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Fine American and European Paintings Drawings Prints and Sculpture Milford Connecticut April 26 2018
FINE AMERICAN A N D EUROPEAN PAINTINGS DRAWINGS PRINTS A N D SCULPTURE AUCTION INFORMATION Thursday April 26 2018 6 00p m PREVIEW DATES TIMES April 16 April 25 April 21 Weekdays 11 a m 6 p m Saturday 10 a m 3 p m Closed Sundays April 26 Thursday 12 p m 5 30 p m The sale will begin at 6 00 p m EDT on Thursday April 26 2018 Shannon s Fine Art Auctioneers 49 Research Drive Milford CT 06460 www shannons com info shannons com 203 877 1711 Fax 203 877 1719 Front cover illustration 73 detail Back cover illustration 20
MAP AND DIRECTIONS Exit 40 Exit 40 FROM POINTS SOUTH I 95 North to exit 40 Left at the end of the ramp Proceed to the traffic light Turn right onto Woodmont Road At the first traffic light take a left on Research Drive 2 FROM POINTS NORTH I 95 South to exit 40 Left off of the ramp onto Woodmont Road At the second traffic light take a left onto Research Drive
TABLE OF CONTENTS Specialist Contacts Sandra Germain Owner voice 203 877 1711 fax 203 877 1719 sandra shannons com Ali Baldenebro Specialist voice 203 877 1711 fax 203 877 1719 ali shannons com Gene Shannon Owner voice 203 877 1711 fax 203 877 1719 gene shannons com General Sale Inquiries info shannons com Map and Directions 2 Specialist Contacts 3 Artist Index 172 Invitation to Consign 174 Bid Form 175 Conditions of Sale 176
1 1 JOHANN BERTHELSEN American 1883 1972 5TH AVENUE oil on canvas 20 x 24 inches signed Johann Berthelsen lower right PROVENANCE Private Collection Massachusetts Estimate 6 000 8 000 2 4 2 JOHANN BERTHELSEN American 1883 1972 GRAND ARMY PLAZA AND THE PLAZA HOTEL oil on canvas 18 x 24 inches signed Johann Berthelsen lower right PROVENANCE Private Collection Massachusetts Estimate 5 000 7 000
3 3 HENRY GASSER American 1909 1981 ON THE STREET watercolor on paper 21 x 30 1 4 inches sight signed H Gasser lower left PROVENANCE A Connecticut Estate Estimate 3 000 5 000 4 HENRY GASSER American 1909 1981 WINTER HARBOR SCENE watercolor on paper 21 1 4 x 29 3 4 inches sight signed H Gasser lower right PROVENANCE Sotheby s September 25 1992 lot 329 Private Collection New Jersey Estimate 4 000 6 000 4 5
5 WILLIAM S ROBINSON American 1861 1945 CONNECTICUT LAUREL oil on canvas 20 x 24 inches signed Wm S Robinson lower left PROVENANCE The Cooley Gallery Old Lyme Connecticut The Crane Collection New York New York Private Collection Massachusetts Estimate 4 000 6 000 5 6 CHARLES JAY TAYLOR American 1855 1929 BOOTHBAY HARBOR ME oil on canvas 25 x 30 inches signed C J Taylor and dated 1923 lower right signed titled and dated on the reverse PROVENANCE Private Collection Vermont Shannon s April 23 2015 lot 45 Private Collection California Estimate 3 000 5 000 6 6
7 7 WILSON HENRY IRVINE American 1869 1936 THE OLD BARN oil on canvas 25 x 30 inches signed Irvine lower left titled on the stretcher PROVENANCE Collection of Martha Baumgardner Private Collection Connecticut EXHIBITED New Britain Museum of American Art New Britain Connecticut Connecticut Impressionists June 1 August 27 2000 Note In a remarkable period frame Estimate 6 000 8 000 7
8 EMILE ALBERT GRUPPE American 1896 1978 MOUNT MANSFIELD VERMONT oil on canvas 30 x 36 inches signed Emile A Gruppe lower right PROVENANCE Purchased directly from the artist ca 1939 by the original owners while on their honeymoon Private Collection Pennsylvania by descent to the present owner Private Collection Washington Estimate 6 000 8 000 8 9 EMILE ALBERT GRUPPE American 1896 1978 ROCKPORT oil on canvas 20 x 24 inches signed Emile A Gruppe lower right PROVENANCE A New York New York estate Estimate 4 000 6 000 9 8
10 CHARLES SALIS KAELIN American 1858 1929 GLOUCESTER HARBOR oil on canvas 20 x 24 inches signed C S Kaelin lower left PROVENANCE Private Collection Texas Estimate 5 000 7 000 10 11 GEORGE ENNIS American 1884 1936 SMUGGLER S COVE oil on canvas 25 x 30 inches signed Ennis lower left PROVENANCE Charles R Brown Fine Art Locust Valley New York Private Collection New York Estimate 3 000 5 000 11 9
Born in Moss Norway in 1880 Jonas Lie grew up in Oslo before moving to America in 1893 He settled for a time in New Jersey and painted his first plein air landscapes in Provincetown on Cape Cod at the age of 16 He soon after began renting a studio in New York and exhibiting at the National Academy of Design At the age of 23 he exhibited a landscape at the Pennsylvania Academy of the Fine Arts that was purchased by William Merritt Chase While his reputation was rising in the U S Lie traveled to Europe in 1909 and visited Henri Matisse and Gertrude Stein Upon returning to New York his work displayed greater confidence of brushwork an interest in strong light and an increasingly intense use of color Dissatisfied with the jury system of the National Academy in 1919 Lie joined fellow artists George Bellows Robert Henri Childe Hassam and Alexander Calder in establishing the Society of American Painters Sculptors and Gravers later the New Society of Artists Lie nonetheless maintained membership in the Academy and served as the organization s president the first non American to hold the position from 1934 1939 2 At the time of his death in 1940 Lie had had 57 one man shows of his paintings Fishing Boats offered here is an impressive example of Lie s Passion for coastal subjects the water is seen from a height which allows for a spectacular panoramic view The strength of coloring is typical of his mature work his bold use of green to reflect the blue water is impressive and is recognized in many of his works 1 William H Gerdts Jonas Lie New York Spanierman Gallery 2005 13 2 Carol Lowery Gerdts 28 10
12 12 JONAS LIE American 1880 1940 FISHING BOATS oil on canvas 22 x 26 inches signed Jonas Lie lower left PROVENANCE Adamson Duvannes Galleries Los Angeles California An Arizona estate EXHIBITED Museum of History Science and Art Los Angeles California Note A label from the Museum of History Science and Art Los Angeles California is on the reverse Estimate 12 000 18 000 11
13 JONAS LIE American 1880 1940 MARCH SNOW oil on canvas 37 1 2 x 31 1 2 inches signed Jonas Lie lower left PROVENANCE An Arizona estate Estimate 6 000 8 000 14 LOUIS RITTER American 1852 1896 GIVERNY oil on canvas 15 1 8 x 21 7 8 inches signed Louis Ritter dated 1887 and titled lower left PROVENANCE Private Collection North Carolina Estimate 6 000 8 000 13 14 12
15 15 RICHARD HAYLEY LEVER 16 RICHARD HAYLEY LEVER COAST OF NEW JERSEY BELOW ASBURY PARK 1932 oil on canvas 10 1 4 x 12 1 4 inches signed Hayley Lever lower left dated and titled on the reverse PROVENANCE Clayton Liberatore Gallery Bridgehampton New York Private Collection New York Estimate 6 000 8 000 IN THE CATSKILLS 1932 CATSKILL RIVER oil on canvas 16 x 20 inches signed Hayley Lever lower left dated and titled on the reverse PROVENANCE Clayton Liberatore Gallery Bridgehampton New York Private Collection New York Estimate 6 000 8 000 American 1876 1958 American 1876 1958 16 13
17 17 WILLIAM BLISS BAKER American 1859 1887 EARLY SUMMER oil on canvas laid down on masonite 14 x 18 inches signed Wm Bliss Baker lower right PROVENANCE Private Collection Connecticut Note In a period frame Estimate 3 000 5 000 18 14 18 GEORGE HENRY SMILLIE American 1840 1921 NEAR NEWPORT oil on canvas 15 x 24 inches signed Geo H Smillie NA lower left PROVENANCE Private Collection Connecticut Note In a remarkable period frame Estimate 3 000 5 000
19 19 LAWRENCE MAZZANOVICH American 1871 1959 THROUGH THE TREES GIVERNY oil on canvas 25 5 8 x 31 3 4 inches signed Mazzanovich lower right PROVENANCE Private Collection Connecticut EXHIBITED New Britain Museum of American Art New Britain Connecticut Connecticut Impressionists June 1 August 27 2000 Estimate 5 000 7 000 15
Wolf Kahn was born in Stuttgart Germany in 1927 He immigrated to the United States in 1940 where he attended the High School of Music and Art in New York and the University of Chicago Kahn spent time in the Navy and under the GI Bill studied with Abstract Expressionist artist Hans Hofmann He later became Hofmann s studio assistant and together with other former Hofmann students established Hansa Gallery In 1968 Kahn and his wife Emily Mason purchased a farm in Vermont Many of Kahn s paintings depict the Vermont and New England landscape where the couple would spend their summers and part of the fall The rest of the year Kahn maintained a gallery in New York City on Broadway and later in Chelsea Kahn and his contemporaries embraced the spontaneity and painterly qualities of Abstract Expressionism but applied them to representational compositions Kahn depicted landscapes fields houses and barns from the New England area He used bold colors and painterly brush strokes working with oils and pastels Although the paintings are representational the main theme is atmosphere color and light In Kahn s paintings there is a unique blend of Realism and formal Color Field theory He successfully combines modernist Abstract Expressionism with the atmospheric qualities of Impressionism He has said of his paintings I like to paint artificial colors that look like they re out of nature I don t care whether they could be or not I like the feeling that you have a sense that you ve been there http www wolfkahn com writing wolf kahn and six decades of color In 1956 Kahn joined the Grace Borgenicht Gallery where he exhibited regularly until 1995 C learing dates to this productive period in Kahn s career This ambitious composition is highly successful featuring many of the best qualities of Kahn s painting The painting is composed as both an Abstract Expressionist Color Field painting and a traditional Impressionist New England landscape The bold colors are reminiscent of Hofmann but are uniquely Kahn While the bright pinks and purples are almost surreal Kahn effectively transports the viewer to a forest clearing where the sun is just setting behind the trees creating a beautiful sunset In 2014 Ameringer McEnry Yohe Gallery held a retrospective exhibition of the past six decades of Kahn s career Kahn is currently represented by the Miles McEnery Gallery and his work is in many major museums including the Metropolitan Museum of Art the Whitney Museum of American Art The Museum of Modern Art New York the Museum of Fine Arts Boston the Hirshhorn Museum and the National Museum of American Art and the Los Angeles County Museum of Art 16
20 20 WOLF KAHN American b 1927 CLEARING oil on canvas 52 x 60 inches signed W Kahn lower left center numbered 12 1991 and titled on the stretcher PROVENANCE Grace Borgenicht Gallery New York New York Private Collection Connecticut Estimate 70 000 90 000 17
21 21 WOLF KAHN American b 1927 BARN oil on canvas 27 3 4 x 21 3 4 inches signed W Kahn lower right PROVENANCE Private Collection Connecticut Estimate 12 000 18 000 18
22 22 WOLF KAHN American b 1927 MIDSUMMER BARN pastel on paper 18 x 23 1 8 inches sight signed W Kahn lower right PROVENANCE Private Collection Connecticut Estimate 7 000 10 000 23 WOLF KAHN American b 1927 EVENING RIVERSIDE CONN RIVER NEAR PUTNEY VT pastel on paper 21 x 28 7 8 inches sight signed W Kahn lower center PROVENANCE Grace Borgenicht Gallery New York New York Private Collection Connecticut Estimate 7 000 10 000 23 19
24 24 CHARLES ROSEN American 1878 1950 THE MILL oil on canvas 32 x 40 inches signed Charles Rosen lower right PROVENANCE Angeloch Gallery Woodstock New York Private Collection New York New York Estimate 4 000 6 000 25 20 25 JACK LEVINE American 1915 2010 THE LAST KING oil on masonite 16 x 20 inches signed Levine lower right PROVENANCE DC Moore Gallery New York New York Nardin Gallery New York New York Private Collection Maryland Estimate 5 000 7 000
26 26 JACK LEVINE American 1915 2010 SHOPKEEPER AT THE DELI oil on board 28 x 34 inches signed Levine lower right PROVENANCE Bonham s New York November 29 2005 lot 88 Private Collection California Note A label from the Brockton Art Museum on the reverse Estimate 10 000 15 000 21
27 Born in Russia Eugene Berman spent most of his career in New York and California He is best known for his imaginary landscapes A leader among the Surrealist and Neo Romantic artists Berman focused on the expression of emotion loneliness and human isolation that emerged between the World Wars He had a flair for painting solitary figures in architectural ruins as depicted in the two paintings offered here La Salide de Puente and Esmeralda The Hunchback of Notre Dame These works are inspired by imaginary worlds created by Hollywood where Berman lived for almost ten years during the 1940s 22 27 EUGENE BERMAN American Russian 1899 1972 LA SALIDE DE PUENTE oil on canvas 42 x 32 inches signed titled and inscribed Mexico dated June Oct 1947 and inscribed Hollywood on the reverse PROVENANCE Sotheby s May 18 2004 lot 212 Private Collection Connecticut Estimate 6 000 8 000
28 28 EUGENE BERMAN American Russian 1899 1972 ESMERALDA FROM THE HUNCHBACK OF NOTRE DAME oil on canvas 52 x 38 inches signed titled and dated June September 1943 and inscribed Hollywood on the reverse PROVENANCE Sotheby s November 6 1997 lot 106 Private Collection Connecticut Estimate 7 000 10 000 23
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 W inter on the Farm is a pleasant painting depicting a family at the end of the day The mother figure waves from the house as her husband and children approach on a sleigh This Nebraska farm scene is painted in Nichols characteristic Regionalist style In 2012 the Bone Creek Museum of Art organized a traveling Dale Nichols T ranscending Regionalism This exhibition cemented American Regionalist alongside Wood Benton and Curry Nichols collected in numerous public and private collections throughout the Metropolitan Museum of Art in New York 24 retrospective exhibition Nichols as the fourth work has been avidly country as well as the
29 29 DALE NICHOLS American 1904 1995 WINTER ON THE FARM oil on canvas 20 x 28 inches signed Dale Nichols and dated 1969 lower left PROVENANCE Purchased from the Artist 1969 in Guatemala Descended in the family to the present owner Private Collection Florida Estimate 50 000 75 000 25
30 30 GEORGE COPLAND AULT American 1891 1948 CATSKILL MOUNTAIN SCENE gouache on board 13 1 2 x 19 7 8 inches signed G C Ault and dated 39 lower left PROVENANCE The artist s estate Vanderwoude Tananbaum Gallery New York New York Mr and Mrs Arthur Braverman New York EXHIBITED 49th Collectors Show and Sale Arkansas Arts Center November 10 2017 January 7 2018 Estimate 20 000 30 000 26
31 31 ERIC SLOANE American 1905 1985 STONE BARN oil on masonite 23 1 4 x 34 inches signed Eric Sloane and inscribed To My Friend Walter lower left PROVENANCE Private Collection Connecticut Shannon s October 29 2015 Private Collection California Estimate 8 000 12 000 27
