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Fine Art Auction Paintings, Drawings, Prints and Sculpture Milford, Connecticut • April 28, 2022

Front cover illustration #43 Back cover illustration #34FINE ART AUCTION PAINTINGS, DRAWINGS, PRINTS AND SCULPTURE PREVIEW DATES & TIMES: In-person previews by appointment April 18-27th (weekdays from 11AM-6PM) Saturday, April 23rd (10AM-3PM, closed Sunday) Virtual previews & additional photos are available by request. Bid by telephone, absentee and live on shannons.com.AUCTION INFORMATION Thursday, April 28, 2022 | 6:00 PM EDT

CONTENTSContacts 2 Artist Index 124 Invitation to Consign 126 Bid Form 127 Conditions of Sale 128Sandra Germain Managing Partner sandra@shannons.comAli Danker Specialist ali@shannons.comGene Shannon Founder / Consultant info@shannons.comMary Bretthauer Gallery Manager mary@shannons.comJoe Bartolomeo Operations / Photography joe@shannons.comContactsGeneral Sale Inquiries info@shannons.com

1 FELICIE WALDO HOWELL American (1897-1968) BROOKLYN BRIDGE oil on canvas signed lower left "Felicie Waldo Howell" 20 x 16 inches PROVENANCE Private Collection, New York, New York. ESTIMATE $6,000—$8,0002 ANNA RICHARDS BREWSTER American (1870-1952) ARDSLEY ROAD BRIDGE oil on canvasboard initialed lower left "ARB" 9 x 13 inches PROVENANCE Private Collection, Pennsylvania. ESTIMATE $2,000—$3,000213

3 ALDRO THOMPSON HIBBARD American (1886-1972) COVERED BRIDGE oil on canvasboard unsigned 17 1⁄4 x 20 3⁄4 inches PROVENANCE Estate of the artist; Private Collection, Connecticut. NOTES A letter signed by the granddaughter of the artist accompanies the lot. The artist's label is on the reverse. ESTIMATE $4,000—$6,00034444 ALDRO THOMPSON HIBBARD American (1886-1972) WINTER HILLS oil on canvasboard signed lower right "A.T. Hibbard" 16 x 19 7⁄8 inches PROVENANCE Private Collection, Connecticut. ESTIMATE $4,000—$6,000

5 EMILE ALBERT GRUPPE American (1896-1978) "NETS" oil on canvas signed lower right "Emile A. Gruppe," signed and titled on the stretcher 30 x 36 inches PROVENANCE A Connecticut estate; Private Collection, Connecticut. NOTES The scene is possibly Boothbay Harbor, Maine. ESTIMATE $8,000—$12,00055

6 IVAN G. OLINSKY American/Russian (1878-1962) YOUNG WOMAN IN PATTERNED BLOUSE (MADELEINE) oil on canvas signed lower right "Ivan G. Olinsky" 36 x 30 inches PROVENANCE Vose Galleries, Boston, Massachusetts; Private Collection, New York, New York. EXHIBITED New York, New York, Berry-Hill Galleries, Inc., "Continuities: American Figure Painting 1900-1950," October 11 - November 5, 1983, cat. no. 19. NOTES A copy of the original purchase receipt from Vose Galleries accompanies the lot. A Grand Central Art Galleries stamp is on the reverse. ESTIMATE $6,000—$8,0007 IVAN G. OLINSKY American/Russian (1878-1962) THE GREEN BODICE oil on canvas signed upper left "Ivan G. Olinsky" 36 x 30 inches PROVENANCE The Cooley Gallery, Old Lyme, Connecticut; Private Collection, New York, New York. EXHIBITED Storrs, Connecticut, The University of Connecticut, The William Benton Museum of Art, "Faces of Change: The Art of Ivan G. Olinsky (1878-1962)," June 20 - August 22, 1995. ESTIMATE $5,000—$7,000676

8 JANE PETERSON American (1876-1965) PANSIES oil on canvas signed lower left "Jane Peterson" 24 x 30 inches PROVENANCE Estate of the artist; O. Rundel Gilbert Auctioneers, Garrison-on-Hudson, New York; Private Collection, Massachusetts. ESTIMATE $6,000—$8,00087

9 JANE PETERSON American (1876-1965) HARBOR SCENE oil on canvas unsigned 30 x 40 inches PROVENANCE Estate of the artist; O. Rundel Gilbert Auctioneers, Garrison-on-Hudson, New York; Private Collection, Massachusetts. ESTIMATE $5,000—$7,00010 JANE PETERSON American (1876-1965) RED ZINNIAS oil on canvas signed lower right "Jane Person" 25 x 30 inches PROVENANCE Estate of the artist; O. Rundel Gilbert Auctioneers, Garrison-on-Hudson, New York; Private Collection, Massachusetts. ESTIMATE $4,000—$6,0009108

11 JANE PETERSON American (1876-1965) VIEW OF VENICE gouache and ink on paper signed in pencil lower center "Jane Peterson" 17 x 17 inches (sight) PROVENANCE Private Collection, Massachusetts; Shannon's Fine Art Auctioneers, Milford, Connecticut, April 28, 2005, lot 176; Private Collection, Virginia. ESTIMATE $10,000—$15,000119

12 DAME LAURA KNIGHT British (1877-1970) "WINTER, FIGURES SKATING (WINTER)", 1916 oil on canvas signed lower left "Laura Knight" 25 x 30 inches PROVENANCE Sotheby's, London, June 10, 1998, lot 88; Private Collection, New York, New York. NOTES This work is included in the Catalogue Raisonné of the artists’ works, currently being compiled by R. John Croft FCA, great nephew to the artist. We are grateful to Mr. Croft for his assistance cataloging this lot. ESTIMATE $60,000—$80,00010Recognized as the most prodigious female artist of her generation, Laura Knight elevated the status of female artists through her talent and determination. Banned from life drawing classes, she had to work from nude plaster casts at the Royal Academy. In 1913, she painted Self Portrait with Nude, depicting herself painting from a nude model. This caused controversy and was rejected from the Royal Academy and described by critics as ‘vulgar.’ For Knight, it was a chance to open the dialogue of how women artists were being treated as outsiders. She persevered and in 1965 became the first female artist to be the subject of a large-scale retrospective at the Royal Academy. The painting is now considered one of her masterpieces. Knight was born in Derbyshire in 1911, the youngest of three daughters. Her father abandoned the family, burdening them with further financial problems. Knight was sent to live with relatives in France before their financial troubles forced her to return home. Knight’s mother was a teacher at the Nottingham School of Art and enrolled Laura, at no cost, in classes at the age of 13. Laura’s talent was evident and she won a gold medal in a national competition. At 15, her mother was diagnosed with cancer and Knight took over her mother’s teaching responsibilities. At age 17, Laura met Harold Knight at the School of Art. She copied his technique as a way to learn painting herself. The two became friends and married in 1903. Together the artist couple traveled visiting the artists working in the Netherlands at the Hague School in Laren. In 1907, the couple moved to Cornwall and became central figures in the Newlyn School artists colony. During this time, Knight painted in an increasingly impressionist style. She found support in the colony and was able to paint from nude models and en plein air. Shortly before painting the present lot, Knight had broken her leg. She and her husband were staying with their good friends Bernard (1874 - 1941) and Annie Walke, an artist from the Newlyn School, at their home St Hilary, Cornwall. In her autobiography Oil Paint and Grease Paint Knight writes that the painting was made from drawings whilst sitting in a borrowed old bath chair that Bernard Walke “trundled” her around in every day to a pond where children were skating and sliding. In the foreground, she depicted where the young ice skaters had discarded their jackets and shoes onto the bank of the pond when they had put on their skates. A skater rapidly passes by two children who have taken a tumble with perhaps one of their parents carefully watching over them on the far bank. From the drawings made at the same time, the artist also painted Ice Hockey, 1917, an oil on canvas, depicting a game of ice hockey being played by two local teams on a nearby pond, and The Frozen Pond, another oil on canvas that was purchased by Sir William Longstaff for the New South Wales Museum and Art Gallery, Australia.

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13 DAME LAURA KNIGHT British (1877-1970) "GYPSIES AT ASCOT" (AWAITING THE CROWD), 1933 oil on canvas signed lower left "Laura Knight," titled on the stretcher 25 x 30 inches PROVENANCE Ian McNichol, Glasgow 1966; Sotheby's, London, June 30, 1993, lot 39; Private Collection, New York, New York. NOTES A label from Uptown Gallery is on the reverse. This work is included in the Catalogue Raisonné of the artists’ works, currently being compiled by R. John Croft FCA, great nephew to the artist. We are grateful to Mr. Croft for his assistance cataloging this lot. ESTIMATE $30,000—$50,00012In 1913, Knight painted her iconic Self Portrait with Nude, shaking up the Royal Academy. Seven years later, in 1919, the Knights moved to London where Laura painted dancers from the Ballets Russes among other subjects. In 1926, Harold was commissioned to paint portraits of surgeons in Baltimore at Johns Hopkins Hospital. Laura accompanied him and received permission to paint at the Baltimore Children’s Hospital and in the black wards of then segregated John Hopkins Hospital. She took these paintings back to London with her and they were included in a newsreal announcing her election as an associate of the Royal Academy in 1927. When in 1930, Knight found herself in need of new subject-matter, it was her old friend Alfred Munnings that suggested she paint the races at Epsom: ‘Just the sort of thing to suit you... come with Violet and me... I’ll show you around.’ (Quoted in Caroline Fox, Dame Laura Knight, Phaidon, Oxford, 1988, p.85). Although Laura did not go with them on that occasion, she soon took up the challenge, painting at both Epsom and Ascot not only the crowds watching the races, but also the gypsies, who would circulate telling fortunes. She used to visit the gypsy camp with her friend and companion Ally Bert, the widowed wife of Joe Bert the circus clown at Carmos Circus. Ally Bert often attended the racecourse meetings with the artist, acting as a general help in carrying paints and easels around. Laura would usually go to Ascot in Mr. Sully’s Rolls Royce (Mr. Sully was an East End London undertaker and friend of Ally Bert). On rainy days, the artist would sit inside painting, while on sunny days she could sometimes be seen sitting atop of the car roof, to obtain a better view of the racecourse and the crowd. It was at Epsom racecourse in the late 1930s that the artist was approached by an elderly gypsy woman, called Mrs. Smith, who invited her to visit their camp at Iver in Buckinghamshire, from where many scenes of the Romany gypsies and their caravans (Vardos) were painted. The gypsy in the center of the present lot holding a baby is also depicted in the artist’s other Gypsy Romany scenes that include Between Races, Epsom and Epsom No.1. The seated gypsy holding her baby next to her daughter is also depicted in Epsom Downs. Laura Knight was the first female to be elected a full member of the Royal Academy in 1936 – a full 200 years after it had been established. She was the first female artist made a Dame in 1929 and in 1965 the first woman to be the subject of a large-scale retrospective at the Royal Academy. Her activism for female artists through her work changed the landscape of the British Art world, making it a more inclusive space for female artists to work and succeed.

