower right. From the Artist; Private Collection, Connecticut. Printing by Philip Morris Companies Inc. Estimate $2,500—$3,500 PROVENANCE 29 KEITH HARING American (1958-1990) UNTITLED terra cotta with marker, 8" diameter (sight), signed, dated "89" and inscribed "For Tom Love, Keith" on the reverse. Private Collection, Connecticut. Estimate $4,000—$6,000 PROVENANCE 29 22 
28  28 KEITH HARING American  1958-1990  AMERICAN MUSIC FESTIVAL, NEW YORK CITY BALLET, 1988  print, 24 x 36 inches, signe...
30 ILYA BOLOTOWSKY American/Russian (1907-1981) "RHOMB, PALE YELLOW, BLUE AND WHITE" acrylic on wood, 15 1/2 x 8 7/8 inches, signed, dated "1976" and titled on the reverse. Private Collection, Florida. Estimate $6,000—$8,000 PROVENANCE 30 31 ILYA BOLOTOWSKY American/Russian (1907-1981) YELLOW AND RED DIAMOND acrylic and graphite on paper, 7 3/8 x 3 7/8 inches, initialed center right. Private Collection, Connecticut. Estimate $2,500—$3,500 PROVENANCE 31  23
30 ILYA BOLOTOWSKY American Russian  1907-1981   RHOMB, PALE YELLOW, BLUE AND WHITE   acrylic on wood, 15 1 2 x 8 7 8 inch...
32 SCHOOL OF JARED FRENCH American (20th Century) ART AND SCIENCE, C. 1939 oil on canvas, 50 x 40 inches, unsigned, in a Heydenryk Frame. Private Collection, New York, New York; Property of The Boston Art Club. There is another painting on the reverse. Estimate $6,000—$8,000 PROVENANCE 33 LUCION BERNHARD American (1883-1972) NAP AT THE BEACH oil on board, 13 1/4 x 19 1/4 inches, unsigned. Son of the artist; Private Collection, Connecticut. PROVENANCE Lucion Bernhard "Designer as Painter" UCONN Branford House, Von Schlippe Gallery, 1994. EXHIBITED Illustrated in "Designer as Painter," The Day, May 10, 1994. Estate stamp on the reverse. Estimate $3,000—$5,000 ILLUSTRATED 32 33 24 
32 SCHOOL OF JARED FRENCH American  20th Century  ART AND SCIENCE, C. 1939  oil on canvas, 50 x 40 inches, unsigned, in a ...
34 RAPHAEL SOYER American (1899-1987) WAITING AT THE STATION oil on canvas, 18 x 14 inches, signed lower right. Private Collection, New York. Estimate $5,000—$7,000 PROVENANCE 35 EDWARD MILLMAN American (1907-1964) "WINDSWEPT BARN" gouache on paperboard, 22 x 28 inches (sight), signed and dated "'39" lower right. Gift of the artist to his sister, by descent to his granddaughter; Property of The Boston Art Club. PROVENANCE Art Institute of Chicago, 19th International Exhibition of Watercolors,1940. Estimate $3,000—$5,000 EXHIBITED 34 35  25
34 RAPHAEL SOYER American  1899-1987  WAITING AT THE STATION  oil on canvas, 18 x 14 inches, signed lower right.  Private ...
“Farm life was all I knew for the first 20 years of my life. In painting these canvases, I felt again the vastness of endless skies, experienced again the penetrating cold of Nebraska winters, lived again as farmers live …in spirit, I am very much a farmer.” Dale Nichols. Dale Nichols was born in rural David City, Nebraska in 1904. His early life had a profound influence on his paintings which centered on the recreations of the farm life. The search for pure American Art was growing and the public was interested in scenes of American life. Nichols emerged as an artist when Regionalism and Rural Regionalism were growing as a collecting genre. His paintings are classified as a succession from Grant Wood, Thomas Hart Benton and John Stuart Curry. Nichols studied in Chicago at the Academy of Fine Arts and the Art Institute with Carl Wentz. He became a successful illustrator, watercolorist, designer, writer, lecturer, block-printer and painter. In the 1930s and 40s he created artwork for direct-mail industrial advertising. From 1942-1948 he succeeded Grant Wood as art editor of the Encyclopedia Britannica. During his career, he had eighteen solo exhibitions and exhibited in more that eighty regional and national exhibitions. In Sunset on the Farm, offered here, Nichols’ talent for reproducing light and shadows is evident. His distinctive style has attracted collectors since the 1930s. Sunset on the Farm captures the qualities and themes of his best paintings. The painting illustrates how despite the snow and the cold, farm work in Nebraska goes on. At sunset, the farmer, his son and his dog all walk home together. The sense of eeriness and quiet in Sunset on the Farm gives the painting a sense of otherworldliness, barns and rolling hills dominate the landscape rather than skyscrapers and pavement. American collector’s in the 1930s looked to buy Rural Regionalist art to capture the disappearing idyllic agricultural lifestyle. Nichols’ work has been avidly collected since in numerous public and private collections throughout the country as well as the Metropolitan Museum of Art in New York. 26 
   Farm life was all I knew for the first 20 years of my life. In painting these canvases, I felt again the vastness of en...
36 36 DALE NICHOLS American (1904-1995) SUNSET ON THE FARM oil on canvas, 24 x 30 inches, signed lower left. The artist; Private collection, Missouri. Estimate $50,000—$75,000 PROVENANCE  27
36  36 DALE NICHOLS American  1904-1995  SUNSET ON THE FARM  oil on canvas, 24 x 30 inches, signed lower left. The artist ...
37 37 CHARLES WILSON KNAPP American (1823-1900) 28  LANDSCAPE WITH COWS GRAZING RIVER IN AUTUMN oil on canvas, 23 3/4 x 41 3/4 inches, signed lower left. oil on canvas, 20 x 36 inches, signed lower left. Private Collection, New York. Estimate $6,000—$8,000 PROVENANCE PROVENANCE 38 38 CHARLES WILSON KNAPP American (1823-1900) Private Collection, Greenwich, Connecticut. Estimate $3,000—$5,000
37  37 CHARLES WILSON KNAPP American  1823-1900   28    LANDSCAPE WITH COWS GRAZING  RIVER IN AUTUMN  oil on canvas, 23 3 ...
39 39 JASPER FRANCIS CROPSEY American (1823-1900) FARM ALONG THE RIVER oil on canvas, 13 3/4 x 23 3/4 inches, signed and dated "1889" lower right. Christie's, December 6, 1991, Lot 89; Private Collection, Connecticut. Estimate $30,000—$50,000 PROVENANCE  29
39  39 JASPER FRANCIS CROPSEY American  1823-1900  FARM ALONG THE RIVER  oil on canvas, 13 3 4 x 23 3 4 inches, signed and...
40 40 THOMAS DOUGHTY American (1793-1856) LANDSCAPE WITH PINE TREES AND HOUSE oil on canvas, 22 x 30 inches, unsigned. Private Collection, Massachusetts. Estimate $7,000—$9,000 PROVENANCE 41 30  41 WILLIAM TROST RICHARDS (ATTRIBUTED) American (1833-1905) A SUNNY MORNING STROLL IN THE COUNTRY oil on canvas, 14 x 20 inches, unsigned. Private Collection, Massachusetts. This painting relates to other known works by Richards of rural Pennsylvania. A painting with the same title sold at Sotheby's on December 1, 2004, Lot 83. There is a partial label on the stretcher from "Williams Emporium - 7 ??th St. Phila." Estimate $8,000—$12,000 PROVENANCE
40  40 THOMAS DOUGHTY American  1793-1856  LANDSCAPE WITH PINE TREES AND HOUSE  oil on canvas, 22 x 30 inches, unsigned.  ...
42 42 GEORGE INNESS American (1825-1894) "A CLOUDY DAY" oil on canvas, 25 x 30 inches, signed and dated "1886" lower center. The artist; Estate of the above; Fifth Avenue Galleries, New York, Executor's Sale of Paintings by the Late George Inness, N.A., 12-14 February 1895, Lot 132; Joseph H. Spafford, acquired from the above; Mrs. Spafford, by bequest from the above; [With]Leroy Ireland, New York, 1951; Ernest Closuit, Fort Worth, Texas; [With]Meredith Long & Company, Houston, Texas, circa 1960; Private collection. PROVENANCE New York, American Fine Arts Society, Exhibition of the Paintings Left by the Late George Inness, December 27, 1894, no. 90. EXHIBITED L. Ireland, "The Works of George Inness: An Illustrated catalogue raisonné, " Austin, Texas, 1965, p. 336, no. 1324, illustrated; M. Quick, "George Inness: A catalogue raisonné," vol. II, New Brunswick, New Jersey, 2007, pp. 282-83, 311, no. 966, illustrated. Estimate $30,000—$50,000 ILLUSTRATED  31
42  42 GEORGE INNESS American  1825-1894   A CLOUDY DAY   oil on canvas, 25 x 30 inches, signed and dated  1886  lower cen...
Alfred Thompson Bricher was one of America’s best-known seascape painters of the nineteenth century. Unlike the artists of the two generations preceding his, who sought untamed wilderness views in the Catskill Mountains, the White Mountains, and the Adirondacks, Bricher specialized in landscapes featuring placid inland bodies of water and picturesque scenes of the New England seaboard. Today Bricher is widely appreciated by art historians for his mastery of Luminist realism. As a Luminist painter, he was predominantly interested in the pictorial effects of light and translucency. It is always possible to ascertain specifics such as the time of day, weather conditions, and geography in his work, yet his paintings manifest a spiritual quality that was an important component of the Hudson River School. In 1879 Bricher was elected an Associate member of the National Academy of Design. His work was seen regularly in the annual exhibitions of both the Academy and the American Watercolor Society. Bricher also exhibited at the Art Institute of Chicago, the Boston Art Club, and the gallery of James Gill in Springfield, Massachusetts. Following a second marriage in 1881, Bricher built a summer home and studio in Southampton, Long Island. “Here he interpreted the expansive coast and quaint village areas in paintings displayed at annual exhibitions from 1882 until 1894. He painted all along the south shore of Long Island. He exhibited views of rugged Montauk Point at the eastern tip between 1882 and 1885; Water Mills, adjacent to Southampton from 1882 to 1888; Patchogue and Blue Point on Great South Bay protected from the Atlantic by Fire Island from 1886-91; further west, Freeport and Far Rockaway from 1888 to 1891; and Wantagh in 1893.”1 By the time he died in 1908, Bricher’s career had spanned a period of momentous evolution in American art, indeed from the era of the Hudson River School to the imminent appearance of Synchromism, or color abstraction. It is little wonder, then, that when Bricher died at New Dorp on September 30, 1908, his obituary commented, “[Bricher] did not receive the notice in the press that the artist’s ability and reputation deserved. Today works by Bricher can found in the permanent collections of many of America’s most prestigious museums, the Metropolitan Museum of Art, the Brooklyn Museum of Art, the Smithsonian American Art Museum, the White House, The Wadsworth Atheneum and the Pennsylvania Academy of Fine Arts. “Evening Glow” offered here, is a fine example of Bricher’s technique of illuminating the canvas with color, glowing light and warmth. The empty rowboat in the foreground is also a familiar subject for Bricher. “Evening Glow” is housed in a magnificent gold leaf frame that is most likely original to the painting. 1 Alfred Thompson Bricher, 1837-1908, by Jeffrey R. Brown, assisted by Ellen W. Lee, 1973. Portions of this essay courtesy of Hollis-Taggart Galleries 32 
Alfred Thompson Bricher was one of America   s best-known seascape painters of the nineteenth century. Unlike the artists ...
43 43 ALFRED THOMPSON BRICHER American (1837-1908) EVENING GLOW oil on canvas, 15 x 32 inches, signed lower right. Jack Farley, Troy, Pennsylvania, before 1950; To his grandson, John and Carolyn Imbt, Troy, Pennsylvania, c. 1980; By descent to their son; Acquired by the present owner from above (Barridoff Galleries, August 2000, lot 147). Estimate $50,000—$70,000 PROVENANCE  33
43  43 ALFRED THOMPSON BRICHER American  1837-1908  EVENING GLOW  oil on canvas, 15 x 32 inches, signed lower right. Jack ...
44A 44B 44C 44D 44 ALFRED THOMPSON BRICHER American (1837-1908) (GROUP OF FOUR) (A) "ROCKS AND SHIPS AT GRAND MANAN, MAINE, 1886" (B) "COAST OF MAINE" (C) "CLOUDY DAY, MAINE COAST" (D) "ROWBOATS ON THE SHORE, MAINE, 1885" (a) watercolor en grisaille with Chinese white on paper, (a) 2 7/8 x 7 1/8 inches (b) 3 1/4 x 7 1/4 inches (c) 3 1/4 x 8 inches (d) 3 1/4 x 7 3/4 inches, signed with monogram lower right, inscribed in pencil on matboard "98 / Rocks and Ships at Grand Manan, Maine - 1886 / Original drawing by 1837 - Alfred T. Bricher - 1908 - A.W.S A.N.A" (b) watercolor en grisaille with Chinese white on paper, signed with monogram lower right, inscribed in pencil on matboard "51 / Coast of Maine - 1888 / Original drawing by 1837 - Alfred T. Bricher - 1908 - A.W.S - A.N.A" (c) watercolor en grisaille with Chinese white on paper, signed with monogram lower right, inscribed in pencil on matboard "26 (20) / Original drawing by 1837 - Alfred T. Bricher - 1908 - A.W.S - A.N.A" (d) watercolor en grisaille with Chinese white on paper, signed with monogram lower right, inscribed in pencil on matboard "95 / Done 1885 / Original drawing by 1837 - Alfred T. Bricher - 1908 A.W.S - A.N.A" These drawings were purchased as an intact sketchbook from his niece by Clayton Liberatore Gallery of New York City and Bridgehampton, Long Island; Private Collection, Connecticut. Estimate $3,000—$5,000 PROVENANCE 34 
44A  44B  44C  44D  44 ALFRED THOMPSON BRICHER American  1837-1908   GROUP OF FOUR   A   ROCKS AND SHIPS AT GRAND MANAN, M...
45 45 JAMES MC DOUGAL HART American (1828-1901) "LOON LAKE MORNING" oil on canvas, 30 x 50 inches, unsigned. Private Collection, Maryland. Estimate $12,000—$18,000 PROVENANCE  35
45  45 JAMES MC DOUGAL HART American  1828-1901   LOON LAKE MORNING   oil on canvas, 30 x 50 inches, unsigned. Private Col...
Walter Launt Palmer was already thirty-four years old when he painted his first winter masterpiece, January, which he exhibited at the National Academy of Design in 1887. The work earned him the notable Hallgarten Prize and led to his election as an associate of the Academy.1 The cool, reaching blue shadows of the winter scenes that he painted almost exclusively thereafter were a considerable departure from the cozy, decorative interiors and sun-drenched Venetian scenes created earlier in his career. Still, Palmer’s winter views, tempered by greens, yellows, and pinks scattered across the snow, are often as warm and intimate as his previous work. Such is the case with Upland Stream, Mohawk Valley. The trees alongside the stream create a cloistered affect, while the bright pinks, blues, and yellows lend a sense that dawn is rising just beyond the bend. The water is running and the snow appears heavy, as it would in the early hours of a winter thaw. The composition and approach are textbook Palmer, however the execution remains extraordinary—the stream shines and the snow is pearlescent. Palmer’s legacy as a winter painter has somewhat obscured his origins as a conventionally trained and versatile artist. The son of the sculptor Erastus Dow Palmer, Walter grew up in an arts minded environment in Albany where painters such as John F. Kensett, Jervis McEntee, and Frederick Edwin Church visited. Palmer later studied with Church, who praised his work regularly and remained a life-long friend.2 He counted William Merritt Chase and John Singer Sargent among his close associates, and he won numerous prizes throughout his career, including gold medals at the annual exhibitions of the Philadelphia Art Club and the Boston Art Club in 1894 and 1895, respectively. In 1907 he won the silver medal at the Philadelphia Art Club for a work also titled November Snow. In 1921, his painting, Silent Dawn, was purchased by the Metropolitan Museum of Art.3 1 John Tarantine, Walter Launt Palmer (1854-1932), exhib. cat. (Youngstown: Butler Institute of Art, 1988), 3. 2 Tarantine, 3. 3 Mann, 176. 36 
Walter Launt Palmer was already thirty-four years old when he painted his first winter masterpiece, January, which he exhi...
46 46 WALTER LAUNT PALMER American (1854-1932) "UPLAND STREAM, MOHAWK VALLEY" oil on canvas, 25 1/2 x 30 inches, signed lower right. Mrs. Morton Dexter; Museum of Fine Arts, Boston, Massachusetts, gift from the above; Private Collection, Dallas, Texas. PROVENANCE M. Mann, "Walter Launt Palmer: Poetic Reality," Atglen, Pennsylvania, 1984, p. 165, pl. 1031, illustrated. Label on the reverse "Gift of Mrs. Morton Dexter." Estimate $30,000—$50,000 ILLUSTRATED  37
46  46 WALTER LAUNT PALMER American  1854-1932   UPLAND STREAM, MOHAWK VALLEY   oil on canvas, 25 1 2 x 30 inches, signed ...
47 47 ALBERT FITCH BELLOWS American (1911-1988) oil on canvas, 12 x 20 inches, signed and dated "1881" lower right. Private Collection, New York. Estimate $2,000—$3,000 The Albany Gallery, Albany, New York; Private Collection, Florida. Estimate $4,000—$6,000 PROVENANCE 38  "VIEW ON LAKE GEORGE" FEEDING TIME oil on board, 15 x 19 3/4 inches, initialed lower left. 48 48 GEORGE W. WATERS American (1832-1912) PROVENANCE
47  47 ALBERT FITCH BELLOWS American  1911-1988   oil on canvas, 12 x 20 inches, signed and dated  1881  lower right.  Pri...
49 49 WILLIAM BRADFORD American (1823-1892) SHIP OFF THE COAST OF LABRADOR oil on canvas, 9 x 14 inches, signed lower right. Private Collection, Connecticut. Estimate $15,000—$25,000 PROVENANCE  39
49  49 WILLIAM BRADFORD American  1823-1892  SHIP OFF THE COAST OF LABRADOR  oil on canvas, 9 x 14 inches, signed lower ri...
50 WILLIAM SAMUEL HORTON American (1865-1936) "GSTAAD, SWITZERLAND AT NIGHT" oil on canvas, 27 5/8 x 31 1/2 inches, signed lower right. Private Collection, Texas. Estimate $7,000—$10,000 PROVENANCE 50 51 WILLIAM SAMUEL HORTON American (1865-1936) "VILLAGE IN SWITZERLAND" oil on canvas, 27 x 31 3/8 inches, signed lower right. Private Collection, Texas. Estimate $5,000—$7,000 PROVENANCE 51 40 
50 WILLIAM SAMUEL HORTON American  1865-1936   GSTAAD, SWITZERLAND AT NIGHT   oil on canvas, 27 5 8 x 31 1 2 inches, signe...