William Trost Richards paintings of the New England coastline have set the standard for excellence in American seascape painting His luminist views from Rhode Island New Jersey and Massachusetts dramatically capture waves crashing against rocks or a calm rolling sea He often visited his favorite beaches painting Cape Ann Newport New Jersey and Conanicut Island In 1882 William Trost Richards built a summer cottage on the southernmost heights of Conanicut Island which looks across Rhode Island s Narragansett Bay towards Newport He called his cottage Gray Cliff reflecting both the spectacular geological formations of the sea washed coast and the predominant hue of summer fog and haze For the next twenty years Conanicut with its alternating views of rocky cliffs and gentle harbors became Richards most important subject in both oil and watercolor The present lot is a stunning example from Richards Conanicut period The sun parting the clouds shines down over the crashing waves The entire composition is bathed in a warm glow and the viewer can feel the sea mist coming off the water as it splashes against the rocks Richards was born in Philadelphia in 1833 He abandoned his formal education at age 13 to work and help support his family He pursued painting privately studying under William Stanley Haseltine and Paul Weber in Philadelphia Wealthy patrons supported his continued study in Europe where he Hiram Powers Emanuel Leutz Frederick Church John Kensett and Albert Bierstadt had traveled By the 1850s Richards was an established landscape artist exhibiting at Knoedler galleries and supported mainly by private commissions from his friend and patron Asa Whitney In the later part of his career Richards became a devoted seascape painter His best paintings as in the present lot capture the light and atmosphere of the scene He accomplished this by making numerous watercolor studies painted on site en plein air Richards was a member of the National Academy of Design His works are represented in many public institutions including the Brooklyn Museum the Cooper Hewitt Museum of Decorative Arts and Design The Corcoran Gallery The Metropolitan Museum of Art and the Newark Museum among others 28
32 32 WILLIAM TROST RICHARDS American 1833 1905 OFF CONANICUT oil on canvas 20 x 32 inches signed WM T Richards and dated 98 lower right PROVENANCE Gertrude Vanderbilt Whitney Collection descended in the family to the present owner Connecticut Estimate 50 000 75 000 29
Emil Carlsen was born in Copenhagen Denmark in 1853 He took his first art courses in Denmark from a cousin and later at the Royal Academy in Copenhagen At the Royal Academy he studied architecture painting and sculpture In 1872 Carlsen moved to Chicago first to work as an architectural assistant and then to work with the Danish marine painter Laurentz B Holst Holst returned to Denmark and Calsen took over his studio Once settled in Chicago he began teaching at the Chicago Academy of Design now the Art Institute of Chicago In 1875 Carlsen returned to Denmark and visited Paris It was there that he first saw the work of Jean Baptiste Simeon Chardin an artist who would influence Carlsen s work A year later Carlsen was working in Boston painting still lifes and working as an assistant in Alexander Pope s studio In 1879 he offered many of his paintings up for auction to pay his bills The auction was largely unsuccessful and he ended up further in debt T J Blakeslee a New York dealer took an interest in Carlsen several years later and sent him to Paris to study for two years In exchange for financing Carlsen s trip Blakeslee received one floral still life per month It was likely one of these that was Carlsen s first painting exhibited at an annual exhibition at the National Academy of Design In 1886 Carlsen returned to New York City and rented a studio next to his friend from Chicago J F Murphy One year later he took a job as the director of the school of the San Francisco Art Association This position only lasted two years although Carlsen stayed in San Francisco an additional two years teaching the San Francisco Art Students League In 1891 he moved back to New York City and settled in a studio on Fifty Ninth Street He remained there for the rest of his life In 1902 Carlsen was elected to the Society of American Artists and around this time he started to gain serious recognition for his work In 1905 now a successful artist he built a country house in Falls Village Connecticut He was regularly exhibiting his work in the National Academy s annual exhibitions and in 1907 was awarded the Inness gold Medal In 1911 William Macbeth a prominent New York dealer started representing Carlsen He was most successful as an artist later in life At this stage he was painting quiet wispy landscapes such as the present lot and selling them through Macbeth Galleries He was so successful during this period that in 1935 Macbeth held a retrospective of Carlsen s work 1 His paintings are now in prominent collections including the Art Institute of Chicago the Smithsonian Institution The Metropolitan Museum of Art the Pennsylvania Academy of the Fine Arts and the San Diego Museum of Art 1 David B Dearinger ed Paintings and Sculpture in the Collection of the National Academy of Design New York Hudson Hills Press 2004 p 87 30
33 Property of The Manoogian Collection 33 SOREN EMIL CARLSEN American 1848 1932 APPLE BLOSSOM C 1920 oil on canvas 40 x 48 inches unsigned PROVENANCE Acquired directly from the family of Dines Carlsen son of the artist Lakeside Connecticut Private Collection Lakeside Connecticut Brett Mitchell Collection Inc Cleveland Ohio The Manoogian Collection Detroit Michigan Estimate 30 000 50 000 31
34 34 ERNEST LAWSON American 1873 1939 MANGROVE TREES THE FLORIDA EVERGLADES C 1938 oil on canvas 15 7 8 x 20 1 4 inches signed Ernest Lawson lower right PROVENANCE Doyle New York 2004 Private Collection Alabama Estimate 15 000 25 000 32
35 35 WALTER ELMER SCHOFIELD American 1867 1944 SPRING ALONG THE STREAM oil on canvas 26 x 30 inches signed Schofield lower right PROVENANCE A Pennsylvania estate Estimate 10 000 15 000 33
36 LAURENCE A CAMPBELL American b 1939 5TH AVENUE NEW YORK CITY oil on board 9 7 8 x 8 3 4 inches signed Laurence A Campbell lower left signed and titled on the reverse PROVENANCE Private Collection New Jersey Estimate 8 000 12 000 37 PAULETTE VICTORINE J VAN ROEKENS American 1896 1988 BEYOND THE TERRACE oil on canvas 16 1 8 x 20 inches signed P Van Roekens lower right signed and titled on the reverse PROVENANCE Woodmere Art Gallery Chestnut Hill Pennsylvania Private Collection Pennsylvania Shannon s April 26 2016 lot 47 Private Collection California Note A note from the artist dated 1979 appears on the reverse It is always a pleasure to see crowds of people strolling outdoors colorful costumes and parasols Makes a painting motif for me at all times Estimate 3 000 5 000 36 37 34
38 38 MILTON AVERY American 1885 1965 UNTITLED LANDSCAPE IN JAMAICA VERMONT watercolor pen ink and charcoal on paper 21 3 4 x 29 3 4 inches sight signed Milton Avery and dated 1943 lower left PROVENANCE Waddington Galleries London Private Collection London Sotheby s London March 2 2017 lot 211 Private Collection Palm Beach Florida Estimate 20 000 30 000 35
A brilliantly painted snow scene T he C ircle depicts New York s Columbus Circle looking south from the Columbus Memorial Views open up down Broadway on the left and down Eighth Avenue on the right The small red building on the right at 2 Columbus Circle is the Grand Circle Hotel When it was built in 1874 it was one of the northernmost development in west Midtown 1 Demolished in 1960 its site housed the Gallery of Modern Art an unorthodox modernist structure nicknamed the Lollipop Building for its fanciful arcade After considerable controversy that building was remodeled to serve as the new home of the Museum of Arts and Design which opened in 2008 The tall building on the left at 58th Street and Broadway is the former U S Rubber Company Building It was built in 1911 12 by Carrere Hastings the architectural firm that designed the flagship building of the New York Public Library on 42nd Street and Fifth Avenue In 1920 21 U S Rubber s competitor the Fisk Tire and Rubber Company built a 26 story building also by Carrere and Hastings across Broadway on the south side of 57th Street U S Rubber would buy Fisk in 1939 2 The absence in Wiggins painting of the Fisk Building which dwarfed the Grand Boulevard Hotel allows the painting to be dated between the end of the construction of the U S Rubber Building in 1912 and the beginning of the construction of the Fisk Building in 1920 Since Wiggins had studied architecture and drafting at the Polytechnic Institute of Brooklyn he was well prepared to observe the rich urban fabric of New York City Following in the footsteps of his father the landscape painter Carleton Wiggins he also studied at the National Academy of Design He had become successful as a painter of winter scenes in New York by 1912 when his painting T he Metropolitan T ower was bought by The Metropolitan Museum of Art 3 Wiggins style is closest to that of Childe Hassam another American Impressionist who painted elegant New York scenes with bravura technique Although his reputation was built on the strength of his winter scenes during the summer Wiggins often visited his family home in Old Lyme Connecticut where he also painted rural landscapes and founded his own art school He exhibited at many venues including the National Academy of Design Pennsylvania Academy of the Fine Arts Art Institute of Chicago Salmagundi Club Corcoran Gallery biennials Connecticut Academy of Fine Arts and the Rhode Island School of Design He was a National Academician and a member of the Salmagundi Club National Arts Club Lotos Club Connecticut Academy of Fine Arts Lyme Art Association Kit Kat Club and the New Haven Paint and Clay Club His work can be found in The Metropolitan Museum of Art Brooklyn Museum National Arts Club and Lotos Club New York Newark Museum Wadsworth Atheneum Hartford Connecticut Mead Art Museum Amherst College Massachusetts National Gallery of Art Washington D C and the Art Institute of Chicago 1 Christopher Gray Streetscapes Readers Questions Audubon s Home and Columbus Circle s Past New Y ork T imes November 27 2005 2 David W Dunlap O n Broadway A Journey Uptown O ver T ime New York Rizzoli Publications 1990 195 200 Fisk to U S T ime Magazine December 18 1939 3 Anne Cohen DiPietro W iggins W iggins W iggins T hree G enerations of A merican A rt New York Joan Whalen Fine Art 1998 7 8 36
39 39 GUY CARLETON WIGGINS American 1883 1962 THE CIRCLE NEW YORK CITY oil on board 7 1 2 x 10 inches signed Guy C Wiggins lower left titled on the reverse PROVENANCE Private Collection New York EXHIBITED Salmagundi Club New York Wiggins Wiggins Wiggins Three Generations of Salmagundi Artists June July 2011 illus in catalog fig 16 Estimate 30 000 50 000 37
40 40 ROBERT SWAIN American b 1940 UNTITLED 75 8 acrylic polymer emulsion Liquitex on cotton duck canvas 84 x 84 inches signed Robert Swain dated May 1975 and inscribed NYC on the reverse PROVENANCE Susan Caldwell New York New York Private Collection Greenwich Connecticut Estimate 5 000 7 000 38
41 41 RICHARD ANUSZKIEWICZ American b 1930 ABSTRACT acrylic on panel 11 1 8 x 11 1 8 inches signed Richard Anuszkiewicz dated 1968 and inscribed To Tito on the reverse PROVENANCE Gift of the artist Larsen Gallery Tucson Arizona Private Collection Miami Florida Estimate 10 000 15 000 39
42 42 GEORGE KOLBE German 1877 1947 SEATED FIGURE bronze 23 1 4 H initialed GK on the base and foundry mark H Noack Berlin PROVENANCE Private Collection New York Estimate 15 000 25 000 40
43 43 GERHARD ALTENBOURG German 1926 1989 IM ANGESICHT DER INSEL IN THE FACE OF THE ISLAND mixed media on paper 19 x 23 1 4 inches sight signed Altenbourg dated 56 April and titled lower left PROVENANCE A Lyme Connecticut estate Estimate 10 000 15 000 41
Armand Guillaumin was a French Impressionist and a contemporary of Monet Renoir Sisley Degas Cezanne and Morisot Like them he studied with Camille Pissarro and was among the many artists including Monet and Cezanne who painted Pissarro Guillaumin exhibited with the group at the 1863 Salon des Refuses and later at the important first Impressionist exhibition of 1874 Guillaumin was not as well to do as his friends in the Impressionist circle and in 1872 he had to take a government job to supplement his painting career For several years he managed to continue painting participating in six of the eight Impressionist Exhibitions between 1877 1886 He caught a lucky break in 1892 winning the city lottery enabling him to paint full time After his windfall in 1892 he was able to travel making repeat visits to Saint Palais Sur Mer Agay Brittany the Auvergne and surrounding coastal villages The present canvas was undoubtedly painted on one such excursion to Le Trayas a short distance from Agay The landscape in Le Trayas is known for the natural color juxtaposition of the cragged red rocks of the Esterel mountain range and the bright blue of the Mediterranean sea The coastline in Trayas is composed of many small rocky coves surrounded with green shrubs and Mediterranean pine trees Guillaumin was attracted to this unusual brightly colored landscape and painted it on numerous occasions around 1890 1910 Like many of the Impressionists Guillaumin experimented throughout his career In the present lot the viewer can foreshadow the coming influence of Post Impressionism Symbolism and Fauvism Guillaumin s color palette is very bright and he uses broad painterly brush strokes to create a textured canvas Paintings by Guillaumin are found in numerous international private and public collections including the Metropolitan Museum of Art the Museo Nacional Thyssen Bornemisza the Musee d Orsay and the Norton Simon Museum among others 42
44 44 ARMAND GUILLAUMIN French 1841 1927 ROCHERS AU TRAYAS oil on canvas 18 1 8 x 21 3 4 inches signed Guillaumin lower left PROVENANCE Galerie Bernheim Jeune et Cie Paris Galerie Cardo Paris Sotheby s February 26 1990 lot 44 Private Collection Christie s lot 1384 May 13 2016 Private Collection California EXHIBITED Paris Galerie Delpierre Guillaumin October 1944 ILLUSTRATED G Serret and D Fabiani Armand Guillaumin Catalogue raisonn de l oeuvre peint Paris 1971 no 659 illustrated Estimate 40 000 60 000 43
Raoul Dufy was born in Le Havre Normandy where he first attended art school There he became friends with painter Emile Othon Friesz and the two studied the works of Eugene Boudin in the museum of La Havre In 1900 Dufy received a grant to study at the Ecole Nationale Superieure des Beaux Arts in Paris In Paris he studied at the studio of Leon Bonnat He became familiar with the works of the Impressionists but was particularly attracted to Henri Matisse and Fauvism He saw Matisse s Luxe C alme et V olupte at the Salon des Independants in 1905 and was deeply impressed Initially Dufy s work emulated the Fauvist style After the war he developed his own unique style with pure color free flowing lines and varying perspectives Dufy s masterful use of line and color are evident in Le March aux pommes a delightful record of early twentieth century life in France While still Impressionist in style the painting hints toward the distinctive Fauvist style the artist would soon adopt Bryan Robertson Notes Dufy s characteristic use of a compact tersely eloquent calligraphy and pure clean unfussed fast flowing line is perhaps the most radical extension in the first half of the twentieth century of Van Gogh s passionately forceful and explosive handling of line and color in his own later paintings and particularly in the drawings made with a reed pen quoted in Raoul Dufy exhibition catalogue Hayward Gallery London 1983 p 18 Dufy was highly prolific and became best known for his scenes of Mediterranean landscapes sea goddesses Italian ruins and lighthearted views of leisure and spectacle His paintings captured 20th French living and appealed to both European and American collectors Time Magazine called Dufy the granddaddy of modern chic after his visit to America in 1950 1951 44