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14 RENE RIMBERT French (1896-1991) "VUE SUR LA MER", 1978 oil on canvas signed lower left "R. Rimbert," and dated lower right "1978," initialed and numbered on the reverse "R.R. opus 284," titled and dated on the stretcher 13 3⁄4 x 9 1⁄2 inches PROVENANCE Perls Galleries, New York, New York; Private Collection, Connecticut. ESTIMATE $10,000—$15,0001414

151515 RENE RIMBERT French (1896-1991) "DIVERTISSEMENT ITALIEN", 1981 oil on board signed, dated and inscribed lower left "R. Rimbert fecit 1981," initialed, titled and numbered on the reverse " RR 187" 8 1⁄8 x 7 1⁄2 inches PROVENANCE Perls Galleries, New York, New York; Private Collection, Connecticut. NOTES A label from Perls Galleries, New York, New York is on the reverse. A Galerie Berri-Lardy stamp is in the reverse. ESTIMATE $7,000—$10,000

1616 SOPHIE RYDER British (b. 1963) MINOTAUR WITH HARE, 1996 bronze signed, dated and numbered "Ryder, 96, 1/9" height: 27 inches PROVENANCE Private Collection, New York, New York. ESTIMATE $15,000—$25,00016

1717 DAME ELISABETH FRINK British (1930-1993) MAN AND BABOON, 1990 acrylic and charcoal on paper signed and dated lower left "Frink 90" 41 1⁄2 x 44 1⁄2 inches PROVENANCE Private Collection, New York, New York. EXHIBITED Terry Dintenfass Gallery, New York, New York, "Elisabeth Frink: Sculpture and Drawings," November 14 - December 7, 1991. ESTIMATE $12,000—$18,00017

1818 GUY TAPLIN British (b. 1939) "EIGHT SHOREBIRDS" carved and painted wood with metal signed and titled on the base "Guy Taplin" height: 26 3⁄4 inches PROVENANCE Private Collection, New York, New York. ESTIMATE $4,000—$6,00019 SHIY DE-JINN Chinese (1923-1981) FIGURES ALONG THE COAST, 1961 watercolor signed and dated lower right "Shiy De-Jinn 1961" 15 x 21 5⁄8 inches PROVENANCE Private Collection, Connecticut. ESTIMATE $8,000—$12,0001819

20 CAMILLE BOMBOIS French (1883-1970) LES FORAINS oil on canvas signed lower left "Bombois C.lle" 18 x 15 inches PROVENANCE Private Collection, Connecticut. NOTES A label from Perls Gallery, New York, New York is on the reverse. A label from Arthur Lenars & Co. Paris, France is on the reverse. The authenticity of this work has been confirmed by Olivier Lorquin and Didier Jumaux from Dina Vierny Galerie, Paris, France. A copy of the certificate of authenticity will accompany the lot. ESTIMATE $20,000—$30,0002019

21 JEAN DUFY French (1888-1964) LA VILLE oil on canvas signed lower left "Jean Dufy" 18 x 21 3⁄4 inches PROVENANCE The artist; Findlay Galleries, Inc., Chicago, Illinois; Private Collection, South Carolina. NOTES A Findlay Galleries label is on the reverse, their inventory number E1607 is on the stretcher. ESTIMATE $40,000—$60,00020Jean Dufy was born in Le Havre, France in 1888 to an artistic family with eleven children. His older brother, Raoul, encouraged him to paint. As a young man he saw the 1906 Le Havre Exposition that included works by Matisse, Derain, Marquet and Picasso. At the Ecole des Beaux Arts in le Havre, he studied under his brother, Raoul, and Othon Friesz. He followed Raoul to Paris where he met Picasso and Braque. After his military service from 1910-1912, Dufy lived in Paris and he began exhibiting muted watercolors influenced by Cezanne. In 1916, Dufy embarked on a thirty-year career of decorating porcelain for Théodore Haviland in Limoges. He earned a gold medal at the 1925 International Exhibition of Decorative Arts for the“Châteaux de France” set of porcelain. Back in Paris in 1920, Dufy settled in Montmartre, where Georges Braque was his neighbor. He begin to exhibit his paintings and his work was included in expositions in Paris (Salon d’Automne at the Grand Palais des Champs-Elysées in 1920, 1923, 1924, 1927, and 1932, Galerie Bingin 1929) and New York (Balzac Galleries in 1930, Perls Galleries in 1938). He enjoyed success as an artist and was able to travel throughout Europe and North Africa finding new subjects to paint. Dufy traveled extensively throughout the 1950s, but it is obvious through the subjects of his works that Paris was the place he considered home and his favorite subject matter. Of his Paris paintings, historian and scholar Jacques Bailly notes, “In his oil paintings and watercolors, Jean Dufy chose to represent the city using a constantly evolving creative process dominated by a harmony of blue tones. For Jean, blue was an insatiable source of inspiration for the Gates of Paris, the streets, the horse-drawn carriages, the Eiffel Tower, the sky, and the Seine.” In the present lot, Dufy painted a bright blue sky that casts a shadow of blue over the red and yellow buildings and the street. The spontaneous and quick brushstrokes capture the hustle and bustle of the busy street and the movement of the people.

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22 JOHN FABIAN CARLSON American (1875-1945) "SNOW FLURRIES" oil on canvas signed lower right "John F. Carlson," signed and titled on the reverse 30 x 40 inches PROVENANCE The Metropolitan Museum of Art, New York, New York (A gift of the friends of John F. Carlson, 1947); Private Collection, New York. ESTIMATE $15,000—$25,00022John F. Carlson was an influential teacher of landscape painting in the early 20th century. He taught for decades in Woodstock, New York and in 1922 published Elementary Principles of Landscape Painting– a volume that was republished in 1953, 1958, 1970 and 1973. His tonalist landscapes, like the present example, reflect his success as an artist and the allure of his technique. Carlson was born in Sweden and immigrated to the United States with his family in 1884 to Buffalo, New York. There he studied at the Albright School of Art and was awarded a scholarship to the Art Students League in New York where he became a pupil of Frank Vincent Dumond. In 1903, Carlson went to Woodstock, New York to visit the newly established art colony, Byrdcliffe. There, he studied under Birge Harrison who became a mentor and friend. In 1906, Carlson was instrumental in moving the summer program of the Art Students League to Woodstock. Following Harrison’s retirement in 1911, Carlson became the new director of the school. In 1922, Carlson established the John F. Carlson School of Landscape Painting where he taught until his death in 1945. Given his teaching schedule, Carlson primarily worked on his own landscapes in the fall and winter. The current lot, which he titled “Winter Flurries” is a prime example of one of his winter landscapes. Carlson’s works were exhibited widely during his lifetime and won numerous prizes for his paintings including awards from the Salmagundi Club, the Panama-Pacific Exposition and the National Academy of Design. He exhibited in shows at the Art Institute of Chicago, the Pennsylvania Academy of the FIne Arts and the Corcoran Gallery in D.C. Today, Carlson’s landscapes can be viewed in the collections of the Metropolitan Museum of Art, the Art Institute of Chicago and the Smithsonian American Art Museum among others.

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24232423 ALDRO THOMPSON HIBBARD American (1886-1972) VILLAGE WINTER SCENE oil on canvas artist's estate stamp on the reverse 22 1⁄4 x 30 1⁄4 inches PROVENANCE Carole Isaacs, Watchung, New Jersey. ESTIMATE $2,500—$3,50024 GEORGE GARDNER SYMONS American (1863-1930) OPALESCENT RIVER oil on canvas signed lower left "Gardner Symons" 20 x 30 inches PROVENANCE Nancy Lou Gardner; Private Collection, Connecticut. NOTES A label on the reverse is inscribed "A gift to Nancy Lou Gardner on 21st birthday, Sept. 25, 1950. "There is another larger painting by Symons, with the same title, of a similar scene in the collection of the Metropolitan Museum of Art (acc. no. 09.223) dated 1909. ESTIMATE $6,000—$8,000

25 JOHN FABIAN CARLSON American (1875-1945) "NOVEMBER" oil on canvas signed lower right "John F. Carlson," signed, titled and inscribed on the reverse "Autumn" 20 x 26 1⁄4 inches PROVENANCE Vose Galleries, Boston, Massachusetts; Private Collection, Minnesota; Private collection, Massachusetts; Shannon's, Milford, Connecticut, May 4, 2006, lot 39; Private Collection, Illinois. ESTIMATE $12,000—$18,0002525

26 GEORGE GARDNER SYMONS American (1863-1930) EVENING IN THE BERKSHIRES oil on canvas signed lower right "Gardner Symons" 42 x 48 inches PROVENANCE Property from a distinguished American collection. NOTES A label from the American Academy and Institute of Arts and Letters is on the reverse. ESTIMATE $30,000—$50,00026George Gardner Symons is best known for his plein air landscapes that combine Impressionism and Realism. He maintained a primary studio in Brooklyn, New York. He also worked in California, St. Ives and throughout New England. His best paintings are snowy landscapes of the Berkshire mountains often painted en plein air. The present lot, an evening view of a Berkshire village in the snow, is one of Symons’ best. Symons was born in Chicago in 1861 and named George Gardner Simon. When he returned from his studies in England, concerned about anti-semitism, he changed his last name to Symons. There is little documented about his early life. He first studied art at the Art Institute of Chicago where he met William Wendt, a fellow painter and a life-long friend. In 1898, Wendt and Symons painted together in California and traveled to Cornwall, England. While in Europe, Symons visited Paris, Munich, London and St. Ives where he joined the existing artist colony and returned almost every year. Shortly after returning from Europe, Wendt and Symons built a studio together in Laguna Beach, California. Throughout his career Symons returned to California regularly primarily painting plein air seascapes when he visited. Symons maintained a country home in Colrain, Massachusetts where he painted the landscapes of the Berkshire mountains and the Connecticut and Deerfield Rivers. In 1909, a painting of the Deerfield River titled “Opalescent River” won the Carnegie Prize at the National Academy of Design and was later acquired by the Metropolitan Museum of Art (see lot 24 for another view of this landscape). The present work was painted of the Berkshires in the evening, one of Symon’s favorite subjects.. His skillful depiction of snow is evident in this canvas where the warm glow from the windows and setting sun create shadows on the heavy layer of snow. Symons works are included in the Metropolitan Museum of Art in New York, the Art Institute of Chicago, and the Corcoran Gallery of Art in D.C among numerous other public and private collections.

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27 LENNART ANDERSON American (1928-2015) "STILL LIFE WITH POPCORN MAKER I," 1981 oil on canvas signed and dated on the reverse "L. Anderson 81" 15 x 24 inches PROVENANCE Davis and Langdale Co. Inc., New York, New York; Private Collection, Connecticut. LITERATURE Mark Strand (ed.), "Art of the Real: Nine American Figurative Painters," (New York, New York: Clarkson N. Potter, Inc., 1983), p. 155 (illustrated). EXHIBITED Davis and Langdale Co. Inc., New York, New York, "Lennart Anderson: Paintings," February 16 - March 16, 1985. ESTIMATE $20,000—$30,00028Born in Detroit, Michigan in 1928, Lennart Anderson studied at the School of the Art Institute of Chicago, the Cranbrook Academy of Art, and the Art Students League of New York under Edwin Dickinson. Anderson was inducted as a member of the American Academy and Institute of Arts and Letters in 1977 and made an Associate of the American Academy of Design in 1982. Described by the New York Times as one of the “most prominent and admired painters to translate figurative art into a modern idiom,” Anderson was an American artist renowned for his mastery of tone, color, and composition, and for a teaching career that deeply influenced future generations of painters. Anderson belonged to a generation of intrepid painters – including Alex Katz, Paul Resika and Philip Pearlstein. In 1974, Anderson’s gallery, Davis and Long (now Davis and Langdale), mounted a retrospective of his work. Three years later he was inducted into the American Academy of Arts and Letters, and in 1992 he was given his first big museum show, at the Delaware Art Museum. He taught at several schools, including Pratt Institute, the Art Students League, Yale, Princeton and Columbia. He was most closely associated, however, with Brooklyn College, where he taught from 1974 to 2004. The current example “Still Life with Popcorn Maker I,” 1981 presents the viewer with an array of ordinary objects on a kitchen table including a lemon, pastry and a pitcher, with the whimsical additions of an overturned berry container and a Jiffy Pop pan with its cover fully puffed out. In the early 2000s, after Anderson began experiencing macular degeneration of his eyes, he could paint only with extreme difficulty, but that did not stop him from painting. In a 2013 interview with A’dora Phillips, Anderson said “Because of my vision, I’m using my life now when I paint. I mean by that, all the painting that I’ve ever done.”1 1 A’Dora Phillips with Brian Schumacher, “Seeing Along the Periphery, Getting at the Essence,” in Painting Perceptions, November 14, 2013, https://paintingperceptions.com/seeing-along-the-periphery-getting-at-the-essence/

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28 LENNART ANDERSON American (1928-2015) STILL LIFE WITH SHELL AND RED BOX oil on canvas unsigned 12 x 16 inches PROVENANCE James Graham and Sons, New York, New York; Davis and Langdale Company, Inc., New York, New York; Private Collection, Connecticut. ESTIMATE $7,000—$10,00030282929 ROBERT PHILIPP American (1895-1981) "FRIENDS" oil on canvas signed upper right "Philipp," titled and signed on the reverse 36 x 30 inches PROVENANCE Private Collection, New York. ESTIMATE $4,000—$6,000