52 52 WALTER GRANVILLE-SMITH American (1870-1938) "SENTINEL TREES," BELLPORT, LONG ISLAND oil on canvas, 37 3/8 x 49 1/4 inches, signed and dated "1914" lower right. Grand Central Galleries, New York, New York; Private Collection, Arizona. A letter from the artist to the original buyer dated Sept. 11th, 1926 describing the painting and location accompanies the Lot. Estimate $7,000—$10,000 PROVENANCE  41
52  52 WALTER GRANVILLE-SMITH American  1870-1938   SENTINEL TREES,  BELLPORT, LONG ISLAND  oil on canvas, 37 3 8 x 49 1 4...
Charles Courtney Curran was born in Kentucky and raised in Ohio. He first studied at the Cincinnati School of Design before moving to New York City in 1882. In New York City he attended the National Academy of Design (NAD) and the Art Student’s League. He exhibited his first painting at the NAD in 1883 at 23 years old. From 1888-1891 Curran studied at the Academie Julian in Paris. While abroad, he successfully exhibited works at the Paris Salon and at Durand-Ruel Gallery. In 1891, Curran returned to the States where he continued to enjoy success exhibiting at the World’s Columbian Exposition in Chicago, the NAD, Exposition Universelle in Paris, the Pan-American Exposition in Buffalo, the Louisiana Purchase exhibition and many others. He was elected a full Academician in 1904. Curran was a doting father who frequently painted his children as subjects. Among his favorite subjects was his daughter Emily, born in 1903. Jane Faquin Ward writes “…the artist painted her outdoors, eating breakfast, going to sleep at night, and playing with her toys.” The last description refers to he present canvas, Maternal Cares, the location unknown at the time of Ward’s publication. Some of the dolls may be the same as those in The Concert a painting of Emily playing the piano to an audience of dolls and stuffed animals (Coll. of Mr. and Mrs. Henry Schwob). Maternal Cares was a popular painting by Curran at the time it was painted. Gardner Teall illustrated it in a gloating review of Curran in a 1916 issue of Hearst’s; “…it is the sort of art which comes before one like a sudden vision of natural blessedness, unruffled by storms of experience. It may be a little miss playing with her dolls…and you will find them all undisturbed by the suggestion of earthliness, worldliness, or soddenness. We should be grateful to any painter who so sincerely brings to every one of us the vision of youth’s gloriousness.” Shannon’s is pleased to present Maternal Cares, the first of a collection of 7 lots by Charles Courtney Curran in this auction. 42 
Charles Courtney Curran was born in Kentucky and raised in Ohio. He first studied at the Cincinnati School of Design befor...
53 53 CHARLES COURTNEY CURRAN American (1861-1942) "MATERNAL CARES" oil on canvas, 20 x 30 inches, signed and dated "1909" lower right. Fentress Collection, Waco, Texas. PROVENANCE Teal, Gardner, "Poems in Paint, The Work of Charles C. Curran" in Hearst's, Aug. 1916, vol. 30, no. 2, p. 102-104, illus. p. 104. Estimate $60,000—$80,000 ILLUSTRATED  43
53  53 CHARLES COURTNEY CURRAN American  1861-1942   MATERNAL CARES   oil on canvas, 20 x 30 inches, signed and dated  190...
Charles Courtney Curran was born in Hartford, Kentucky on February 13, 1861, the son of Ulysses Thompson Curran and his wife Elizabeth Thompson. He spent his childhood in Sandusky, Ohio. In 1883 he studied at the Cincinnati School of Design with Thomas B. Nobel; the Art Students League, the National Academy of Design with Walter Satterlee; and with Constant, Lefebvre and Doucet at the Academie Julian in Paris (1889-1891). He was a celebrated and successful artist in his lifetime earning a distinction for lifetime artistic achievements from the Salmugundi Club in 1934. From 1908-1910 Curran built “Winahdin,” a family summer home in Cragsmoor, New York. It was there that he painted the pastel colored landscapes for which he best remembered (lots 54, 55 and 56). For 40 years Curran and his family would summer in Cragsmoor, a growing artist colony since the late 19th century. The artist and his family were very active in the community participating in summer social activities and helping to improve the town. Curran would “load his painting equipment into a child’s red wagon and head off to Bear Hill to work.”1 Curran’s best works from his Cragsmoor years feature young, elegant women in bright sunlight. The subjects are typically perched on cliffs set against a dramatic sky. In Blue and Gold Curran captures a snapshot of four adolescents playing along the rocky mountain top. The model in the foreground has been identified as Julia Polk Hunsicker, a Cragsmoor local who posed for artists including Curran and Helen M. Turner. Her blue dress and golden hair could have inspired the title of the work or perhaps the blue sky and the golden sunlight.2 Curran’s work is in the permanent collections of the Terra Museum of American Art (IL); National Museum of Art, Smithsonian Institution (Wash., D.C.); PAFA; Witte Memorial Museum (San Antonio TX); Fort Worth Art Museum (TX); Metropolitan Museum of Art; Vassar College; Columbus Museum of Art; Art Museum, Montclair, NJ and many other national collections. 1 Faquin, Jane Ward with Maria Jaelnak. “Charles Courtney Curran: Seeking the Ideal.” Dixon Gallery and Gardens (2014), p. 25. 2 Faquin and Jalenak, p. 110. 44 
Charles Courtney Curran was born in Hartford, Kentucky on February 13, 1861, the son of Ulysses Thompson Curran and his wi...
54 54 CHARLES COURTNEY CURRAN American (1861-1942) "BLUE AND GOLD" oil on canvas mounted on board, 30 x 40 inches, signed, titled and dated "1929" lower right, signed, titled, numbered "232-3 C.C.C." on the reverse. Emily Curran, daughter of the Artist, Cragsmoor, New York; Kaycee Benton, Cragsmoor, New York; John Carmichael. PROVENANCE "Windy Summits, Fertile Valleys, An Artistic Journey Through The Shawangunk Mountains,” The Hudson River Museum, September 26 - November 7, 1982; “The Artist's Garden: American Impressionism and the Garden Movement, 1887-1920,” February 13, 2015 - May 24, 2015, The Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania; “Selections from our Permanent Collection,” October 27, 2014 - November 1, 2014, National Arts Club, New York, New York; “ Charles Courtney Curran: Seeking the Ideal,” July 27, 2014 - October 5, 2014, Dixon Gallery and Gardens, Memphis, Tennessee, November 1, 2014 - February 1, 2015 and The Frick Art Museum at the Frick Art & Historical Center, Pittsburgh, Pennsylvania. Exhibited, The Cragsmoor Free Library, Cragsmoor, New York. EXHIBITED Curran Record Book: 232/30; Faquin, Jane Ward, "Seeking the Ideal, Charles Courtney Curran," catalog no. 60. Estimate $40,000—$60,000 ILLUSTRATED  45
54  54 CHARLES COURTNEY CURRAN American  1861-1942   BLUE AND GOLD   oil on canvas mounted on board, 30 x 40 inches, signe...
55 55 CHARLES COURTNEY CURRAN American (1861-1942) "THE CATSKILLS FROM WOODGREEN," CRAGSMOOR oil on board, 8 x 10 1/2 inches, signed and dated "1931" lower right. "BLEAK ROCK" A Massachusetts Estate; Private Collection, Massachusetts. Estimate $3,000—$5,000 Private Collection, Pennsylvania. Estimate $3,000—$5,000 PROVENANCE 56 46  56 CHARLES COURTNEY CURRAN American (1861-1942) oil on canvas mounted on board, 8 3/4 x 10 inches, signed lower left, initialed and numbered "246-18" on the reverse. PROVENANCE
55  55 CHARLES COURTNEY CURRAN American  1861-1942   THE CATSKILLS FROM WOODGREEN,  CRAGSMOOR  oil on board, 8 x 10 1 2 in...
57 57 WALTER LAUNT PALMER American (1854-1932) "A WINTER IDYLL' gouache and tempera on board, 18 x 24 inches, signed lower right. Lagakos Turak Gallery, Philadelphia, Pennsylvania. Estimate $12,000—$18,000 PROVENANCE  47
57  57 WALTER LAUNT PALMER American  1854-1932   A WINTER IDYLL   gouache and tempera on board, 18 x 24 inches, signed low...
58 58 F. LUIS MORA American (1874-1940) SELF PORTRAIT oil on canvas, 22 x 35 1/2 inches, signed lower right. Estate of Jo Mora, Jr., nephew of F. Luis Mora; Private collection Connecticut. PROVENANCE Mattatuck Museum Arts and History Center, Waterbury, Connecticut, "F. Luis Mora and the Expression of Beauty," September 25, 2009 - February 7, 2010. EXHIBITED Baron, Lynne Pauls, "F. Luis Mora: America's First Hispanic Master," Falk Art Reference: Madison, CT (2008), p. 60. A copy of the book accompanies the Lot. In 1987, Mora was twenty-three years old, and working as an instructor at the Chase School of Art in New York City. The school was named for its owner, William Merritt Chase, who was Mora's mentor. In homage to Chase, the background relief in Mora's self-portrait is painted in the Impressionist style. The figure is Realistic, as were all of Mora's figures in that era. Thanks to Lynne Pauls Baron author of "F. Luis Mora, America's First Hispanic Master," for her assistance in cataloging this lot. Estimate $8,000—$12,000 ILLUSTRATED 48 
58  58 F. LUIS MORA American  1874-1940  SELF PORTRAIT  oil on canvas, 22 x 35 1 2 inches, signed lower right. Estate of J...
EDMUND CHARLES TARBELL American (1862-1938) Edmund Charles Tarbell, as both a teacher and painter, was a leading influence in the development of the Boston School and a founding member of the celebrated American Art group “The Ten.” Tarbell, born in West Groton, Massachusetts, spent his life in New England. As a young artist, he lived in Boston teaching at the Museum School and painting portraits in his own unique Impressionist style. He quickly became a success and in 1905 moved with his family to suburban New Castle, New Hampshire. Tarbell lost his father as a young boy and when he was fifteen was sent to live in Boston with his grandparents. When his grandfather died in 1877, his mother and step-father returned to Boston to care for Tarbell and his step-sister, Nellie. In Boston he took a job at a lithography firm and begin to take art classes at the Boston Museum of Fine Arts School as a student of Otto Grundman. There he met Frank Benson and Robert Reid, later fellow organizers of “The Ten.” From 1884-1886, Tarbell travelled through Europe with Benson and Abbott Fuller Graves studying at the Academie Julian and visiting Venice. When he returned to Boston, Tarbell joined the faculty of the Museum School remaining there until 1912. The present portrait of Maria Sophia (Fernald) Tarbell illustrates the artist’s mother in Tarbell’s characteristic early Impressionist style. Tarbell would later depict his sitters in more elaborate interiors. This painting is indicative of Tarbells’s facility with paint, as the subtle shades of white coalesce into a modeled portrait. Tarbell probably saw Whistler’s provocative “Arrangement in Grey and Black, No. 1 (Whistler’s Mother), while in Paris. In contrast to Whistler, Tarbell softened his mother’s appearance. He gave her prominence as a subject by painting in a smaller more intimate scale and by inscribing the painting “TO MY MOTHER.” Although we only see a profile view, Mrs. Tarbell looks poised and elegant. As Sebastian Smee writes in 2016 review of the Portsmouth Historical Society Show, “Tarbell’s turn-of-the-century symphony-in-white, titled “My Mother” –a stiffbacked salute both to his mom and to Whistler’s.”
EDMUND CHARLES TARBELL American  1862-1938   Edmund Charles Tarbell, as both a teacher and painter, was a leading influenc...
59 EDMUND CHARLES TARBELL American (1862-1938) "TO MY MOTHER" PORTRAIT OF MARIA SOPHIA (FERNALD) TARBELL (1840-1910) oil on canvas, 18 x 14 inches, signed and titled lower right. By descent in the family of the artist to the artist's great-grandson; Private Collection, Massachusetts. PROVENANCE Newport Art Museum, "From Pennsylvania to Paradise," June 2 - September 9, 2012; Portsmouth Historical Society, "Illuminating Tarbell," March 3- June 3, 2016. EXHIBITED Sebastian Smee, "Life and Art on the Piscatuaqua" in the Boston Globe, June 3, 2016. Estimate $30,000—$50,000 LITERATURE 50 
59 EDMUND CHARLES TARBELL American  1862-1938   TO MY MOTHER  PORTRAIT OF MARIA SOPHIA  FERNALD  TARBELL  1840-1910   oil ...
59  51
59    51
60 60 THOMAS WILMER DEWING American (1851-1938) "PORTRAIT OF PANSY COTTON (MARIETTE BENEDICT COTTON)" charcoal and pencil on paper, 17 1/2 x 13 1/2 inches, signed with monogram lower left. Jill Newhouse Gallery, New York, New York; Hollis Taggart Galleries, New York, New York; Adelson Galleries, New York, New York; Private Collection, Massachusetts. Estimate $15,000—$25,000 PROVENANCE 52 
60  60 THOMAS WILMER DEWING American  1851-1938   PORTRAIT OF PANSY COTTON  MARIETTE BENEDICT COTTON    charcoal and penci...
61 61 JULIAN ALDEN WEIR American (1852-1919) WOMAN IN A BOAT gouache and pencil on paper, 6 1/2 x 9 1/2 inches (sight), artist's stamp lower left. By descent in the family of the artist to the artist's great-granddaughter; Private Collection, Massachusetts. Estimate $8,000—$12,000 PROVENANCE  53
61  61 JULIAN ALDEN WEIR American  1852-1919  WOMAN IN A BOAT  gouache and pencil on paper, 6 1 2 x 9 1 2 inches  sight , ...
This 1922 oil painting was painted by Curran in his New York City Studio at 39 West 67th Street. Soon after it was painted Curran sent it in April, 1922, to the M. A. Newhouse & Sons Gallery, St. Louis, Missouri. The M. A. Newhouse & Sons Gallery and Curran were closely affiliated for many years. The painting is listed in Curran’s records book as 206-1. In 1921 The Curran’s traveled to Venice and purchased a pair of Venetian glass vases, one of which was damaged soon after returning home. The undamaged vase was used by Curran as a device in “Heirlooms”. From the beginning of his career as an art teacher Curran, would choose some of his women students as models.  Before these young women could begin their modeling sessions with the artist, they had to be interviewed and given approval by Curran’s wife, Grace Wickham Curran.  Most of these art student-models would get paid an hourly rate and invariably they would also end up with an extra bonus of getting private art lessons from Curran. According to Kaycee Benton’s research, the model for this painting was one of Curran’s students. Ms. Benton felt that the student shown in the photograph with Curran was most likely the model from the painting. 54 
This 1922 oil painting was painted by Curran in his New York City Studio at 39 West 67th Street. Soon after it was painted...
62 62 CHARLES COURTNEY CURRAN American (1861-1942) HEIRLOOMS oil on canvas, 22 x 18 inches, signed lower right, signed and numbered "206-1 C.C.C." on the reverse. M. A. Newhouse & Sons Gallery, St. Louis, Missouri (1922 - 1923); sold to a private collector; descended in the family until 2005; Private Collection, Connecticut. Estimate $40,000—$60,000 PROVENANCE  55
62  62 CHARLES COURTNEY CURRAN American  1861-1942  HEIRLOOMS  oil on canvas, 22 x 18 inches, signed lower right, signed a...
63 63 CHARLES WEBSTER HAWTHORNE American (1872-1930) "RAINY DAY, PROVINCETOWN" oil on board, 20 x 20 inches, signed lower right, titled on the reverse. The Estate of the artist to his grandson; Property of The Boston Art Club. PROVENANCE Babcock Gallery, New York, New York, label on the reverse. Cape Cod Museum of Art, Illuminating Our Permanent Collection: "Modernism and Cape Cod Landscape," June 26 - August 26, 2014. Numbered 135 in the Estate Inventory, inscription and labels on the reverse. Estimate $7,000—$9,000 EXHIBITED 56 
63  63 CHARLES WEBSTER HAWTHORNE American  1872-1930   RAINY DAY, PROVINCETOWN   oil on board, 20 x 20 inches, signed lowe...
64 64 PAULINE LENNARDS PALMER American (1867-1938) "BACKSTREET, PROVINCETOWN," CA. 1924 oil on board, 20 x 24 inches, signed lower right. D. Clinton Hynes Fine Art, Chicago, Illinois; Private Collection, Illinois; Private Collection, Rhode Island. PROVENANCE Lakeview Museum of Arts and Sciences, "Pauline Palmer: American Impressionist, 1867-1938," Peoria, Illinois, 1984, cat. no. 16. Estimate $20,000—$30,000 EXHIBITED  57
64  64 PAULINE LENNARDS PALMER American  1867-1938   BACKSTREET, PROVINCETOWN,  CA. 1924  oil on board, 20 x 24 inches, si...