45 45 RAOUL DUFY French 1877 1953 LA CITE VUE DE L HOTEL DE VILLE LE MARCHE AUX POMMES oil on canvas 18 x 21 3 4 inches signed R Dufy lower right PROVENANCE M Cointreau Paris France Trinity House London England Private Collection France Private Collection Sotheby s May 10 2016 lot 261 Private Collection California EXHIBITED Paris Musee Carnavalet Paris vu par les maitres de Corot a Utrillo 1961 no 28 ILLUSTRATED Maurice Lafaille Raoul Dufy Catalogue raisonne de l oeuvre peint de 1895 a 1915 vol I Geneva 1972 no 82 illustrated p 77 Note There is a painting on the reverse Estimate 50 000 75 000 45
Archibald Cary Smith was born and raised in New York City He studied shipbuilding on the eastern banks of the Hudson River at a time when the New York Yacht Club was still a fledgling organization He became a successful designer of speed yachts and sailing vessels a legacy for which he is still celebrated today In his youth he became acquainted with M F H deHaas who would become an important teacher In 1863 already a ship builder Smith set out to become a painter taking classes with deHaas among others in New York He was very talented and for a time pursued a painting career almost exclusively In the 1860s his paintings were exhibited at the Pennsylvania Academy of Fine Art the Brooklyn Art Association and at the National Academy of Design Smith gave painting instruction to James Gale Tyler another important marine painter during this period Despite his success as a painter Smith primarily worked as a ship designer well into his seventies He continued to paint by special commission for clients who sought him out for his talent depicting ships and seascapes Among his private patrons was banker James Stillman who donated the large and important painting W anderer he commissioned to the New York Yacht Club where it still hangs today The present lot Near New Haven T himble Islands was probably painted during a sailing trip on Long Island Sound Branford s Thimble Islands were a popular destination for New Yorkers in the nineteenth century The painting depicts the view from the Connecticut coastline across Long Island Sound The Sound is filled with sailboats racing in a regatta at dusk Smith demonstrates his mastery of Luminism by capturing the pinks blues and yellows in the sky and reflected on the calm water It is believed that Smith painted less than 200 works in his lifetime Shannon s is delighted to offer the present lot both for its rarity and for the celebration of the natural beauty of our local Connecticut coastline 46
46 46 ARCHIBALD CARY SMITH American 1837 1911 THIMBLE ISLANDS NEAR NEW HAVEN oil on canvas 11 1 2 x 21 1 2 inches signed A Cary Smith lower right PROVENANCE Spanierman Gallery New York New York Albany Gallery Albany New York Private Collection Connecticut Estimate 25 000 35 000 47
47 47 WARREN SHEPPARD American 1858 1937 SUNRISE ALONG THE COAST oil on canvas 16 x 26 inches signed Warren Sheppard lower right PROVENANCE Private Collection Baltimore Maryland Shannon s April 28 2011 lot 13 Private Collection New York New York Estimate 10 000 15 000 48
REGIS FRANCOIS GIGNOUX American French 1816 1882
Born in Lyon France R gis Fran ois Gignoux was educated in art at the Academy of St Pierre in Lyon and at the Royal School of Fine Arts in Paris While in Paris he also studied painting independently with both Delaroche and Vernet In about 1840 Gignoux traveled with his brother to New York where he pursued and married an American woman he had met in France Inspired by his new marriage and by the beauty of the scenery Gignoux settled in Brooklyn and became active in the New York art world He specialized in winter landscapes and for a brief time in 1843 instructed George Inness In 1861 Gignoux was elected the second president of the Brooklyn Art Association a position he held until 1869 According to Henry T Tuckerman in his Book of the A rtists 1867 his work showed the most faithful delineations of the characteristics of American scenery produced by a foreign pencil Tuckerman went on to say that Gignoux was known among us by his winter landscapes executed with great truth to nature and beauty of effect it has been said that some of them are so truthful that they would almost allure a snow bunting from the sky Our lovers of art comparatively few as they were twenty five years ago considered one of Gignoux s winter scenes essential to their limited collections 1 W inter directly relates to the winter scenes of 17th century Dutch painting both stylistically and in subject matter It is painted in a crisp detailed manner and although the location is unidentified elements such as the horse drawn sleigh church and cabins are used by the artist in other compositions indicating that the present example may be a composite scene Related works of the same subject are in the collection of the Museum of Fine Art Boston W inter Scene in New Jersey 1847 and the New Britain Museum New Britain Connecticut Midwinter Moonlight circa 1869 1 Henry T Tuckerman Book of the A rtists New York G P Putnam Son 1867 p 508 50
48 48 REGIS FRANCOIS GIGNOUX American French 1816 1882 WINTER oil on canvas 39 1 2 x 58 1 4 inches signed R Gignoux and dated 1855 lower right PROVENANCE Private Collection New York c 1950s By descent through the family to the present owner Charleston South Carolina Estimate 30 000 50 000 51
49 49 WALTER LAUNT PALMER American 1854 1932 WINTER LANDSCAPE watercolor and goauche on board 17 1 4 x 23 inches signed W L Palmer lower right PROVENANCE Private Collection Greenwich Connecticut Estimate 12 000 18 000 52
50 50 WALTER LAUNT PALMER American 1854 1932 RAVINE AT ARKVILLE NEW YORK watercolor on paper 17 x 23 1 4 inches sight signed Walter Launt Palmer lower right PROVENANCE Mr Frederick W Kelley Loudonville New York Shannon s April 30 2009 lot 129 Private Collection Alabama ILLUSTRATED Maybelle Mann Walter Launt Palmer Poetic Reality A Catalogue Raisonne Schiffer Pub Ltd 198 page 123 no 292 Estimate 12 000 18 000 53
George Inness was a highly prolific artist during his long career For fifty years from 1844 1894 he exhibited at the National Academy of Design Although associated with the Hudson River School and the group of Tonalists Inness changed his styles throughout his career keeping up with leading artistic trends He said of himself I have changed from the time I commenced because I had never completed my art and as I do not care about being cake I shall remain dough subject to any impression which I am satisfied comes from the region of truth 1 He readily experimented with new styles and embraced new trends visible in each era of his work Throughout he infused his paintings with a sense of philosophical and spiritual qualities that set him apart Inness paintings from the 1860s reflect an interest in the religious theories of Emanuel Swedenborg who believed that all material things were imbued with a spiritual presence It was also at this time in the late 50s and early 60s that Inness work most resembled that of the Hudson River School artists During this period and as seen in the present lot Inness focused on the effects of light on the landscape He was less concerned with accurate details and during this period his technique softened and his brushstrokes were much broader As Michael Quick notes in his catalog The painting of foliage is bold without being conspicuously so The greatest amount of detail is in the near distance Although the greens are quite deep an effect of summer heat is achieved through the use of red in the shadow under the bridge and in the water as well as in shadows under bushes and trees Dark red appears to have been painted under the green of the middle ground and distant trees Careful attention was given to the silhouettes of the large trees mostly by painting light sky into the foliage and then dragging some foliage over the sky 2 Inness was born near Newburgh New York in 1825 He spent most of his childhood in Newark New Jersey After an apprenticeship working for an engraver Inness studied at the National Academy of Design from 1843 1847 with Regis Francois Gignoux see lot 48 In 1851 he made a fifteen month trip to Italy see lot 82 and then a shorter visit in France He returned to America moving to New York from 1854 1859 He then moved briefly to Massachusetts and back to New Jersey before finally returning to New York in 1867 In 1868 Inness was elected a full member of the National Academy He returned to Italy for another sojourn from 1871 1875 and continued to travel up until his death in Scotland in 1894 A pubic funeral was held in New York at the National Academy as was an exhibition of his paintings 1 Quick George Inness A Catalogue Raisonne New Jersey Rutgers University 2007 p 1 2 Quick p 221 54
51 51 GEORGE INNESS American 1825 1894 MIDSUMMER oil on canvas 14 x 20 inches signed Geo Inness and dated 1862 lower right PROVENANCE Fifth Avenue Art Galleries New York New York February 16 1894 no 37 Frederick Sears 1943 R C Vose Galleries Boston Massachusetts 1943 1944 Charles Nicholson 1944 Paul Gaudet London Ontario 1985 Vose Galleries 1985 1989 Roland F Pineault Fine Arts Holyoke Massachusetts 1989 Private Collection Connecticut EXHIBITED Spanierman Gallery The Spirit of America American Art from 1829 1970 2002 2003 cat no 21 illus New Britain Museum of American Art New Britain Connecticut Innocence June 25 September 18 2005 LITERATURE Michael Quick George Inness A Catalogue Raisonne New Jersey Rutgers University Press 2007 p 221 cat no 192 illus Ireland Works of George Inness 1965 p 59 cat no 239 illus Note In a remarkable 19th Century American period frame Estimate 20 000 30 000 55
52 52 ALBERT BIERSTADT American 1830 1902 MORNING SUMMIT NEW JERSEY FROM HOTEL oil on paper mounted on masonite 18 x 13 1 2 inches signed Bierstadt lower right PROVENANCE Kennedy Galleries New York New York Hammer Gallery New York New York 1987 Gallerie DeTours Carmel California Private Collection Portland Oregon Note This work is included in the Albert Bierstadt Catalog Raisonne project being composed by Melissa Webster Speidel as Autumn Summitt Woods New Jersey from Hotel Estimate 25 000 35 000 56
53 53 MAURITZ FREDERICK H DE HAAS American 1832 1895 AT MONTAUK POINT oil on canvas 14 x 24 inches signed MFH De Haas lower left PROVENANCE Vose Galleries Boston Massachusetts Skinner November 5 1993 lot 37 Private Collection Connecticut EXHIBITED New Britain Museum of Art Innocence June 25 September 18 2005 Note In a remarkable 19th Century American period frame Estimate 7 000 10 000 57
Alice Mattern is associated with the group of Non Objective artists a group whose focus was geometric forms cosmic musical and metaphysical motifs and conceptual art for the future Mattern was born in New York City and grew up in LaSalle Illinois She studied art at Bradley College in Peoria and returned to New York City in 1938 There she studied with Rudolf Bauer a master of Non Objective painting Mattern painted exclusively in a Non Objective style after 1939 She regularly submitted paintings on loan to the Museum of Non Objective Painting a precursor to the Guggenheim These were regularly exhibited throughout the early 1940s at the Solomon R Guggenheim Foundation building on East 54th Street in Manhattan Mattern s paintings were shown alongside those of Harry Bertoia Werner Drewes Hilla Rebay Rolph Scarlett John Sennhauser and Jean Xceron The present painting C adence was donated to the Solomon R Guggenheim Museum in 1961 and later entered into a private collection It was probably sold to the original owner during or shortly after it was exhibited at the Solomon R Guggenheim Foundation in 1944 It was one of four paintings Mattern exhibited that year C adence is a newly rediscovered treasure by the Mattern Her unfortunately short career as a Non Objective artist spanning only six years yielded very few known works Following her death in 1944 fifty nine of her works were displayed at The Museum of NonObjective Painting in 1945 as part of a memorial exhibition Mattern s contemporaries and fellow Non Objective artists Rolph Scarlett Hilla Rebay and Jean Xceron all contributed to the exhibition pamphlet celebrating her work In the exhibition brochure Hilla Rebay wrote Alice Mattern was a great artist she developed in her work increasing simplicity in the rhythmic space organization as well as in the form problems of modern development This wonderful balance represents a rare achievement in the aesthetic development and expression of Art 58
54 54 ALICE L MATTERN American 1909 1945 CADENCE oil on canvas 42 x 35 inches signed AL Mattern lower left initialed ALM on reverse PROVENANCE Dr Richard C Webster Brookline Massachusetts Guggenheim Museum New York New York 1961 Tomlin Acheson Fine Arts Santa Monica California 1992 Private Collection Connecticut EXHIBITED Solomon R Guggenheim Foundation Carnegie Hall New York City April 15 October 15 1944 cat no 91 exhibition label on reverse a photocopy of the exhibition catalog accompanies the lot Note A section of the original frame with accession label from the Solomon R Guggenheim Museum a photocopy of a file on Mattern from the Guggenheim Museum library and a photocopy of the original receipt from Tomlin Acheson Gallery accompany the lot Estimate 40 000 60 000 59
55 55 JEAN XCERON American Greek 1890 1967 LE VIOLON oil on canvas 21 x 25 1 2 inches signed Xceron and dated 1934 lower right signed titled numbered No 125 and inscribed Paris on the reverse PROVENANCE The Artist Private Collection Centereach New York EXHIBITED Newcomb College Tulane University New Orleans Louisiana Xceron October 15 November 4 1957 Organized by George Rickey Note Labels from Newcomb College Tulane University and Guainville par Bueil Eure France are on the reverse Estimate 5 000 7 000 60
56 56 ANGELOS PANAYOTOU Greek b 1943 DOVE IN SPACE oil on canvas 59 x 63 inches signed with artists device and dated 1987 lower left PROVENANCE Freeman s November 2 2008 Philadelphia Pennsylvania Private Collection New York Estimate 12 000 18 000 61