31303130 RICHARD HAYLEY LEVER American (1876-1958) IRISES IN A GLASS BOWL oil on canvas on board signed lower left "Hayley Lever" 21 x 33 inches PROVENANCE Spanierman Gallery, New York, New York; Private Collection, New York. ESTIMATE $2,500—$3,50031 KELLY FEARING American (1918-2011) CALLA LILIES oil on board signed lower right "Kelly Fearing" 20 x 15 3⁄4 inches PROVENANCE Galerias Tuso, Genova, Mexico; Private Collection, Pennsylvania. ESTIMATE $2,500—$3,500

32 CHARLES ETHAN PORTER American (1847-1923) STILL LIFE WITH APPLES AND GRAPES oil on board unsigned 12 x 15 inches PROVENANCE The artist; Austin Hawes, Hartford, Connecticut; Private Collection, Hartford, Connecticut. NOTES A letter of authenticity from Hildegard Cummings author of "Charles Ethan Porter: African-American Master of Still Life," accompanies the lot. ESTIMATE $12,000—$18,00032Charles Ethan Porter was born to a free African American family in Rockville, Connecticut in 1874. As a young man he found inspiration in his mother’s garden and in the landscape around him. He saved money to attend art school by working odd jobs. Shortly after the Civil War ended in 1869, Porter became the first African American to attend the National Academy in New York. In 1878, Porter set up a studio in Hartford where his still lifes of fruit and flowers attracted interest from local collectors. His most notable patron, Mark Twain, hung Porter’s work prominently in his dining room. Frederic Edwin Church complimented the artist’s use of color and purchased a painting from Porter’s Hartford studio. An 1879 reviewer commented, “Charles E. Porter, a negro artist of Hartford [makes] admirable pictures of flowers, fruit, butterflies and other insects, all have a finesse and accuracy that would do credit to the microscopic finish of the old Flemish painters.” In 1881, Porter organized an auction in his studio selling 100 paintings for $1,000– enough to fund a two-year trip to Paris. In Paris, he attended the French National Academy for Decorative Arts and the famed Académie Julian. When he returned to Connecticut, he produced some of his best works. Of the present canvas biographer, Hildegard Cummings writes, “For me, the “signature” is the painting itself…I feel certain that Porter painted this work. I would date it to the 1880s, very likely after his 1884 return from study in Paris. The painting has the lusher brushwork, subtler light and color, and compositional complexity that mark his post-Paris work.” Cummings further notes, “I suspect this could be one of the paintings of apples and grapes that was in his Hartford 1887 joint auction with Daniel Wentworth.” Sadly shortly after Porter’s return from Paris the academic style was falling out of favor as Impressionism prevailed. Undeterred, Porter continued painting, creating some of his best works during this period of difficulty. In an attempt to stir interest, he mounted an exhibition of his work in Hartford and despite local support, the sale was unsuccessful. In addition to a change in taste, a poor economy, persistent racism and later poverty and illness led to a precipitous decline in Porter’s career. After 1910, Porter struggled as an artist until his death in 1923. Not until around 1980 did historians, curators and dealers embrace Porter and his significance in the history of American art. Today he is considered a master of still-life.1 1 “Charles Ethan Porter,” from Mattatuck Museum, https://www.mattmuseum.org/charles-ethan-porter

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33 HARRIET WHITNEY FRISHMUTH American (1880-1980) "CREST OF THE WAVE", 1925 bronze signed and dated, "Harriet W. Frishmuth 1925" with foundry mark "Gorham Co. Founders OFHL" height: 21 inches PROVENANCE Private Collection, Maryland; Sotheby’s, New York, New York, April 23, 1998, lot 96; Private Collection, New York, New York. LITERATURE Janis Conner, Leah Rosenblatt Lehmbeck and Thayer Tolles, “Captured Motion: The Sculpture of Harriet Whitney Frishmuth,” (New York, New York: Hohmann Holdings, LLC, 2006), p. 250, cat. no. 1925:5 (another example illustrated). ESTIMATE $8,000—$12,0003334

35CHARLES BURCHFIELD American (1893-1967)

3634 CHARLES BURCHFIELD American (1893-1967) "NIGHTHAWKS AND THE MOON", (1965) 1966 watercolor on paper initialed and dated lower left "CB (1965) 1966" 34 3⁄4 x 26 1⁄8 inches (sight) PROVENANCE The artist; Frank Rehn Gallery, New York, New York; Herbert A. Goldstone Collection; ACA Galleries, New York, New York; A Connecticut estate. EXHIBITED New York, New York, ACA Galleries, "2nd Annual Art on Paper, Drawings - Pastels - Watercolors by distinguished Contemporary and early 20th Century American Artists", December 2, 1969 - January 3, 1970. LITERATURE Joseph Trovato, "Charles Burchfield: Catalogue of Paintings in Public and Private Collections," (Utica, New York: Munson-Williams-Proctor Institute, 1970), no. 1326, p. 315 (illustrated).; "Nighthawks and the Moon", in "Art in America", 55 (May 1967): 96.; Colleen L. Makowski, "Charles Burchfield: An Annotated Bibliography", (London: Scarecrow Press, Inc., 1996), "Periodical Articles 1160", p. 160. NOTES A copy of the record and purchase receipt from ACA Galleries accompanies this lot. We are grateful to Nancy Weekly, Burchfield Scholar, at the Burchfield Penney Art Center, Buffalo, New York for her assistance cataloging this lot. A research report compiled by Nancy Weekly accompanies this lot. ESTIMATE $200,000—$300,000The work of Charles Burchfield is most decidedly founded, not on art, but on life, and the life he knows and loves best.1 -Edward Hopper In 1956 the Whitney Museum of American Art organized a comprehensive retrospective of Burchfield’s work, “Charles Burchfield.” The exhibition toured at six venues across the United States. With the success following this show, Burchfield was free from financial burdens that had plagued him during much of his life. He was able to create dynamic and free form watercolors again drawing from his childhood memories. In a review of a 1966 Burchfield exhibition at the Frank K.M. Rehn Gallery critic John Canaday wrote, “Mr. Burchfield was born in 1893; he has been painting for 50 years; he has had an upper-bracket American reputation for close to 40 years, and 10 years ago he was given a retrospective at the Whitney Museum as a windup. The surprise is that the new exhibition of 16 large water-colors, completed within the last five years, must surely be the freshest, most attractive Burchfield show yet.”2 Canaday continues, “He has not greatly changed or enlarged the manner in which he has been painting since the mid-nineteen-forties, (...), but he has never painted with a surer touch or a more delicate one. He has never caught us up more effectively into his poetic vision of sunlight (or moonlight), skies, wind and flowers (or winter trees).” Nighthawks and the Moon is wholly representative of Canaday’s impressions at the Rehn show. In this composition, a masterwork by the artist, Burchfield absorbs the viewer in his reality of nature. The composition vibrates with the sound of rustling leaves, birds and wind. In the sky, the moon is full of life casting a silver glow over the whole scene. Burchfield died in 1967 in West Seneca, New York. After his death President Lyndon B. Johnson memorialized him saying “During a period of great urbanization and industrialization, he focused our vision on the eternal greatness of living things. He was an artist to America.” 1 John Canaday, “Art: A Poet’s Celebration of Nature,” in The New York Times, (October 8, 1966). 2 Edward Hopper, Arts Magazine, July 1928.

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35 CHARLES BURCHFIELD American (1893-1967) "FIRES OF SPRING IN BIG WOODS", FEBRUARY, 1951 watercolor on joined paper stamped with C.E. Burchfield Foundation stamp and numbered "59" lower right 39 1⁄8 x 29 1⁄4 inches (sight) PROVENANCE Frank K.M. Rehn, Inc., New York, New York; Kennedy Galleries, Inc., New York, New York; A Connecticut estate. NOTES A copy of the purchase receipt from Kennedy Galleries accompanies the lot. We are grateful to Nancy Weekly, Burchfield Scholar, at the Burchfield Penney Art Center, Buffalo, New York for her assistance cataloging this lot. A research report compiled by Nancy Weekly accompanies this lot. ESTIMATE $150,000—$250,00038The fires of spring have been kindled on the southern horizon, —and will later be whipped by the late winter winds, into vast white flames that will reach to the zenith. The brilliant day star swings in its blinding cause thru the remote blue sky, while to the north, great cold blue gray masses of snow clouds, with vivid white tops, accent the sunlit fields. The wind is from the north, bitterly cold, with a fine cutting edge. At times light flurries of snow fill the air & lit up by the filtered sunlight turn to a myriad of dazzling sparks. -Charles Burchfield (January 26, 1946) By 1951, when Fires of Spring in Big Woods was painted, Charles Burchfield had achieved remarkable success as an artist. Frank K.M. Rehn Galleries in New York had become his dealer in 1929 allowing Burchfield to work as an artist full-time. In 1926 he built a studio at his home in Gardenville, New York in the suburbs of Buffalo. His career highlights up to this point included a 1930 exhibition at the Museum of Modern Art (MoMA) in New York, “Charles Burchfield: Early Watercolors, 1916-1918”; inclusion in an exhibition of American art at the Jeu de Pomme in Paris; commissions to paint the railroad yards in Pennsylvania and the mines in Texas and West Virginia; and inclusion in MoMA’s 1939 exhibition “Art in Our Time”. He had sold his first painting in a public collection to the Brooklyn Museum in 1921 and in 1952 sold Sun and Rocks to the Metropolitan Museum of Art. Burchfield was an artist unlike any other. He had intentionally distanced himself from city life and felt out of place in the established art scene from his first art class in New York. His preference for suburban subjects has aligned him with the works of Regionalist artists led by Thomas Hart Benton, John Steuart Curry and Grant Wood although the association was firmly rejected by Burchfield. In the early 1940s, Burchfield began revisiting fantastical ideas and often created transcendental landscapes from them. He sought to probe the mysteries of nature to reveal his inner emotions. As quoted above, the “fires of spring” fascinated Burchfield. As the early spring sun hinted of warmer days ahead, the woods seemed on fire— this feeling is what Burchfield was so uniquely able to capture with his brush.