While studying in Munich between 1872-1878, Chase visited a number of the nearby cities. Here he captures a scene in “Rothenburg ob der Tauber,” a small, well-preserved medieval town northwest of Munich. The name of the city is actually a shortened version of “Rothenburg oberhalb der Tauber” (“Rothenburg above the Tauber”) and refers to it being situated on the hilltop overlooking the Tauber River. Rothenburg’s close proximity to Munich made it an appealing escape from the city for Chase and fellow artists. Old Houses Near Rothenburg was first exhibited at the 1880 Society of American Artists Exhibition. In a review for the show a critic commented, “A Scene from a Village also by Mr. Chase, a dark and Dupre-like scene with a wild sky and village dwellings having steep roofs” (Varnishing Day Scenes,” New Times, March 16, 1880, 5). A critic for the Art Amateur described the work as depicting “a village street, with thatched roofs” that was one of Chase’s “rich, enjoyable pieces of Munich….in the happiest vein of the school” (“American Artists,” Art Amateur 3, no. 5 [1880]: 90). By this time the painting was listed as being owned by Samuel T. Peters (18541921). Peters was a Trustee of The Metropolitan Museum of Art and a member of the Committee on Oriental Art, who had brought together an exceptional collection of early Chinese pottery and had lent the museum many rare pieces. After his death over a hundred of these were given to the Metropolitan Museum of Art by his wife. He may have purchased the work during the 1880 exhibition of the Society of American Artists, because a work with this title was not shown again until 1910 at the National Arts Club. Or, perhaps Peters acquired Old Houses Near Rothenburg during a visit to the artist’s Tenth Street Studio, where (…), it was displayed amidst other carefully arranged but haphazard-looking Metrpolitan Museum of Art, “William Merritt Chase Memorial array of decorative objects and paintings. Exhibition” Feb. 19-March 18, 1917 Lent by Samuel T, Peters This work is included on Peat’s checklist as being owned by Samuel T. Peters. (Above from Ronald Pisano, William Merritt Chase: Landscapes in Oil, vol. 3 (New Haven: Yale University Press, 2010). After the 1880 and 1910 exhibitions, Old Houses Near Rothenburg was shown (on loan from Samuel T. Peters) at the Metropolitan Museum’s “Art Loan Exhibition of Paintings by William Merritt Chase” in 1917 (no. 6). Pictured here is a view of the exhibition where the painting is visible in its original frame. The painting was last exhibited in 1949 in a retrospective “Chase Centennial Exhibition” at the John Herron Museum in Indiana. William Merritt Chase is one of the most celebrated American artists. He was influential teacher of plein-aire painting and a tremendously successful artist working in a progressive style that included elements of Tonalism, Impressionism and Realism. Chase was born in Franklin Indiana and he begin his artistic training under Benjamin Hayes. He spent a brief period in St. Louis, Missouri studying under Munich-trained artist John Mulvaney. His talent was apparent and patrons from St. Louis sponsored a trip for Chase to go to Munich and study bravura painting at the Royal Academy. (Bravura is a type of brushstroke used by John Singer Sargent, Anders Zorn, Velazquez and others. To accomplish this style, painters use what appears to be quick brushstroke but is actually a deliberate, purposeful paint application.) From 1872-1878 Chase studied in Munich with friends J. Frank Currier, Frank Duveneck and John Twachtman. Old Houses Near Rothenberg is an excellent early masterwork by Chase exhibiting his talent with the bravura style and his early mastery of painting. 58 
While studying in Munich between 1872-1878, Chase visited a number of the nearby cities. Here he captures a scene in    Ro...
65 65 WILLIAM MERRITT CHASE American (1849-1916) "OLD HOUSES NEAR ROTHENBURG" oil on canvas, 24 1/4 x 30 inches, signed lower right. Private Collection, New York. PROVENANCE Society of American Artists, New York City, 1180, no.24. National Arts Club, "William Merritt Chase Retrospective Exhibition," New York City, January 5 - January 13, 1910, no.10, lent by Samuel T. Peters. Metropolitan Museum of Art, "William Merritt Chase Memorial Exhibition," February 19 - March 18, 1917, no. 6, lent by Samuel T. Peters; John Herron Art Museum, Indianapolis, Indiana, "Chase Centennial Exhibition, Commemorating the Birth of William Merritt Chase November 1, 1849", November 1 - December 11, 1949. EXHIBITED Pisano, Ronald G. "William Merritt Chase Landscapes in Oil," Yale University Press, New Haven, L2, page 3. Estimate $30,000—$50,000 ILLUSTRATED  59
65  65 WILLIAM MERRITT CHASE American  1849-1916   OLD HOUSES NEAR ROTHENBURG   oil on canvas, 24 1 4 x 30 inches, signed ...
66 66 ANDREW MELROSE American (1836-1901) oil on canvas, 24 x 20 inches, initialed lower left. "THE PICNIC" Schutz & Company, Greenwich, Connecticut; Private Collection, Greenwich, Connecticut. Estimate $6,000—$8,000 PROVENANCE 60 
66  66 ANDREW MELROSE American  1836-1901  oil on canvas, 24 x 20 inches, initialed lower left.  THE PICNIC   Schutz   Com...
67 67 WILLARD LEROY METCALF American (1858-1925) "LENGTHENING SHADOWS, NO. 1" (RESTING AT THE HAYSTACK) oil on panel, 12 5/8 x 16 1/4 inches, signed and dated "'88" lower left. William Vanderbilt Sullivan Allen, Rye, New York; Mildred Sutton Ward Marlor, Rye, New York; Private Collection, Connecticut. PROVENANCE Boston, Massachusetts, St. Botolph Club, Exhibition of Paintings by W.L. Metcalf, March 18-April 1, 1889, no. 6. This work will be included in the forthcoming catalogue raisonné being compiled by Betty Krulik, Willard Leroy Metcalf catalogue raisonné Project, Inc. A letter from the catalogue raisonné committee accompanies the Lot. Estimate $30,000—$50,000 EXHIBITED  61
67  67 WILLARD LEROY METCALF American  1858-1925   LENGTHENING SHADOWS, NO. 1   RESTING AT THE HAYSTACK   oil on panel, 12...
68 68 ELIZABETH NOURSE American (1859-1938) "BELGIAN FLOWER VENDORS, GRAVENSTEEN CASTLE" gouache on paperboard, 13 x 16 1/2 inches, signed, dated "1902" and inscribed "Gent, Belgium" lower right. Private Collection, Massachusetts. PROVENANCE Cincinnati Art Galleries, "A Retrospective" September 10, 2005, Cincinnati, Ohio. Estimate $8,000—$12,000 EXHIBITED 62 
68  68 ELIZABETH NOURSE American  1859-1938   BELGIAN FLOWER VENDORS, GRAVENSTEEN CASTLE   gouache on paperboard, 13 x 16 ...
69 69 EUGEN JETTEL Austrian (1845-1901) "THE SUNFLOWER" oil on canvas, 17 1/2 x 30 1/4 inches, signed and dated illegibly lower right. Galerie Sedelmeyer, Paris; Private Collection of Henry F. English, Hillhouse Avenue, New Haven, Connecticut; Private Collection, Connecticut. Estimate $3,000—$5,000 PROVENANCE  63
69  69 EUGEN JETTEL Austrian  1845-1901   THE SUNFLOWER   oil on canvas, 17 1 2 x 30 1 4 inches, signed and dated illegibl...
70A 70 JOHN F. FRANCIS American (1808-1886) (A PAIR) STILL LIFE WITH OYSTERS, WHISKEY AND BISCUITS STILL LIFE WITH GRAPES AND APPLES oil on board, (a) 10 3/4 x 13 5/8, signed lower right and dated "1867" (b)11 3/8 x 14 1/4 inches, unsigned, inscribed illegibly on the reverse. Private Collection, Philadelphia, Pennsylvania; Private Collection, New Jersey. Estimate $8,000—$12,000 PROVENANCE 70B 64 
70A  70 JOHN F. FRANCIS American  1808-1886   A PAIR  STILL LIFE WITH OYSTERS, WHISKEY AND BISCUITS STILL LIFE WITH GRAPES...
71 71 ROBERT SPEAR DUNNING American (1829-1905) STILL LIFE WITH PEACHES, PEARS AND GRAPES oil on canvas, 13 x 17 inches, signed and dated "1891" on the reverse. Private Collection, Massachusetts. Estimate $25,000—$35,000 PROVENANCE  65
71  71 ROBERT SPEAR DUNNING American  1829-1905  STILL LIFE WITH PEACHES, PEARS AND GRAPES  oil on canvas, 13 x 17 inches,...
72 72 ANTONIO ARGENTI Italian (1845-1916) white marble, 24" H (61 1/2 " H with custom base) signed and inscribed "Milano". "RIPOSINO" Private Collection, Connecticut. Estimate $10,000—$15,000 PROVENANCE 66 
72  72 ANTONIO ARGENTI Italian  1845-1916  white marble, 24  H  61 1 2   H with custom base  signed and inscribed  Milano ...
73 73 CHAUNCEY BRADLEY IVES American (1810-1894) WINGED CUPID white marble, 42 1/2" H, signed at base. Private Collection, New York. A graphite drawing by Chauncey Bradley Ives of Winged Cupid (from the Cropsey Album) is in the Metropolitan Museum of Art's Collection (1970.9.19). Estimate $20,000—$30,000 PROVENANCE  67
73  73 CHAUNCEY BRADLEY IVES American  1810-1894  WINGED CUPID  white marble, 42 1 2  H, signed at base. Private Collectio...
74 IVAN OLINSKY American/Russian (1878-1962) WOMAN WITH FLOWERS oil on canvas, 30 x 24 inches, signed upper right. Private Collection, New Jersey. Estimate $3,000—$5,000 PROVENANCE 74 75 IVAN OLINSKY American/Russian (1878-1962) GIRL WITH A RED BOW oil on board, 12 x 9 inches, signed upper right. Christie's, October 1, 2009, Lot 106; Private Collection, New Jersey. Estimate $3,000—$5,000 PROVENANCE 75 68 
74 IVAN OLINSKY American Russian  1878-1962  WOMAN WITH FLOWERS  oil on canvas, 30 x 24 inches, signed upper right. Privat...
76 76 LEON JEAN BASILE PERRAULT French (1832-1908) AFTER A SWIM oil on canvas, 40 x 26 inches, signed lower right. Private Collection, Georgia. Estimate $30,000—$50,000 PROVENANCE  69
76  76 LEON JEAN BASILE PERRAULT French  1832-1908  AFTER A SWIM  oil on canvas, 40 x 26 inches, signed lower right. Priva...
77 77 EMILE AUGUSTE PINCHART French (1842-1924) "PAYING RESPECTS" oil on canvas, 37 1/4 x 29 1/2 inches, signed lower right. Private Collection, Ohio. Estimate $8,000—$12,000 PROVENANCE 70 
77  77 EMILE AUGUSTE PINCHART French  1842-1924   PAYING RESPECTS   oil on canvas, 37 1 4 x 29 1 2 inches, signed lower ri...
78 78 LUIGI BECHI Italian (1830-1919) "LA VISITA" (SUNDAY VISIT) oil on canvas, 34 1/2 x 47 inches, signed lower left. Private Collection, California. Note: A small 19x14 inch sketch of this oil was sold in Italy at Casad ‘Aste Galleria Pananti, February 19, 2011, Lot 1157 for $15,000. Estimate $30,000—$50,000 PROVENANCE  71
78  78 LUIGI BECHI Italian  1830-1919   LA VISITA   SUNDAY VISIT   oil on canvas, 34 1 2 x 47 inches, signed lower left. P...
79 CYRUS EDWIN DALLIN American (1861-1944) "SIGNAL OF PEACE" bronze, 13 1/2" H, signed, dated "1890" and inscribed "Gorham #6." Private Collection, California. Estimate $4,000—$6,000 PROVENANCE 79 80 ISIDORE JULES BONHEUR French (1827-1901) JOCKEY ON HORSE bronze, 14 1/4" H, signed and inscribed "Boudet 43 Be Des Capucines," "Peyrol" foundry mark. Private Collection, New York. Estimate $7,000—$10,000 PROVENANCE 80 72 
79 CYRUS EDWIN DALLIN American  1861-1944   SIGNAL OF PEACE   bronze, 13 1 2  H, signed, dated  1890  and inscribed  Gorha...
81 81 WILL SPARKS American (1862-1937) ADOBE VILLAGE, MOONLIGHT oil on canvas, 24 x 36 inches, unsigned, dated "May 6, 1930" on reverse. Dr. Irwin Schoen; Maxwell Galleries, San Francisco; Private Collection, Georgia. PROVENANCE Laguna Beach Museum of Art, July 10, 1979 - August 28, 1979. EXHIBITED “Southern California Artist 1890-1940, Laguna Beach Museum of Art, page 175; California Design 1910”, Timothy Anderson, page 47 (plate 39). Moure, NancyD., “California Landscape Painting,” in American Art Review, Nov - dec 1974, illus. p. 140. Estimate $10,000—$15,000 ILLUSTRATED  73
81  81 WILL SPARKS American  1862-1937  ADOBE VILLAGE, MOONLIGHT  oil on canvas, 24 x 36 inches, unsigned, dated  May 6, 1...
82 82 ARTHUR FITZWILLIAM TAIT American (1819-1905) SHEEP RESTING IN ROCKY LANDSCAPE oil on canvas, 24 x 30 inches, signed, inscribed "NY" and dated "'85" lower right, signed and dated illegibly on the reverse. Private Collection, Greenwich, Connecticut. Estimate $5,000—$7,000 PROVENANCE 83 74  83 ALBERT BIERSTADT (AFTER) American (1830-1902) "THE ROCKY MOUNTAINS, LANDER'S PEAK" steel engraving by James Smillie after a painting by Albert Bierstadt, 16 3/4 x 27 3/4 inches. 26th Street Market, New York, New York; Private Collection, Massachusetts. Estimate $2,000—$4,000 PROVENANCE
82  82 ARTHUR FITZWILLIAM TAIT American  1819-1905  SHEEP RESTING IN ROCKY LANDSCAPE  oil on canvas, 24 x 30 inches, signe...
84 84 FREDERIC REMINGTON American (1861-1909) ARREST OF A POACHER IN THE FOREST gouache on paper, 21 1/4 x 29 5/8 (sight), signed lower left. Graham Gallery, New York, New York; J. N. Bartfield Galleries, New York, New York; Private Collection, Vermont. PROVENANCE Whitney Gallery of Western Art, Cody, Wyoming, 1974 Season. EXHIBITED Harper's Monthly, April 1894, "Emperor William's Stud Farm and Hunting Forest" by Poultney Bigelow, p. 748. Estimate $20,000—$30,000 LITERATURE  75
84  84 FREDERIC REMINGTON American  1861-1909  ARREST OF A POACHER IN THE FOREST  gouache on paper, 21 1 4 x 29 5 8  sight...
85 85 HENRY RASCHEN American (1854-1937) NATIVE AMERICAN IN RIVER LANDSCAPE oil on canvas, 26 1/4 x 46 inches, signed lower right. Private Collection, New York. Estimate $6,000—$8,000 PROVENANCE 86 76  86 FEODOR VON LUERZER Austrian/American (1851-1913) CAMP ON LAKE COEUR D'ALENE oil on canvas, 24 x 38 inches, signed and dated indistinctly lower right. Antoinette Hatfield Art Gallery, Portland, Oregon; Private Collection, Oregon. Estimate $4,000—$6,000 PROVENANCE
85  85 HENRY RASCHEN American  1854-1937  NATIVE AMERICAN IN RIVER LANDSCAPE  oil on canvas, 26 1 4 x 46 inches, signed lo...
87 87 EDMUND HENRY OSTHAUS American (1858-1928) "AFTER THE HUNT" watercolor on paper, 28 5/8 x 19 3/4 inches, signed lower right. Private Collection, Ohio. Estimate $10,000—$15,000 PROVENANCE  77
87  87 EDMUND HENRY OSTHAUS American  1858-1928   AFTER THE HUNT   watercolor on paper, 28 5 8 x 19 3 4 inches, signed low...
88 88 ALFRED THOMPSON BRICHER American (1837-1908) RIVER LANDSCAPE WITH WATERFALL oil on board, 8 1/4 x 13 3/8 inches, signed "ATB" and dated "6?" indistinctly lower right. Private Collection, Louisiana; Private Collection, Connecticut. Estimate $5,000—$7,000 PROVENANCE 89 ERNEST PARTON American (1845-1933) "VIRGINIA WATERS" oil on canvas, 36 x 28 inches, signed lower left. Schutz & Company, Greenwich, Connecticut; Private Collection, Greenwich, Connecticut. Estimate $4,000—$6,000 PROVENANCE 89 78 
88  88 ALFRED THOMPSON BRICHER American  1837-1908  RIVER LANDSCAPE WITH WATERFALL  oil on board, 8 1 4 x 13 3 8 inches, s...
90 90 JOHN WILLIAMSON American (1826-1885) LUMINIST VISTA oil on canvas, 22 x 36 inches, initialed lower left. Private Collection, Maryland. Estimate $20,000—$40,000 PROVENANCE  79
90  90 JOHN WILLIAMSON American  1826-1885  LUMINIST VISTA  oil on canvas, 22 x 36 inches, initialed lower left. Private C...
91 91 HUGH BOLTON JONES American (1848-1927) FALL LANDSCAPE oil on canvas, 16 1/4 x 24 inches, signed lower right. Thomaston Place Auction, March 31, 2007, Lot 105; Private Collection, New York. Estimate $5,000—$7,000 PROVENANCE 92 HUGH BOLTON JONES American (1848-1927) "THE LURE OF AUTUMN" oil on board, 20 1/4 x 14 1/4 inches, signed lower right. Dr. & Mrs. Willard Rouse Jillson, Frankfort, Kentucky; by descent in the family; Private Collection, California. PROVENANCE The J. B. Speed Memorial Museum "Exhibition of Paintings Lent by Dr. and Mrs. Willard Rouse Jillson, Frankfort, Kentucky" May 5 - May 26, 1940, no. 12. Estimate $4,000—$6,000 EXHIBITED 92 80 
91  91 HUGH BOLTON JONES American  1848-1927  FALL LANDSCAPE  oil on canvas, 16 1 4 x 24 inches, signed lower right. Thoma...
93 93 ALEXANDER HELWIG WYANT American (1836-1892) AUTUMN IN THE ADIRONDACKS oil on canvas, 20 x 30 inches, signed lower center. Thomas Colville Fine Art, New Haven, Connecticut; Alexander Galleries, New York, New York; Godel & Co., New York, New York; Private Collection, Michigan; Private Collection, Florida. PROVENANCE Alexander Gallery, New York, "The Hudson River School: Congenial Observations," September -October 1987, no. 34 (illustrated as Adirondack Lake). This work is listed on the Wyant website by Anthony E. Battelle, reference number 116.018 (as Autumn Lake Scene). Estimate $20,000—$30,000 EXHIBITED  81
93  93 ALEXANDER HELWIG WYANT American  1836-1892  AUTUMN IN THE ADIRONDACKS  oil on canvas, 20 x 30 inches, signed lower ...
94 94 AUGUSTUS SAINT-GAUDENS American (1848-1907) PORTRAIT OF ROBERT LOUIS STEVENSON bronze, 11 3/4 inches (diameter), signed upper right, copyright stamp "DCXI" lower right. Private Collection, New York. PROVENANCE J.H. Dryfhout, B. Fox,"Augustus Saint-Gaudens: The Portrait Reliefs" New York, 1969, nos. 39-41 (other examples illustrated); J.H. Dryfhout, "Metamorphoses in Nineteenth Century Sculpture," Cambridge, Massachusetts, 1975, pp. 187-200, fig. 9 (another example illustrated); J.H. Dryfhout, "The Work of Augustus Saint-Gaudens" Hanover, New Hampshire 1982, pp. 174-76, nos. 133-34 (another example illustrated). Estimate $12,000—$18,000 ILLUSTRATED 82 
94  94 AUGUSTUS SAINT-GAUDENS American  1848-1907  PORTRAIT OF ROBERT LOUIS STEVENSON  bronze, 11 3 4 inches  diameter , s...