Born in Hungary in 1895 Emil Bisttram came to New York City at age 11 He received his artistic training in New York at the National Academy of Design Cooper Union and the Art Students League After being awarded a Guggenheim Fellowship in 1932 Bisttram travelled to Mexico to work with Diego Rivera after which he relocated to Taos New Mexico where he opened the Bisttram School of Fine Art Like his New York contemporaries who were centered around Hilla Rebay and the Guggenheim Bisttram sought a new art for a new world order and he wrote of universalism and the essential Oneness of all things as replacing the mechanistic dualistic concepts of the past 1 While Bisttram first went to Taos as a representational painter portraying Native American dancers portraits of natives and Mexicans as well as depictions of local architecture he soon began to experiment with non objective forms in his paintings He became heavily influenced by the work and philosophy of Russian born Wassily Kandinsky which is evident in the bright colors and abstract forms that he began to employ In the current work Penetration Kandinsky s influence is evident in the Bisttram s careful placement of each geometrical shapes and lines The piece although created on a flat plane has a remarkable sense of movement and color In 1938 Bisttram along with Raymond Johnson and several other painters founded the Transcendental Painting Group in Santa Fe New Mexico The aim of this group was to work to bring painting beyond the appearance of the physical world Work of this type had begun in Europe at least two decades prior but was something new to America Through his membership in the Transcendental Painting Group Bisttram s work came to the attention of Hilla Rebay who included him in a number of group exhibitions at the Museum of Non Objective Art now the Solomon R Guggenheim Museum Throughout his life in Taos Bisttram was an active member and promoter of the growing artistic community in New Mexico In 1975 his birthday April 7 was declared Emil Bisttram Day a New Mexico state holiday Bisttram is still recognized today as one of the most important modernists of the Southwest 1 Emil Bisttram The New Vision in Art T omorrow 1 no 1 September 1941 35 62
57 57 EMIL JAMES BISTTRAM American 1895 1976 PENETRATION C 1938 oil on canvas 42 x 27 inches signed Bisttram lower right PROVENANCE The Artist George Nix Galleries Colorado Springs Colorado Richard Norton Gallery Chicago Illinois Private Collection Connecticut Estimate 25 000 35 000 63
58 IRENE RICE PEREIRA American 1907 1971 UNTITLED oil on canvas 43 x 29 3 4 inches signed I Rice Pereira lower right PROVENANCE Rice Pereira Foundation Art and Culture Center of Hollywood Hollywood Florida Private Collection New York New York Estimate 5 000 7 000 58 59 IRENE RICE PEREIRA American 1907 1971 VAPORED VESPERS oil on canvas 49 1 2 x 30 inches unsigned titled on the reverse PROVENANCE Rice Pereira Foundation Art and Culture Center of Hollywood Hollywood Florida Private Collection New York New York Estimate 5 000 7 000 59 64
60 60 GEORGE L K MORRIS American 1905 1975 SPRING SUN oil on canvas 42 x 51 inches signed Morris lower right signed titled and dated 1970 on the reverse PROVENANCE Meredith Long and Company Houston Texas Private Collection Connecticut Note A label from Merideth Long and Co Houston Texas is on the reverse Estimate 15 000 25 000 65
A major figure in Abstract Expressionism Franz Kline has become one of the blue chip artists of Contemporary Art He was born in Wilkes Barre Pennsylvania in 1910 and studied painting and drawing at Boston University before moving to London to study illustration and drafting at the Heatherley School of Fine Art In 1939 he moved from London to New York City where he exhibited interiors and cityscapes painted in a representational style These works were characterized by calligraphic rapid brushwork which reflected the frenetic rhythms of urban life His output at the time included portraits and murals commissioned for the Cedar Tavern the famous locus for Abstract Expressionists and Beat poets In 1946 Kline began to generalize his subjects into series of lines and planes These linear abstractions brought him significant public attention in 1950 when they were shown in New York City and he became one of the most prominent painters of the post World War II Abstract Expressionist movement By the mid 1940s representationalism gave way to more abstracted forms in Kline s work a process notably catalyzed through the influence of Willem de Kooning who magnified Kline s ink drawings with a projector so as to emphasize the dramatic gesture of the brushstrokes Enlarging the dynamic qualities of his sketches to a monumental scale Kline continued to work primarily in black and white using house painter s brushes The ensuing canvases were inspired by the contemporary New York scene Kline taught at The Pratt Institute in Brooklyn and Black Mountain College in North Carolina and was an influential presence for the subsequent generation of Abstract Expressionist artists In his letter Stephen Foster notes Although the piece is undated the work is clearly representative of work from the mid to late fifties in terms of its overall composition and structural economy The piece is executed with confidence and sureness and shows no sign of contrivance or hesitation Part of a family of works the piece invites fairly close comparison to other of Kline s works on paper which reiterate a structural theme that run through his works of the period The work confidently reflects a trajectory in Kline s work that was defining and foundational Special thanks to Stephen Foster Kline scholar and curator of Franz Kline Art and the Structure of Identity for his review and assistance in cataloging this lot 66
61 61 FRANZ KLINE American 1910 1962 UNTITLED C 1957 1958 ink on collaged phone book pages mounted on canvas 11 x 14 inches signed Kline lower right PROVENANCE A Long Island New York estate By descent to the present owner Private Collection Missouri Note A letter from Stephen Foster scholar and curator of Franz Kline Art and the Structure of Identity accompanies this lot Estimate 25 000 35 000 67
62 62 EDWARD MORAN American 1829 1901 OLD FRIENDS oil on canvas 18 x 24 inches signed Edw Moran lower left PROVENANCE Sotheby s Arcade January 24 1989 lot 150 Sotheby s September 29 2010 lot 53 Private Collection Texas Estimate 5 000 7 000 63 68 63 ARTHUR FITZWILLIAM TAIT American 1819 1905 THE HILLSIDE SPRING oil on canvas 14 x 22 inches signed AF Tait N A dated 1900 and inscribed NY lower left signed titled and inscribed Yonkers NY on the reverse PROVENANCE Northeast Auctions August 5 2006 lot 1177 Private Collection New York New York Estimate 5 000 7 000
64 64 JOHN JOSEPH ENNEKING American 1841 1916 PICNIC oil on canvas 18 x 23 3 4 inches signed Enneking and dated 83 lower left PROVENANCE Private Collection Connecticut Note In a remarkable 19th Century American period frame Estimate 5 000 7 000 69
65 65 WILLIAM RICKARBY MILLER American 1818 1893 MOONLIGHT ON THE HUDSON RIVER HOBOKEN NJ oil on board 8 1 8 x 12 1 8 inches signed W R Miller dated 1892 and inscribed NY lower left PROVENANCE Private Collection Connecticut Estimate 3 000 5 000 66 70 66 AMERICAN SCHOOL 1860 1870 AMERICAN VISTA WITH FIGURES oil on canvas 30 x 58 inches unsigned PROVENANCE Private Collection New York Estimate 6 000 8 000
67 67 BEN FOSTER American 1852 1926 EVENING LANDSCAPE oil on canvas 36 x 42 inches signed Ben Foster lower left PROVENANCE Private Collection Pennsylvania EXHIBITED National Academy of Design Winter Exhibition 1906 The Carnegie Prize Note In a remarkable period frame Estimate 6 000 8 000 71
68 CHARLES WILSON KNAPP American 1823 1900 AUTUMN LANDSCAPE oil on canvas 20 x 36 inches signed C W Knapp lower right PROVENANCE Private Collection New York Note A label from Margrieve New York New York is on the reverse Estimate 2 500 3 500 68 69 CHAUNCEY FOSTER RYDER American 1868 1949 OCTOBER FIELDS oil on canvas 20 x 24 inches signed Chauncey F Ryder lower right PROVENANCE James Graham Sons New York New York Private Collection Massachusetts Estimate 3 000 5 000 69 70 FREDERICK RAMSDELL American 1865 1915 FALL HARVEST oil on canvas 20 x 24 inches signed F W Ramsdell lower right PROVENANCE A Grand Rapids Michigan Estate Estimate 2 000 3 000 70 72
71 71 THEODORE CLEMENT STEELE American 1847 1926 INDIANA LANDSCAPE IN AUTUMN oil on canvas 22 x 27 inches signed T C Steele and dated 1924 lower right PROVENANCE Private Collection Texas Estimate 12 000 18 000 73
72 72 LAURENCE A CAMPBELL American b 1939 PARADE ON LOWER BROADWAY oil on board 15 3 4 x 11 7 8 inches signed Laurence A Campbell lower left signed and titled on the reverse PROVENANCE Private Collection New Jersey Estimate 20 000 30 000 74
COLIN CAMPBELL COOPER American 1856 1937 75
In a 2006 exhibition East C oast W est C oast and Beyond C olin C ampbell C ooper A merican Impressionist Cooper is celebrated for his two greatest achievements as an artist his prominence in the Santa Barbara Impressionist community and his mastery of painting the skyscraper city New York Cooper was born in Philadelphia in 1856 In 1878 he joined the Philadelphia Sketch Club In 1879 he exhibited with the Philadelphia Society of Artists and joined the Pennsylvania Academy of Fine Arts PAFA At PAFA he studied under Thomas Eakins for three years In 1881 Cooper set up his own shop on Chestnut Street in Philadelphia From 1881 1902 Cooper travelled extensively In 1886 he travelled abroad painting extensively in Europe He studied at the Academie Julian in Paris painted in Brittany and copied Old Masters at the Prado He exhibited at the Paris Salon in 1890 and 1901 In 1897 Cooper exhibited T he Pageant at Bruges in New York at the exhibition of the Society of American Artists The painting clearly illustrates Cooper s talent for architectural subjects From 1902 1903 he painted a series of views of the Wells Cathedral in England exhibiting the series at PAFA in 1903 It was at this time in the early 20th century when New York City was growing by leaps and bounds that Cooper begin to paint the skyscraper city Art historian Bill Gerdts notes Cooper identified the year 1902 as the start of his fascination with this theme returning from abroad in December he was immediately impressed by the soaring skyline of the modern city and within a year critics were already writing of his Skyscraper Series p 21 In 1904 Cooper and his wife moved to New York into the studio building on West 57th Street He remained there until he moved to California in 1921 Critics praised Cooper as the first artist to discover the artistic possibilities the canyon like beauty of streets of modern skyscrapers p 25 In the present lot New Y ork from Brooklyn Cooper depicts the view of lower Manhattan from Brooklyn He exquisitely captured the piers of Brooklyn as they were operating as the major gateway into the East Coast as well as the ultimate collection of skyscrapers most of which had only recently been completed The era is exceptionally rendered by the bustling figures of the sightseers and dockworkers in the foreground Cooper in his characteristic style exemplified the golden light shining down on the buildings and the contacting deep purple shadows that are cast between them The steam from the ships and the docks is almost palpable New Y ork from Brooklyn is a quintessential example of Cooper s skyline series and of the development in New York City at the beginning of the 20th Century 76
73 73 COLIN CAMPBELL COOPER American 1856 1937 NEW YORK FROM BROOKLYN C 1922 oil on board 25 x 30 inches signed Colin Campbell Cooper lower right PROVENANCE Gift of Nellie Wright Allen 1940 The Jersey City Museum Jersey City New Jersey EXHIBITED East Coast West Coast and Beyond Colin Campbell Cooper American Impressionist The Heckscher Museum of Art Huntington New York November 4 2006 January 14 2007 Laguna Art Museum Laguna Beach California February 25 June 3 2007 Masters of the Collection 2012 Jersey City Museum of Art Jersey City New Jersey ILLUSTRATED Gerdts William H and Deborah Epstein Solon East Coast West Coast and Beyond Colin Campbell Cooper American Impressionist Laguna Art Museum illustrated page 114 no 58 First Look The Essential Guide to the Jersey City Museum Rutgers University Press 2006 p 141 illus Estimate 200 000 300 000 77
74 WILSON HENRY IRVINE American 1869 1936 FALL LANDSCAPE oil on canvas 24 x 27 inches unsigned PROVENANCE Pook and Pook Auctions March 21 2008 lot 147 Private Collection New York Estimate 4 000 6 000 74 75 FRANK VINCENT DUMOND American 1865 1951 IN THE GARDEN oil on canvas 24 x 30 inches signed Frank V Dumond and dated 1929 lower left artist s estate stamp is on the reverse PROVENANCE The Artist s daughter Elizabeth Dumond Perry Private Collection Connecticut Estimate 5 000 7 000 75 78
76 76 TOM YOST American b 1957 LATE AUTUMN ON MATTHAU PRESERVE ROXBURY CT oil on linen 18 x 24 inches signed Yost and dated 09 lower left PROVENANCE Behnke Doherty Gallery Private Collection Massachusetts Estimate 4 000 6 000 77 PETER POSKAS American b 1939 WINTER MORNING NORTH CORNWALL oil on canvas 27 x 56 inches signed lower left PROVENANCE Sherry French Gallery Inc New York New York Private Collection Vermont Estimate 7 000 10 000 77 79
Oscar Bluemner is best known for his expressive use of color and Cubist influenced works Bluemner was born in 1867 in Hanover Germany He left Germany in 1892 after studying architecture and design in Berlin Initially he moved between Chicago and New York following architectural commissions In Chicago he worked as a draughtsman during the World s Columbian Exhibition In 1901 he moved to New York City and began to turn away from architecture in pursuit of a career as an artist Bluemner visited numerous museums and galleries in New York He studied art history painting techniques and color theory extensively In 1912 he arranged an exhibition of his works in Berlin and went to Europe for seven months There he absorbed the new trends in German art and studied the work of the German Expressionists and the Futurists Upon his return to New York he began writing published articles on art and color theory and exhibiting his works at venues around the city By 1913 already an established artist Bluemner exhibited in the famed New York Armory Show There he gained the patronage of Alfred Stieglitz who gave Bluemner a one man show in 1915 at his gallery 291 Bluemner s primary interest was the emotional and psychological impact of color He experimented with bold colors and color saturation Many of his works reveal his architectural training as buildings were a common motif in his work The effect was dramatic and Bluemner is known for compositions that evoke a strong mood even though there is no clear narrative In the 1930s Bluemner worked for the WPA The Works Progress Administration painting rhythmic compositions influenced by Freud s theories of the unconscious and contemporary music Today Bluemner is considered one of the leading American Modernists He is celebrated both for his paintings and evocative works on paper Bluemner s works can be seen at The Phillips Collection the National Gallery of Art the Whitney Museum of American Art the Metropolitan Museum and many other public institutions 80
78 78 OSCAR BLUEMNER American 1867 1938 FALL RIVER watercolor and gouache on paper 4 7 8 x 6 5 8 inches signed with artist s monogram lower left and titled upper left PROVENANCE Private Collection New York Note An architectural sketch is on the reverse Estimate 30 000 50 000 81