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36 CHARLES BURCHFIELD American (1893-1967) "RAINDROPS, MAY 1917" watercolor and gouache on paper signed and dated lower right "C. Burchfield 1917" 20 1⁄4 x 17 1⁄8 inches (sight) PROVENANCE Frank K.M. Rehn, Inc., New York, New York; Andrew Crispo Gallery, New York, New York; Kennedy Galleries, Inc., New York, New York; A Connecticut estate. EXHIBITED New York, New York, Frank K.M. Rehn Galleries, Inc., "Charles Burchfield: Watercolors, Our Fiftieth Anniversary Exhibition", October 1 - 20, 1973, checklist no. 23; New York, New York, Andrew Crispo Gallery, New York, New York, "Ten Americans", May 16 - June 30, 1974, cat. no. 29 (illus.); New York, New York, Kennedy Galleries, Inc., "Charles E. Burchfield Watercolors: Visual Music", October 13 - November 13, 1976, cat. no. 41 (illus.); New York, New York, Kennedy Galleries, Inc., "Burchfield's Seasons", April 28 - May 29, 1982 (cat. no. 1). LITERATURE Nanette V. Maciejunes, "Strange Phantom Lands", in "Charles Burchfield: Watercolors 1915-1920", (New York: Kennedy Galleries, 1990), exhibition catalog, cat. no. 18 (illustrated). NOTES A copy of the purchase receipt from Kennedy Galleries accompanies the lot. We are grateful to Nancy Weekly, Burchfield Scholar, at the Burchfield Penney Art Center, Buffalo, New York for her assistance cataloging this lot. A research report compiled by Nancy Weekly accompanies this lot. ESTIMATE $50,000—$75,00040Charles Burchfield was born in Ashtabula Harbor, Ohio in 1893. When he was just five years old, his father died and Burchfield moved with his family to Salem, Ohio. In 1916 he was awarded a scholarship to the National Academy of Design in New York City but left after just one day in life-drawing class. The same year he graduated from the Cleveland School of Art and started working at the W. H. Mullins Company, a manufacturer of architectural metals, back in Salem. Of his experience in New York, Burchfield historian Joseph Trovato writes, “Even when he went to study at the National Academy of Design, he was seemingly untouched by the contemporary New York art scene. Indeed, he was so homesick for the sights of Salem, Ohio, his childhood home, that he returned there after only two months in New York…It was during his Salem days that he was most productive. From 1915 to 1920 he did almost half of his total number of paintings– the best of which are among the most original achievements in American art.”1 Burchfield was raised with his four siblings in a lower-middle-class neighborhood in Salem, Ohio. He would walk home during his lunch breaks from the Mullins Company to work on his watercolors and paint in the evening and on the weekends. Burchfield was a very shy, introverted young man. He drew inspiration from his surroundings, the factories, houses, gardens, churches, and personalities in his community. He would roam the countryside and paint farmhouses in his idiosyncratic style with expressionistic light and bold colors giving the scenes a mythical appearance. He would find the expressive potential of factories and old houses possibly inspired by contemporary Midwestern novelist Sherwood Anderson. It was during this time that he painted the present lot, Raindrops, May 1917. Trovato notes that Burchfield believed 1917 was his “golden year” and one of his most productive. Burchfield planned his weekends sketching and annotating ideas on his work breaks. In the summertime, he ventured outside recreating memories of his childhood. He began to experiment visualizing sound and developed his own shorthand of graphic symbols based on natural forms.2 In the Kennedy Galleries exhibition catalog, Nannette V. Maciejunes notes, “For Burchfield, Salem itself was the embodiment of his boyhood. The houses and buildings of his hometown provoked powerful, emotionally charged memories. Increasingly during 1917 the artist turned to these sites for his subjects. Many works like Noon Sunlight in Winter (no. 14) represent views as they appeared from the window of Burchfield’s bedroom, where he so often painted. Others, like the expressionistically rendered Raindrops (no. 18), depict sites located along Burchfield’s daily route to work.”3 In July of 1918 Burchfield was inducted into the Army where he painted camouflage. He was honorably discharged in January of 1919 and then returned to Salem. In November 1921 Burchfield was offered a position in Buffalo, New York. He married and moved to Buffalo in 1922. In his spare time, he continued, as before in his native Ohio, to paint the industrial landscape in his surroundings. Seven years later, with the help of New York City dealer Frank Rehn, Burchfield was finally able to devote himself full-time to his art. 1 Joseph Trovato, “Charles Burchfield: Catalogue of Paintings in Public and Private Collections,” (Utica, NY: Munson-Williams-Proctor Institute, 1970), p. 55. 2 Joseph Trovato, “Charles Burchfield: Catalogue of Paintings in Public and Private Collections,” (Utica, NY: Munson-Williams-Proctor Institute, 1970), p. 8. 3 Nanette V. Maciejunes, “Strange Phantom Lands”, in “Charles Burchfield: Watercolors 1915-1920”, exhibition catalog, (New York, New York: Kennedy Galleries, Inc.), cat. no. 18.

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42373837 ALEXANDER HELWIG WYANT American (1836-1892) "THE UPPER SUSQUEHANNA" oil on canvas signed lower right "A. H. Wyant," signed and titled on a label on the reverse 15 1⁄2 x 26 3⁄4 inches PROVENANCE Private Collection, Massachusetts. NOTES We are grateful to Anthony E. Battelle for his assistance cataloging this lot. ESTIMATE $6,000—$8,00038 EDMUND DARCH LEWIS American (1835-1910) MOUNT WASHINGTON oil on canvas signed lower left "E.D. Lewis" 19 x 32 inches PROVENANCE Private Collection, Massachusetts. ESTIMATE $8,000—$12,000

39 HERMANN HERZOG American/German (1832-1932) SUNLIT LANDSCAPE, 1866 oil on canvas signed and dated lower left "Herzog 1866" 37 1⁄2 x 54 inches PROVENANCE Private Collection, Montclair, New Jersey; Private Collection, Pennsylvania. ESTIMATE $15,000—$25,0003943

444041A 41B40 LAURA WOODWARD American (1834-1926) MOUNTAIN VISTA, 1875 oil on canvas signed and dated lower left "Laura Woodward 1875" 8 x 11 inches PROVENANCE Private Collection, New Mexico. ESTIMATE $3,000—$5,00041 WILLIAM RICKARBY MILLER American (1818-1893) "ROAD SCENE NEAR ALBANY, NY", 1878 | HOMESTEAD, 1884 (TWO WORKS) oil on board (a) signed and dated lower center "W.R. Miller 1878," titled on the reverse (b) signed and dated lower left "W.R. Miller 1884" (a) 8 x 6 1⁄4 inches (b) 9 1⁄4 x 7 1⁄4 inches PROVENANCE Private Collection, Massachusetts. ESTIMATE $3,000—$5,000

42 FERDINAND RICHARDT Danish/American (1819-1895) THIRD SISTER ISLAND AT NIAGARA FALLS oil on canvas signed lower center "F. Richardt" 15 1⁄4 x 22 1⁄2 inches PROVENANCE Private Collection, New York. ESTIMATE $7,000—$10,0004245

43 FRANCIS AUGUSTUS SILVA American (1835-1886) "BY THE SEASIDE, NEW JERSEY SHORE", 1883 (KEYPORT, NEW JERSEY) oil on canvas signed and dated lower left "Francis A. Silva 1883" 26 1⁄4 x 40 1⁄4 inches PROVENANCE Private Collection, New Jersey; D. Wigmore Fine Art, Inc., New York, New York; Private Collection, Connecticut; Shannon's, Greenwich, Connecticut, April 25, 2002, lot 97; Property from a distinguished American collection. LITERATURE Mark D. Mitchell, "Francis A. Silva In His Own Light," (New York, New York: Berry-Hill Galleries, Inc.), p. 138. ESTIMATE $200,000—$300,00046Born in New York in 1845, Francis Silva was a second generation Hudson River School painter, who did most of his painting on the banks of the Hudson River and on the Atlantic coastline. He masterfully captured light and atmosphere in his paintings characterizing him as one of the leading Luminist artists of 19th century American painting. Silva was born in New York City to an immigrant barber who had allegedly descended from a French painter at the Portuguese court. As a young artist, he apprenticed to a sign-painter and embellished wooden panes on stage coaches with landscapes and historical subjects. Apart from this experience, there is no recorded formal artistic training recorded in Silva’s biography as he was largely self-taught. During the Civil War he enlisted with the New York State militia. After the war, in 1868, Silva married Margaret A. Watts in Keyport, New Jersey. The couple moved to New York where Silva established himself as an artist. Recovering from the trauma of war, Silva wanted to focus the alluring pleasures of life and render them on canvas. The first paintings he submitted for exhibition to the National Academy of Design were seascapes and throughout the 1870s made frequent excursions to Cape Ann, Narragansett Bay and Nyack on the Hudson. In 1879 he made his first, and only recorded, trip abroad to Venice. In 1880, Silva moved with his family to Long Branch, New Jersey. He maintained a studio in the Tenth Street Studio Building from 1882 until his death and spent the last six years of his life painting the New Jersey coastline.1 “By the Seaside, New Jersey Shore” captures the artist at his most sophisticated period, painted in 1883, while living in Long Branch, New Jersey, and working from his studio in the famed Tenth Street Studio Building. The location of Keyport, New Jersey, was significant to him as this is where he married his wife, Margaret, in 1868. The canvas glows with warm light from the setting sun casting shadow across the inlet where the figures are docking their boats at day’s end. Biographer Mark Mitchell notes, “Silva’s relationship to war and country also defined his relationship to the American seascape; as time distanced him from the events of the war, his memory, an element that he described as essential to art, likewise altered his depictions of the shore. Silva’s art finally represents an end and a beginning in American art.”2 Silva’s life and career were cut short in 1886 when he died of double pneumonia at the age of 51. His works can be viewed in numerous public and private collections including the Brooklyn Museum of Art, the National Gallery of Art in D.C. and the Peabody Essex Museum. 1 “American Paradise: The World of the Hudson River School,” p. 316-318. 2 Mark D. Mitchell, “Francis A. Silva: In His Own Light”, (New York, New York: Berry-Hill Galleries, Inc., 2002), p. 60.

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44 EDWARD MORAN American (1829-1901) SHIPPING AT SUNSET oil on canvas signed lower left "Edward Moran" 11 3⁄4 x 19 1⁄4 inches PROVENANCE Private Collection, New York, New York. ESTIMATE $20,000—$30,00048Edward Moran (1829-1901) was born in Bolton, Lancashire, England in 1829. At the age of fifteen, Moran immigrated with his family to the United States. He first studied landscape and marine painting in Philadelphia and later returned to England to study at the Royal Academy in London. In 1871 he moved to New York City, which would, except for a brief move to France in the late 1870s, thenceforth be his primary city of residence. Today, Thomas Moran is the best known of the large Moran family of artists, including brothers John, a landscape photographer, and Peter, an animal painter. Yet it was Edward who first left the family’s traditional occupation of weaving, and it was he who first taught Thomas and Peter the rudiments of painting and shared his studio with them. Working in Philadelphia in the 1850s, Edward Moran studied with Paul Weber, a popular teacher of Düsseldorf-school landscape painting whose students included William Trost Richards and William S. Haseltine, but the marine painter James Hamilton had a greater influence on Moran’s work. Throughout the 1860s Moran exhibited at venues in New York, Boston and Philadelphia. Before settling in New York, and for the nearly thirty years that he lived there, Moran painted the city’s harbor. At the time, it was the busiest harbor in the United States, providing Moran with inspiration for many paintings, with the port seen at different times of day and in a variety of weather conditions. On an 1861 trip to England, Thomas and Edward Moran discovered the work of J. M. W. Turner, and the pioneering English painter’s sublime, light-filled canvases became the largest influence on both brothers’ work. The frequency of marine subjects in Turner’s oeuvre may have also influenced Edward Moran’s interest in harbor scenes, which became his primary focus after moving to New York in 1872. In 1888 Moran published “Hints for Practical Study of Marine Painting” in the Art Amateur. His most ambitious endeavor was the creation of thirteen works entitled The Edward Moran Series of Historical Paintings Representing Important Epochs in the Maritime History of the United States, which he completed in 1898. At the time of his death in 1901, it was written that “Few artists have painted more charming landscapes or better cattle pieces, and none, perhaps, have surpassed him as a painter of marines. It is as a painter of seascapes, doubtless, that he will live in fame.”1 Shipping at Sunset depicts three men in a rowboat heading away from a schooner in the middle ground. A tugboat passes another schooner in the right distance, and several sails can be seen on the horizon. The distant ships are rendered insubstantial by the brilliance of the setting sun, which glints on the water and tints the clouds in hues ranging from gold to purple. The appealing pastel palette also includes rosy hues in the clouds and waves and the last hints of a blue sky at the top of the composition. Moran’s lightness of touch conveys the impression of moving water and lends the picture a relaxed mood. Moran’s work is represented in numerous public collections, including the Butler Institute of American Art, Chrysler Museum, National Museum of American Art, United States Naval Academy, Denver Art Museum, the Metropolitan Museum of Art, the Boston Museum of Fine Art and the Smithsonian American Art Museum. 1 Hugh W. Coleman, “Passing of a Famous Artist, Edward Moran,” (Brush and Pencil, vol. 8, no. 4, July 1901), p. 188.