RECENTLY REDISCOVERED PORTRAIT MINIATURES OF PRESIDENT GEORGE AND FIRST LADY MARTHA WASHINGTON. Charles Henry Hart in his 1917 introduction to the Historical Descriptive and Critical Catalogue of the Works of American Artists in the Collection of Herbert L. Pratt describes his hopes that the catalog will introduce “many persons to the importance of collecting American art and that it may be an incentive for each to go and do likewise before it is too late by the absorption of available examples by the great museums of the Country.” Pratt, an early collector of American Art, amassed an impressive collection paintings, drawings, pastels and miniatures in the early 20th century. The catalog of the collection, compiled by Hart, describes paintings by the “who is who” in early American art; John Singleton Copley, Thomas Sully, Gilbert Stuart, Benjamin West and Charles Wilson Peale to name a few. The present miniatures, portraits of George and Martha Washington are rare gems of early American Art. Pratt astutely acquired both miniatures to form a pendant pair of the First President and First Lady. Hart’s catalog description of Martha Washington’s portrait aptly describes the small memento, “The execution and color of this portrait can be given no other term than exquisite. It is everything that a fine miniature portrait should be and is particularly interesting as a portrait of Mrs. Washington for its distinction and nice characterization, as also for its agreement in features with the portraits by Robertson, Field and others and its unlikeness to those in Stuart’s famous Athenaeum head where the nose is concave, while in all other portraits of her it is convex.”1 Hart attributes the work to Henry Elouis a French-born artist working in America. Although he is known to have given Eleanor “Nellie” Parke Custis painting lessons, more recent scholarship reattributes the present miniature to Walter Robertson.2 Robertson was an Irish artist who visited American between 1793 and 1796. He was friends with Gilbert Stuart and came to America to make “pleasing miniature copies of Stuart’s portraits.”3 The Robertson attribution would also account for Mrs. Washington’s blue eyes, an “unconvincing characterization” the artist was known to include. Robin Jaffee Frank in her book Love and Loss writes, “Many of Robertson’s elegant, solemn sitters have a certain sameness: posed against brownish backgrounds they appear to be members of one family, sharing the genetic traits of rounded, usually blue eyes set into deep sockets and elongated noses.”4 Although none of the references mention the plaited hair on the reverse of the miniature, it is thought to be either George Washington’s, Martha Washington’s or a combination of the two. This was typical of portrait miniatures as a way to remember sweethearts and distant or lost friends. The Annual Report of the Mount Vernon Ladies Association (1969) notes that Robertson was paid for “two pictures of the President and one of Mrs. Washington in November 1794.” Hart’s description of Robert Field’s Washington reads, “This miniature is one of several copies made by Field from Stuart’s portrait of Washington for Mrs. Washington and which she presented as mementoes of the General to his particular friends. It is a very beautiful portrait, but not a very close copy of the original and is especially interesting from the fact that Mrs. Washington selected Stuart’s first portrait of Washington, showing the right side of the face, to be copied, she preferring it to the Athenaeum head, that did not satisfy her as a likeness of her husband. This one was given to Samuel Meredith, Treasurer of the United States, from whose family it passed to the late Mr. C.C. Moreau, of Brooklyn, N.Y. and thence to Mr. Pratt.”5 Robert Field’s portrait of George Washington was painted after a portrait by Gilbert Stuart of the so-called Vaughn Type. Field borrowed the portrait from William Winstanley, a mutual acquaintance through Field’s friendship with Dr. and Mrs. William Thornton of Washington City. Mrs. Thornton notes in her diary, “Mr. Field called and borrowed of Mr. Winstanley, Genl. Washington’s picture by Stuart, to copy in miniature.” She later writes, “Mr. Field brought the miniature of Genl. Washington which he is painting from Stuart’s original lent him by Mr. Winstanley: it is a beautiful picture.” The present miniature is presumed to be the first miniature copied from the Stuart portrait and presented to Mrs. Washington as a prototype. One year after Washington’s death (1799), Mrs. Washington selected Field for a commission of miniatures of her late husband to give to their family and a close friend. From November 1800 to the following year, Field completed several “remarkably beautiful and highly-prized miniatures of George Washington,” and two portraits of Mrs. Washington. Eight are known, six depicting Washington as president in civilian dress and two in military attire. Each is based on a Stuart Vaughn-type portrait owned by Winstanley, with modifications made presumably per the request of Mrs. Washington to make the miniatures more like the subject. Apart from those commissioned by Mrs. Washington, Field was commissioned by the late president’s friends for additional copies. Field writes of the present Meredith-Moreau-Pratt Miniature “The background is more minutely cross-hatched, and the mid-height falls at the top of the cravat instead of at the edge of the chin as in its fellows. It is thus the most aberrant member, which may indicate that it is the master-copy.”6 1 Hart, Charles H. “Historical Descriptive and Critical Catalogue of the Works of American Artists in Collection of Herbert L. Pratt.” New York, 1917, p. 109. 2 See Christie’s, Jan. 16-17, 2003, lot 338. A 24 x 20-inch portrait matching the miniature inscribed, “Martha Washington painted by H. Elouis from the life while giving her art lessons.” This possibly indicates that Nellie Parke Custis was the original owner of Robertson’s miniature and Elouis portrait was done as a later copy. 3 Wehle, Harry B, and Theodore Bolton. “American Miniatures, 1730-1850: One Hundred and Seventy-Three Portraits.” Garden City, N.Y: Garden City Publishing Co., Inc, 1937, p. 30. 4 Frank, Robin J., Love and Loss: American Portrait and Mourning Miniatures. (New Haven: Yale University, 2000): 158. 5 Hart, p. 134 6 Hart, p. 165
RECENTLY REDISCOVERED PORTRAIT MINIATURES OF PRESIDENT GEORGE AND FIRST LADY MARTHA WASHINGTON.  Charles Henry Hart in his...
95 95 ROBERT FIELD British (1769-1829) THE MEREDITH-MOREAU-PRATT MINIATURE OF PRESIDENT WASHINGTON, 1801 watercolor, 3 3/8 inches x 2 9/16 inches, signed R.F. and dated "1801" lower left . Thomas Meredith, son of General Samuel Meredith (1740-1817), first Treasurer of the United States, 1801; To his son Samuel R. Meredith, 1853; Charles C. Moreau, New York, 1858; To his son, C.L. Moreau; Herbert L. Pratt; Private Collection. PROVENANCE Piers, Harry. “Robert Field: Portrait Painter in Oils, Miniature and Water-Colours and Engraver.” New York: F.F. Sherman, 1927, cat. no. 88, p. 165.; Hart, Charles H. “Historical Descriptive and Critical Catalogue of the Works of American Artists in Collection of Herbert L. Pratt.” New York, 1917, cat. no. 75, p. 134.; Wehle, Harry B, and Theodore Bolton. “American Miniatures, 1730-1850: One Hundred and Seventy-Three Portraits.” Garden City, N.Y: Garden City Publishing Co., Inc, 1937, pp. xvii, 33, illus. pl. XVIII.; Bolton, Theodore. “Early American Portrait Painters in Miniature.” New York: F.F. Sherman, 1921, p. 52.; Johnston, Elizabeth B. “Original Portraits of Washington,” Boston: Osgood and Company, 1882, pp. 110, 115-116, pl. XVI illus.; Johnson, Dale T. “American Portrait Miniatures in the Manney Collection.” New York: Metropolitan Museum, 1990, p. 117 (discussed). F.F. Sherman, 1921. E.A. Johnston, “Original Portraits of Washington” 1882, pp. 110, 115-116, pl. XVI. In a rose gold case, with blue glass over foil decoration on the reverse. Estimate $60,000—$80,000 LITERATURE The letter reproduced here was sent to Charles C. Moreau who purchased the portrait miniature from Samuel R. Meredith in 1858. (Johnston, Elizabeth B. “Original Portraits of Washington,” 84 
95  95 ROBERT FIELD British  1769-1829  THE MEREDITH-MOREAU-PRATT MINIATURE OF PRESIDENT WASHINGTON, 1801  watercolor, 3 3...
96 96 WALTER ROBERTSON Irish (active in America, 1793-1796) PORTRAIT OF MARTHA WASHINGTON, ca. 1794 watercolor, 2 3/8 x 1 7/8 inches, unsigned. Herbert L. Pratt; Private Collection. PROVENANCE Piers, Harry. “Robert Field: Portrait Painter in Oils, Miniature and Water-Colours and Engraver.” New York: F.F. Sherman, 1927, cat. no. 88, p. 165.; Hart, Charles H. “Historical Descriptive and Critical Catalogue of the Works of American Artists in Collection of Herbert L. Pratt.” New York, 1917, cat. no. 75, p. 134.; Bolton, Theodore. “Early American Portrait Painters in Miniature.” New York: F.F. Sherman, 1921, pp. 46-47.; Wehle, Harry B, and Theodore Bolton. “American Miniatures, 1730-1850: One Hundred and Seventy-Three Portraits.” Garden City, N.Y: Garden City Publishing Co., Inc, 1937, pp. xvi, 30-31 , illus. color pl. XV.; “Catalogue of an Exhibition of Portrait Miniatures Painted in America, 1720-1850,” (New York: Metropolitan Museum of Art, 1927), 46-47 illus. In a rose gold case with with enamel with movable ring. Plaited hair on the reverse. Estimate $60,000—$80,000 ILLUSTRATED  85
96  96 WALTER ROBERTSON Irish  active in America, 1793-1796  PORTRAIT OF MARTHA WASHINGTON, ca. 1794  watercolor, 2 3 8 x ...
97 JEAN ANTOINE LAURENT French (1763-1832) PORTRAIT OF MARIE ANTOINETTE, AFTER ELIZABETH VIGEE LEBRUN watercolor, 6 1/2 x 5 inches, signed lower right. Private Collection of Henry F. English, Hillhouse Avenue, New Haven, Connecticut; Private Collection, Connecticut. Estimate $4,000—$6,000 PROVENANCE 97 98 WILLIAM PETHER British (c. 1738-1821) MARIE-JOSÉPHINE-LOUISE DE SAVOIE, COMTESSE DE PROVENCE watercolor, 4 x 3 1/8 inches, signed lower left. Private Collection. This miniature is a painting after a drawing of the Comtesse by Elisabeth-Louise Vigee-Lebrun (French, 1755-1842) now in the Royal Collection, London (RCIN 913123). Estimate $5,000—$7,000 PROVENANCE 98 86 
97 JEAN ANTOINE LAURENT French  1763-1832  PORTRAIT OF MARIE ANTOINETTE, AFTER ELIZABETH VIGEE LEBRUN  watercolor, 6 1 2 x...
99 100 99 FRIEDRICH HEINRICH FUGER German (1751-1818) 100 JACQUES-MARIE LEGROS French (1777-1825) PORTRAIT OF A GENTLEMAN "KING VON ROM (KING OF ROME)" Private Collection, New York. Estimate $6,000—$8,000 PROVENANCE watercolor, 2 1/4 x 1 1/2 inches, signed. PROVENANCE watercolor, 3 3/8 x 2 1/2 inches, signed lower left. Private Collection. Estimate $1,200—$1,800 101 BRITISH SCHOOL British (18th -19th Century) (A PAIR) LADY WITH FEATHERED CAP PORTRAIT OF A LADY watercolor, 2 3/4 x 2 1/2 inches, unsigned. A New York Estate. Estimate $1,200—$1,800 PROVENANCE 101A 101B  87
99  100  99 FRIEDRICH HEINRICH FUGER German  1751-1818   100 JACQUES-MARIE LEGROS French  1777-1825   PORTRAIT OF A GENTLE...
102 102 FRANCISCO ZUNIGA Mexican (1912-1998) LA MUJER SENTADA black Mexican marble, 12 3/4" H, signed and dated "1981" at base. The artist; Sindin Galleries, New York, New York, circa 1983; Private Collection, Connecticut. PROVENANCE “Francisco Zúñiga: Catálogo razonado volúmen I, escultura 1923-1993,” Mexico City, Albedrío & Fundación Zúñiga Laborde, 1999, p. 532, no. 904 as "Dos Mujeres Sentadas, 1981." Our thanks to Karen Sindin and Ariel Zuniga for their assistance cataloging this lot. Estimate $20,000—$30,000 ILLUSTRATED 88 
102  102 FRANCISCO ZUNIGA Mexican  1912-1998  LA MUJER SENTADA  black Mexican marble, 12 3 4  H, signed and dated  1981  a...
103 103 HUGHIE LEE-SMITH American (1915-1999) "STANDING WOMAN IN PROFILE, PINK" oil on canvas, 20 x 16 inches, signed lower right. D.C. Moore Gallery, New York, New York; Private Collection. Estimate $8,000—$12,000 PROVENANCE  89
103  103 HUGHIE LEE-SMITH American  1915-1999   STANDING WOMAN IN PROFILE, PINK   oil on canvas, 20 x 16 inches, signed lo...
104 104 ABBOTT FULLER GRAVES American (1859-1936) STILL LIFE WITH ROSES oil on canvas, 14 x 20 inches, signed lower right. Private Collection, New York. Estimate $7,000—$10,000 PROVENANCE 105 WINIFRED ADAMS American (1871-1955) STILL LIFE WITH PLATE, PITCHER AND FLOWERS oil on canvas, 29 1/4 x 22 inches, signed lower right. Private Collection, New York, New York. Estimate $2,500—$3,500 PROVENANCE 105 90 
104  104 ABBOTT FULLER GRAVES American  1859-1936  STILL LIFE WITH ROSES  oil on canvas, 14 x 20 inches, signed lower righ...
106 106 MARCEL DYF French (1899-1985) "DAHLIA ET GUEULES DE LOUP" oil on canvas, 28 3/4 x 23 1/2 inches, signed lower right. The artist; Private Collection, New York. This painting is listed in the artist's inventory, being compiled by Mrs. Claudine Dyf, ID number 642. Estimate $10,000—$15,000 PROVENANCE  91
106  106 MARCEL DYF French  1899-1985   DAHLIA ET GUEULES DE LOUP   oil on canvas, 28 3 4 x 23 1 2 inches, signed lower ri...
107 PETER POSKAS American (b. 1939) "UPLAND APPLE" oil on canvas, 28 3/4 x 30 inches, signed lower right. Sherry French Gallery, Inc., New York, New York; Private Collection, Vermont. Estimate $4,000—$6,000 PROVENANCE 108 PETER POSKAS American (b. 1939) "KITCHEN WINDOW" oil on canvas, 16 1/2 x 19 inches, signed lower right. Sherry French Gallery, Inc., New York, New York; Private Collection, Vermont. PROVENANCE The William Benton Museum of Art, The University of Connecticut, Storrs, Connecticut, "Peter Poskas: The Connecticut View," May 14 - July 27, 1984. Estimate $3,000—$5,000 EXHIBITED 107 108 92 
107 PETER POSKAS American  b. 1939   UPLAND APPLE   oil on canvas, 28 3 4 x 30 inches, signed lower right. Sherry French G...
109 109 ERIC SLOANE American (1905-1985) "PENNSYLVANIA BARN" oil on masonite, 23 3/8 x 31 1/2 inches, signed and titled lower left. Abercrombie and Fitch Co., New York, New York; Private Collection, New York, New York. Estimate $10,000—$15,000 PROVENANCE  93
109  109 ERIC SLOANE American  1905-1985   PENNSYLVANIA BARN   oil on masonite, 23 3 8 x 31 1 2 inches, signed and titled ...
110 110 ROBERT EICHELBERGER American (1861-1890) "MID-DAY REST" oil on canvas, 29 x 26 inches, signed lower right. Private Collection, Boston, Massachusetts; By purchase to the art dealer William Poster, Boston, Massachusetts; Property of The Boston Art Club. PROVENANCE The Centennial Exposition of the Ohio Valley and Central States, July 4 - November 8, 1888; The Boston Art Club, January 14 - February 11, 1888, #103. Estimate $6,000—$8,000 EXHIBITED 94 
110  110 ROBERT EICHELBERGER American  1861-1890   MID-DAY REST   oil on canvas, 29 x 26 inches, signed lower right. Priva...
111 Property of a corporate collection 111 HENRY MOSLER American (1841-1920) "THE HUSKING BEE" oil on canvas, 72 1/2 x 121 inches, signed, inscribed "New York" and dated "1890" lower right. Charles B. Tyler, Los Angeles, California; Private Collection, 1987; Sotheby's, December 3, 2008, Lot 152. PROVENANCE "Henry Mosler Rediscovered: A 19th Century American Jewish Artist," Sept.-Dec. 1996, The Hebrew Union College Skirball Museum, Los Angeles, California. Estimate $25,000—$35,000 EXHIBITED  95
111  Property of a corporate collection 111 HENRY MOSLER American  1841-1920   THE HUSKING BEE   oil on canvas, 72 1 2 x 1...
112 112 WORTHINGTON WHITTREDGE American (1820-1910) THE OLD CANOE oil on canvas, 11 3/4 x 19 7/8 inches, unsigned. Private Collection, Connecticut. A letter of authenticity from Anthony Jansen accompanies the lot. Estimate $8,000—$12,000 PROVENANCE 96 
112  112 WORTHINGTON WHITTREDGE American  1820-1910  THE OLD CANOE  oil on canvas, 11 3 4 x 19 7 8 inches, unsigned. Priva...
113 113 JOHN ROSS KEY American (1837-1920) SAILBOATS WITH CATTLE GRAZING oil on board, 7 3/4 x 15 inches, signed and dated "1871" lower right. Private Collection, Florida. Estimate $7,000—$10,000 PROVENANCE  97
113  113 JOHN ROSS KEY American  1837-1920  SAILBOATS WITH CATTLE GRAZING  oil on board, 7 3 4 x 15 inches, signed and dat...
114 114 WALTER LAUNT PALMER American (1854-1932) BRIDGE IN WINTER watercolor on paper, 14 1/2 x 24 1/2 inches, signed lower left. Private Collection, New York. PROVENANCE Exhibition label from The Boston Art Club on the reverse. Estimate $10,000—$15,000 EXHIBITED 98 
114  114 WALTER LAUNT PALMER American  1854-1932  BRIDGE IN WINTER  watercolor on paper, 14 1 2 x 24 1 2 inches, signed lo...
115 115 DWIGHT WILLIAM TRYON American (1849-1925) OCTOBER IN NEW ENGLAND oil on canvas, 20 x 30 inches, signed and dated "1881" lower right. Private Collection, Texas; Private Collection, Connecticut. Old labels on reverse one inscribed, "DW Tryon / 152 W 57th St. NY / October in New England" the other possibly an old frame label from Gill's New Art Store. Estimate $20,000—$30,000 PROVENANCE  99
115  115 DWIGHT WILLIAM TRYON American  1849-1925  OCTOBER IN NEW ENGLAND  oil on canvas, 20 x 30 inches, signed and dated...