79 79 GEORGE BENJAMIN LUKS American 1867 1933 BOY WITH BUGLE oil on canvas 20 x16 inches signed George Luks lower left PROVENANCE Kraushaar Galleries New York acquired by the present owner from the above 1992 EXHIBITED Wilkes Barre Pennsylvania Wilkes College Sordoni Art Galleries George Luks An American Artist May 3 June 14 1987 ILLUSTRATED S L Cuba N Kasanof and J O Toole George Luks An American Artist exhibition catalog Wilkes Barre Pennsylvania 1987 p 41 no 29 illustrated Estimate 12 000 18 000 82
80 80 ARTHUR BOWEN DAVIES American 1862 1928 DAWN oil on canvas 36 x 66 inches signed AB Davies and dated 1926 lower left PROVENANCE ACA Galleries New York New York Erica Davies New York ACA American Galleries Los Angeles California The Joan and Lester Avent Collection The Cote Collection Tucson Arizona EXHIBITED Arthur B Davies Exhibit University of Utah May 21 June 18 1967 Salt Lake City Utah Pomona College Gallery Claremont California La Jolla Museum of Art La Jolla California Tucson Art Center Tucson Arizona Estimate 10 000 15 000 83
James Edward Buttersworth was the son of the English marine painter Thomas Buttersworth He was born in 1817 on the Isle of Wight in England and immigrated to the United States around 1847 He worked for the lithographer Nathaniel Currier and later for Currier Ives which disseminated Buttersworth s work to a wide audience During the 1850s Buttersworth made his name as a painter of clipper ships then the fastest vessels on the sea As steamships gradually began to replace clippers in the 1860s and 1870s Buttersworth turned increasingly to yachting as his primary subject which was emerging as a popular Gilded Age pastime He recorded many America s Cup races as well as individual yachts and harbor scenes In this painting Buttersworth creates a busy yet balanced composition Italy the 389 foot ironhulled steamship heads out of New York into threatening weather while Mercury is astern Italy was part of the National Steam Navigation Company which was established in Liverpool in 1863 to provide passenger and freight service to the United States Each ship was named for a nation and the company focused on passenger comfort instead of speed Italy launched in Glasgow Scotland in 1870 making transatlantic trips between Liverpool and New York In 1892 the National Line abandoned its passenger service and the ship was scrapped in 1894 Buttersworth focuses on the temporal elements in this painting and uses the backdrop of the stormy sky with a hint of light to dramatize the scene and illuminate the vessel The light draws the eye to Italy As in his other maritime paintings Buttersworth shows perspective with the placement of the vessels and the piece overall encompasses his meticulous draftsmanship Buttersworth s works can be found in the collections of the Museum of the City of New York Mystic Seaport Museum Connecticut Peabody Essex Museum Salem Massachusetts and the Mariners Museum Newport News Virginia 84
81 81 JAMES EDWARD BUTTERSWORTH American British 1817 1894 THE NATIONAL LINE S STEAMER ITALY AMIDST OTHER VESSELS AT SEA oil on canvas 20 x 36 inches signed J E Buttersworth lower right PROVENANCE Questor Gallery Stonington Connecticut Minnesota Marine Art Museum Winona Minnesota ILLUSTRATED Rudolph J Schaefer J E Buttersworth 19th Century Marine Painter Mystic Connecticut Mystic Seaport Inc 1975 p 103 Estimate 40 000 60 000 85
82 82 GEORGE INNESS American 1825 1894 ALBANO ITALY THE ROMAN CAMPAGNA oil on canvas 12 5 8 x 25 3 4 inches signed G Inness lower right PROVENANCE Mrs Helen Inness Hartley New York sold American Art Association Hartley Sale New York March 24 1927 no 58 as The Roman Campagna Thomas Cochran New York 1927 Macbeth Gallery New York 1933 probably R I Skofield New York 1933 Macbeth Gallery New York 1933 sold Parke Bernet Galleries New York February 1 1940 no 27 illustrated as The Roman Campagna Louis van Vorhees Keeler Montclair New Jersey acquired at the above auction Harry H Kuck Jr Jupiter Florida 1978 by descent in the family Paulsen K Bailey Vienna Austria 1991 by descent in the family EXHIBITED New York Richard Dudensing Son The Entire Works of George Inness N A in Watercolor and Important Paintings 1917 no 44 as Albano Italy ILLUSTRATED Royal Cortissoz The Late George Inness and American Landscape New York Daily Tribune January 21 1917 Royal Cortissoz Field of Art Scribner s Magazine 77 no 4 April 1925 LeRoy Ireland The Works of George Inness An Illustrated Catalogue Raisonn Austin Texas 1965 no 648 p 159 illustrated Timken Art Gallery European and American Works of Art in the Putnam Foundation Collection San Diego California 1996 p 190 illustrated p 191 as Ariccia Michael Quick George Inness A Catalogue Raisonn New Brunswick New Jersey 2007 vol I no 414 pp 392 393 illustrated Note The long crossing diagonals and the energetic painting of the foreground brush and trees make this one of Inness most dynamic Italian compositions utterly unlike the stately repose of his other treatment of this view L Arricia Italy 1874 Timken Museum of Art San Diego California The very oblong format which Elihu Vedder often used for his forceful serpentine compositions argues for a date of 1873 or 1874 as do both Inness massing of light passages into shapes and his searching for linear rhythms as in the rounded dark shapes of the trees in front of the town The feature that most strongly indicates a later date of about 1874 is the self consciousness of the forceful brushstrokes which contribute so much to the painting s considerable impact From the George Inness A Catalogue Raisonn 2007 pp 392 393 A label from William Macbeth New York New York is on the reverse Estimate 20 000 30 000 86
83 83 ANTONIO MARIA DE REYNA MANESCAU Spanish Italian 1859 1937 VIEW OF VENICE oil on canvas 13 3 8 x 29 inches signed A Reyna inscribed Venice and dated illegibly lower right PROVENANCE Private Collection Pennsylvania Estimate 12 000 18 000 87
84 ANTONIETTA BRANDEIS Austrian 1848 1926 VENICE oil on panel 9 1 2 x 5 1 8 inches initialed AB lower right PROVENANCE A Tampa Florida estate Private Collection Vermont Estimate 3 000 5 000 85 JULIUS ZUBER German 1861 1902 SHOE SELLER oil on canvas 21 x 17 1 4 inches signed Julius Zuber and dated 1887 lower left PROVENANCE Private Collection Connecticut Estimate 5 000 7 000 84 85 88
86 CHARLES SPRAGUE PEARCE American 1851 1914 PEASANT GIRL oil on canvas 28 3 4 x 21 1 4 inches signed Charles Sprague Pearce and inscribed Auvers Sur Oise lower left PROVENANCE Private Collection France ILLUSTRATED American Painting Catalogue 2007 2008 A J Kollar Fine Paintings LLC Seattle Washington illustrated in color page 26 Estimate 5 000 7 000 86 87 CHARLES SILLEM LIDDERDALE British 1831 1895 A YOUNG GIRL oil on canvas 20 1 4 x 18 inches initialed CSL lower right PROVENANCE Private Collection New Jersey Estimate 2 000 3 000 87 89
88 88 FRANCIS COATES JONES American 1857 1932 AN AFTERNOON READING oil on canvas 26 x 19 1 8 inches signed Francis C Jones lower right and inscribed Mrs Jordan Paintings on the reverse PROVENANCE Private Collection Palm Beach Florida Estimate 10 000 15 000 90
89 89 FRANCIS COATES JONES American 1857 1932 EXCHANGING CONFIDENCES oil on canvas 18 1 4 x 20 3 8 inches signed Francis Coates Jones lower right PROVENANCE Sotheby s September 23 1993 lot 66 Private Collection Connecticut EXHIBITED New Britain Museum of American Art New Britain Connecticut Innocence June 25 September 18 2005 Note A partial label from the National Academy of Design The Thom B Clarke Prize 1885 is on the reverse In a remarkable period frame Estimate 12 000 18 000 91
90 90 LOUIS ASTON KNIGHT American 1873 1948 SUNRISE BY THE COTTAGE oil on canvas 26 x 32 inches signed Aston Knight and inscribed Paris lower right PROVENANCE Private Collection New York Estimate 8 000 12 000 92
91 91 MARY LOUISE FAIRCHILD MACMONNIES American 1858 1946 THE GARDEN oil on canvas 17 5 8 x 32 inches signed MacMonnnies dated 96 and inscribed Giverny upper right PROVENANCE Private Collection Connecticut EXHIBITED Pennsylvania Academy of Fine Arts Sixty Sixth Annual Exhibition 1896 cat no 219 label on reverse Nineteenth Exhibition of the Society of American Artists label on reverse Estimate 8 000 12 000 93
92 RAMON OVIEDO Dominican 1924 27 2015 CONTORCIONADOS oil on canvas 24 x 30 inches signed Oviedo lower right signed titled and inscribed Tec Mixta Santo Domingo Rep Dominicana on the reverse PROVENANCE Private Collection New York Estimate 2 500 3 500 92 93 EPIFANIO IRIZARRY Puerto Rican 1915 2001 BAILES DE BOMBA oil on linen 37 1 2 x 52 inches signed Irizarry lower left PROVENANCE Private Collection New York Estimate 3 000 5 000 93 94 CAMILO EGAS Ecuadorian 1899 1962 PAREJA oil on canvas 34 x 24 inches signed C Egas and dated XXVII lower left PROVENANCE Gift from the artist 1929 descended in the family to the present Private Collection Connecticut Estimate 3 000 5 000 94 94
95 95 MANUEL HERNANDEZ Colombian b 1928 TRANSVERSAL 9 B acrylic on panel 42 x 46 inches signed and dated Hernandez 68 lower right inscribed with artist s name title and 129 26 Bogota Colombia on the reverse PROVENANCE Hamilton Smith Collection Garden City New York Private Collection New York Estimate 12 000 18 000 95
96 EDUARDO MACENTYRE Argentine 1929 2014 LUZ EN DIAGONAL oil on canvas 39 x 39 inches signed E Macentyre titled dated 1988 and inscribed Santiago on the reverse PROVENANCE The Artist Private Collection Miami Florida Estimate 7 000 10 000 96 97 JOHN FERREN American 1905 1970 UNTITLED oil and pumice on canvas 13 3 4 x 13 3 4 inches stamped John Ferren Atelier Paris on the reverse PROVENANCE Artcurial Paris France Private Collection Connecticut Estimate 4 000 6 000 97 96
98 98 HANS HOFMANN ATTRIBUTED American 1880 1966 UNTITLED C 1932 watercolor on paper 20 1 2 x 26 3 4 inches signed lower right PROVENANCE Private Collection Connecticut Note A letter from James Yohe of Miles McEnery Gallery discussing the present work accompanies the lot Our thanks to Mr Yohe for his assistance in cataloging this lot Estimate 10 000 15 000 97
Robert Spear Dunning is today remembered as one of the foremost American still life masters of the nineteenth century He was a founder and the best known artist of the Fall River School of Painting Dunning was born in Brunswick Maine in 1829 and at a young age his family resettled to Fall River Massachusetts Initially Dunning worked in the city s textile mills and later as a sailor in coastal shipping When he decided to pursue a career as an artist he first studied art with James Roberts and later spent three years in New York City studying with Daniel Huntington at the National Academy of Design In 1852 Dunning returned to Fall River where he established a studio painting portrait still life and genre scenes A thriving textile industry created a burgeoning upper and middle class and as a result Dunning was very successful from the start By 1864 his focus was almost exclusively still life painting In 1870 together with his business partner John E Grouard Dunning founded he Fall River Evening Drawing School later the Fall River School which became an important training center for future still life artists Artists including Bryant Chapin Herbert Cash Franklin H Miller Albert F Monroe and Abbie L Zuill were among his students Dunning s best still life paintings are characterized by perfectly ripe fruits richly colored and painted with exquisite detail The following two lots are highly representative examples by the artist a master of the still life genre There are few details about Dunning s life as he rarely exhibited at venues far from his hometown In 1880 his works were exhibited at the National Academy of Design and the Boston Art Club although none were offered for sale Today he is highly sought after by collectors and his paintings are in numerous public institutions including the Currier Gallery of Art the Terra Foundation and the Wichita Art Museum 98
99 99 ROBERT SPEAR DUNNING American 1829 1905 STILL LIFE WITH FRUIT oil on canvas 13 1 2 x 17 1 2 inches signed R S Dunning and dated 1885 lower right and inscribed on the reverse PROVENANCE Private Collection Connecticut Estimate 20 000 30 000 99
100 100 ROBERT SPEAR DUNNING American 1829 1905 STILL LIFE WITH FRUIT oil on canvas 9 3 8 x 13 7 8 inches signed RS Dunning and dated 1897 lower right PROVENANCE Private Collection Connecticut EXHIBITED New Britain Museum of Art Charles Ethan Porter African American Master of Still Life January 12 March 16 2008 New Britain Museum of Art Seeing is Believing American Trompe L Oeil July 14 November 28 2004 Note In a remarkable 19th Century American period frame Estimate 7 000 10 000 100
101 101 CHARLES ETHAN PORTER American 1847 1923 FLORAL STILL LIFE oil on canvas 16 x 20 inches signed C E Porter lower right PROVENANCE Private Collection Connecticut Estimate 4 000 6 000 101
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 PanAmerican Exposition in Buffalo the Louisiana Purchase exhibition and many others He was elected a full Academician in 1904 For 40 years Curran and his family would summer in Cragsmoor New York 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 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 including the present lot 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 T he South W ind Breezy Day a woman stands at the cliff with her shawl billowing in the wind According to Kaycee Benton Curran historian the model is standing on a ledge at Bear Hill 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 25 102
102 102 CHARLES COURTNEY CURRAN American 1861 1942 THE SOUTH WIND BREEZY DAY oil on canvas 40 x 30 inches signed Charles C Curran and dated 1917 lower right PROVENANCE The artist Dunbar Galleries Milwaukee Wisconsin Orpheum Circuit 1926 Kohl Estate Ostrander Galleries Chicago Illinois Mabel S Shaw Dixon Illinois 1949 By descent in the family to the current owner EXHIBITED New York National Academy of Design 1918 no 98 as The South Wind Chicago Illinois Palace Theater 1927 Estimate 25 000 35 000 103
With deeply rooted New England origins Hutchins narrative unfolds from quaint village life into cosmopolitan travel and international sophistication Hutchins was born in 1878 in Colchester Connecticut He studied at Yale and went to Paris to complete his formal artistic training There he studied in the atelier of Jean Paul Laurens Back in the states he studied with Augustus Vincent Tack In 1905 Tack and Hutchins exhibited together in a tonalist exhibition at Deerfield All of Hutchins works in that show were classified as Nocturnes In 1907 Hutchins had his own show at F W Tiernan Gallery in New Haven titled Landscapes in Oil by Will Hutchins The following paintings were probably exhibited in that show They demonstrate Hutchins unique style a blend of tonalism and American Impressionism 104
103 103 WILL HUTCHINS 104 WILL HUTCHINS MORNING FOG oil on canvas 18 x 24 inches signed Will Hutchins and estate stamp on the reverse c 1908 PROVENANCE Estate of the Artist Private Collection Connecticut EXHIBITED Landscapes in Oil by Will Hutchins Galleries of Mr F W Tiernan October 29 November 2 1907 probably Estimate 2 500 3 500 MOONLIGHT MARTHA S VINEYARD oil on canvas 18 x 24 inches signed Will Hutchins and estate stamp on the reverse c 1908 PROVENANCE Estate of the Artist Private Collection Connecticut EXHIBITED Landscapes in Oil by Will Hutchins Galleries of Mr F W Tiernan October 29 November 2 1907 probably Estimate 3 000 5 000 American 1878 1945 American 1878 1945 104 105