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45 MAURICE PRENDERGAST American (1858-1924) "PICNIC" watercolor and pastel on paper signed lower left "Prendergast" 15 3⁄8 x 22 1⁄4 inches (sight) PROVENANCE The artist; Charles Prendergast (the artist's brother), 1924; Mrs. Charles Prendergast (his wife), 1948; Kraushaar Galleries, New York, New York; Mrs. S. R. Field, 1955; Private Collection; Christie's, New York, New York, December 1, 1989, lot 214; Private Collection, New York. EXHIBITED Owen Gallery, New York, New York, "American Paintings, Drawings and Sculpture," April 25 - June 21, 2003. LITERATURE Carol Clark, Nancy Mowll Mathews, Gwendolyn Owens, "Maurice Brazil Prendergast, Charles Prendergast: A Catalogue Raisonné," Williamstown, Massachusetts: Williams College Museum of Art, 1990, p. 810, no. 1342a, illus. (for-merly cat. 1861). NOTES A copy of the original receipt from Owen Gallery accompanies the lot. ESTIMATE $50,000—$75,00050Prendergast’s work in both watercolor and oil bridges the styles of the 19th and 20th centuries. He pushed through a late American Impressionism and an Ashcan-influenced urbanism to a highly modern view. His late work incorporated elements of the fantastical, but the heart of his career, from the early 1900s to the teens, was marked by his unique surface patterning of patches of brilliant color. Although he exhibited among The Eight in 1908, Prendergast was distinctly more cosmopolitan than his cohort, advancing a modernist aesthetic that would wash aside the gritty urbanism exhibited at the Armory Show. Along with his brother, Charles, Maurice also made a significant contribution to the world of fine art framing, becoming highly esteemed in their day. Prendergast was highly sought after by major collectors of the first half of the 20th century, and his work formed part of the core collections of the Museum of Modern Art in New York and the Barnes Foundation in Philadelphia. Prendergast’s representations of daily life are bold and modern interpretations of themes that have attracted artists for generations. His work is characterized by elaborately choreographed, multi-figured panoramas developed throughout his career. Embracing these elements in a careful balance of light and shadow, bright and dark colors, pastel and watercolor, Picnic, is a tour-de-force of Prendergast’s creativity and spirit. The surface of Picnic is vivid and active, a hallmark of Prendergast’s work. Juxtaposing bold spots of color with more fluid and rhythmic curving lines, the artist overlaps watercolor, pencil and pastel. The final composition is a splendid example of Prendergast’s inspired ingenuity. In addition, Picnic reveals the influence of modern European masters such as Paul Cézanne and Henri Matisse on Prendergast’s style. Prendergast traveled extensively throughout Europe in the late 19th and early 20th centuries and adapted the innovations of these artists to develop his characteristic and unique style. Of his works from the same decade, Prendergast scholar Richard J. Wattenmaker notes “are the culmination of more than thirty years of patient and determined exploration, trial and error, wholly personal variations on subjects that have captivated the most subtle and sophisticated minds of the Western tradition since the dawn of the Renaissance. Prendergast’s comprehensive experiments within this humanistic tradition bring to bear his unique adaptations of ideas from both East and West. If modern painting is primarily about extending the boundaries of color and color relations, Maurice Prendergast has a stature that guarantees him an important place in the pantheon with the masters he so admired and whose ideas he so richly repaid.”1 1 Maurice Prendergast, (New York, New York: Abrams, 1994), p. 143-5.

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46 GUY CARLETON WIGGINS American (1883–1962) "BROAD ST. AND THE SUB TREASURY" oil on canvas signed lower left "Guy Wiggins N.A.," signed and titled on the reverse 30 x 25 inches PROVENANCE Property from a distinguished American collection. ESTIMATE $100,000—$150,00052Guy C. Wiggins was born in Brooklyn, New York in 1883. His father, Carleton Wiggins, was an accomplished landscape artist who enjoyed a successful career as an artist. According to an article on the Wiggins family written in 2011, “He [Carleton Wiggins] pressed a palette and paints into his young son’s hands. By age 4, Guy Carleton Wiggins was churning out watercolors that foreshadowed a talent greater than his father’s.” (Ann Farmer, “A Family of Painters is Having Its Moment,” New York Times, June 6, 2011) Wiggins first studied architecture at Brooklyn Polytechnic Institute then left to pursue fine arts training at the National Academy of Design. The architecture of New York City became his muse and he started painting famous buildings in an impressionistic style. He once said, “If you want to sell paintings, it helps if it’s recognizable to many people.” He became highly successful in the 1920s and 30s selling views of New York City architecture, particularly in the snow. In 1912, he became the youngest artist represented in the Metropolitan Museum’s collection with a painting titled “Metropolitan Tower.” He painted the Executive Mansion from the White House Lawn, a painting that hung in President Eisenhower’s Office. The Great Depression took a toll on sales and Wiggins struggled in the years following the war. He moved with his family permanently to Essex, Connecticut and started the Guy Wiggins Art School. He became an active member of the Old Lyme Art Academy. He started to paint landscapes, however, he continued to paint New York City as a preferred subject, particularly on snowy days. The current example, “Broad St. and the Sub Treasury” is one of Wiggins most sought after subjects, with the Flags waving in the foreground and the palpable energy of Wall Street. Wiggins’ legacy was preserved in the history of American Art and his works are included in numerous public and private collections including the Wadsworth Atheneum in Hartford, Connecticut, the Metropolitan Museum of Art in New York, the Brooklyn Museum, the National Gallery in Washington D.C., and the Art Institute of Chicago.

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47 LOVELL BIRGE HARRISON American (1854-1929) MADISON SQUARE LOOKING TOWARD THE FLATIRON BUILDING, ca. 1910 oil on canvas signed lower left "Birge Harrison" 25 x 30 inches PROVENANCE Godel & Co. Fine Art, New York, New York; A Connecticut estate. NOTES A copy of the purchase receipt accompanies this lot. ESTIMATE $50,000—$75,00054If I were condemned to pass the rest of my life inside the limits of New York City, I should never be at a loss for magnificent subjects to paint. Why, there is material for an artist’s lifetime within a quarter mile of Madison Square… Lovell Birge Harrison trained with some of the best artists of the day and became an influential teacher and co-founder of the Art Students League Summer School in Woodstock, New York. As a painter, he is best known for his tonalist landscapes and cityscapes of Quebec and New York City. Art historian David Adams Cleveland noted of Harrison, “Perhaps no painter of his generation was able to combine such finesse of design, acuity of execution, and depth of emotion…” Harrison was born in Philadelphia in 1854. His father was a wealthy and cultured man who appreciated the arts but wanted his children to pursue more lucrative careers. Despite this, Harrison enrolled at the Philadelphia Sketch Club under the tutelage of Thomas Eakins at the Pennsylvania Academy of Fine Arts (PAFA). At PAFA, in 1876, he met John Singer Sargeant who advised Harrison to pursue studies under Carolus-Duran in Parris. Harrison left for Paris that year and studied with Carolus-Duran, Jules Bastien-Lepage and at the Ecole des Beaux-Arts. The French government recognized Harrison by purchasing one of his paintings from the Salon in 1881. The painting, November, was among the first American paintings purchased by France. While abroad, Harrison traveled extensively in France, Europe and to India, Australia, Asia and Africa. He did illustrations for Scribner’s, Century and Harper’s magazines. When he returned to the United States, he moved first to California. After the death of his first wife, Eleanor Ritchie, he moved back to the East Coast. In 1904 he met Ralph Whitehead and worked as an instructor at Byrdcliffe. He soon moved to nearby Woodstock and eventually became the head of the Woodstock Art Colony. Harrison taught his students what he valued in his own paintings, soft lighting, muted colors, and emotion. After his extensive training and travels, Harrison would return often to New York City subjects, saying; “…I followed his advice [George Inness] from all my excursions out into the world I have returned time and again to the charm of New York streets for my subjects. In spite of the irregularity (because of it, perhaps) New York is certainly one of the most picturesque cities in the world– a temperamental city also, of ever shifting and varying effects, with a mood to suit the brush of every painter who appreciates her.”1 The present canvas is a masterwork by the artist, synthesizing his understanding of Tonalism and Impressionism. In Madison Square Looking Toward the Flatiron Building Harrison captures a rare moment of quiet in the city. The cool serene scene is brought to life with the warm glow from the street lights reflecting on the wet pavement. Another version of this scene was recorded in The Craftsmen from 1908. Like many Impressionist artists, Harrison likely revisited the same scene to capture subtle differences in the atmosphere. Harrison’s paintings are in numerous public and private collections including the Smithsonian American Art Museum, the National Academy Museum, the Fine Arts Museum of San Francisco and the Musee d’Orsay in Paris. 1 “The Picturesqueness of New York Streets: Illustrated in the Paintings of Birge Harrison,” in The Craftsmen, vol. XIII, no. 4, (January 1908), p. 398.

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48 WALTER LAUNT PALMER American (1854-1932) WINTER LANDSCAPE WITH STREAM oil on canvas signed lower left "W.L. Palmer" 40 x 24 inches PROVENANCE Anderson Galleries, New York, New York; Private Collection, New York, New York. LITERATURE Maybelle Mann, "Walter Launt Palmer: Poetic Reality" (Exton, Pennsylvania: Schiffer Publishing, 1984), p. 136, no. 587 (as Late Afternoon, 1911) (possibly). NOTES A label from the American Art Association, Anderson Galleries Inc. is on the reverse. ESTIMATE $70,000—$90,00056Born in Albany, New York, Walter Launt Palmer was the son of the neoclassical sculptor Erastus Dow Palmer. Because of his father’s friendship with Frederic Edwin Church, Palmer became one of the few students of the great landscape painter. In 1874 he studied with Carolus-Duran in Paris, and returned to his atelier in 1876. Palmer’s 1878 submission to the National Academy of Design, an interior scene in the house of the artist and decorator Lockwood de Forest, was met with critical success, and for several years he continued to paint sumptuous interiors bathed in natural light, including the room he shared with Church in the famed Tenth Street Studio Building in New York. Following an 1881 trip to Europe, Palmer added Venetian seascapes to his repertoire of interior and landscape subjects. Palmer began to investigate the effects of light on snow in the mid-1880s, and after his January won the prestigious Hallgarten prize at the National Academy in 1887, he settled on winter landscapes as the primary subjects of his art. Long praised for his use of color, Palmer had finally found the subject matter in which this talent could be fully appreciated, and he enjoyed a successful career as a painter in oil, watercolor, gouache, and pastel through the 1920s. In Winter Landscape with Stream, a thick trunk of a lone pitch pine anchors the composition, while its branches and needles blend in with a stand of pines clustered toward the top of a hill. Dead branches and grasses, reminders of the past fall, stick up through the thick snow in the foreground, even as a small rivulet of running water cuts through the snow, signaling the thaw and the coming of spring. Palmer combined this close-up glimpse of snowy wilderness with a hazy view of more snow and woods in the distance, in order to suggest that the type of landscape encountered in the foreground extends for miles. At first glance, the white of the snow and the green and brown of the trees appear to dominate Palmer’s palette. On closer inspection, however, a surprisingly wide range of colors appear, and precious little green, brown, or white is to be found among them. Creamy off-whites, applied in some cases with considerable impasto, indicate patches of sunlight on the snow, together with pale pink middle tones and pale and darker blue shadows. In the trees, yellow and orange give warmth and texture to the needles, and a rich mixture of yellow, orange, lavender, and deep purple describe the afternoon light on the rough bark of the pines. Again, while Palmer’s forms appear carefully drawn and solidly modeled from far away, a closer look reveals that sweeping brushwork fills the painting from the foreground to the distance. Since there is only one recorded work by Palmer with the same dimensions as Winter Landscape with Stream, it is quite possible that our painting is the one recorded as Late Afternoon, 1911, in Maybelle Mann’s catalogue raisonné of the artist’s work. The light effect in the present lot corresponds to this title, and the similarity of the painting’s composition to another work from 1911, The Hillside (location unknown), further strengthens this possibility. Palmer’s works can be found in the collections of The Metropolitan Museum of Art, New York; Museum of Fine Arts, Boston; Smithsonian American Art Museum, Washington, D. C.; and Butler Institute of American Art, Youngstown, Ohio.