116 ANTHONY THIEME American (1888-1954) "STILL WATER" oil on canvas, 25 x 30 inches, signed lower right and inscribed "Venetian Boat" on the reverse. Christie's, October 3, 2001, Lot 105; Private Collection, New York. Estimate $5,000—$7,000 PROVENANCE 116 117 ANTHONY THIEME American (1888-1954) "WINTER BROOK" oil on canvas, 20 x 24 inches, signed lower left, titled on the reverse. Private Collection, Connecticut. Estimate $3,000—$5,000 PROVENANCE 117 100 
116 ANTHONY THIEME American  1888-1954   STILL WATER   oil on canvas, 25 x 30 inches, signed lower right and inscribed  Ve...
118 118 EMILE ALBERT GRUPPE American (1896-1978) WINTER LANDSCAPE oil on canvas, 25 x 30 inches, signed and dated "1924" lower right. Private Collection, New York; Private Collection, New Jersey. Estimate $10,000—$15,000 PROVENANCE  101
118  118 EMILE ALBERT GRUPPE American  1896-1978  WINTER LANDSCAPE  oil on canvas, 25 x 30 inches, signed and dated  1924 ...
119 119 GEORGE GARDNER SYMONS American (1863-1930) NEW ENGLAND WINTER oil on canvas, 25 x 30 inches, signed lower left. The Gordon Art Galleries, Detroit, Michigan; purchased by Mr. E.C. Sullivan, Detroit 1925; By descent to Mary Sheridan, Hamilton, Ontario; By descent to a Private Collection, Toronto; Private Collection, Connecticut. Estimate $15,000—$25,000 PROVENANCE 102 
119  119 GEORGE GARDNER SYMONS American  1863-1930  NEW ENGLAND WINTER  oil on canvas, 25 x 30 inches, signed lower left. ...
120 120 WALT KUHN American (1877-1949) "BLANFORD, NOVA SCOTIA" oil on canvas, 33 x 40 inches, signed lower right. Kennedy Galleries, New York, New York; Sotheby's, September 24, 2008, Lot 40; Private Collection, New Jersey. Estimate $20,000—$30,000 PROVENANCE  103
120  120 WALT KUHN American  1877-1949   BLANFORD, NOVA SCOTIA   oil on canvas, 33 x 40 inches, signed lower right.  Kenne...
121 CONTINENTAL SCHOOL 18th Century (probably) PORTRAIT OF MOTHER AND CHILD oil on canvas on board, 28 1/4 x 19 inches, unsigned. Private Collection, Minnesota. Estimate $1,500—$2,500 PROVENANCE 122 SPANISH SCHOOL Spanish (ca. 1800) "VISTA DEL PREDIO ROQUETA" oil on canvas, 32 1/2 x 69 1/2 inches, unsigned. Private Collection, Connecticut. The title is painted on the bottom of the canvas. See infared photo showing inscription on Shannons.com. Estimate $5,000—$7,000 PROVENANCE 121 122 104 
121 CONTINENTAL SCHOOL 18th Century  probably  PORTRAIT OF MOTHER AND CHILD  oil on canvas on board, 28 1 4 x 19 inches, u...
123 123 ANTONIO CASANOVA Y ESTORACH Spanish (1847-1896) ISABELLA I OF CASTILLE, CONQUEROR OF GRANADA oil on canvas, 40 x 51 inches, signed lower left. Private Collection, New Jersey. Estimate $10,000—$15,000 PROVENANCE  105
123  123 ANTONIO CASANOVA Y ESTORACH Spanish  1847-1896  ISABELLA I OF CASTILLE, CONQUEROR OF GRANADA  oil on canvas, 40 x...
124 LUCAS SAMARAS American/Greek (b.1936) FLOWERS IN A VASE oil on canvas, 32 x 24 inches, unsigned. Private Collection, Connecticut. A letter of authenticity dated February 2, 2011 from The Pace Gallery accompanies the Lot. Estimate $6,000—$8,000 PROVENANCE 125 NICOLÁS GARCÍA URIBURU Argentine (1937-2016) "OMBU" oil on canvas, 20 x 24 inches, signed lower left. Private Collection, Buenos Aires, Argentina; Private Collection, Connecticut. Estimate $6,000—$8,000 PROVENANCE 124 125 106 
124 LUCAS SAMARAS American Greek  b.1936  FLOWERS IN A VASE  oil on canvas, 32 x 24 inches, unsigned. Private Collection, ...
126 126 ANDRE BRASILIER French (b. 1929) LE VOILIER oil on canvas, 25 5/8 x 19 1/4 inches, signed lower left. David Findlay Gallery, New York, New York; Private Collection, New York. Estimate $12,000—$18,000 PROVENANCE  107
126  126 ANDRE BRASILIER French  b. 1929  LE VOILIER  oil on canvas, 25 5 8 x 19 1 4 inches, signed lower left. David Find...
127 127 CHARLES HINMAN American (b. 1932) "DRESOGENY" acrylic on shaped canvas, 58 x 96 x 7 inches, signed, titled and dated "1981" on the reverse. Irving Galleries, Palm Beach Florida; Private Collection, New York. Estimate $8,000—$12,000 PROVENANCE 108 
127  127 CHARLES HINMAN American  b. 1932   DRESOGENY   acrylic on shaped canvas, 58 x 96 x 7 inches, signed, titled and d...
128 128 LOUISE BOURGEOIS American/French (1911-2010) "GIVE OR TAKE III (HOW DO YOU FEEL THIS MORNING?)" bronze, 4" H x 9" W x 6" D, initialed and dated "'90," edition 1/40. Gift of the artist, courtesy of the Robert Miller Gallery, to benefit The New Museum of Contemporary Art, New York; Private Collection, New York. PROVENANCE Denver, Metropolitan State College, "Louise Bourgeois: Selections from the Ginny Williams Collection," March - April 2004 (another example exhibited). London, Tate Modern and Paris, Centre Georges Pompidou, "Louise Bourgeois: Retrospective," October 2007 - June 2008 (another example exhibited). Städtische Museen Jena, "Louise Bourgeois: Sculpture, Drawings and Prints," September - November 2010, p. 57 (another example exhibited and illustrated). EXHIBITED C. Kotik, T. Sultan and C. Leigh, "Louise Bourgeois: The Locus of Memory," 1982-1993, New York, 1994, p. 110 (another example illustrated); F. Morris, ed. "Louise Bourgeois," London, 2007, p. 313. Produced in an edition of 40 plus 13 artist's proofs. Estimate $15,000—$25,000 ILLUSTRATED  109
128  128 LOUISE BOURGEOIS American French  1911-2010   GIVE OR TAKE III  HOW DO YOU FEEL THIS MORNING     bronze, 4  H x 9...
129 ALICE L. MATTERN American (1909-1945) "CON MOTO" oil on canvas, 42 x 35 inches, signed lower right. Purchased from the artist by Dr. Webster, Boston, Massachusetts; By descent to his daughter; Property of The Boston Art Club. PROVENANCE Solomon R. Guggenheim Foundation, Carnegie Hall, New York, New York, April 15 - October 15, 1944. Cazenovia Junior College, Cazenovia, New York, November 15 - December 15, 1944. Memorial Exhibition of the Artist, 1946, The Museum of Non Objective Art, New York, New York. Illustrated in the catalog of the exhibition. Estimate $10,000—$15,000 EXHIBITED 129 130 JOHN WESLEY American (b. 1920) "PEACOCKS" ink on paper, 22 1/2 x 18 1/4 inches, signed and dated "1962" lower left. Robert Elkon Gallery, New York, New York; Private Collection, Vermont. A label from Art Lending Services, The Museum of Modern Art on the reverse. Estimate $4,000—$6,000 PROVENANCE 130 110 
129 ALICE L. MATTERN American  1909-1945   CON MOTO   oil on canvas, 42 x 35 inches, signed lower right. Purchased from th...
131 131 CLEVE GRAY American (1918-2004) "ROCKS IN WATER (SMALL)" acrylic on canvas, 40 x 60 inches, signed, titled and dated "'83" on the reverse. John and Eve Guggenheim, Hilton Head, South Carolina; descended in the family, Private Collection, South Carolina. Estimate $7,000—$10,000 PROVENANCE 132A 132 GRACE HARTIGAN American (1922-2008) (a) collage, ink and acrylic on paper, 17 1/2 x 14 1/2 inches, signed and dated "'61" lower right, double-sided work with a No. 6 sticker on the reverse. (b) 17 1/2 x 16 inches, unsigned, No. 3 sticker on the reverse. TWO UNTITLED ABSTRACT COLLAGES Private Collection, New York. Estimate $2,000—$3,000 PROVENANCE 132B  111
131  131 CLEVE GRAY American  1918-2004   ROCKS IN WATER  SMALL    acrylic on canvas, 40 x 60 inches, signed, titled and d...
133 133 GEORGE L.K. MORRIS American (1905-1975) UNTITLED oil on panel, 18 x 13 7/8 inches, signed lower right, signed with monogrammed initials and dated "1937" on the reverse. The Downtown Gallery, New York, New York; Gary Snyder Fine Art, New York, New York; Debra Force Fine Art, New York, New York; Private Collection, Massachusetts; Private Collection, Connecticut. Estimate $8,000—$12,000 PROVENANCE 112 
133  133 GEORGE L.K. MORRIS American  1905-1975  UNTITLED  oil on panel, 18 x 13 7 8 inches, signed lower right, signed wi...
134 135 ROLPH SCARLETT American (1889-1984) 134 ROLPH SCARLETT American (1889-1984) UNTITLED UNTITLED acrylic on board, 47 /2 x 70 /2 inches, signed lower left. acrylic on board, 25 3/8 x 25 3/8 inches, signed lower left. Private Collection, Connecticut. Estimate $6,000—$8,000 PROVENANCE PROVENANCE 1 1 Private Collection, Connecticut. Estimate $4,000—$6,000 135  113
134  135 ROLPH SCARLETT American  1889-1984   134 ROLPH SCARLETT American  1889-1984  UNTITLED  UNTITLED  acrylic on board...
136 ROLPH SCARLETT American (1889-1984) ABSTRACT oil on canvas, 21 x 15 inches, signed lower right. Private Collection, New York. Estimate $3,000—$5,000 PROVENANCE 137 LEROY NEIMAN American (1921-2012) CHORUS GIRLS acrylic on board, 18 x 23 5/8 inches, signed lower left. Private Collection, New York; Private Collection, New Jersey. Estimate $8,000—$12,000 PROVENANCE 136 137 114 
136 ROLPH SCARLETT American  1889-1984  ABSTRACT  oil on canvas, 21 x 15 inches, signed lower right. Private Collection, N...
138 138 LEROY NEIMAN American (1921-2012) 139 LEROY NEIMAN American (1921-2012) 16TH AT CYPRESS 18TH AT PEBBLE BEACH A/P serigraph, 28 3/8 x 37 3/4 inches, signed lower right and numbered "28/350" lower left, published 1982. Private Collection, Florida. Estimate $3,000—$5,000 Private Collection, Florida. Estimate $3,000—$5,000 serigraph, 23 /2 x 42 inches, signed lower right and numbered "95/400" lower left, published 1984. 1 PROVENANCE PROVENANCE 139  115
138  138 LEROY NEIMAN American  1921-2012   139 LEROY NEIMAN American  1921-2012  16TH AT CYPRESS  18TH AT PEBBLE BEACH A ...
140 140 LE PHO French/Vietnamese (1907-2001) COMPOSITION 33828 oil on canvas, 39 1/2 x 28 3/4 inches, signed lower right. Wally Findlay Galleries, International; Private Collection, Caracas, Venezuela; by descent to present owner. Estimate $25,000—$35,000 PROVENANCE 116 
140  140 LE PHO French Vietnamese  1907-2001  COMPOSITION 33828  oil on canvas, 39 1 2 x 28 3 4 inches, signed lower right...
141 141 LE PHO French/Vietnamese (1907-2001) LADY WITH FLOWERS oil on canvas, 20 x 25 3/4 inches, signed lower right. Wally Findlay Galleries, Chicago, Illinois; Private Collection, Connecticut. Estimate $12,000—$18,000 PROVENANCE  117
141  141 LE PHO French Vietnamese  1907-2001  LADY WITH FLOWERS  oil on canvas, 20 x 25 3 4 inches, signed lower right. Wa...
142 BRENDA PUTNAM American (1890-1975) SELF PORTRAIT bronze, 17" H, signed and inscribed "Paris, 1928, Kunst FNDRY, NY". Private Collection, Ohio. Estimate $1,500—$2,500 PROVENANCE 143 ANNA HYATT HUNTINGTON American (1876-1973) CHARGING MOUNTAIN GOATS, BOOKENDS bronze, 7 1/4" H, signed, numbered "147" and "148", and inscribed "Gorham Co. Founders / Q447" foundry mark. Private Collection, New York. Estimate $5,000—$7,000 PROVENANCE 142 143 118 
142 BRENDA PUTNAM American  1890-1975  SELF PORTRAIT  bronze, 17  H, signed and inscribed  Paris, 1928, Kunst FNDRY, NY . ...
144 FREDRICK WILLIAM MACMONNIES American (1863-1937) "PAN OF ROHALLION MDCCCLXL" bronze, 15" H, with marble base 17" H, signed, titled and inscribed "France, H. Rouard Fondeur." Private Collection, New York. Estimate $4,000—$6,000 PROVENANCE 144 145 BESSIE POTTER VONNOH American (1872-1955) "JULIA MARLOWE AS JULIET" bronze, 19 1/8 " H, signed, inscribed "Julia Marlowe" and numbered "6/9 000000" at the base. Private Collection, Massachusetts. Estimate $4,000—$6,000 PROVENANCE 145  119
144 FREDRICK WILLIAM MACMONNIES American  1863-1937   PAN OF ROHALLION MDCCCLXL   bronze, 15  H, with marble base 17  H, s...
The following lot of 25 paintings by Thomas Hoyne depicts automobiles from 1901-1937. The automobiles illustrated in the paintings were part of the William F. Harrah (Harrah’s Casino) collection. By the time of his death in 1978, Bill Harrah had assembled the largest and most historically significant collection of antique cars in the world. In total, his collection reached approximately 1,400 vehicles. Most of his automobiles were sold in the 1980s but his legacy lives on at the National Automobile Museum. One can assume that Mr. Harrah hired Thomas Hoyne (well known for his illustrations of fishing and sailing vessels) to paint some of his favorite cars for him. This is an intriguing collection of artworks of pre-war automobiles and an historical documentation of the automobile industry. All 25 paintings, along with a descriptions and dates of each automobile can be viewed at shannons.com. 120 
The following lot of 25 paintings by Thomas Hoyne depicts automobiles from 1901-1937. The automobiles illustrated in the p...
146 THOMAS M. HOYNE American (1924-1989) (GROUP OF 25 PAINTINGS) ORIGINAL ILLUSTRATIONS OF VINTAGE AUTOMOBILES mixed media, 13 1/4 x 17 7/8 inches (sight, each), signed. Alexander Gallery, New York, New York; Corporate Collection, acquired from the above in 1994. Estimate $10,000—$15,000 PROVENANCE  121
146 THOMAS M. HOYNE American  1924-1989   GROUP OF 25 PAINTINGS  ORIGINAL ILLUSTRATIONS OF VINTAGE AUTOMOBILES  mixed medi...
147 JUMANA EL HUSSEINI Palestinian (b. 1932) PALESTINIAN COUPLE oil on canvas, 31 1/2 x 25 5/8 inches, signed and dated lower right, signed "Jumana El Husseini Bayazid" and dated "1972" on the reverse. Private Collection, Colorado. Estimate $10,000—$15,000 PROVENANCE 147 148 GUSTAVO MONTOYA Mexican (1905-2003) ÑINA CHIAPANECA oil on canvas, 24 x 18 inches, signed lower right, signed, titled, inscribed "Mexico, D.F." and dated "Mayo 17, 1973" on the reverse. Private Collection, Colorado. Estimate $6,000—$8,000 PROVENANCE 148 122 
147 JUMANA EL HUSSEINI Palestinian  b. 1932  PALESTINIAN COUPLE  oil on canvas, 31 1 2 x 25 5 8 inches, signed and dated l...
149 149 IGOR TULPANOV Russian (b. 1939) "GIRL WITH DANDELION / FANTASY AND REALISM" oil on canvas, 36 x 48 inches, signed and inscribed on the reverse. Shapiro Auctions, November 5, 2008, Lot 148; Private Collection, New Jersey. Estimate $10,000—$12,000 PROVENANCE  123
149  149 IGOR TULPANOV Russian  b. 1939   GIRL WITH DANDELION   FANTASY AND REALISM   oil on canvas, 36 x 48 inches, signe...
150A 150 JACOB EICHHOLTZ American (1776-1842) MR. AND MRS. LONGENECKER (PAIR OF PORTRAITS) oil on canvas, 30 x 25 inches, unsigned. Mrs. Newell Wilkinsburg, 1912; Alexander Gallery, New York, New York; Private Collection, (acquired from the above in 1981); Corporate Collection (acquired from the above in 1992). PROVENANCE Rebecca J. Beal, "Jacob Eichholtz, 1776-1842," Philadelphia, 1969, numbers 492-493, p.145. Estimate $10,000—$15,000 ILLUSTRATED 150B 124 
150A  150 JACOB EICHHOLTZ American  1776-1842  MR. AND MRS. LONGENECKER  PAIR OF PORTRAITS   oil on canvas, 30 x 25 inches...
151 JOHN JAMES AUDUBON American (1785-1851) "MISS AUDUBON" oil on canvas, 19 1/2 x 18 1/2 inches, unsigned. A New Jersey Estate; Frank Bulkeley Smith, Worcester, Massachusetts; Private Collection, New York. PROVENANCE "The Widely Known Collection of the Connoisseur, the Late Frank Bulkeley Smith of Worcester Mass.," The American Art Galleries, Madison Square Garden, New York, New York, April 17-23, 1920. EXHIBITED "The Widely Known Collection of the Connoisseur, the Late Frank Bulkeley Smith of Worcester Mass.," Exhibition Catalog, The American Art Galleries, (New York: 1920), cat. no. 32, illus. A photograveure printing block from the 1920 exhibition catalog accompanies the Lot. Estimate $8,000—$12,000 ILLUSTRATED 151 152 JOHN JAMES AUDUBON American (1785-1851) ROSALIE KEMBLE SULLY, DAUGHTER OF THOMAS SULLY oil on paper on board, 11 3/4 x 10 inches, unsigned. H.A. Hammond Smith, New York, 1928; Parke-Bernet Galleries, lot 739, 1938; Private Collection, New York. PROVENANCE Museum of the City of New York, New York, 1933. Recorded in the Art Inventories Catalog of the Smithsonian American Art Museum. Estimate $3,000—$5,000 EXHIBITED 152  125
151 JOHN JAMES AUDUBON American  1785-1851   MISS AUDUBON   oil on canvas, 19 1 2 x 18 1 2 inches, unsigned. A New Jersey ...