105 WILL HUTCHINS American 1878 1945 PLOWED FIELDS oil on canvas 14 x 20 inches signed Will Hutchins and dated 1908 on the reverse PROVENANCE Estate of the Artist Private Collection Connecticut Estimate 2 000 3 000 105 106 WILL HUTCHINS American 1878 1945 AFTERGLOW oil on canvas 13 x 16 inches signed Will Hutchins and dated 1908 lower left inscribed Boston Art Club 1907 on the stretcher estate stamp on the reverse PROVENANCE Estate of the Artist Private Collection Connecticut Estimate 1 500 2 500 106 107 WILL HUTCHINS American 1878 1945 FALL LANDSCAPE oil on board 12 5 8 x 15 3 4 inches signed Will Hutchins dated 1905 and estate stamp on the reverse PROVENANCE Estate of the Artist Private Collection Connecticut Estimate 1 500 2 500 107 106
108 108 JOSEPH HENRY SHARP 109 SYDNEY LAURENCE TAOS MOUNTAINS oil on board 5 3 4 x 8 5 8 inches signed J H Sharp lower left PROVENANCE Private Collection New York EXHIBITED Indian Paintings and Western Landscapes and Sketches in Africa and Spain Traxel s Art Galleries Cincinnati Ohio November 30 December 15 1923 Estimate 4 000 6 000 MOUNT MCKINLEY FROM THE RAPIDS OF THE TOKOSITNA RIVER oil on canvas 16 x 20 inches signed Sydney Laurence lower right PROVENANCE Private Collection Seattle Washington ILLUSTRATED American Painting Catalog 2013 2014 A J Kollar Fine Paintings LLC Seattle Washington Illustrated in color page 14 Estimate 8 000 12 000 American 1859 1953 American 1865 1940 109 107
110 110 LEON DETROY 111 MICHEL SIMONIDY HEADING OUT TO SAIL oil on canvas 28 x 39 inches signed L Detroy lower left PROVENANCE Private Collection California Estimate 4 000 6 000 SEASCAPE WITH BATHERS oil on canvas 19 3 4 x 25 1 2 inches signed Simonidy lower right PROVENANCE Private Collection California Estimate 5 000 7 000 French 1857 1955 111 108 Romanian 1870 1933
112 112 JEAN JULES LOUIS CAVAILLES French 1901 1977 LA LAGUNE oil on canvas 32 x 21 1 4 inches signed L Cavailles lower right signed and titled on the reverse PROVENANCE Private Collection California Estimate 15 000 25 000 109
113 113 EMILIO GRAU SALA Spanish 1911 1975 MATERNITE oil on board 14 7 8 x 18 inches signed Grau Sala lower left signed titled dated 1967 and inscribed Paris on the reverse PROVENANCE Private Collection New York Estimate 10 000 15 000 114 110 114 ANDRE LANSKOY French Russian 1902 1976 FLORAL STILL LIFE oil on board 22 x 27 1 8 inches signed Lanskoy lower right PROVENANCE Private Collection New York Estimate 3 000 5 000
115 115 LE PHO French Vietnamese 1907 2001 LA BAIGNADE oil on canvas 28 3 4 x 23 3 4 inches signed Le Pho lower left PROVENANCE Galerie Romanet Paris France Private Collection New Jersey Estimate 10 000 15 000 111
116 HUGO SALMSON Swedish 1843 1894 WOMEN IN THE GARDEN oil on panel 10 1 2 x 8 inches signed Hugo Salmson and dated 1875 lower right PROVENANCE Alexander Gallery New York Acquired from the above in 1982 Manoogian Collection Private Collection Connecticut Estimate 2 500 3 500 117 FRANCISCO VILLAR Spain 19th 20th Century COURTYARD IN SUMMER oil on canvas 30 x 37 3 4 inches signed Villar lower left PROVENANCE Private Collection Massachusetts Shannon s April 26 2007 lot 60 Private Collection New York Shannon s April 23 2015 lot 184 Private Collection California Estimate 3 000 5 000 116 117 112
118 118 FRITZ ZUBER BUHLER French 1822 1896 DAYDREAMING oil on canvas 28 3 4 x 23 5 8 inches signed Zuber Buhler lower left PROVENANCE Private Collection Maryland Descended in the family to the present owner Private Collection Connecticut Estimate 15 000 25 000 113
119 119 RICHARD HAYLEY LEVER American 1876 1958 DIEPPE FRANCE oil on canvas 11 x 14 inches signed Hayley Lever lower left titled and dated 1904 on the reverse PROVENANCE Clayton Liberatore New York New York Estate of Dr George Hyman Palm Beach Florida Estimate 4 000 6 000 114
120 120 ARBIT BLATAS Lithuanian 1908 1999 VIEW OF PARIS oil on canvas 38 x 52 inches signed A Blatas lower right PROVENANCE Private Collection Pennsylvania Estimate 8 000 12 000 115
121 121 EDOUARD LEON LOUIS EDY LEGRAND French 1892 1970 DANCERS IN SEVILLE gouache on paper 35 1 8 x 38 3 4 inches sight signed Edy Legrand dated 33 and inscribed Sevilla lower left PROVENANCE Private Collection New Jersey Estimate 5 000 7 000 116
122 122 FRANTISEK ZDENEK EBERL French Czech 1887 1962 CHESS PLAYERS oil on canvas 41 x 28 1 2 inches signed F Z Eberl and dated Paris 25 lower left inscribed Salon d Automne and d Office on the reverse PROVENANCE Ancienne Maison P Ferret L Helvig Successeur Paris France Private Collection New Jersey EXHIBITED Salon d Automne 1925 Paris France Estimate 6 000 8 000 117
Born in 1892 in Essligen Germany Adolf Richard Fleischmann was an important German abstract artist whose artistic accomplishments took place in both Paris and New York From 1908 to 1913 Fleischmann studied in Stuttgart at the Royal School of Applied Arts and then at the Royal Academy of Art Towards the end of the 1930s his compositions developed into a rigid geometry as he painted his typical L shaped forms His exclusive use of horizontal and vertical lines showing similarities to Mondrian s neo plasticism formed Fleischmann into an abstract artist It was as such that he appeared at the 1945 Paris Salon des Surind pendants In 1952 Fleischmann left Europe and moved to New York for the next ten years where he worked as a scientific artist at the College of Physicians and Surgeons at Columbia University in New York In 1958 returned to Europe to visit It was during this period that he developed a subtle change in the severity of his geometric style in favor of looser lines stripes and figurations As before he remained committed to the geometry but his images were softer The current example Comp 523 painted in 1961 is a prime example of the work he produced during the period of time he was in New York during the 1960s While the lines and L shaped forms are present there is a certain softness to his design that was not present in earlier works In 1965 Fleischmann returned to Germany where he died in 1968 In 1973 the first large Adolf Fleischmann retrospective was held at the Ulmer Museum in Germany Fleischmann is in the permanent collection of the Museum of Modern Art New York 118
123 123 ADOLF RICHARD FLEISCHMANN German 1892 1968 COMP 523 oil on canvas 36 x 29 inches signed Fleischmann dated 1961 and inscribed New York on the reverse PROVENANCE Private Collection Greenwich Connecticut Estimate 25 000 35 000 119
124 JACOB COLLINS American b 1964 IRISES oil on canvas 23 3 4 x 20 inches signed Collins and dated 97 lower right PROVENANCE John Pence Gallery San Francisco California Private Collection Massachusetts Estimate 2 500 3 500 124 125 HUBERT VOS American Dutch 1855 1935 STILL LIFE oil on board 18 1 4 x 14 3 4 inches signed Hubert Vos lower right PROVENANCE Private Collection New Jersey Estimate 2 500 3 500 125 126 ANDREW JOHN HENRY WAY American 1826 1888 126 120 STILL LIFE WITH GRAPES oil on canvas 18 x 12 inches signed AJH Way lower left PROVENANCE Altman Burke Fine Art Inc New York New York North Point Gallery San Francisco California Private Collection Connecticut EXHIBITED Road Less Travelled American Paintings 1833 1935 H F Johnson Museum of Art Cornell University November 7 January 10 1999 Birmingham Museum of Art Birmingham Alabama May 2 July 4 1999 Tucson Museum of Art Tucson Arizona October 2 November 28 1999 New Britain Museum of American Art New Britain Connecticut Charles Ethan Porter African American Master of Still Life January 12 March 16 2008 Note In a remarkable 19th Century American period frame Estimate 1 500 2 500
127 127 ALBERT FRANCIS KING American 1854 1945 STILL LIFE WITH FRUIT oil on canvas 18 x 24 inches signed A F King lower right PROVENANCE Private Collection Pennsylvania Estimate 8 000 12 000 121
128 MARY STEVENSON CASSATT American 1844 1926 MOTHER AND CHILD etching and aquatint 10 1 4 x 8 1 2 inches image signed Mary Cassatt in pencil lower right and signed in the plate lower left PROVENANCE Private Collection France Estimate 4 000 6 000 128 129 JAMES CARROLL BECKWITH American 1852 1917 PORTRAIT OF A GENTLEMAN oil on canvas 24 x 20 inches signed Carroll Beckwith upper left PROVENANCE Private Collection Connecticut Estimate 3 000 5 000 129 122
130 130 RON HICKS American b 1965 DISCUSSION AT THE BAR oil on canvas 50 x 40 inches signed Hicks upper right PROVENANCE Arcadia Fine Arts Inc New York New York Private Collection Connecticut Estimate 5 000 7 000 123
131 GEORGE BRUESTLE American 1871 1939 A WINTER S DAY oil on canvas 18 x 22 inches signed Geo M Bruestle lower right PROVENANCE The Cooley Gallery Old Lyme Connecticut Private Collection Connecticut Estimate 2 000 3 000 131 132 GEORGE AMES ALDRICH American 1872 1941 RIVER LANDSCAPE oil on panel 19 3 4 x 25 inches signed G Ames Aldrich lower left PROVENANCE Private Collection New Jersey Estimate 2 500 3 500 132 133 CHAUNCEY FOSTER RYDER American 1868 1949 EGREMONT HILLSIDE oil on canvas 12 x 16 inches signed Chauncey F Ryder lower left PROVENANCE ACA American Masters Gallery Los Angeles California Private Collection Connecticut Estimate 2 000 3 000 133 124
134 FRANK B NUDERSCHER American 1880 1959 SUMMER HARBOR oil on canvas 24 x 24 inches signed Nuderscher lower right PROVENANCE Private Collection Connecticut Estimate 2 000 3 000 134 135 WILLIAM CHADWICK American 1879 1962 SEASCAPE oil on board 14 x 18 inches signed W Chadwick lower left PROVENANCE An Arizona estate Note There is a fall landscape on the reverse Estimate 3 000 5 000 135 136 DAWSON DAWSON WATSON American British 1864 1939 ROCKPORT oil on canvas 16 x 21 inches signed Dawson Watson and dated 80 lower right titled on the stretcher PROVENANCE Private Collection Connecticut Estimate 3 000 5 000 136 125
137A 137 ALFRED THOMPSON BRICHER American 1837 1908 137B 137C 137D 126 CLOUDS AT THE SHORE ROCKY COASTLINE AT THE COAST NEW ENGLAND COAST GROUP OF FOUR watercolor en grisaille with Chinese white on paper 3 1 4 x 7 1 8 inches and smaller sight all signed with artist s monogram lower right PROVENANCE 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 2 000 3 000
138 138 WILLIAM G MULLER American b 1937 HUDSON RIVER HIGHLANDS FROM WEST POINT NEW YORK DAY LINE STEAMER ROBERT FULTON ROUNDING THE RIVER BEND oil on panel 30 x 40 inches signed William G Muller lower right PROVENANCE Private Collection New York Note In this nostalgic scene looking north up from the Hudson from West Point s high hill on the famous military academy grounds the day line steamboat Robert Fulton is rounding the bend and passing three yachts racing A late afternoon shower crosses the river in the distance over Storm King Mountain Estimate 7 000 10 000 127
139 139 WILL HUTCHINS American 1878 1945 CLEAR DAY ON THE HUDSON oil on board 11 5 8 x 21 7 8 inches unsigned estate stamp on the reverse PROVENANCE Estate of the Artist Private Collection Connecticut Estimate 2 500 3 500 140 128 140 WILL HUTCHINS American 1878 1945 ON THE HUDSON oil on board 11 7 8 x 18 inches unsigned estate stamp on the reverse PROVENANCE Estate of the Artist Private Collection Connecticut Estimate 2 500 3 500
141 141 WOLF KAHN 142 ALLAN RANDALL FREELON American 1895 1960 American b 1927 ON THE HORIZON pastel on paper 18 1 8 x 23 inches sight signed W Kahn lower right PROVENANCE Private Collection Connecticut Estimate 7 000 10 000 GLOUCESTER SCENE oil on canvas 16 x 20 inches signed Freelon lower right PROVENANCE The artist to his sister Mary Freelon and her husband John Kouzmanof Brookefield Wisconsin House in the Woods Auction Gallery Eagle Wisconsin Auction from the Estate of Allan R Freelon April 1 1997 lot 216 Private Collection Private Collection Florida Estimate 6 000 8 000 142 129
143A 143 AMERICAN SCHOOL c 1860 1870 143B 143C 143D 130 EVENING AT SEA STORMY SEA CLIMBING AT THE CLIFFS CAMPING AT THE BEACH GROUP OF FOUR a oil on panel unsigned 3 5 8 x 7 inches b oil on paper backed by board initialed J W lower left by John Williamson American 1826 1885 5 5 8 x 8 inches c oil on panel unsigned 5 1 2 x 9 inches d oil on canvas backed by panel unsigned 5 1 2 x 10 inches PROVENANCE A Demarest New Jersey estate Private Collection New York New York Private Collection Santa Monica California Estimate 3 000 5 000
144 144 ALFRED THOMPSON BRICHER 145 EDMUND DARCH LEWIS WRECKAGE BY THE SHORE watercolor on paper 10 x 26 1 4 inches sight signed AT Bricher and dated 42 lower left PROVENANCE Private Collection Lewiston New York Estimate 2 000 3 000 A VIEW OF WEST POINT oil on canvas 20 x 31 inches signed Edmund D Lewis and dated 1861 lower right PROVENANCE Private Collection New Jersey Estimate 5 000 7 000 American 1837 1908 American 1832 1928 145 131
146 HENRIETTE RONNER KNIP Dutch 1821 1909 CAVALIER KING CHARLES WITH HER PUPS oil on panel 9 7 8 x 7 3 4 inches signed Henriette Ronner lower right PROVENANCE Private Collection Massachusetts Estimate 2 000 3 000 146 147 STELLA CONDON American B 1889 ARISTOCRATS oil on canvas 30 x 24 inches signed S C Condon dated 1913 and titled lower right PROVENANCE Private Collection New York Estimate 3 000 5 000 147 132
148 148 HENRY HERMAN CROSS American 1837 1918 CARRIAGE RIDE oil on canvas 30 x 48 inches signed H H Cross dated 1878 and inscribed NY lower left PROVENANCE Private Collection Connecticut Estimate 3 000 5 000 133
149 MARTIN LEWIS American 1881 1962 NIGHT WINDOWS graphite on paper 10 1 2 x 8 inches sight unsigned estate stamp on the reverse PROVENANCE Estate of the artist Art Market prior to 1990 Spanierman Gallery New York Private Collection Long Island New York 1991 2009 Swann Galleries New York New York Estimate 4 000 6 000 149 150 ROBERT RAUSCHENBERG American 1925 2008 TREATY lithograph in colors two sheets 27 1 8 x 40 inches sight each sheet signed Rauschenberg upper right numbered HC 1 5 and dated 74 lower right publisher s blind stamp a upper right b lower left published by ULAE PROVENANCE Private Collection Connecticut ILLUSTRATED Mary Lynn Kotz Rauschenberg Art and Life New York Henry N Abrams Inc 1990 p 150 another example illustrated Estimate 6 000 8 000 150 134
151A 151C 151B 151 AARON DOUGLAS American 1899 1979 GROUP OF 3 NOTEBOOK SKETCHES UNTITLED watercolor on paper 9 x 6 1 4 inches sheet each signed A Douglas lower right PROVENANCE From the collection of Douglas Crutchfield Jazz dancer Cincinnati Ohio Private Collection Denmark Estimate 6 000 8 000 152 JOHN BUCK American 1946 STANDING FIGURE acrylic on wood 81 3 8 H signed John E Buck and dated 75 on the reverse PROVENANCE Private Collection Connecticut Estimate 3 000 5 000 152 135
153 JEAN PIERRE PINCEMAN French 1944 2005 UNTITLED mixed media on paper 5 7 8 x 7 5 8 inches sight signed Pinceman and dated 1980 lower right PROVENANCE Denise Cade Gallery Ltd New York New York A New York estate Estimate 3 000 5 000 153 154 ENZO CINI Italian 1921 2002 UNTITLED oil on mahogany board 49 1 4 x 49 1 2 inches signed Cini and dated 86 lower right PROVENANCE A Miami Florida estate Private Collection Florida Estimate 2 500 3 500 154 155 JEAN PIERRE PINCEMAN French 1944 2005 ABSTRACT mixed media on paper mounted on canvas 19 5 8 x 12 5 8 inches sheet signed Pinceman dated 85 and inscribed BAS on the reverse PROVENANCE Denise Cade Gallery New York New York A New York estate Estimate 3 000 5 000 155 136