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49 JOHN MARIN American (1870-1953) MARIN ISLAND, SMALL POINT, MAINE SERIES NO. 14, 1928 watercolor on paper signed and dated lower right "Marin 28" 16 1⁄4 x 20 3⁄4 inches (sight) PROVENANCE An American Place, New York, New York; Kennedy Galleries Inc., New York, New York; A Connecticut estate. EXHIBITED Ogunquit, Maine, The Ogunquit Museum of American Art, "John Marin: Maine Watercolors," July 1 - August 13, 1997. NOTES A copy of a label from Alfred Stieglitz' An American Place Gallery, removed from the reverse of this work when it was reframed accompanies the lot. ESTIMATE $25,000—$35,00058John Marin was born in Rutherford, New Jersey in 1870. His mother died shortly after he was born and he was raised by his relatives in Weehawken – right across the Hudson from New York City. Marin attended the Stevens Institute of Technology for one year and worked as an professional architect for six years before deciding to pursue a career as an artist. From 1899-1901 he studied at the Pennsylvania Academy of Fine Arts where he met Arthur Beecher Carles, a lifelong friend. He also studied at the Art Students League in New York. Like many artists of the period, Marin went to Paris to study at the Academie Julian. He returned to New York in 1909 influenced by Cezanne and the avant garde fauvist and cubist movements. Photographer Edward Steichen had seen Marin’s works at the Salon d’Automne in 1909 and introduced him to Alfred Stieglitz who was also in Paris. Marin’s work impressed Stieglitz, a noted American photographer and art dealer, who hosted Marin’s first exhibition at his New York gallery known as “291.” Stieglitz became an important advocate for Marin’s work and exhibited his works more than any other artist except Georgia O’Keeffe. By the early 1910s Marin had established himself in New York City and traveled regularly through New York state and New England. His style matured and he adapted the avant-garde European ideas that had impressed him into his own distinctive style. In 1912 Marin married and settled with his new family in Cliffside, New Jersey. In 1914, the couple made their first trip to Maine. Marin found a well of inspiration in Maine and would return annually. Marin typically painted en plein air, or outdoors, successfully capturing the fleeting atmosphere, changing water and moving light. He writes in a letter from Small Point, Maine, “Outdoor painting as such is just a Job–to get ahead down what’s ahead of you—water you paint the way water moves—Rocks and soil you paint the way they were worked for their formation—Trees you paint the way trees grow. If you are more or less successful these paintings will look pretty well indoors for they have a certain rugged strength which will carry them off in a room–though they seemingly bear no relationship to the room.” The present work depicts Marin Island, an island purchased by Marin shortly after his wedding. The island proved to be inhospitable for the family but it provided Marin with a subject he would return to on numerous occasions. A sticker from the back of the painting indicates that this work was exhibited at An American Place which was Stieglitz’ last gallery. There, Stieglitz hosted annual exhibitions of works by Marin, O’Keefe and Arthur Dove.

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50 ANDREW WYETH American (1917-2009) "GATE CHAIN", 1967 watercolor on paper signed in pencil lower right "A. Wyeth" 20 3⁄4 x 13 1⁄4 inches (sight) PROVENANCE The artist; Coe Kerr Gallery, New York, New York; Private Collection, New York; Herbert Goldstone, New York, New York; ACA Galleries, New York, New York; A Connecticut estate. EXHIBITED New York, New York, The Metropolitan Museum of Art, “Two Worlds of Andrew Wyeth: Kuerners and Olsons,” 1976 (cat. no. 34). LITERATURE Thomas Hoving and Andrew Wyeth, “Two Worlds of Andrew Wyeth: Kuerners and Olsons,” The Metropolitan Museum of Art Bulletin, v. 34, no. 2 (Fall, 1976), cat. no. 34, illustrated in black and white. NOTES This work will be included in the forthcoming catalogue raisonné of Andrew Wyeth's work by Betsy James Wyeth. A copy of the record and purchase receipt from ACA Galleries accompanies this lot. ESTIMATE $25,000—$35,00060Andrew Wyeth is one of America’s best known Realist painters of the 20th century. His compositions were often imbued with a sense of mystery and uncertainty sometimes aligned with Magical Realism. Wyeths works were initially well received but his popularity declined in the 1960s with the emergence of abstraction and conceptual art. Wyeth refused to change his style and continued to find inspiration in the rural environments of Maine and Pennsylvania. Since his death in 2009, Wyeth’s work has been reconsidered in the context of Contemporary art. He is now one of the most sought-after American artists and his works resonate with a broad audience. In 1976, the Metropolitan Museum of Art organized the exhibition “Two Worlds of Andrew Wyeth: Kuerners and Olsons,” combining works from two of Wyeth’s favored sources of inspiration; the Kuerner farm in Chadds Ford, Pennsylvania and the Olson’s farm in Cushing, Maine. In both places, Wyeth depicted the homes, the landscape and the families for decades in over 1,500 studies for numerous finished paintings. Karl Kuerner, a friend and neighbor, owned a farm over the hill from Wyeth’s childhood home in Chadds Ford, Pennsylvania. As a child, Wyeth was fascinated by Kuerner, a soldier who was wounded while fighting with the German army and moved to America after the war. Kuerner’s life and the utilitarian nature of the farm were immediately attractive to Wyeth. As early as 10 years old, Wyeth painted watercolors at Kuerner’s farm. Later in life, Kuerner would give Wyeth free reign and a key to his house to paint in any room, whenever he liked. Of Kuerner’s farm in Chadds Ford, Wyeth said, “To see the hills capped with snow in the wintertime or to look at the tawniness of the fields in the fall all made me want to paint it. But here again, I backed into it. I didn’t think it was a picturesque place. It just excited me, purely abstractly and purely emotionally.” The present lot, “Gate Chain,” depicts a fence post with a gate chain in meticulous detail. The cracks splitting at the top, the knots in the wood, and the darkening of the post at the wet base are all discernible. In the distance, the farm house and evergreens are visible against the bright white of the snow. The still quiet of the scene adds to the mystery. Of his work in general Wyeth commented, “I prefer winter and fall, when you feel the bone structure of the landscape– the loneliness of it, the dead feeling of winter. Something waits beneath it, the whole story doesn’t show.”

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51 EDMUND CHARLES TARBELL American (1862-1938) PEONIES, 1927 oil on canvas signed lower right "Tarbell" 28 x 38 inches PROVENANCE Vose Galleries, Boston, Massachusetts; Property from a distinguished American col-lection. LITERATURE Patricia J. Pierce (ed.), "Edmund C. Tarbell and the Boston School of Painting," (Hingham, Massachusetts: Pierce Galleries, 1980), p. 147 (illustrated). EXHIBITED Boston, Massachusetts, Museum of Fine Arts, "Special Loan Exhibition of Paintings by Frank W. Benson and the Late Edmund Tarbell," November 16 - December 15, 1938; Orlando, Florida, Orlando Museum of Art, "Hidden Treasures: American Paintings from Florida Private Collections," January 4 - February 23, 1992; Chadds Ford, Pennsylvania, Brandywine River Museum, "Flower Painting, An American Tradition," June 2 - September 9, 1994. ESTIMATE $30,000—$50,00062Edmund Charles Tarbell, as both a teacher and painter, was a leading influence in the development of the Boston School and a founding member of the celebrated American Art group “The Ten.” Tarbell, born in West Groton, Massachusetts, spent his life in New England. As a young artist, he lived in Boston teaching at the Museum School and painting portraits in his own unique Impressionist style. He quickly became a success and in 1905 moved with his family to suburban New Castle, New Hampshire. When Tarbell was fifteen he was sent to live in Boston with his grandparents. When his grandfather died in 1877, his mother and step-father returned to Boston to care for Tarbell and his step-sister, Nellie. In Boston he took a job at a lithography firm and began to take art classes at the Boston Museum of Fine Arts School as a student of Otto Grundman. There he met Frank Benson and Robert Reid, later fellow organizers of “The Ten.” From 1884-1886, Tarbell traveled through Europe with Benson, Reid and Abbott Fuller Graves studying at the Académie Julian and visiting Venice. Upon his return to the United States, Tarbell sought out William Merritt Chase in New York who at the time was president of the Society of American Artists. Tarbell joined the Society and was an exhibiting member. In 1898, he was a founding member of “The Ten,” a group of artists including John Henry Twachtman, J. Alden Weir and Childe Hassam, who resigned from the Society. In Boston, he taught at the Boston Museum School becoming head of the department in 1890 and for the next twenty-three years. Following his resignation in 1913, Tarbell founded the Guild of Boston Artists. In 1918, Tarbell was chosen to direct the Corcoran School of Art. He spent seven years in D.C., where he was commissioned to paint President Woodrow Wilson among others before retiring to New Hampshire. In New Hampshire, Tarbell frequently painted the pink and white peonies that were abundant in his flower garden. Tarbell’s peony paintings may resemblel the peonies painted by Édouard Manet that Tarbell would have seen as a young student artist in Paris during the 1880s. The peacock on the screen in the background may reference the flowers’ association with Asian art. Peonies were Tarbell’s favorite flower and the subject of several still-life canvases. Tarbell’s influence on the Boston Impressionists cannot be overstated. His students and many of his colleagues were termed “Tarbellites.” They followed his high standards in technique and in his preference for genteel subjects attracting American collectors who had previously favored European artists. Tarbell’s paintings are included in numerous public and private collections and he is considered an influential figure in American art history. His paintings can be viewed at the National Gallery of Art in D.C. and the Metropolitan Museum of Art in New York.

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52 JULIAN ALDEN WEIR American (1852-1919) RHODODENDRONS, ca. 1900 oil on canvas signed lower left "J. Alden Weir" 20 x 24 inches PROVENANCE Property from a distinguished American collection. EXHIBITED Orlando, Florida, Orlando Museum of Art, "Hidden Treasures: American Paintings from Florida Private Collections," January 4 - February 23, 1992. LITERATURE Nicolai Cikovsky, Jr., “A Connecticut Place: Weir Farm, An American Painter’s Rural Retreat,” (Weir Farm Trust, 2000), p. 109, fig. 94 (illustrated).; Josiah B. Millet (ed.), “Julian Alden Weir: An Appreciation of his Life and Works,” (New York, New York: The Century Club, 1921), p. 135. (Lists “Rhododendrons,” 20 x 24 inches, in the collection of R.C. and N.M. Vose. This is probably the present lot.) ESTIMATE $20,000—$30,00064Julian Alden Weir was the son of historical painter Robert W. Weir, who served as the drawing instructor at the U.S. Military Academy in West Point, New York for over forty years. Although many of the Weir family were painters, J. Alden unquestionably established the career of most renown. Weir originally studied painting under his father and then studied at the National Academy of Design in New York before traveling to Paris to study at the Ecole des Beaux-Arts in 1873. He returned to the United States late in 1877 and began teaching classes at the Cooper Institute and the Art Students League in New York. In the 1880s Weir moved to rural Wilton, Connecticut, after having acquired farm property, now the Weir Farm National Historic Site, through his marriage to Anna Baker in 1883. While there, he strengthened his friendship with artists Albert Pinkham Ryder and John Henry Twachtman. The paintings of Weir and Twachtman are especially well aligned, and the two sometimes painted and exhibited together. Both taught at the Art Students League. In 1889, the two artists exhibited and sold a large portion of their paintings at Ortgies Gallery in New York. Around 1890 Weir began adopting an Impressionist style, which suited his growing interest in painting landscapes. He continued to gain further notoriety and in 1893, the American Art Association grouped his works together with those by Twachtman for a comparative exhibit with pieces done by Claude Monet and Paul Besnard. Such a prestigious event meant that the art world had taken notice of the American brand of Impressionism. He was soon considered to be a leading member of the new Impressionist group of painters emerging in America at that time. In 1898, along with Twachtman, he became one of the founding members of The Ten, a group including Willard Metcalf, Childe Hassam, Edmund Tarbell and Thomas Dewing. The group exhibited together and rebelled against what they regarded as mediocrity and conservatism in American Art. Rhododendrons is a prime example of Weir’s ability to use color, light and shadows to create an exceptional example of American Impressionism at its best.

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53 JONAS LIE American/Norwegian (1880-1940) THE WHARF oil on canvas signed lower left "Jonas Lie" 34 x 36 inches PROVENANCE Property from a distinguished American collection. ESTIMATE $15,000—$25,00066Born 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 in New York. 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 United States, 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 and Carol Lowery, Jonas Lie, (New York, Spanierman Gallery, 2005), p. 13. [2] ibid., p. 28.