153 JOHN KOCH American (1909-1978) STILL LIFE WITH WATERMELON AND ROSES oil on canvas, 24 x 20 inches, signed lower right, inscribed "A demonstration for the painters of The Fitzgerald Gallery 19 E 7th St., July 1961" on the reverse. Private Collection, New York. Estimate $5,000—$7,000 PROVENANCE 154 GIFFORD BEAL American (1879-1956) FISH HOUSES, WINTER DAY, CIRCA 1928 oil on board, 10 1/4 x 20 1/2 inches, unsigned. The estate of the artist; Kraushaar Galleries, New York; Private Collection, New York. A larger version of this painting sold at Sotheby's in April, 2015 for $112,500. Estimate $5,000—$7,000 PROVENANCE 153 154 126 
153 JOHN KOCH American  1909-1978  STILL LIFE WITH WATERMELON AND ROSES  oil on canvas, 24 x 20 inches, signed lower right...
155 155 JOHN LA FARGE American (1835-1910) 156 PAULINE LENNARDS PALMER American (1867-1938) "THE SPHINX" gouache and watercolor on paper, 4 5/8 x 6 1/2 inches, initialed and dated "1865" lower right. AT THE BEACH Private Collection, Vermont. Estimate $3,000—$5,000 Private Collection, California. Estimate $4,000—$6,000 PROVENANCE oil on board, 5 3/8 x 7 7/8 inches (sight), signed lower left. PROVENANCE 156  127
155  155 JOHN LA FARGE American  1835-1910   156 PAULINE LENNARDS PALMER American  1867-1938    THE SPHINX   gouache and w...
157 157 HENRY MARTIN GASSER American (1909-1981) "SALVATION" watercolor on paper, 8 x 10 inches, signed lower right, signed and titled on the reverse. A New Jersey Estate. Estimate $2,500—$3,500 PROVENANCE 158 128  158 LELAND BELL American (1922-1991) "THE GROUP" oil on canvas, initialed lower right, 34 x 47 inches, signed on the reverse. Acquired directly from the artist; Private Collection, New York. Estimate $8,000—$12,000 PROVENANCE
157  157 HENRY MARTIN GASSER American  1909-1981   SALVATION   watercolor on paper, 8 x 10 inches, signed lower right, sig...
159 159 MICHEL DELACROIX French (b. 1933) "LE RESTAURANT DE L'UNIVERS" oil on canvas, 24 x 28 3/4 inches, signed, titled and inscribed "Paris" on the reverse, signed, inscribed "Paris" and numbered "A15" on the stretcher. Private Collection, New York, New York. Estimate $12,000—$18,000 PROVENANCE 160 WALTER NOWATKA American (b. 1945) "CENTRAL WARD, 1962" oil on canvas, 36 x 24 1/8 inches, signed lower left, signed, dated and titled on the reverse. Collection of the artist; Private Collection, New Jersey. Note from the artist on the reverse "Central Ward, Newark NJ. Painted in John Grabach's Class 1962Oct. Central Ward PR Before 1967 Riots." Estimate $2,000—$3,000 PROVENANCE 160  129
159  159 MICHEL DELACROIX French  b. 1933   LE RESTAURANT DE L UNIVERS   oil on canvas, 24 x 28 3 4 inches, signed, titled...
161 RALPH ALBERT BLAKELOCK American (1847-1919) JAPANESE LANTERN paper laid down on panel, 7 x 3 7/8 inches, unsigned. Purchased by the present owner directly from the artist's grandson, Unadilla, New York. Estimate $9,000—$12,000 PROVENANCE 162 RALPH ALBERT BLAKELOCK American (1847-1919) LAGOON WITH FIGURE oil on panel, 2 5/8 x 4 5/8 inches, unsigned. Purchased by the present owner directly from the artist's grandson, Unadilla, New York. Estimate $3,000—$5,000 PROVENANCE 161 162 130 
161 RALPH ALBERT BLAKELOCK American  1847-1919  JAPANESE LANTERN  paper laid down on panel, 7 x 3 7 8 inches, unsigned. Pu...
163 163 EDMUND DARCH LEWIS American (1832-1928) 164 EDMUND DARCH LEWIS American (1832-1928) "ALONG THE SUSQUEHANNA" oil on canvas, 30 x 50 inches, signed and dated "1878" lower right. LANDSCAPE NEAR THE SUSQUEHANNA Private Collection, Pennsylvania. Estimate $4,000—$6,000 PROVENANCE PROVENANCE oil on canvas, 39 1/4 x 53 1/4 inches, signed and dated "1857" lower right. Private Collection, Greenwich, Connecticut. Estimate $2,500—$3,500 164  131
163  163 EDMUND DARCH LEWIS American  1832-1928   164 EDMUND DARCH LEWIS American  1832-1928    ALONG THE SUSQUEHANNA   oi...
165 165 AMERICAN SCHOOL American (19th Century) VIEW OF NEWPORT, RHODE ISLAND oil on canvas, 14 x 24 inches, unsigned. Private Collection, New Jersey. Estimate $3,000—$5,000 PROVENANCE 166 WILLIAM LOUIS SONNTAG SR American (1822-1900) EXTENSIVE MOUNTAIN VISTA oil on canvas, 45 1/2 x 36 3/8 inches, signed and inscribed "Florence" lower left. Private Collection, New York. Estimate $4,000—$6,000 PROVENANCE 166 132 
165  165 AMERICAN SCHOOL American  19th Century  VIEW OF NEWPORT, RHODE ISLAND  oil on canvas, 14 x 24 inches, unsigned.  ...
167 AARON DRAPER SHATTUCK American (1832-1928) WOODLAND INTERIOR oil on canvas, 16 x 12 1/2 inches, signed lower left. Private Collection, Connecticut. This work is listed in the Aaron Draper Shattuck catalogue raisonné by The Salmon Brook Historical Society, no. 278. Estimate $3,000—$5,000 PROVENANCE 167 168 DWIGHT WILLIAM TRYON American (1849-1925) FALL SUNSET oil on academy board, 12 x 9 inches, signed lower left. Private Collection, New York. Estimate $5,000—$7,000 PROVENANCE 168  133
167 AARON DRAPER SHATTUCK American  1832-1928  WOODLAND INTERIOR  oil on canvas, 16 x 12 1 2 inches, signed lower left. Pr...
169 OLAF WIEGHORST American (1899-1988) (GROUP OF FIVE) "ENCOUNTER WITH GRIZZLY" "THE GALLOP" "ROPING A STEER" "WILD HORSES IN A CORRAL" "ON THE TRAIL" pencil on paper, (a)10 3/4 x 6 3/8 (b) 9 3/4 x 7 1/8 (c) 7 1/4 x 9 5/8 (d) 7 3/8 x 11 1/4 (e) 7 x 9 3/8 inches, unsigned. Spanierman Gallery, New York, New York; Private Collection, New York. Estimate $3,000—$5,000 PROVENANCE 169A 169C 169D 134  169B 169E
169 OLAF WIEGHORST American  1899-1988   GROUP OF FIVE   ENCOUNTER WITH GRIZZLY   THE GALLOP   ROPING A STEER   WILD HORSE...
170 ANNA HYATT HUNTINGTON American (1876-1973) REACHING PANTHER bronze, 6 3/8" H, signed and numbered "038," Gorham foundry mark. Private Collection, New York. Estimate $5,000—$7,000 PROVENANCE 170 171 ANNA HYATT HUNTINGTON American (1876-1973) PANTHER WITH CUBS bronze, 2 3/8" H x 5 1/2" W, signed and numbered "36", Gorham foundry mark. Private Collection, New York. Estimate $3,000—$5,000 PROVENANCE 171 172 VICTOR PETER French (1840-1918) BEAR CUBS bronze, 9" H, signed lower center, inscribed "Susse Fres, Ed trs, Paris". A Maryland Estate. Estimate $1,500—$2,500 PROVENANCE 172  135
170 ANNA HYATT HUNTINGTON American  1876-1973  REACHING PANTHER  bronze, 6 3 8  H, signed and numbered  038,  Gorham found...
173 CHARLES H. CHAPIN American (1830-1889) "SUMMER" oil on canvas, 11 x 18 inches, signed lower left, signed, titled and dated "April 10, 1869" on stretcher. Private Collection, New Jersey. Period exhibition label on the reverse listing the artist as the owner and dated April 10, 1869. Estimate $1,500—$2,500 PROVENANCE 173 174 SCHOOL OF GEORGE HENRY DURRIE American (1820-1863) "NEW HAVEN AND EAST ROCK FROM WHITNEY PEAK" oil on paper laid down on board, 16 x 11 1/2 inches, unsigned. Kennedy Galleries, New York, New York; Private Collection, Connecticut. Estimate $3,000—$5,000 PROVENANCE 174 175 CLINTON OGILVEE American (1838-1900) "A SUMMER DAY IN ESSEX COUNTY" oil on canvas, 10 3/8 x 18 inches, signed and dated "1878" lower right, signed, titled, dated and inscribed "NY" on the reverse. Private Collection, New York. Estimate $1,500—$2,500 PROVENANCE 175 136 
173 CHARLES H. CHAPIN American  1830-1889   SUMMER   oil on canvas, 11 x 18 inches, signed lower left, signed, titled and ...
176 JOHN CARLETON WIGGINS American (1848-1932) COWS WATERING oil on canvas, 18 x 30 inches, signed lower left. Private Collection, New Jersey. Estimate $3,000—$5,000 PROVENANCE 176 177 JOHN LEE FITCH American (1836-1895) LANDSCAPE WITH TREES AND STREAM oil on canvas, 14 1/2 x 16 5/8 inches, signed lower left. A New Jersey Estate. Estimate $3,000—$5,000 PROVENANCE 177 178 THOMAS BIGELOW CRAIG American (1849-1924) LANDSCAPE WITH CATTLE oil on board, 14 x 22 1/8 inches, signed lower right and on the reverse. Private Collection, Florida. PROVENANCE National Academy of Design, Pennsylvania Academy of Fine Arts. Estimate $1,200—$1,800 EXHIBITED 178  137
176 JOHN CARLETON WIGGINS American  1848-1932  COWS WATERING  oil on canvas, 18 x 30 inches, signed lower left. Private Co...
179 RODOLFO NIETO Mexican (1936-1988) UNTITLED ABSTRACT oil on paper, 24 x 27 1/2 inches, signed lower center. A New York Estate. Estimate $8,000—$12,000 PROVENANCE 179 180 MIKLOS FARKASHAZY Hungarian (1895-1964) (TWO WORKS) PIG PEN STILL LIFE oil on board, (a) 9 x 12 1/2 inches (sight), signed lower left, (b) 12 1/2 x 9 inches (sight), signed upper right. Gallery 63 Inc., New York, New York; Private Collection, Vermont. Estimate $2,500—$3,500 PROVENANCE 180A 138  180B
179 RODOLFO NIETO Mexican  1936-1988  UNTITLED ABSTRACT  oil on paper, 24 x 27 1 2 inches, signed lower center. A New York...
181B 181 ALEXANDER LIBERMAN Ukrainian (1912-1999) (GROUP OF THREE PHOTOGRAPHS) "THE ARTIST IN HIS STUDIO - MARC CHAGALL, PORTRAIT SEATED AND SMILING VENCE 1952" "PICASSO AT NOU NOU'S GOLF JUAN 1954" "THE ARTIST IN HIS STUDIO - FERNAND LEGER SEATED STUDYING STAINED GLASS WINDOW DESIGNS FOR CHURCH AT AUDIN COURT PARIS, 1953" 181A 181C gelatin silver print mounted on board, (a) 14 x 9 (b) 7 1/4 x 11 (c) 14 x 10 1/2 inches. Private Collection, New York. PROVENANCE The Museum of Modern Art, New York, New York. (a) Museum number 4. (b) Museum number Q20. (c) Museum number N-9. Estimate $2,000—$3,000 EXHIBITED 182 RAYMOND JONSON American (1891-1982) "WATERCOLOR NO. 5-1951" mixed media on paper, 12 x 20 inches, signed, titled and dated on the reverse. The artist; Private Collection, New Mexico, Private Collection, California; Private Collection, Connecticut. Estimate $2,500—$3,500 PROVENANCE 182  139
181B  181 ALEXANDER LIBERMAN Ukrainian  1912-1999   GROUP OF THREE PHOTOGRAPHS   THE ARTIST IN HIS STUDIO - MARC CHAGALL, ...
183 CECILIA BEAUX American (1855-1942) "CLARA FARGO THOMAS" charcoal on masonite, 19 3/4 x 15 3/4 inches, signed lower left. The Artist, Estate of Clara Fargo Thomas, descended to her son Joseph Thomas III; Private Collection, Massachusetts. Label on the reverse "In CB's studio 132 E 19th St. top floor opposite our house 135 E 19th". Estimate $5,000—$7,000 PROVENANCE 183 184 JULIAN ALDEN WEIR American (1852-1919) PORTRAIT OF A WOMAN oil on canvas, 14 x 11 inches, signed and dated "1899" upper right. Private Collection, New York, New York. Estimate $1,500—$2,500 PROVENANCE 184 140 
183 CECILIA BEAUX American  1855-1942   CLARA FARGO THOMAS   charcoal on masonite, 19 3 4 x 15 3 4 inches, signed lower le...
185 EDWIN AUSTIN ABBEY American (1852-1911) YOUNG GIRL WITH BLUE BOW pastel and pencil on paper, 18 5/8 x 13 3/4 inches, signed and dated "1890" lower right. Spanierman Gallery, New York, New York; Soufer Gallery, New York, New York; Louis Newman Gallery, Beverly Hills, California; Debra Force Fine Art, Inc., New York, New York; Private Collection, Massachusetts. Estimate $4,000—$6,000 PROVENANCE 185 186 CECILIA BEAUX American (1855-1942) "PORTRAIT OF JOSEPH B. THOMAS IV AS AN INFANT, 1917" charcoal on paperboard, 13 3/4 x 9 3/4 inches, signed lower left. Private Collection, Massachusetts. Estimate $3,000—$5,000 PROVENANCE 186  141
185 EDWIN AUSTIN ABBEY American  1852-1911  YOUNG GIRL WITH BLUE BOW  pastel and pencil on paper, 18 5 8 x 13 3 4 inches, ...
187 187 ALEXANDRE RENE VERON French (1826-1897) "GOAT HERDER AND FLOCK ON A LOW BLUFF, SUNSET" oil on canvas, 28 3/4 x 46 inches, signed lower right and dated "1860". Acquired in the 19th Century by a New England Institution; Private Collection, Connecticut. Estimate $4,000—$6,000 PROVENANCE 188 LUIGI LOIR French (1845-1916) DANS LE PARC gouache on paper, 8 x 10 inches, signed lower center. Estate of Mrs. John Barry Ryan; Private Collection, Florida. PROVENANCE Hazlitt Gooden & Fox, London, England, "Nineteenth Century French Drawings," June 15-July 15, 1983, no. 41. This work depicts a corner of the Luxembourg Gardens, Paris. Estimate $5,000—$7,000 EXHIBITED 188 142 
187  187 ALEXANDRE RENE VERON French  1826-1897   GOAT HERDER AND FLOCK ON A LOW BLUFF, SUNSET   oil on canvas, 28 3 4 x 4...
189 189 CHAUNCEY FOSTER RYDER American (1868-1949) 190 JOHN JOSEPH ENNEKING American (1841-1916) SUNLIT LANDSCAPE "MOUNT LOVEWELL IN SPRINGTIME" oil on canvas, 32 x 44 inches, signed lower left. oil on board, 12 x 14 inches, signed lower right. Fentress Collection, Waco, Texas. Estimate $7,000—$10,000 PROVENANCE Private Collection, Maryland. Estimate $3,000—$5,000 PROVENANCE 190  143
189  189 CHAUNCEY FOSTER RYDER American  1868-1949   190 JOHN JOSEPH ENNEKING American  1841-1916  SUNLIT LANDSCAPE   MOUN...
191 HOWARD LOGAN HILDEBRANDT American (1872-1958) "SUMMER DAYS" oil on board, 9 3/4 x 7 3/4 inches, signed lower left. Salmagundi Club, New York, New York; Private Collection, Massachusetts. Estimate $2,500—$3,500 PROVENANCE 191 192 GEORGE SHERIDAN KNOWLES British (1863-1931) "PEACEFUL PASTIMES" oil on canvas, 36 x 24 inches, unsigned. Private Collection, Massachusetts. Estimate $6,000—$8,000 PROVENANCE 192 144 
191 HOWARD LOGAN HILDEBRANDT American  1872-1958   SUMMER DAYS   oil on board, 9 3 4 x 7 3 4 inches, signed lower left. Sa...
193 EDOUARD TOUDOUZE French (1848-1907) THE MUSIC LESSON oil on panel, 13 1/2 x 9 1/4 inches, signed lower left. Private Collection, New York. Estimate $5,000—$7,000 PROVENANCE 194 JULES RENE HERVE French (1887-1981) BALLERINAS oil on canvas, 23 1/2 x 32 inches, signed lower right, signed on the reverse. Private Collection, Massachusetts. Estimate $3,000—$5,000 PROVENANCE 193 194  145
193 EDOUARD TOUDOUZE French  1848-1907  THE MUSIC LESSON  oil on panel, 13 1 2 x 9 1 4 inches, signed lower left. Private ...
195 ROBERT C. GRUPPE American (b. 1944) "LITTLE RIVER" oil on canvas, 30 x 36 inches, signed lower right. Private Collection, New York. PROVENANCE Rockport Art Association. Estimate $1,500—$2,500 EXHIBITED 195 196 WALTER FARNDON American (1876-1964) AUTUMN STREET SCENE oil on board, 30 x 36 inches, signed lower right. A Connecticut Estate. Estimate $1,500—$2,500 PROVENANCE 196 197 WALTER FARNDON American (1876 - 1964) COTTAGE BY THE SHORE oil on board, 14 x 18 inches, signed lower left. A Connecticut Estate. Estimate $2,000—$3,000 PROVENANCE 197 146 
195 ROBERT C. GRUPPE American  b. 1944   LITTLE RIVER   oil on canvas, 30 x 36 inches, signed lower right. Private Collect...