156 ROY NEWELL American 1914 2006 UNTITLED oil on wood 26 x 9 3 4 inches unsigned in an artist made frame PROVENANCE Private Collection New York New York Estimate 5 000 7 000 157 ROY NEWELL American 1914 2006 UNTITLED oil on wood 18 1 2 x 19 3 4 inches signed Roy Newell and dated 1960 on the reverse PROVENANCE Private Collection New York New York Estimate 5 000 7 000 156 157 137
158 PHILIP GUSTON American 1913 1980 UNTITLED lithograph 22 1 8 x 29 3 4 inches sheet signed Philip Guston and dated 66 lower right numbered 3 25 lower left PROVENANCE Private Collection Connecticut Estimate 2 000 3 000 158 159 JOHN LITTLE American 1907 1984 ABSTRACT watercolor on paper 14 5 8 x 11 1 4 inches sight signed John Little and dated 66 lower left PROVENANCE Private Collection New York Estimate 2 500 3 500 159 160 WERNER DREWES American 1899 1985 HEADLESS TOWERING FIGURE oil on canvas on board 11 1 4 x 5 5 8 inches artist s monogram lower right PROVENANCE Treadway Toomey Chicago Illinois Private Collection Connecticut EXHIBITED Dealer s Choice Exhibit The Columbia Museum Columbia South Carolina November 24 1985 January 5 1986 Estimate 3 000 5 000 160 138
161 161 IRENE RICE PEREIRA American 1907 1971 ABSTRACT gouache and pencil on paper 14 1 2 x 15 inches sight signed I Rice Pereira lower right PROVENANCE Private Collection Connecticut Estimate 2 500 3 500 162 PHILIP GUSTON American 1913 1980 FLETCHER MARTIN ink on paper 20 7 8 x 15 5 8 inches sight signed Phil Guston and titled lower center PROVENANCE Donavon Martin son of the sitter Private Collection Connecticut Estimate 12 000 18 000 162 139
163A 163 ALFRED THOMPSON BRICHER American 1837 1908 163B 163C 163D 140 ROCKY COASTLINE SAILBOATS COMING TO SHORE WAVES ALONG THE ROCKY COAST ALONG THE BEACH GROUP OF FOUR watercolor en grisaille with Chinese white on paper 3 1 8 x 7 1 8 inches and smaller sight signed with artist s monogram lower right PROVENANCE 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 2 000 3 000
164 164 GUY CARLETON WIGGINS American 1883 1962 SILVERY DAYS STONINGTON HARBOR oil on canvas board 12 x 16 inches signed Guy Wiggins lower right signed and titled on the reverse PROVENANCE Sotheby s Parke Bernet Private Collection Palm Beach Florida Estimate 8 000 12 000 141
165 ABRAHAM HULK British 1813 1897 DUTCH FISHING BOATS oil on canvas 16 x 24 inches signed A Hulk lower left PROVENANCE Private Collection New Jersey Estimate 2 500 3 500 165 166 MINERVA JOSEPHINE CHAPMAN American 1858 1947 SAILBOAT AT DUSK oil on canvas 15 x 18 inches unsigned PROVENANCE John Pence Gallery San Francisco California Private Collection Massachusetts Estimate 2 000 3 000 167 CHARLES VICKERY American 1913 1998 166 167 142 FOUR MASTED SHIP PAMIR oil on canvas 30 x 41 inches signed Vickery lower left inscribed Ship Pamir 4 masted Barque on the stretcher PROVENANCE Private Collection Greenwich Connecticut Estimate 3 000 5 000
168 SAMUEL COLMAN ATTRIBUTED American 1832 1920 WALKING ALONG THE RIVER oil on canvas 15 3 4 x 28 3 8 inches unsigned PROVENANCE Private Collection Greenwich Connecticut Note The scene is probably Conway Meadows New Hampshire Estimate 3 000 5 000 168 169 WILLIAM HART American 1823 1894 RAINBOW AT THE LAKE oil on canvas 8 5 8 x 7 1 2 inches signed W HT lower right PROVENANCE Private Collection Pittsburgh Pennsylvania Estimate 3 000 5 000 170 HENRY LEWIS British 1819 1904 KILLARNEY oil on canvas 12 3 8 x 19 3 8 inches signed H Lewis dated 1865 and inscribed Killarney from Innisfallon Looking W Sunset and Dusseldorf on the reverse PROVENANCE Private Collection New Jersey descended in the family to the present owner Private Collection New Jersey Estimate 2 000 3 000 169 170 143
171 HENRY FAULKNER American 1924 1981 STREET SCENE oil on board 10 3 4 x 15 3 4 inches signed Faulkner lower right PROVENANCE Private Collection New Jersey Estimate 4 000 6 000 171 172 172 HENRY FAULKNER American 1924 1981 MOON ABOVE THE GARDEN oil on board 9 3 4 x 14 inches signed Faulkner lower right PROVENANCE Private Collection New Jersey Estimate 3 000 5 000 173 HENRY FAULKNER American 1924 1981 173 144 TOWER OF PISA oil on board 9 1 2 x 7 1 4 inches unsigned PROVENANCE Private Collection New Jersey Estimate 2 000 3 000
174 HAROLD STERNER American 1895 1976 PLANETARIUM oil on canvas laid down on board 30 3 4 x 37 inches unsigned PROVENANCE Private Collection New York EXHIBITED American Federation of Art March June 1958 The Whitney Annual 1957 Estimate 2 000 3 000 174 175 DIETZ EDZARD German 1893 1963 WOMAN AT THE RACES oil on canvas 24 x 20 inches signed D Edzard lower right PROVENANCE Madison Avenue Gallery New York New York Private Collection New York Estimate 4 000 6 000 176 LUDOLF LIBERTS American Latvian 1895 1959 PARIS BOULEVARD D ITALIE oil on board 9 3 4 x 14 1 8 inches signed L Liberts lower right signed and titled on the reverse PROVENANCE Private Collection New York Estimate 2 500 3 500 175 176 145
177 177 LOUIS EILSHEMIUS American 1864 1941 FROLICKING NYMPHS oil on panel 22 x 26 inches signed Eilshemius lower right PROVENANCE Private Collection New York New York Estimate 5 000 7 000 178 LOUIS EILSHEMIUS American 1864 1941 NYMPH ALONG THE RIVER oil on paperboard mounted on masonite 25 5 8 x 23 inches signed Eilshemius and dated 1907 lower right PROVENANCE Private Collection New York New York Estimate 5 000 7 000 178 146
179 JAMES HENRY DAUGHERTY American 1889 1974 SOCIAL COMMENTARY oil on panel 13 5 8 x 9 7 8 inches estate stamp on the reverse PROVENANCE Spanierman Gallery New York New York Graham Gallery New York New York Private Collection New York Estimate 3 000 5 000 180 PAUL MELTSNER 179 American 1905 1966 BACKSTAGE BALLET oil on canvas 30 x 24 inches signed Paul Meltsner lower right signed and titled on the reverse PROVENANCE William Doyle Galleries New York New York Private Collection New York Estimate 2 000 3 000 180 181 JACOB BURCK American 1904 1982 MINER S LUNCH c 1934 oil on canvas 45 x 57 inches signed Jacob Burck lower left PROVENANCE Midtown Galleries New York New York Midtown Payson Galleries New York New York Private Collection New York Estimate 3 000 5 000 181 147
182 182 EDWARD CHARLES VOLKERT American 1871 1935 COWS ON A SLOPE oil on board 8 5 8 x 12 inches signed Edw Volkert lower right PROVENANCE Private Collection Connecticut Estimate 2 000 3 000 183A 148 183 GEORGE ENNIS American 1884 1936 A DRIFTER THE ARTIST A PAIR oil on canvas signed Ennis lower left each a titled on the reverse 48 x 40 inches b 36 x 44 1 2 inches PROVENANCE a Grand Central Art Galleries New York New York no 2249 A Vermont Estate Private Collection Vermont b A Vermont Estate Private Collection Vermont Estimate 2 000 3 000 183B
184 PETER POSKAS American b 1939 CORNWALL FARM oil on canvas laid down on board 11 x 13 3 4 inches signed on canvas attached to the reverse PROVENANCE The artist Private Collection Vermont Estimate 2 500 3 500 184 185 WALTER GRANVILLE SMITH American 1870 1938 SPRING LANDSCAPE watercolor on paper laid down on board 9 x 13 3 4 inches signed W Granville Smith and dated 1921 lower left PROVENANCE A J Kollar Fine Paintings LLC Seattle Washington Estimate 2 000 3 000 185 186 WOLF KAHN American b 1927 DENSE AND OPEN pastel on paper 11 1 2 x 17 3 8 inches sight signed W Kahn lower center PROVENANCE Vered Gallery East Hampton New York Private Collection New York Estimate 3 000 5 000 186 149
187 JOHN WHORF American 1903 1959 DANCERS C 1950 watercolor on paper 21 1 4 x 14 inches sight signed John Whorf lower right PROVENANCE The Milch Galleries American Art New York New York Private Collection New York Estimate 6 000 8 000 187 188 ALBERT HUIE Jamaican 1920 2010 YOUNG GIRL WITH PITCHER oil on canvas board 24 x 19 3 4 inches signed Huie and dated 53 lower left PROVENANCE Private Collection New York Estimate 2 000 3 000 188 189 HENRY GASSER American 1909 1981 AT THE CLUB watercolor on paper 13 3 8 x 19 inches sheet signed H Gasser lower right PROVENANCE Private Collection Virginia Estimate 2 500 3 500 189 150
190 THOMAS NAGAI Japanese American 1886 1966 STILL LIFE BY THE WINDOW oil on canvas 30 x 20 inches signed Nagai lower right inscribed Property of New York State Dept of Health on the reverse PROVENANCE Private Collection New York Estimate 3 000 5 000 191 SAMUEL NELSON ABBOTT ATTRIBUTED American 1874 1953 TRYING TO GET A DAY OFF oil on canvas 26 1 2 x 40 5 8 inches unsigned PROVENANCE Private Collection New Jersey Note This work was used in an advertisement for Hart Schaffner Marx in 1917 Estimate 5 000 7 000 190 191 151
192 192 JOAN MIRO 193 JOAN MIRO CAMEL FROM DERRIERE LE MIROIR color lithograph 19 5 8 x 24 1 2 inches sight signed Miro lower right and numbered 12 75 lower left PROVENANCE Private Collection California Estimate 1 500 2 500 LA JEUNE FILLE AU CLAIR DE LA LUNE color lithograph 18 x 24 1 8 inches sight signed Miro and dated 1951 lower right numbered 37 75 and titled lower left PROVENANCE Private Collection California Estimate 2 000 3 000 Spanish 1893 1983 193 152 Spanish 1893 1983
194 ESPHYR SLOBODKINA American 1908 2002 GROUP OF FIVE ABSTRACT PAINTINGS oil on board 12 x 16 inches each signed and dated E Slobodkina 1991 lower right each PROVENANCE A Brooklyn New York Estate Estimate 4 000 6 000 194A 194B 194C 194D 194E 153
195 GEORGES D ESPAGNAT French 1870 1950 JEUNE FILLE ASSISE DANS UN JARDIN oil on canvas 31 1 2 x 25 1 4 inches signed with initials lower left PROVENANCE Private Collection New York Estimate 5 000 7 000 195 196 NORWOOD MACGILVERY American 1874 1949 A YOUNG WOMAN oil on canvas 29 3 4 x 25 inches signed Norwood Macgilvery lower right PROVENANCE Private Collection Oregon Private Collection New York EXHIBITED Nineteenth Annual Exhibition Associated Artists of Pittsburgh 1929 cat no 43 illus p 39 a copy of the exhibition catalog accompanies the lot Estimate 2 500 3 500 196 154
197 197 JOHN JOSEPH ENNEKING American 1841 1916 STILL LIFE WITH ROSES oil on canvas 20 x 16 inches signed Enneking and dated illegibly lower right PROVENANCE Private Collection Connecticut EXHIBITED New Britain Museum of American Art New Britain Connecticut Charles Ethan Porter African American Master of Still Life January 12 March 16 2008 Note In a remarkable 19th Century American period frame Estimate 3 000 5 000 155
198 JAN MATULKA American Czech 1890 1972 STREET SCENE watercolor on board 13 1 2 x 18 1 4 inches sight signed J Matulka lower left PROVENANCE Private Collection New York Estimate 2 000 3 000 198 199 DONG KINGMAN American 1911 2000 UNDER THE EAST RIVER DRIVE watercolor on paper 20 3 4 x 29 inches sight signed Kingman lower left PROVENANCE Sotheby s September 25 1992 lot 449 Private Collection New Jersey Estimate 2 000 3 000 199 200 ERNEST FIENE American 1894 1965 OLD CONNECTICUT CHURCH oil on canvas 32 x 38 inches signed E Fiene lower left PROVENANCE Midtown Galleries New York New York Downtown Galleries New York New York Private Collection New York New York EXHIBITED Carnegie Institute New York New York 1932 First Municipal Art Exhibition Rockefeller Center New York City 1934 Estimate 2 000 3 000 200 156
201 ALLEN TUCKER American 1866 1939 TEA TIME oil on canvas 24 x 20 inches signed Allen Tucker and dated 1921 lower right PROVENANCE Private Collection California Estimate 3 000 5 000 201 202 GEORGE ALAN SWANSON American 1908 1968 PORCH IN THE TROPICS oil on canvas 20 x 16 inches signed G Swanson and dated 36 lower left PROVENANCE Private Collection Connecticut Estimate 3 000 5 000 202 157
203 CHARLES EDWARD CHAMBERS American 1883 1941 THE PIANO LESSON oil on canvas 30 x 21 inches signed CE Chambers lower left PROVENANCE Private Collection Connecticut Note A partial label from the Society of Illustrators Write Plainly is on the reverse In a remarkable 19th Century American period frame Estimate 2 500 3 500 204 CHARLES PFAHL American b 1946 STUDIO INTERIOR oil on canvas 22 x 36 inches signed Pfahl upper right PROVENANCE Harbor Gallery Coldspring Harbor New York Private Collection New York Estimate 2 000 3 000 203 204 158
205 205 JOSEPH ALFRED TERRY 206 EDWARD HENRY POTTHAST MORNING PAINTING CLASS oil on canvas 16 1 2 x 20 5 8 inches sight signed J Terry lower left PROVENANCE Private Collection New York EXHIBITED Louisiana Purchase Exhibition World s Fair St Louis Missouri 1904 Estimate 5 000 7 000 INTERIOR OF THE ARTIST S APARTMENT NEW YORK CITY gouache and tempera on paper 13 x19 inches sight signed E Potthast lower left PROVENANCE Estate of the Artist Cincinnati Ohio Descended through the family of the artist Cincinnati Ohio A J Kollar Fine Paintings LLC Seattle Washington ILLUSTRATED American Painting Catalog 2005 2006 A J Kollar Fine Paintings LLC Seattle Washington illustrated in color page 25 Estimate 6 000 8 000 British 1872 1939 American 1857 1927 206 159
207 SAMUEL L GERRY American 1813 1891 ROMAN RUINS oil on canvas 18 x 26 inches signed S L Gerry lower right PROVENANCE Private Collection Connecticut Estimate 2 000 3 000 207 208 JACQUES FRANCOIS JOSEPH CARABAIN Belgian 1834 1933 MIDDLE EASTERN SCENE oil on canvas 20 1 2 x 12 inches signed J Carabain lower left PROVENANCE Private Collection New York Estimate 2 000 3 000 209 JOHN ROSS KEY American 1837 1920 TRIUMPHAL BRIDGE FROM THE PAN AMERICAN EXPOSITION BUFFALO 1901 gouache on paper 12 x 18 3 4 inches sight signed John R Key lower left PROVENANCE Private Collection New York Estimate 3 000 5 000 209 160 208
210 HENRY GASSER American 1909 1981 RUE ST ANDRE DES ARTS PARIS watercolor and gouache on paper 16 x 23 inches signed H Gasser and inscribed Paris lower right PROVENANCE Private Collection New Jersey Estimate 1 500 2 500 210 211A 211 HENRY GASSER American 1909 1981 VENICE HOMEWARD GREECE APERITIF PARIS NORTHEAST WIND GROUP OF FOUR watercolor on paper backed by board each a signed H Gasser and inscribed Venice lower left 9 5 8 x 13 1 8 inches b signed H Gasser and inscribed Greece lower left signed and titled on the reverse 11 1 8 x 15 1 4 inches sight c signed H Gasser and inscribed Paris lower right 10 x 8 inches d signed H Gasser lower left signed and titled on the reverse 8 x 10 inches PROVENANCE Private Collection Connecticut Estimate 3 000 5 000 211B 211C 211D 161
212 212 ANTHONY THIEME American 1888 1954 LE PONT A LA COLLE oil on canvas 20 x 24 inches signed A Thieme lower left dated 1902 titled and inscribed Provence on the reverse PROVENANCE A New York New York estate Note A label from Newman Galleries is on the reverse Estimate 4 000 6 000 213 162 213 WILLIAM LESTER STEVENS American 1888 1969 FISHERMAN S HOME SEAL COVE GRAND MANAN oil on masonite 29 5 8 x 35 1 2 inches signed William Lester Stevens NA lower left and titled on the reverse PROVENANCE Private Collection Connecticut Estimate 5 000 7 000