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54 EMILE ALBERT GRUPPE American (1896-1978) "THE YANKEE" oil on canvas signed lower right "Emile A. Gruppe," signed and titled on the stretcher 20 x 24 inches PROVENANCE Skinner, Boston, Massachusetts, February 1, 2013, lot 487; Private Collection, Florida. ESTIMATE $6,000—$8,0005468

556955 ANTHONY THIEME American (1888-1954) "ROCKPORT" oil on canvas signed lower right "A. Thieme," titled on the reverse 25 x 30 inches PROVENANCE Private Collection, Pennsylvania; Christie's, New York, New York, October 7, 1997, lot 124; Private Collection; Red Baron Antiques, Atlanta, Georgia; Private Collection; Christie's, New York, New York, February 27, 2013, lot 98; Private Collection, Florida. EXHIBITED Rockport, Massachusetts, Rockport Art Association, "Anthony Thieme 1888-1954," October 2 - November 14, 1999. LITERATURE J.A. Curtis, "Anthony Thieme: 1888-1954," exhibition catalog, Rockport, Massachusetts, 1999, p. 13, illustrated. NOTES A sketch by the artist is on the reverse. ESTIMATE $7,000—$10,000

56 EMILE ALBERT GRUPPE American (1896-1978) "THE BANYAN" oil on canvasboard signed lower right "Emile A. Gruppe," signed and titled on the reverse 20 x 16 inches PROVENANCE Carole Isaacs, Watchung, New Jersey. ESTIMATE $3,000—$5,00056577057 EMILE ALBERT GRUPPE American (1896-1978) "GOLDEN BIRCHES" oil on canvas signed lower right "Emile A. Gruppe," titled on the stretcher 30 x 24 inches PROVENANCE Daughter of the artist; Private Collection, Connecticut. ESTIMATE $4,000—$6,000

58 HARRY AIKEN VINCENT American (1864-1931) "ROCKPORT, MASS." oil on canvas signed lower left "H.A. Vincent," titled on the stretcher 25 x 30 inches PROVENANCE Private Collection, Massachusetts. ESTIMATE $10,000—$15,0005871

7259 OLIVE PARKER BLACK American (1868-1948) SUMMER LANDSCAPE oil on canvas signed lower left "Olive P. Black" 25 x 30 inches PROVENANCE Private Collection, Connecticut. ESTIMATE $3,000—$5,000596060 HOMER DODGE MARTIN American (1836-1897) AUTUMN LANDSCAPE WITH PUMPKIN PATCH oil on canvas unsigned 12 1⁄2 x 20 3⁄4 inches PROVENANCE Property of a Private Collector; Berry-Hill Galleries, Inc., New York, New York; Alexander Gallery, New York, New York; The Metropolitan Museum of Art, New York, New York; Collection of J.P. Morgan; Bonhams, San Francisco, California, December 9, 1999, lot 5012; Private Collection, St. Louis, Missouri. LITERATURE Alan Burroughs. "Limners and Likenesses: Three Centuries of American Painting," (Cambridge, Massachusetts: Harvard University Press, 1936), plate 121. ESTIMATE $5,000—$7,000

61 JOHN JOSEPH ENNEKING American (1841-1916) RIVER AMONG THE PINE TREES, 1905 oil on canvas signed and dated lower right "Enneking 05" 24 x 30 inches PROVENANCE Private Collection, Boston, Massachusetts; Descended in the family to the current owner; Private Collection, Connecticut. ESTIMATE $7,000—$10,00061627362 WILLIAM LOUIS SONNTAG American (1822-1900) "SHADOWS RISING AND SUN SETTING, NEW HAMPSHIRE" oil on canvas signed lower right "W.L. Sonntag," titled and signed on a label on the reverse 20 x 31 inches PROVENANCE Spanierman Gallery, New York, New York; Owen Gallery, New York, New York; Private Collection, New York. ESTIMATE $7,000—$10,000

7463 RICHARD WILLIAM HUBBARD American (1817-1888) LANDSCAPE WITH FIGURES oil on canvas initialed lower right "RWH" 8 1⁄2 x 14 1⁄4 inches PROVENANCE Descendants of the artist; Rifkin Fine Arts, Bronx, New York; Christine Isabelle Oaklander, Ph.D., Pennsylvania. ESTIMATE $4,000—$6,000636464 EVELINA (NINA) MOUNT American (1837-1920) SUMMER AFTERNOON AT THE SHORE oil on panel signed lower right "Nina Mount" 16 1⁄2 x 25 3⁄8 inches PROVENANCE Private Collection, New York, New York. NOTES Nina Mount was the niece of William Sidney Mount. At the age of four, Nina’s father passed away and she moved in with her uncles, who encouraged her to paint. Her artistic talents were obvious at an early age. Her landscape paintings almost always featured the area around their family home in Stony Brook, New York. Nina rarely sold any of her paintings, but rather gave them as gifts to family and friends. Many of her paintings are now at the Long Island Museum in Stony Brook, New York. ESTIMATE $2,500—$3,500

7565 EDWARD LAMSON HENRY American (1841-1919) TRUE COMPANIONS, 1879 oil canvas signed and dated lower right "E.L. Henry 79" 10 1⁄2 x 13 1⁄8 inches PROVENANCE Private Collection, New York. ESTIMATE $5,000—$7,000656666 GEORGE GUNTHER HARTWICK American (1817-1899) VIEW IN UPSTATE NEW YORK, 1855 oil on canvas signed, inscribed and dated lower center "G. Hartwick N.Y. 1855" 33 x 48 inches PROVENANCE Kennedy Galleries, Inc., New York, New York; Private Collection, Westchester County, New York; by descent to the current owner. LITERATURE Kennedy Galleries, Inc., "Kennedy Quarterly," March 1967, vol. VII, no. 1, p. 33 (illus.). ESTIMATE $5,000—$7,000

67 GUY CARLETON WIGGINS American (1883-1962) FIFTH AVENUE SNOWSTORM, ca. 1925 oil on board signed lower right "Guy Wiggins" 24 x 20 inches PROVENANCE Godel & Co. Fine Art, New York, New York; A Connecticut estate. NOTES A copy of the purchase receipt accompanies this lot. ESTIMATE $60,000—$80,00076The son of artist Carleton Wiggins, Guy Wiggins was born in New York in 1883. He attended grammar school in England, then returned to New York to study at the National Academy of Design under William Merritt Chase and Robert Henri. At the early age of twenty, he became the youngest American artist to be represented in the perma nent collection of the Metropolitan Museum of Art, and numerous awards were to follow. Adopting the loose brushwork and vibrant palette of his teachers, Wiggins learned from the start to paint as an Impressionist. For most of his career, Wiggins divided his time between New York City and Connecticut. In 1920 he purchased a farm in the art colony at Old Lyme, where painter Childe Hassam also resided. Hassam’s views of urban life influenced Wiggin’s cityscapes of New York, for which he is most famous. Beginning in the 1920s, Wiggins turned his works’ focus to depicting snow scenes in New York City, a subject which garnered great popularity and commercial success for the artist. The present example, Fifth Avenue Snowstorm, is an early work by the artist, a depiction of people filling the streets as they weather a snow storm on 5th Avenue together. It was painted ten years prior to his official election to full membership in the National Academy of Design in 1935. In 1937, the artist relocated to Essex, Connecticut, where he founded the Guy Wiggins Art School. He continued to travel extensively and remained devoted to the Impressionist aesthetic throughout his long and prolific career as a painter.

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68 ARTHUR WESLEY DOW American (1857-1922) HAYSTACK oil on canvas signed lower left "Arthur W. Dow," signed on the stretcher 26 x 36 inches PROVENANCE Property from a distinguished American collection. ESTIMATE $50,000—$75,00078A champion of fine craftsmanship in a wide variety of art media, Dow was a leading figure in the Arts and Crafts revival that became prominent in America in the late nineteenth and early twentieth centuries. He advocated principles of pure design and promoted the creation of handmade rather than machine made objects. His ideas were revolutionary for the period; he taught that rather than copying nature, art should be created by elements of the composition, like line, mass and color.[1] His teaching greatly influenced the first generation of American modernists including Max Weber, Charles Burchfield and Georgia O’Keeffe. Dow also played an important role in American art as his work bridged the gap between Eastern and Western art. While his aesthetic owed a great deal to Eastern art, and to the implementation of decorative rhythms and flat pattern, Dow’s work was not governed by a programmatic approach. His early paintings bear the imprint of the French Barbizon school, and a subsequent affinity for cloudy days and nocturnes suggests an interest in the principles of Tonalism. If his paintings are invariably evocative, they are evocative in different ways, their abstractions always closely derived from natural sources and actual phenomena. Thus, even his most poetic and abstract works are based on careful observation, and depict specific recognizable places.[2] The landscape of his hometown of Ipswich, Massachusetts was a lifelong inspiration for Dow. After 1900, Dow maintained a studio in Ipswich and conducted summer classes there. Possessed of an intimate knowledge of the town’s hills and marshes, in his art Dow used the land to suit his compositional needs, which in turn reflected the influence of both New England Transcendentalism and Japanese design. The spiritual essence of the landscape was viewed through his refined graphic sensibility. The nearby marshes were frequent subjects of Dow’s landscapes. His work in print media took up most of his time during the first decade of the century but, when he returned to oils in 1907, he began to experiment with a brighter palette and more expressive brushwork as is evident in the current example Haystack. Dow’s technique demonstrates the broad brushstrokes and interest in the play of light, shadows, and reflections that are characteristic of American Impressionism. [1] Cody Hartley, Like Breath on Glass: Whistler, Inness, and the Art of Painting Softly (Williamstown: Sterling and Francine Clark Art Institute, 2008), 81. [2] Douglas C. Allen. “United States of America: Art Education”

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8069 DALE NICHOLS American (1904-1995) EVENING CHORES oil on canvas signed lower right "Dale Nichols" 30 x 40 inches PROVENANCE Property from a distinguished American collection. ESTIMATE $40,000—$60,000“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 recreations of farm life. As a child, he worked on his family farm and walked to school. At the time, the search for a defined American Art was growing and the public was interested in scenes of American life. American collectors in the 1930s looked to buy Rural Regionalist art to capture the disappearing idyllic agricultural lifestyle. Nichols emerged as an artist when Regionalism and Rural Regionalism were growing as a collecting genre. His paintings are classified as a succession from Regionalist masters Grant Wood, Thomas Hart Benton and John Steuart 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. Aside from his commercial success, around 1933, Nichols set out to become a painter. He found ample inspiration from his childhood and repeatedly painted scenes of farm life and barns. As an artist, he was well recognized and enjoyed critical acclaim. In 1934, his painting End of the Hunt received an award from the Art Institute of Chicago and in 1939 it was purchased by the Metropolitan Museum of Art in 1939 where it still hangs today. The taste for Regionalism waned in the subsequent decade and Nichols moved to Arizona in 1940. He briefly started an art school and then moved to various locations throughout the United States including living on a small yacht. In 1960, he moved to Guatemala for some time. He painted his surroundings but continued to paint barn scenes even after he left Nebraska. Many of these are indistinguishable from his earlier paintings. A reexamination of Regionalist art in recent decades has fortunately renewed interest in Nichols’ paintings. In 2012, the Bone Creek Museum of Art organized a traveling retrospective exhibition, Dale Nichols: Transcending Regionalism. This exhibition cemented Nichols as the fourth American Regionalist alongside Wood, Benton and Curry. Nichols’ work has been avidly collected in numerous public and private collections throughout the country as well as the Metropolitan Museum of Art in New York.