198 198 UNIVERSO PICAZO CARRERA Cuban (1910-1968) 199 MAX KUEHNE American (1880-1968) CUBAN LANDSCAPE WITH PALM TREES oil on canvas, 24 x 27 /4 inches, signed and dated "1945" upper right. oil on masonite, 28 x 40 inches, signed lower left. Private Collection, New York, New York. Estimate $3,000—$5,000 Private Collection, New Jersey. Estimate $4,000—$6,000 3 PROVENANCE AN IMPRESSION OF AUTUMN PROVENANCE 199  147
198  198 UNIVERSO PICAZO CARRERA Cuban  1910-1968   199 MAX KUEHNE American  1880-1968   CUBAN LANDSCAPE WITH PALM TREES  ...
200 BRUCE BRAITHWAITE American (b. 1950) "BRYANT PARK SKATES" oil on canvas, 18 x 24 inches, signed lower right, signed, titled, numbered "#499," inscribed "(Bank of America Winter Village, NYC)" and dated "2016" on the reverse. The artist. Estimate $1,500—$2,500 PROVENANCE 200 201 KYRA MARKHAM American (1891-1967) THE STUDIO oil on board, 20 x 16 inches, signed and dated "'37" lower left. Private Collection, Connecticut. Estimate $3,000—$5,000 PROVENANCE 201 202 BRUCE BRAITHWAITE American (b. 1950) "59TH E. SWEEPER" oil on canvas, 18 x 24 inches, signed lower left; signed, titled, numbered "#498," inscribed "(59th E. at Park Ave., NYC)" and dated "2016" on the reverse. The artist. Estimate $1,500—$2,500 PROVENANCE 202 148 
200 BRUCE BRAITHWAITE American  b. 1950   BRYANT PARK SKATES   oil on canvas, 18 x 24 inches, signed lower right, signed, ...
203 E.E. CUMMINGS American (1894-1962) "ABSTRACTION" oil on canvas, 20 x16 inches, unsigned, dated "May 2 '43" on the reverse, in a Heydenryk Frame. Estate of the artist to his daughter; Gift from daughter to Luethi-Peterson Camp, New Hampshire; Private Collection, New Hampshire; Property of The Boston Art Club. Label on the reverse "From E.E. Cummings Collection donated to Luethi-Peterson Camps in 1969". Estimate $3,000—$5,000 PROVENANCE 204 OSCAR FLORIANUS BLUEMNER American (1867-1938) "BATH BEACH" watercolor over pencil, 5 x 7 inches, monogram lower left, titled and dated "1901" upper center margin. Private Collection; Shannon's, October 26, 2006, Lot 39; Private Collection, Dallas, Texas. Notes in the artist's hand are on the reverse. Estimate $5,000—$7,000 203 PROVENANCE 205 HENRY KNOX SMITH American (1879-1934) "THE EARTH TREMBLED" oil on canvas, 20 x 34 inches, signed lower left; signed, titled and dated "April 1936" on the reverse. ACA Galleries, New York, New York; Private Collection, Farmington, Michigan; Property of The Boston Art Club. Estimate $3,000—$5,000 PROVENANCE 204 205  149
203 E.E. CUMMINGS American  1894-1962   ABSTRACTION   oil on canvas, 20 x16 inches, unsigned, dated  May 2  43  on the rev...
206 206 ARTHUR BOWEN DAVIES American (1862-1928) NYMPHS oil on canvas, 21 x 26 inches, signed lower right. Mortimer Brandt Gallery, New York, New York; Private Collection, New York. Estimate $3,000—$5,000 PROVENANCE 207 LESLIE PRINCE THOMPSON American (1880-1963) NEW ENGLAND SUMMER AFTERNOON oil on canvas, 30 x 24 inches, signed and dated "1903" lower right. Private Collection, Maine. PROVENANCE Boston Art Club exhibition label on the reverse. Estimate $4,000—$6,000 EXHIBITED 207 150 
206  206 ARTHUR BOWEN DAVIES American  1862-1928  NYMPHS  oil on canvas, 21 x 26 inches, signed lower right. Mortimer Bran...
208 AUGUSTUS VINCENT TACK American (1870-1949) "PONT AVEN" 1896 oil on canvas, 18 x 22 inches, signed lower right. Vincent Vallarino Fine Art, New York, New York; Private Collection, Massachusetts; Private Collection, Connecticut. Augustus Vincent Tack was considered a prodigy artist and became one of the most widely exhibited American artists of the 19th and 20th centuries. He studied with Twachtman and La Farge at the Art Students League from 1889-1890 and his submission to the annual exhibition of the Society of American Artists won him the highest honor and placement of any artist. Tack then traveled to Paris studying with Meerson at the Ecole des Beaux-Art and frequently visited Claude Monet at his studio in Giverny. Pont Aven is a rare early example of Plein-Air painting by the artist showing his fresh, fluid and intuitive brushwork capturing the activities of this bustling town. Estimate $4,000—$6,000 PROVENANCE 208 209 ELIE ANATOLE PAVIL Ukrainian (1873-1948) PARLOR SCENES (SIX FRAMED TOGETHER) oil on panel, 6 x 8 5/8 inches (each), upper center panel signed lower right. Private Collection, New York. Estimate $5,000—$7,000 PROVENANCE 209  151
208 AUGUSTUS VINCENT TACK American  1870-1949   PONT AVEN  1896  oil on canvas, 18 x 22 inches, signed lower right. Vincen...
210 210 REGINALD MARSH American (1898-1954) NEW YORK HARBOR watercolor and gouache, 11 1/8 x 15 1/2 inches (sight), signed and dated "1940" lower left. A New York Estate. Estimate $4,000—$6,000 PROVENANCE 211 152  211 THERESA FERBER BERNSTEIN American/Polish (1890-2002) "RIVERSIDE DRIVE" oil on canvas, 10 x 12 1/2 inches, signed lower right. Bray's Inc. Art Galleries, New York, New York; Private Collection, New York; Private Collection, Massachusetts. Estimate $1,500—$2,500 PROVENANCE
210  210 REGINALD MARSH American  1898-1954  NEW YORK HARBOR  watercolor and gouache, 11 1 8 x 15 1 2 inches  sight , sign...
212 212 CHARLES COURTNEY CURRAN American (1861-1942) "THE FARM AT SUNSET" oil on masonite, 17 3/4 x 21 7/8 inches, signed and titled on the reverse. Private Collection, Rhode Island. Inscribed on the reverse, "Record number 260-21 C.C.C." Estimate $4,000—$6,000 PROVENANCE 213 JOHANN BERTHELSEN American (1883-1972) "FIFTH AVE LOOKING SOUTH FROM SIXTIETH STREET" oil on artist board, 16 x 11 7/8 inches, signed lower right. Raydon Gallery, New York, New York; Private Collection, New York. Estimate $5,000—$7,000 PROVENANCE 213  153
212  212 CHARLES COURTNEY CURRAN American  1861-1942   THE FARM AT SUNSET   oil on masonite, 17 3 4 x 21 7 8 inches, signe...
214 SOREL ETROG Canadian (b. 1933) ABSTRACT FORM bronze, 10 1/2" H, signed and numbered "2/10". Mrs. Vera G. List, prominent Contemporary Art Collector and Philanthropist, New York, New York and Greenwich, Connecticut; to her grandson, the present owner, New York. Estimate $6,000—$8,000 PROVENANCE 215 ARMAN American/French (1928-2005) KRISHNA broken medallion suspended in lucite, 11 3/4 x 11 7/8 inches, signed lower right. Private Collection, Connecticut. Estimate $2,000—$3,000 PROVENANCE 214 215 216 GEORGE DUDDING American (20th Century) "FICTION" 1990 copper, 87 1/2" H, unsigned. David Beitzel Gallery, New York, New York; Mrs. Vera G. List, prominent Contemporary Art Collector and Philanthropist, New York, New York and Greenwich, Connecticut; to her grandson, the present owner, New York. Estimate $1,500—$2,500 PROVENANCE 216 154 
214 SOREL ETROG Canadian  b. 1933  ABSTRACT FORM  bronze, 10 1 2  H, signed and numbered  2 10 . Mrs. Vera G. List, promin...
217B 217A 217 ANDRE DERAIN French (1880-1957) (A PAIR) PORTRAIT STUDY OF HEADS FIGURE STUDY (a) pencil on paper, (b) charcoal on paper, 9 3/4 x 6 3/4 (sight, each), stamped by artist's estate. Private Collection, Connecticut. Estimate $1,500—$2,500 PROVENANCE 218 CARLO BONOMI Italian (1880-1961) A FAMILY bronze, 24 1/2" H x 16" W, signed, indistinct foundry mark, dated "1930" and inscribed "Epreuve D'Artist, Paris". Private Collection, New York. Estimate $2,500—$3,500 PROVENANCE 218  155
217B  217A  217 ANDRE DERAIN French  1880-1957   A PAIR  PORTRAIT STUDY OF HEADS FIGURE STUDY   a  pencil on paper,  b  ch...
219 VICTOR COLEMAN ANDERSON American (1882-1937) "SPRING ON THE WAYS, RYE, NEW YORK" oil on board, 16 1/4 x 20 inches, signed lower right. Private Collection, New York. Estimate $3,000—$5,000 PROVENANCE 219 220 CHARLES SYDNEY HOPKINSON American (1869-1962) PORTRAIT OF DOROTHEA DEAN oil on canvas, 30 x 19 inches, signed lower right. Private Collection, Vermont. Estimate $2,000—$3,000 PROVENANCE 220 221 GARY BURGHOFF American (b. 1943) "PRIDE OF ALASKA!" oil on canvas, 14 x 18 inches, signed and dated "2001" lower right, signed, dated and titled on the reverse. Private Estate, Connecticut. This painting is one in a series titled "The North American Suite." A note from the artist accompanies the Lot. Note: Gary Burghoff starred as “Radar” in the popular 1970’s televison series M*A*S*H. Estimate $2,000—$3,000 PROVENANCE 221 156 
219 VICTOR COLEMAN ANDERSON American  1882-1937   SPRING ON THE WAYS, RYE, NEW YORK   oil on board, 16 1 4 x 20 inches, si...
222 HOWARD RUSSELL BUTLER American (1856-1934) "CARIBBEAN SEA DURING A THUNDERSTORM, 1921" oil on canvas on board, 10 1/4 x 14 1/4 inches, signed lower right. Private Collection, New York. PROVENANCE "Eye on the Storm: Long Island's Dangerous Coast" The Long Island Museum, Stony Brook, New York, June 21 - October 26, 2009. Estimate $1,500—$2,500 EXHIBITED 222 223 EDWARD MORAN (ATTRIBUTED) American (1829-1901) STORMY SEAS oil on canvas, 15 x 18 inches, unsigned. Private Collection, Arizona. Estimate $3,000—$5,000 PROVENANCE 223 224 224 DANIEL HUNTINGTON American (1816-1906) LANDSCAPE oil on canvas, 17 x 24 1/2 inches, unsigned. Private Collection, New Jersey. Estimate $3,000—$5,000 PROVENANCE 225 CHARLES HERBERT WOODBURY American (1864-1940) "STORMY DAY AT THE PIER, 1928" oil on canvas, 20 x 27 inches, initialed and dated "CHW 1928" along edge of canvas. Liros Gallery Inc., Blue Hill, Maine; Private Collection, Beverly Hills, California. Estimate $2,500—$3,500 PROVENANCE 225  157
222 HOWARD RUSSELL BUTLER American  1856-1934   CARIBBEAN SEA DURING A THUNDERSTORM, 1921   oil on canvas on board, 10 1 4...
226 227 226 JULES (PIERRE) VAN BIESBROECK Belgian (1873-1965) 227 FILIPPO INDONI Italian (c.1842- c.1908) "L'AMI DE LA FRANCE" oil on board, 17 7/8 x 14 7/8 inches, signed lower right. watercolor on paper, 20 1/2 x 14 (sight), signed lower right. A New Jersey Estate. Estimate $3,000—$5,000 PROVENANCE PROVENANCE ORIENTALIST SCENE A New Jersey Estate. Estimate $2,500—$3,500 228 GEORGE WHARTON EDWARDS American (1859-1950) "ANDALUSIAN WEDDING JOURNEY" oil on canvas, 30 x 30 inches, signed lower right and on the frame. Grand Central Art Galleries, New York, New York; Private Collection, Arizona. PROVENANCE Grand Central Art Galleries, "Member Prize Exhibition," New York, New York. Note on the artist's letterhead on the reverse: "Andalusian wedding parties in the large decorated farm wagons from the country make a most colorful feature during the Seville "Feris"or yearly fair, which follow the Semana Santa. (Painted outside Seville in the year 1924)." A letter from the artist to the original owner dated January 1930 describing the painting accompanies the Lot. Estimate $2,000—$3,000 EXHIBITED 228 158 
226  227  226 JULES  PIERRE  VAN BIESBROECK Belgian  1873-1965   227 FILIPPO INDONI Italian  c.1842- c.1908    L AMI DE LA...
229 ARTHUR KIMMEL GETZ American (1913-1996) WASHINGTON SQUARE PARK oil and ink on paper, 21 5/8 x 16 1/2 inches (sight), signed lower right. The artist; Private Collection, New York; Private Collection, Massachusetts. Produced by the artist for the cover of a New York University bulletin in 1979. Estimate $2,000—$3,000 PROVENANCE 229 230 JEAN-LOUIS DEMARNE French (c.1752-1829) PAYSAGE (LANDSCAPE) oil on board, 5 1/4 x 6 3/8 inches, unsigned. Galerie Guy Stein, Paris, 1935; Private Collection. Probably no. 26 in the 1935 auction catalog from Galerie Guy Stein,Paris. A photocopy of the catalog included with the lot. Estimate $2,000—$3,000 PROVENANCE 230 231 EUGENIO ALVAREZ DUMONT Spanish (1864-1927) LADIES AT THE BEACH oil on canvas, 6 x 12 inches, signed lower right. Private Collection, Massachusetts. Estimate $1,500—$2,500 PROVENANCE 231  159
229 ARTHUR KIMMEL GETZ American  1913-1996  WASHINGTON SQUARE PARK  oil and ink on paper, 21 5 8 x 16 1 2 inches  sight , ...
232 VAN DEARING PERRINE American (1869-1955) "I AM HE OF THE LONG AGO, WHO LOOKED UPON THE GLORY OF THE SUN, AND DREW ITS DISK UPON THE SAND" oil on canvas, 42 x 35 inches, signed lower right. Estate of the artist to his daughter; Estate of the daughter to Private Collection, Connecticut; Grand Central Art Gallery, New York, New York; Property of The Boston Art Club. PROVENANCE Illustrated as frontispiece in the book, "A Full Life, The story of Van Dearing Perrine," By Lolita L. W. Flockhart, 1939. Estimate $4,000—$6,000 ILLUSTRATED 232 233 MICHELE CASCELLA American/Italian (1892-1989) FLOWERS IN VASE oil on canvas, 30 x 25 inches, signed lower left. Private Collection, New Jersey. Estimate $4,000—$6,000 PROVENANCE 233 234 ARUN BOSE American (1934-2007) "ABSTRACT - RISING" oil on canvas, 44 x 44 inches, signed lower right. Private Collection, New York. Estimate $2,000—$4,000 PROVENANCE 234 160 
232 VAN DEARING PERRINE American  1869-1955   I AM HE OF THE LONG AGO, WHO LOOKED UPON THE GLORY OF THE SUN, AND DREW ITS ...
235 GEORGE COCHRANE LAMBDIN American (1830-1896) "THE MORNING LESSON" oil on canvas, 24 x 18 1/4 inches, signed lower left, signed, titled, inscribed and dated "New York 1868" on the reverse. Private Collection, Connecticut. Estimate $3,000—$5,000 PROVENANCE 236 CONTINENTAL SCHOOL European (19th Century) ALLEGORICAL SCENE oil on canvas, 9 1/2 x 7 1/2 inches, bears signature "Moreau" and dated illegibly lower right. A New Jersey Estate. Estimate $1,000—$1,500 PROVENANCE 235 236 237 CHARLES COURTNEY CURRAN American (1861-1942) "THE PORTICO OF ST. MARKS, VENICE" oil on panel, 10 1/2 x 8 1/8 inches, signed and dated "1921" lower right. A New York Estate. Inscribed on the reverse "Record 202-11 C.C.C." Estimate $2,500—$3,500 PROVENANCE 237  161
235 GEORGE COCHRANE LAMBDIN American  1830-1896   THE MORNING LESSON   oil on canvas, 24 x 18 1 4 inches, signed lower lef...
238 RAOUL MAUCHERAT DE LONGPRE French (1855-1911) FLORAL STILL LIFE watercolor on paper, 27 3/8 x 19 1/4 inches, signed lower center right. Private Collection, Maryland. Estimate $2,500—$3,500 PROVENANCE 239 SCHOOL OF ANNE VALLAYER-COSTER French (1774-1818) VASE OF FLOWERS WITH FRUIT AND PEACOCK oil on canvas, 26 1/2 x 32 inches., unsigned. Private Collection, New York. Estimate $3,000—$5,000 PROVENANCE 238 239 162 
238 RAOUL MAUCHERAT DE LONGPRE French  1855-1911  FLORAL STILL LIFE  watercolor on paper, 27 3 8 x 19 1 4 inches, signed l...
240 JEAN LOUIS ERNEST MEISSONIER French (1815-1891) CAVALIER PLAYING CARDS oil on panel, 7 1/8 x 5 1/4 inches, monogrammed lower right. Private Collection, New York. Estimate $3,000—$5,000 PROVENANCE 240 241 RUDOLF WILHELM AUGUSTE LEHMANN German (1819-1905) "THE EYES OF INNOCENCE" oil on canvas, 31 x 25 1/2 inches, signed and dated "1852" lower right center. Private Collection, New Jersey. Estimate $4,000—$6,000 PROVENANCE 241 242 ERNST MEISEL German (1838-1895) MARIE ANTOINETTE IN CHAMBERS oil on canvas, 27 x 20 1/2 inches, signed lower left. Shannon's Fine Art Auctioneers, April 22, 1999, Lot 203; Private Collection, New Jersey. Estimate $1,500—$2,500 PROVENANCE 242  163
240 JEAN LOUIS ERNEST MEISSONIER French  1815-1891  CAVALIER PLAYING CARDS  oil on panel, 7 1 8 x 5 1 4 inches, monogramme...