214 EMILE ALBERT GRUPPE American 1896 1978 SPRING THAW oil on canvas 25 x 30 inches signed Emile A Gruppe lower right titled and dated 1947 on the stretcher PROVENANCE A New York New York estate Estimate 4 000 6 000 214 215 EMILE ALBERT GRUPPE American 1896 1978 OLD BEECH TREE oil on canvas 30 x 25 inches signed Emile A Gruppe lower right and titled on the stretcher PROVENANCE A New York New York estate Estimate 4 000 6 000 215 216 EMILE ALBERT GRUPPE American 1896 1978 VERMONT WINTER oil on canvas 16 x 20 inches signed Emile Gruppe and dated 1956 lower right signed and titled on the reverse PROVENANCE A New York New York estate Estimate 3 000 5 000 216 163
217 ROSS E MOFFETT American 1888 1971 PROVINCETOWN ROOFS acrylic on paper 11 3 4 x 19 1 8 inches sight unsigned PROVENANCE The Athena Gallery New Haven Connecticut Private Collection New York Estimate 1 500 2 500 217 218 CHARLES WEBSTER HAWTHORNE American 1872 1930 PROVINCETOWN 5 C 1929 watercolor on paper 9 3 8 x 13 3 8 inches sight signed Chas Hawthorne lower right PROVENANCE Athena Gallery New Haven Connecticut Private Collection New York Estimate 1 500 2 500 218 219 FREDERICK RONDEL American 1826 1892 GATHERING FOR THE HARVEST oil on canvas 13 x 20 inches signed F Rondel and dated 1861 lower right PROVENANCE Private Collection New Jersey descended in the family to the present owner Private Collection New Jersey Estimate 1 500 2 500 219 220 MARY CALL American 1864 1957 MOUNTAINOUS LANDSCAPE oil on canvas 16 x 23 inches signed Call and dated 81 lower left PROVENANCE Private Collection California Estimate 1 000 1 500 220 164
221 WILLIAM LESTER STEVENS American 1888 1969 BROOK IN WINTER oil on canvas 20 x 24 inches signed Lester Stevens N A lower left PROVENANCE Shannon s May 4 2006 lot 248 Private Collection Connecticut Estimate 3 000 5 000 221 222 RICHARD HAYLEY LEVER American 1876 1958 EARLY SPRING IN WOODSTOCK oil on canvas 27 x 31 1 8 inches signed Hayley Lever lower left PROVENANCE Grogan Company March 2 2008 lot 592 Doyle New York January 15 2013 lot 53 Private Collection New York New York Estimate 3 000 5 000 222 223 GEORGE LOFTUS NOYES American 1864 1954 THE OLD MILL ADDINGHAM PENNSYLVANIA oil on board 10 5 8 x 13 3 4 inches signed Noyes lower right PROVENANCE Private Collection Massachusetts Shannon s October 25 2007 lot 259 Private Collection Connecticut Estimate 3 000 5 000 223 165
224 ANNA HYATT HUNTINGTON American 1816 1906 PANTHER WITH CUBS bronze 2 1 8 H inscribed Anna V Hyatt Sc numbered 4 foundry mark GRC and G9 PROVENANCE Private Collection Vermont Private Collection South Carolina Estimate 2 500 3 500 224 225 WILLIAM ZORACH American 1887 1966 NEWBORN STUDY bronze 7 1 4 H inscribed Zorach on the base PROVENANCE Private Collection California Note Special thanks to Peter Zorach grandson of the artist for his assistance cataloging this lot Estimate 2 500 3 500 225 226 ROBERT COURTRIGHT American 1926 2012 BROWN MASK bronze 11 inches diameter signed Courtright and numbered 1 5 on the reverse PROVENANCE Private Collection Connecticut Estimate 2 000 3 000 226 166
227 227 DORIS CAESAR 228 MILTON ELTING HEBALD FEMALE NUDE bronze 13 5 8 H inscribed Caesar on the base PROVENANCE Private Collection California Estimate 800 1 200 BAREFOOT WOMAN bronze 16 3 4 H inscribed Hebald and dated 54 on the right leg PROVENANCE Private Collection California Estimate 1 200 1 800 American 1893 1971 American 1917 2015 229 ALBERT HIRSCHFELD 230 BYRON BROWNE CHAMPAGNE COMPLEX ink on paper 15 1 2 x 19 5 8 inches sight signed Hirschfeld and inscribed Boston lower right PROVENANCE Margo Feiden Galleries New York New York Private Collection California Estimate 1 500 2 500 UNTITLED mixed media on paper 25 1 2 x 19 1 2 inches sight signed Byron Browne and dated 1950 lower right PROVENANCE Private Collection California Estimate 1 500 2 500 American 1903 2003 229 228 American 1907 1961 230 167
231 YVONNE CANU French 1921 2007 ST TROPEZ oil on canvas 13 1 2 x 10 1 2 inches signed Canu lower left titled on the reverse PROVENANCE Private Collection California Estimate 3 000 5 000 231 232 THERESA FERBER BERNSTEIN American Polish 1890 2002 THE FOURTH OF JULY oil on board 29 1 2 x 21 inches signed Bernstein lower right PROVENANCE Rago Auctions Lambertville New Jersey Private Collection New York Estimate 3 000 5 000 232 233 FREDERIK USHER DEVOLL American 1873 1941 EMPIRE pastel on paper 27 1 8 x 19 1 4 inches sight signed F Usher Devoll lower right PROVENANCE Private Collection California Estimate 2 000 3 000 233 168
234 JOHANN BERTHELSEN American 1883 1972 THE LITTLE MERMAID oil on canvas 20 x 24 inches signed Johann Berthelsen lower right signed and titled on the stretcher PROVENANCE Private Collection Massachusetts Note The artist painted this at the request of a friend to create something from their homeland and suggested the Little Mermaid from Copenhagen Harbor Estimate 2 000 3 000 234 235 JOHANN BERTHELSEN American 1883 1972 WASHINGTON SQUARE oil on board 8 x 5 3 4 inches signed Johann Berthelsen lower right PROVENANCE Private Collection Wellesley Massachusetts Estimate 2 000 3 000 236 JOSEPH JOHN REBOLI American 1945 2004 TREES IN WINTER oil on canvas 40 x 64 inches signed Reboli and dated 80 lower left PROVENANCE Gallery Henoch New York New York Private Collection New Jersey Estimate 2 500 3 500 235 236 169
237 JEAN XCERON American Greek 1890 1967 PAINTING 13 oil on canvas 20 3 4 x 29 1 4 inches signed Jean Xceron and dated 61 lower left signed titled and dated on the reverse PROVENANCE The Artist Private Collection Centereach New York Estimate 2 000 3 000 237 238 JEAN XCERON American Greek 1890 1967 FIGURE oil on canvas 19 3 4 x 24 1 4 inches signed Xceron upper right signed titled and dated 1926 on the reverse PROVENANCE The Artist Private Collection Centereach New York Estimate 1 200 1 800 238 239 LOUIS KROENBERG American 1872 1965 BALLERINA AT THE BARRE pastel on paper 25 x 19 inches sight signed L Kroenberg lower right PROVENANCE Private Collection California Estimate 1 200 1 800 239 240 LOUIS KROENBERG American 1872 1965 LE FIN DU BALLET oil on board 29 1 2 x 33 3 4 inches signed Kroenberg lower right signed titled and inscribed 39 rue Boissonade Paris XIV National Grand Palais Paris No 4136 catalogue on the reverse PROVENANCE Private Collection California EXHIBITED National Academy of Design 138th Annual Exhibition 1963 Estimate 1 200 1 800 170 240
241 ABEL GEORGE WARSHAWSKY American 1883 1962 TABLETOP STILL LIFE oil on masonite 20 x 24 inches signed A G Warshawsky upper right PROVENANCE The Artist Ruth Warshawsky wife of the artist descended in the family Private Collection Pennsylvania Estimate 1 200 1 800 241 242 ABEL GEORGE WARSHAWSKY American 1883 1962 FISH BOWL AND BOTTLES oil on canvas 22 x 28 inches unsigned PROVENANCE The Artist Ruth Warshawsky wife of the artist descended in the family Private Collection Pennsylvania Estimate 1 200 1 800 242 243 ABEL GEORGE WARSHAWSKY American 1883 1962 FRUITS OF THE SEA oil on canvas 32 x 26 inches signed A G Warshawsky lower right PROVENANCE The Artist Ruth Warshawsky wife of the artist descended in the family Private Collection Pennsylvania Estimate 1 200 1 800 243 244 ABEL GEORGE WARSHAWSKY American 1883 1962 244 PAINTER AND NYMPHS oil on masonite 12 3 4 x 16 inches signed A G Warshawsky lower right and titled on the reverse PROVENANCE The Artist Ruth Warshawsky wife of the artist descended in the family Private Collection Pennsylvania Estimate 1 000 1 500 End of Sale 171
A Abbott Attributed Samuel N 191 Altenbourg Gerhard 43 Anuszkiewicz Richard 41 Aldrich George Ames American School Ault George Copland 132 66 143 30 Avery Milton 38 Baker William Bliss 17 B INDEX Collins Jacob 124 G Gasser Henry 3 4 189 Condon Stella 147 Gerry Samuel L 207 Courtright Robert 226 Granville Smith Walter Curran Charles Courtney 102 Cini Enzo Colman Attributed Samuel Cooper Colin Campbell Cross Henry Herman D 154 168 73 148 D Espagnat Georges 195 Davies Arthur Bowen 80 129 Daugherty James Henry 232 Dawson Watson Dawson 52 Detroy Leon 110 Blatas Arbit 120 Douglas Aaron 151 Brandeis Antonietta 84 Beckwith James Carroll Berman Eugene Bernstein Theresa Ferber Berthelsen Johann Bierstadt Albert Bisttram Emil James Bluemner Oscar 27 28 1 2 234 235 57 78 Bricher Alfred Thompson 137 144 163 Bruestle George 131 Browne Byron Buck John Burck Jacob Buttersworth James Edward C 230 Campbell Laurence A 36 72 Carabain Jacques Francois J Carlsen Soren Emil Cassatt Mary Stevenson Cavailles Jean Jules Louis Chadwick William Chambers Charles Edward Chapman Minerva Josephine 172 231 208 33 128 112 135 203 166 233 Dumond Frank Vincent 75 Dufy Raoul Dunning Robert Spear Edy Legrand Edouard Leon L 220 53 160 81 181 136 Drewes Werner 152 227 Canu Yvonne Devoll Frederik Usher E Caesar Doris Call Mary De Haas Mauritz Frederick H 179 45 99 100 Eberl Frantisek Zdenek 122 Edzard Dietz 175 Egas Camilo Eilshemius Louis Enneking John Joseph Ennis George F 121 94 177 178 64 197 11 183 Faulkner Henry 171 172 173 Fiene Ernest 200 Ferren John Fleischmann Adolf Richard Foster Ben Freelon Allan Randall 97 123 67 142 Gignoux Regis Francois Grau Sala Emilio Gruppe Emile Albert Guillaumin Armand Guston Philip H 210 211 48 185 113 8 9 214 215 216 44 158 162 Hart William 169 Hebald Milton Elting 228 Hawthorne Charles Webster Hernandez Manuel Hicks Ron Hirschfeld Albert Hofmann Attributed Hans Huie Albert Hulk Abraham Huntington Anna Hyatt Hutchins Will I 218 95 130 229 98 188 165 224 103 104 105 106 107 139 140 Inness George 51 82 Irvine Wilson Henry 7 74 Irizarry Epifanio J 93 Jones Francis Coates 88 89 Kaelin Charles Salis 10 K Kahn Wolf Key John Ross King Albert Francis 20 21 22 23 141 186 209 127
Kingman Dong 199 Nichols Dale 29 Smith Archibald Cary 46 Knapp Charles Wilson 68 Nuderscher Frank B 134 Sterner Harold 174 Kolbe George 42 Kline Franz Knight Louis Aston 61 90 Kroenberg Louis 239 240 Lanskoy Andre 114 Lawson Ernest 34 L Laurence Sydney 109 Lever Richard Hayley 15 16 119 Levine Jack 25 26 Lewis Edmund Darch Lewis Martin 222 145 149 Lewis Henry 170 Lidderdale Charles Sillem 87 Liberts Ludolf 176 Noyes George Loftus O 49 50 T Pearce Charles Sprague 86 Taylor Charles Jay Panayotou Angelos Pereira Irene Rice Pfahl Charles Pho Le Pinceman Jean Pierre Porter Charles Ethan Poskas Peter Potthast Edward Henry Luks George Benjamin 79 Rauschenberg Robert Macentyre Eduardo Macgilvery Norwood Macmonnies Mary Louise F Mattern Alice L Matulka Jan Mazzanovich Lawrence Meltsner Paul Miller William Rickarby Miro Joan Moffett Ross E Moran Edward Morris George L K Muller William G N Nagai Thomas Newell Roy 96 196 91 54 198 19 180 65 192 193 217 62 60 138 190 156 157 Swain Robert Palmer Walter Launt P R M Stevens William Lester 92 12 13 159 Steele Theodore Clement Oviedo Ramon Lie Jonas Little John 223 56 58 59 161 204 115 153 155 101 77 184 206 Ramsdell Frederick 70 Reboli Joseph John 236 Reyna Antonio Maria De Richards William Trost Ritter Louis Robinson William S Rondel Frederick Ronner Knip Henriette Rosen Charles Ryder Chauncey Foster S 150 83 32 14 5 219 146 24 69 133 Salmson Hugo 116 Sharp Joseph Henry 108 Schofield Walter Elmer Sheppard Warren Simonidy Michel Sloane Eric Slobodkina Esphyr Smillie George Henry 35 47 111 31 194 18 Swanson George Alan 71 213 221 40 202 Tait Arthur Fitzwilliam 63 Terry Joseph Alfred 205 Thieme Anthony Tucker Allen V 6 212 201 Van Roekens Paulette V J 37 Villar Francisco 117 Vickery Charles Volkert Edward Charles Vos Hubert W 167 182 125 Warshawsky Abel George 241 242 Way Andrew John Henry 126 Whorf John Wiggins Guy Carleton X 243 244 187 39 164 Xceron Jean 55 237 238 Yost Tom Z 76 Zorach William Zuber Julius 225 Zuber Buhler Fritz 85 118 Y 173
CONSIGNMENTS INVITED At SHANNON S we offer personalized service and competitive commission rates to ensure you have the most profitable auction experience For over 20 years clients have trusted us with their Fine Art relying on our expertise reputation and history of record prices Since 1997 Shannon s has sold over 100 000 000 in Fine Paintings Drawings Prints and Sculpture Contact us today to see what we can do for your collection Upcoming Auctions June 14 2018 2 00pm On Line Fine Art Auction Consignment deadline May 15 2018 October 25 2018 6 00pm Important American European Paintings Drawings Prints Sculpture Consignment deadline September 1 2018 To submit artwork for consideration please email photos to info shannons com or visit www shannons com TESTIMONIALS On behalf of my mother and sister I d like to express to you our appreciation for the way you conducted the sale of my mother s oil painting by M J Heade Being complete novices with a valuable oil painting on our hands we could have made any number of wrong decisions Thanks to the guidance and the hard work of your firm we were able to realize what was probably the maximum price for the painting Our experience working with Shannon s was completely enjoyable and satisfying from start to finish Bill New Jersey Approximately three months ago I walked into your gallery with a somewhat damaged soiled painting Since that time I ve experienced a once in a lifetime journey Your expertise honesty and candor were evident throughout this time I thank you for your guidance and professionalism John Connecticut Thank you for your succinct handling of my five offerings in your April auction I was more than pleased with the final financial transactions but even more so with the personal warmth not condescending professional aloofness as evidenced by many auction houses and galleries and willingness to inform the uninitiated to further appreciation of a genuine treasure Your enthusiasm is evident and infectious Luther California 174
ABSENTEE BID FORM PHONE BID FORM CHECK ONE Bids must Be received at least 24 hours prior to day of sale Bidding Increments 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 Lot Artist s Name Maximum Bid 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 25 of the successful bid up to and including 200 000 and 20 on any amount exceeding 200 000 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 MAIL OR FAX BIDS TO SHANNON S Bid Department 49 Research Drive Milford CT 06460 Phone 203 877 1711 Fax 203 877 1719 Email info shannons com 175
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 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 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 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 25 of the successful bid up to and including 200 000 and 20 on any amount exceeding 200 000 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 MasterCard and Amex may be used up to the amount of 10 000 per auction Purchases are subject to 6 35 CT sales tax 176 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 A Notification must be made to Shannon s in writing within 7 days of receipt of the item 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 C The limited warrantee does not extend to the lots identified as attributions school circle manner or after 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 All items must be removed within 30 days post sale or a fee of up to 20 per day will be charged for storage Items not collected within twelve months of a sale will become the property of Shannon s 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 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
49 Research Drive Milford CT 06460 203 877 1711 Fax 203 877 1719