243 ARTHUR FITZWILLIAM TAIT American (1819-1905) "ROOSTER" oil on panel, 8 1/4 x 10 inches, signed, inscribed "NY" and dated "'91" lower right. Private Collection, Connecticut. Estimate $3,000—$5,000 PROVENANCE 243 244 AUGUST LAUX American (1847-1921) STRAWBERRIES oil on canvas, 12 x 16 inches, signed lower left. Private Collection, New York. Estimate $2,000—$3,000 PROVENANCE 244 245 CONRAD WISE CHAPMAN American (1842-1910) PEACHES ON A BRANCH oil on paper on canvas, 7 1/8 x 5 1/4 inches, initialed, dated "July 28" and inscribed "Paris," lower right, 9 x 5 3/4 inches. Private Collection, Massachusetts; Shannon's, October 28, 2010, Lot 39; Private Collection, Dallas, Texas. Estimate $2,000—$3,000 PROVENANCE 245 164 
243 ARTHUR FITZWILLIAM TAIT American  1819-1905   ROOSTER   oil on panel, 8 1 4 x 10 inches, signed, inscribed  NY  and da...
246 IDA PULIS LATHROP American (1859-1937) STILL LIFE WITH BEETS AND RED PEPPERS oil on canvas, 20 x 15 inches, signed lower right. Private Collection, Canada. Estimate $3,000—$5,000 PROVENANCE 246 247 IDA PULIS LATHROP American (1859-1937) STILL LIFE WITH PUMPKINS AND ONIONS oil on canvas, 18 x 24 inches, signed lower right. Private Collection, Canada. Estimate $2,500—$3,500 PROVENANCE 247 248 IDA PULIS LATHROP American (1859-1937) "SPANISH ONIONS" oil on canvas, 15 x 20 inches, signed lower right. Private Collection, Canada. Estimate $3,000—$5,000 PROVENANCE 248  165
246 IDA PULIS LATHROP American  1859-1937  STILL LIFE WITH BEETS AND RED PEPPERS  oil on canvas, 20 x 15 inches, signed lo...
249 WILLIAM S. ROBINSON American (1861-1945) SPRING LANDSCAPE oil on academy board, 12 1/4 x 18 inches, signed lower left. The Estate of Victor Beago; Private Collection, Oklahoma. Estimate $3,000—$5,000 PROVENANCE 249 250 FRANCIS GATES American (1863-1952) FEEDING TIME oil on board, 15 x 19 3/4 inches, initialed lower left. Private Collection, New York. Estimate $1,500—$2,500 PROVENANCE 250 251 GUY CARLETON WIGGINS American (1883-1962) LANDSCAPE oil on board, 12 x 16 inches, signed lower left. Private Collection, Maryland; Private Collection, New Jersey. A letter of authenticity from Guy A. Wiggins accompanies the lot. Estimate $3,000—$5,000 PROVENANCE 251 166 
249 WILLIAM S. ROBINSON American  1861-1945  SPRING LANDSCAPE  oil on academy board, 12 1 4 x 18 inches, signed lower left...
252 JOHANN BERTHELSEN American (1883-1972) "BROOKLYN BRIDGE" oil on board, 12 x 9 1/2 inches, signed lower right, signed and titled on reverse. Private Collection, Connecticut. Estimate $2,500—$3,500 PROVENANCE 252 253 RUDOLF SCHEFFLER German (1884-1973) THE EAST RIVER AND BROOKLYN BRIDGE oil on canvas, 13 x 19 inches, signed lower left. Private Collection, New York. Artist's estate stamp on frame. Estimate $1,500—$2,500 PROVENANCE 253 254 MAUD MARY MASON American (1867-1956) VIEW OF GRAMERCY PARK (FROM 36 GRAMERCY PARK EAST) oil on canvasboard, 19 3/4 x 15 3/4 inches, signed lower left. R.H. Macy, New York, New York; Private Collection. Estimate $1,500—$2,500 PROVENANCE 254  End of Sale   167
252 JOHANN BERTHELSEN American  1883-1972   BROOKLYN BRIDGE   oil on board, 12 x 9 1 2 inches, signed lower right, signed ...
INDEX A Abbey, Edwin Austin 185 Adams, Winifred 105 American School 165 Anderson, Victor Coleman 219 Argenti, Antonio Arman Audubon, John James Cascella, Michele 233 Francis, John F. 70 Chapin, Charles H. 173 French, School Of Jared 32 Chapman, Conrad Wise 245 Fuger, Friedrich Heinrich 99 Chase, William Merritt 65 Coates, Edmund C. 22 Continental School 121, 236 Craig, Thomas Bigelow 178 Cropsey, Jasper Francis 39 Cummings, E.E. 203 Curran, Charles Courtney 53, 54, 55, 56, 72 215 151, 152 B G Gasser, Henry Martin 157 Gates, Francis 250 Gaul, Arrah Lee 12 Getz, Arthur Kimmel 229 Granville-Smith, Walter 52 Graves, Abbott Fuller 104 Gray, Cleve 131 Gruppe, Emile Albert 7, 118 Gruppe, Robert C. 195 62, 212, 237 Beal, Gifford 154 Beaux, Cecilia 183, 186 Bechi, Luigi 78 Bela Mayer, Peter 9 Bell, Leland 158 Bellows, Albert Fitch 47 Bernhard, Lucion 33 Bernstein, Theresa Ferber 211 Berthelsen, Johann 1, 2, 3, 213, 252 D Dallin, Cyrus Edwin 79 Davies, Arthur Bowen 206 De Haas, Mauritz Frederick H. 23 De Longpre, Raoul Maucherat 238 H Haring, Keith 28, 29 Hart, James Mc Dougal 45 Hartigan, Grace 132 60 Hawthorne, Charles Webster 63 Doughty, Thomas 40 Herve, Jules Rene 194 Dudding, George 216 Hildebrandt, Howard Logan 191 Dumont, Eugenio Alvarez 231 Hinman, Charles 127 Dunning, Robert Spear 71 Hopkinson, Charles Sydney 220 Durrie, School Of George H. 174 Horton, William Samuel 50, 51 Dyf, Marcel 106 Hoyne, Thomas M. 146 Huntington, Anna Hyatt 143, 170, 171 Huntington, Daniel 224 Husseini, Jumana El 147 Delacroix, Michel 159 Demarne, Jean-Louis 230 Derain, Andre 217 Dewing, Thomas Wilmer Bierstadt (After), Albert 83 Blakelock, Ralph Albert 161, 162 Bluemner, Oscar Florianus 204 Bolotowsky, Ilya 30, 31 Bonheur, Isidore Jules 80 Bonomi, Carlo 218 Bose, Arun 234 Bourgeois, Louise 128 Bradford, William 49 Braithwaite, Bruce 14, 200, 202 Brasilier, Andre 126 Brega, Douglas 6 Bricher, Alfred Thompson 43, 44, 88 British School 101 Brown, William Mason 21 Bryant, Everett Lloyd 13 Burghoff, Gary 221 F Butler, Howard Russell 222 Farkashazy, Miklos 180 Jannelli, Vincent 15 Farndon, Walter 10, 196, 197 Jettel, Eugen 69 Field, Robert 95 Jones, Hugh Bolton 91, 92 Fitch, John Lee 177 Jonson, Raymond 182 C Carrera, Universo Picazo 168  198 E Edwards, George Wharton 228 Eichelberger, Robert 110 Eichholtz, Jacob 150 I Enneking, John Joseph 190 Indoni, Filippo 227 Estorach, Antonio Casanova Y 123 Inness, George 42 Etrog, Sorel Ives, Chauncey Bradley 73 214 J
INDEX  A Abbey, Edwin Austin  185  Adams, Winifred  105  American School  165  Anderson, Victor Coleman  219  Argenti, Ant...
INDEX K Kelpe, Paul 25 Key, John Ross 113 Knapp, Charles Wilson 37, 38 Knowles, George Sheridan 192 Koch, John 153 Kuehne, Max 199 Kuhn, Walt 120 L La Farge, John 155 Lambdin, George Cochrane 235 Lathrop, Ida Pulis 246, 247, Nichols, Dale 36 Soyer, Raphael 34 Nieto, Rodolfo 179 Spanish School 122 Nourse, Elizabeth 68 Sparks, Will 81 Nowatka, Walter 160 Symons, George Gardner 119 O T Ogilvee, Clinton 175 Olinsky, Ivan 74, 75 Osthaus, Edmund Henry 87 P Palmer, Walter Launt 46, 57, 114 Palmer, Pauline Lennards 64, 156 Parton, Ernest 89 Pavil, Elie Anatole 209 Perrault, Leon Jean Basile 76 Perrine, Van Dearing 232 Peter, Victor 172 Pether, William 98 Pho, Le 140, 141 Pinchart, Emile Auguste 77 Poskas, Peter 16, 17, 18, 19, 248 Laurent, Jean Antoine 97 Laux, August 244 Lee-Smith, Hughie 103 Legros, Jacques-Marie 100 Lehmann, Rudolf Wilhelm A. 241 Lewis, Edmund Darch 163, 164 Liberman, Alexander 181 Loir, Luigi 188 M Tack, Augustus Vincent 208 Tait, Arthur Fitzwilliam 82, 243 Tarbell, Edmund Charles 59 Terelak, John C. 4, 5 Thieme, Anthony 8, 116, 117 Thompson, Leslie Prince 207 Toudouze, Edouard 193 Tryon, Dwight William 115, 168 Tulpanov, Igor 149 U Uriburu, Nicolás García 125 V Vallayer-Coster, School Of Anne 239 107, 108 Van Biesbroeck, Jules (Pierre) 226 Prentice, Levi Wells 20 Veron, Alexandre Rene 187 Putnam, Brenda 142 Vicente, Esteban 24 Von Luerzer, Feodor 86 Vonnoh, Bessie Potter 145 Macmonnies, Fredrick William 144 Markham, Kyra 201 Marsh, Reginald 210 R Mason, Maud Mary 254 Raschen, Henry 85 Mattern, Alice L. 129 Remington, Frederic 84 W 41 26, 27 242 Richards (Attr), William T. Warhol, Andy Meisel, Ernst 96 48 240 Robertson, Walter Waters, George W. Meissonier, Jean Louis Ernest Melrose, Andrew 66 Robinson, William S. 249 Weir, Julian Alden 61, 184 Metcalf, Willard Leroy 67 Ryder, Chauncey Foster 189 Wesley, John 130 Millman, Edward 35 Whittredge, Worthington 112 Montoya, Gustavo 148 S Wieghorst, Olaf 169 Mora, F. Luis 58 Saint-Gaudens, Augustus 94 Wiggins, John Carleton 176 Moran (Attributed), Edward 223 Samaras, Lucas 124 Wiggins, Guy Carleton 251 Morris, George L.K. 133 Scarlett, Rolph 134, 135, 136 Williamson, John 90 Mosler, Henry 111 Scheffler, Rudolf 253 Woodbury, Charles Herbert 225 Shattuck, Aaron Draper 167 Wyant, Alexander Helwig 93 Sloane, Eric 109 N Neiman, Leroy 137, 138, 139 Smith, Henry Knox 205 Z Nicholas, T. M. 11 Sonntag Sr, William Louis 166 Zuniga, Francisco 102  169
INDEX  K Kelpe, Paul  25  Key, John Ross  113  Knapp, Charles Wilson  37, 38  Knowles, George Sheridan  192  Koch, John  1...
CONSIGNMENTS INVITED Working with SHANNON’S to sell your Fine Art will always make you more money. We say this with confidence - we charge a lower than average commission rate, have no hidden fees for photography, catalog listings, unsold lots, insurance, etc... simply put, you keep more of what your art sells for ! Upcoming Auctions: January 16, 2017 2:00pm On-Line Only Fine Art Discovery Auction. Consignment deadline - December 15, 2016. April 27, 2017 6:00pm Important American & European Paintings, Drawings, Prints & Sculpture. Consignment deadline - May 1, 2016. To submit artwork for consideration please email photos to info@shannons.com or visit www.shannons.com DIRECTIONS To Shannon’s Milford Gallery FROM NEW YORK I-95 North to exit 40. Left at the end of the ramp onto Old Gate Lane. Proceed to the traffic light and turn right onto Woodmont Road. At the second light take a left onto Quarry Road and an immediate left into the parking lot. F R O M N E W H AV E N I-95 South to exit 40. Left at the end of the ramp onto Woodmont Road. At the third light take a left onto Quarry Road and an immediate left into the parking lot. 170 
CONSIGNMENTS INVITED Working with SHANNON   S to sell your Fine Art will always make you more money. We say this with conf...
■ ABSENTEE BID FORM ■ PHONE BID FORM (CHECK ONE) Bids must Be received at least 24 hours prior to day of sale. Bidding Increments Lot # Artist’s Name Maximum Bid $0 – $2,000 $100 $2,000 – $5,000 $250 $5,000 – $10,000 $500 $10,000 – $20,000 $1,000 $20,000 – $50,000 $2,000 Over $50,000 $5,000 Over $100,000 $10,000 The Auctioneer has the discretion to accept bids not commensurate with this pattern. (Excluding buyers premium) $ $ $ I understand that Shannon's will execute my bids as a convenience, and will not be held responsible for errors, or the inadvertent failure to execute bids. On my behalf, Shannon's will try to purchase these lots for the lowest possible price. If identical absentee bids are left, Shannon's will give precedence to the first one received. I have read and agree to the Conditions of Sale printed in this catalog. Payment for successful bids must be made within two weeks of the sale. A premium of 20% of the successful bid up to and including $500,000, and 12% on any amount exceeding $500,000 will be applied to the hammer price of all lots sold, to be paid by the buyer as part of the purchase price. $ $ $ $ $ $ Name Address City State Phone # Alternate# Fax# Email Signature (required) Date Zip M A I L O R FA X B I D S TO : SHANNON'S Bid Department ■ 354 Woodmont Road Milford, CT 06460 Phone: (203) 877-1711 ■ Fax: (203) 877-1719 ■ Email: bids@shannons.com  171
     ABSENTEE BID FORM       PHONE BID FORM   CHECK ONE   Bids must Be received at least 24 hours prior to day of sale. Bi...
CONDITIONS OF SALE Shannon’s LLC Fine Art Auctioneers acts solely as an agent for various owners and consignors. It exercises care in describing all items listed and uses judgment in attributing authorship, but offers no guarantee regarding authenticity, condition, or description. The items described in this catalog, which description may be amended by notice or announcement at sale time, are offered for sale by Shannon’s LLC as agent for various owners or others authorized to sell the items. Hereinafter, Shannon’s LLC is referred to as the Sellers agent. The owners or others authorized to sell the items are hereinafter referred to as Sellers. The person or persons acknowledged by the auctioneer to be the highest bidder on an item shall be hereinafter referred to as the Buyer or Buyers. used up to the amount of $10,000 per auction. Purchases are subject to 6.35% CT sales tax. ALL ITEMS MUST BE PAID FOR WITHIN 14 DAYS OF THE SALE, AT WHICH POINT THEY WILL BE RELEASED FOR SHIPMENT OR DELIVERY. 7. Limited Warrantee: Although Shannon’s LLC exercises due care in describing the items listed and use good judgment in attributing authorship; it does not make any express or implied warrantee as to such authorship. Notwithstanding, Shannon’s LLC may, but shall have no obligation to, consider any reasonable request for refund on the grounds of authenticity of authorship only and only under the following conditions: Shannon’s LLC reserves the right to change the terms of sale by oral announcement. Any such change shall become part of the Conditions of Sale. By placing of a bid, whether present at the sale in person or by agent, by written or oral bid, by telephone or other means, the Buyer agrees to be bound by these conditions of sale. A. Notification must be made to Shannon’s in writing within 7 days of receipt of the item. 1. The highest bidder acknowledged by the auctioneer shall be the Buyer. In the event of any dispute between bidders, the auctioneer has the absolute discretion to determine which bidder is the successful Buyer or to re-offer the item in dispute and resell it. C. The limited warrantee does not extend to the lots identified as attributions, school, circle, manner, or after. 2. In the event of any dispute after the sale, Shannon’s LLC’s record of the final sale price and of the successful buyer shall be conclusive, Shannon’s LLC reserves the right to withdraw any item before or during the sale. 3. Shannon’s LLC reserves the right to sell items which are not listed in the catalogue. 4. Items in the auction are sold subject to a reserve. Such reserve is confidential, but in no case will the reserve exceed the low estimate. The auctioneer may reject any bid or increment not commensurate with the value of the lot. 5. Order bids are accepted. A deposit may be required. Absent parties may place bids by mail, email, fax or in person prior to the sale. Order bids must be placed 24 hours prior to the day of sale. Shannon’s LLC will execute such bids up to the maximum amount specified. Phones must be reserved 24 hours prior to the day of sale. Phone bidders are encouraged to leave a cover bid in case of technical failure. Shannon’s is not responsible for errors or omissions in the execution of these bids. 6. A premium of 20% of the successful bid up to and including $500,000, and 12% on any amount exceeding $500,000 per lot, will be applied to the individual hammer price of all lots sold, to be paid by the buyer as part of the purchase price. Payment may be made by cash, check or wire transfer. Visa or MasterCard may be 172  B. The items must be returned within 28 days of the sale, accompanied by written testimony from a recognized authority that the lot in question is a forgery. D. The limited warrantee is applicable only to the original Buyer. 8. All property is sold "as is". 9. As a convenience to the Buyer, Shannon’s LLC will make a referral for packing and shipping. This is at the request, expense, and risk of the Buyer, and Shannon’s assumes no responsibility for the items or the timing of delivery. Insurance for in transit items is the responsibility of the buyer. 10. Shannon's has retained the Art Loss Register to check all uniquely identifiable items offered for sale in the catalog that are estimated for $5,000 or more against the computerized database of stolen or lost artwork maintained by the Art Loss Register. A search certificate can be provided by the Art Loss Register for an additional fee. The Art Loss Register can be reached by mail at 108 West 39th Street, Suite 506, New York 10018 or by email at info@alrny.com. The Art Loss Register does not guarantee the provenance or title of any catalogued item against which they search, and will not be liable for any direct or consequential losses of any nature howsoever arising. The statement is not to affect, detract from, or override Shannon's Conditions of Sale, and in the event of any conflict, Shannon's Conditions of Sale will take priority to the terms of this statement. BIDDING AT THIS AUCTION, WHETHER IN PERSON, BY AGENT, ORDER BID, TELEPHONE, INTERNET OR OTHER MEANS, CONSTITUTES YOUR ACKNOWLEDGEMENT AND ACCEPTANCE OF THESE "CONDITIONS OF SALE".
CONDITIONS OF SALE Shannon   s LLC Fine Art Auctioneers acts solely as an agent for various owners and consignors. It exer...
354 Woodmont Road, Milford, CT 06460 • (203) 877-1711 • Fax (203) 877-1719
354 Woodmont Road, Milford, CT 06460      203  877-1711     Fax  203  877-1719