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70 JOHN FULTON FOLINSBEE American (1892-1972) "HUCKSTER'S CART", 1922-1924 oil on canvas signed lower left "John F. Folinsbee" 32 x 40 inches PROVENANCE Ruth Baldwin Folinsbee; Property from a distinguished American collection. LITERATURE Kirsten M. Jensen, "Folinsbee Considered," (Easthampton, Massachusetts: Hudson Hills Press, 2013), pp. 168-169, pl. 19 (illustrated in color as the centerfold spread); p. 240, cat. entry.; Kirsten M. Jensen, "Huckster's Cart, 1922–24," John F. Folinsbee Catalogue Raisonné, www.johnfolinsbee.org, cat. no. JFF.1047. ESTIMATE $50,000—$75,00082As biographer Kirsten M. Jensen notes, Folinsbee started his career with a splash. By 1915, at the age of 23, he had already had his first solo exhibition, his first traveling exhibition, important gallery representation at Macbeth in New York, and his first award from a jury in a national exhibition. During his lifetime, works sold for five-figure sums to important collectors and museums in Chicago, Cleveland, Houston and Los Angeles and his paintings were exhibited at international venues as representative of American art. Folinsbee always intended to be an artist, attending children’s classes at the Art Student’s League of Buffalo at just nine years old. His family moved to Boston where Impressionists Frank Weston Benson and Edmund Tarbell dominated the art scene. In 1906, he had Polio and left the city to recover with his relatives in Plainfield, New Jersey. There, he met Jonas Lie, a strong advocate of plein air painting. Folinsbee spent a few months with Lie before moving to attend the Gunnery school in Washington, Connecticut. In Connecticut, Folinsbee was encouraged to continue painting landscapes by Frank Vincent Dumond and the writings of Birge Harrison who was then at Woodstock. Motivated by Harrison’s writings, Folinsbee first arrived at Woodstock in the summer of 1912 and would return in 1913 and 1914 and in the winter between those years. Folinsbee boarded at Birge Harrison’s house and was exposed to Harrison as a mentor even though he was no longer actively teaching. Together with Harry Leith-Ross the young artists stayed in Woodstock under the tutelage of Harrison in the winter between 1913-1914. In 1914, Folinsbee married and two years later moved with his wife, Ruth Baldwin, to New Hope, Pennsylvania. Edward Redfield, Daniel Garber, Robert Spencer and William Lathrop were already painting there and Folinsbee would join their ranks as a member of the now coined New Hope School or the Pennsylvania Impressionists. Of the present lot Jensen notes, “The huckster and his cart were regular fixtures of small-town life in the early twentieth century, bringing fruit, vegetables, and other necessities to the doors of their customers. They also provided interesting subject matter for artists like Folinsbee and Robert Spencer, who depicted a huckster’s visit to New Hope in 1913 (The Huckster’s Cart, Art Institute of Chicago). Folinsbee’s earlier renderings of the New Hope huckster are painted in high-keyed color laid in short, thick strokes that create a woven effect. Huckster’s Cart demonstrates a significant advance in Folinsbee’s color and brushwork, as well as a new structural approach to his subjects–a transformation that would become more pronounced in winter landscapes like Lehigh Canal and Village in March.”1 Folinsbee’s work was regularly included in national exhibitions of American art. He was elected as an associate member of the National Academy in 1919 and a full academician in 1928. Today his work can be viewed in numerous public collections including the Corcoran Gallery of Art in Washington D.C., the Museum of Fine Arts in Houston, the New Britain Museum in Art in Connecticut and the Princeton University Art Museum in New Jersey. 1 Kirsten M. Jensen, Folinsbee Considered, (Easthampton, Massachusetts: Hudson Hills Press, 2013), p. 240.

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71 WALTER ELMER SCHOFIELD American (1867–1944) THE FARMHOUSE AND POND oil on canvas signed lower right "Schofield" 30 1⁄8 x 36 inches PROVENANCE Property from a distinguished American collection. EXHIBITED Chadds Ford, Pennsylvania, Brandywine River Museum, "Walter Elmer Schofield," September 10 - November 20, 1983. ESTIMATE $15,000—$25,00084Walter Emerson Schofield is best known for his Impressionist landscapes of his native Pennsylvania. His parents emigrated from England to Philadelphia where he was raised. Schofield studied art first at the Pennsylvania Academy of Fine Arts in 1889 and 1892. Soon after, he went to Paris to study at the famed Académie Julian. He spent three years studying in Paris before returning to the States After trying his hand at the family business, Schofield decided to return to Europe and pursue painting in earnest. He traveled extensively in Europe with his friends Robert Henri and William Glackens. They toured Holland, Belgium, England and Paris. In 1897, Schofield married Muriel Redmayne of Southport, England. Muriel did not like living in the States, so the couple moved to England eventually settling in St. Ives, Cornwall. During his time in St. Ives, Schofield was instrumental in bringing other American artists there and supporting those artists who had already established themselves, such as George Oberteuffer and Hayley Lever. Schofield painted the landscape around him but missed the American landscape. He made frequent trips to the States and continued painting in Pennsylvania. He crossed the Atlantic more than forty times between 1902 and 1937. Schofield’s landscapes, as in the present lot, are light filled with bright colors and impressionist brushstrokes. His ability to capture atmosphere is immediately apparent, especially on a painting of this scale. When viewed in person, the viewer is completely immersed in the landscape. Despite his status as an expatriate artist, Schofield is best remembered as a Pennsylvania Impressionist. His works are collected in both the United States and abroad in notable private and public collections including the Metropolitan Museum of Art, the Pennsylvania Academy of Fine Arts and the Smithsonian Institution.

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8672 GUY CARLETON WIGGINS American (1883-1962) "WASHINGTON SQR, NEW YORK WINTER" oil on canvas signed lower right "Guy Wiggins N.A.," signed and titled on the reverse 25 x 30 inches PROVENANCE Private Collection, Florida. ESTIMATE $30,000—$50,000Guy C. Wiggins is one of the most iconic New York City Impressionist painters. His snowy scenes of the city have captured audiences since the 1920s. Wiggins was a successful and prolific artist. He operated an art school in Old Lyme, Connecticut and divided his time between there and New York City. Born in Brooklyn, New York in 1883, Wiggins started his formal training in architecture. By 1919, however, he had transferred to the National Academy of Design to study painting under the tutelage of William Merritt Chase and Robert Henri. Henri encouraged his students to look to the streets of Manhattan for subjects from everyday life. Wiggins, remembering his early architectural training, took to cityscapes and depicted New York City’s famous architecture. He quickly established a national reputation and by age 20 his work was included in the permanent collection of the Metropolitan Museum of Art in New York City. Wiggins’ father, Carleton Wiggins, was a painter in the Barbizon style. The Wiggins family would spend their summers in Old Lyme and, in 1915, the family relocated there permanently. Carleton became an active member of the Old Lyme Art Association, however, his style remained predominantly tonalist. Guy, on the other hand, learned from the artists in Old Lyme. He absorbed their style of Impressionism, employing a bright color palette and American painting techniques. Wiggins was an active member of the National Academy of Design, elected a full academician in 1919. He exhibited regularly with the Old Lyme artists and earned prizes for his work from the Connecticut Academy of Fine Arts, the Salmagundi Club and the Art Club of Philadelphia. In 1917, he won the prestigious Norman Wait Harris Bronze Medal from the Art Institute of Chicago. Throughout his life Wiggins would continue to paint scenes of New York City as a favored subject. In the late 1930s and 40s he maintained a studio in New York overlooking Washington Square Park. The present canvas is a signature example of one of his Washington Square paintings with bright white snow and bustling pedestrians.

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73 JOHN F. FRANCIS American (1808-1886) STILL LIFE WITH APPLES AND NUTS, 1850 oil on canvas signed and dated lower right "J.F. Francis / Pt. 1850" 20 x 24 inches PROVENANCE Pook & Pook, Inc., Downingtown, Pennsylvania; Private Collection, New York, New York. ESTIMATE $15,000—$25,00088John Francis was born in Philadelphia in 1808 and although he is today celebrated for revitalizing Still Life painting in the mid 19th Century, he was not as well recognized during his lifetime. He was largely a self-taught artist, producing some of America’s most important still lifes. His visually intimate representations were delicately colored and painterly. Francis began to exhibit in Philadelphia in the 1840s and 1850s as a portraitist employing 17th century Dutch techniques. His focus was “luncheon” or “dessert” type subjects, which he rendered in bright, radiant color, breaking away from the dominant mode taught by the Peale family of artists in Philadelphia. During the early part of his career, he was a traveling portrait painter and silhouettist in Schuylkill County, Pennsylvania. He then spent about 25 years traveling and painting in rural Pennsylvania as well as in Delaware, Tennessee and Washington D.C. Around 1850, the year Still Life with Apples and Nuts was painted, he turned exclusively to still life subjects, using the techniques of 17thcentury Dutch still life painters. He exhibited at the Pennsylvania Academy of the Fine Arts from 1840 to 1858, and he sold many of his still lifes through the American Art Union. After the death of his wife and two children, Francis abandoned his career and life in Philadelphia. During the last twenty years of his life, Francis lived alone and died 1886. No known paintings by him are extant after 1879. According to scholar Alfred Frankenstein in his book, After the Hunt, Francis was a very religious person who died a wealthy man.

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9074 EDMUND WILLIAM GREACEN American (1876-1949) MADISON SQUARE PARK oil on canvasboard unsigned 16 x 12 inches PROVENANCE Daughter of the artist; Private Collection, Rhode Island. ESTIMATE $4,000—$6,000747575 EDMUND WILLIAM GREACEN American (1876-1949) "ST. GEORGES - N.Y.C." oil on canvasboard signed lower right "Edmund Greacen," signed and titled on the reverse 8 x 10 inches PROVENANCE Daughter of the artist; Private Collection, Rhode Island. ESTIMATE $2,500—$3,500

76 FRANCIS COATES JONES American (1857-1932) RESPITE ON THE RIVERBANK oil on canvas signed lower left "Francis C. Jones" 36 x 30 inches PROVENANCE Private Collection, California; Shannon's, Milford, Connecticut, April 23, 2015, lot 52; Private Collection, Connecticut; Bonhams, Los Angeles, California, April 11, 2017, lot 35; Private Collection, California. ESTIMATE $12,000—$18,0007691

77 WINFRED REMBERT American (1945-2021) "RED NOTE CHAIN GANG", 2007 dye on carved and tooled leather signed lower center "Winfred Rembert" 33 x 42 1⁄2 inches PROVENANCE The artist; Private Collection, Connecticut. ESTIMATE $20,000—$30,00092“I’ve painted a lot of pictures of the chain gang. I believed that many people in the free world thought bad of the chain gang. They looked at the workers on the chain gang, working on the highways and in the ditches, and I believe they thought that all the guys were killers. With the paintings, I was trying to show that it wasn’t that way.” Winfred Rembert was born in Cuthbert, Georgia in 1945. As a child he picked cotton and as a teenager he was arrested in the aftermath of a civil rights demonstration. He later broke out of jail, survived a near-lynching and spent seven more years in prison where he was forced to work on a chain gang. He was released in 1974 and settled in New Haven, Connecticut. When he was fifty-one years old, encouraged by his wife Patty Gammage, he began carving and painting memories from his youth. He used leather and leather-tooling skills he had learned in prison to create his unique and colorful compositions. “With my paintings, I tried to make a bad situation look good. You can’t make the chain gang look good in any way besides by putting it in art. Those black and white stripes look good on canvas. People can’t really tell what they are until they get up close. They don’t recognize those stripes as people until they take a real good look. That was my goal– to put it down so you can’t understand it until you take a real up-close look. That tells you something about prison life. When you look at it from the outside, you can’t see what’s going on, but when you’re up close you realize what you are up against.”1 In the present composition it appears as though the rhythmic movements of the figures are creating the musical notes superimposed on them. On closer inspection, they are picking cotton and loading it into the gray sacks carried on their backs. As in other works by Rembert, the music is likely a song connected to living a better life away from the cotton fields. Rembert was a self-taught artist using skills he learned in prison to create his colorful, three-dimensional compositions. As a child, he went to work on the cotton fields never learning to read or write. His intuitive sense of color and composition were recognized and in 2010 Adelson Galleries organized the first one-man show of Rembert’s work in New York City. In 2000, he was the subject of a major exhibition at Yale University Art Gallery. Today, his works are displayed alongside noted African American artists including Jacob Lawrence, Hale Woodruff, Horace Pippin and Romare Bearden. 1 Winfred Rembert, “An Artist on How He Survived the Chain Gang,” The New Yorker, May 10, 2021.

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9478 ROBERT VICKREY American (1926-2011) MOONLIGHT MURAL tempera on board signed lower right "Robert Vickrey" 8 3⁄4 x 12 7⁄8 inches PROVENANCE Munson Gallery, Chatham, Massachusetts; A Connecticut estate. NOTES A copy of the purchase receipt from Munson Gallery accompanies the lot. ESTIMATE $3,000—$5,000787979 ROBERT VICKREY American (1926-2011) RED LIGHTHOUSE AT THE SHORE, 1953 oil on board signed lower left "R. Vickrey 53" 13 x 27 3⁄4 inches PROVENANCE Private Collection, Florida. ESTIMATE $3,000—$5,000

80 ROBERT VICKREY American (1926-2011) COBBLESTONES AND BALLOONS tempera on board signed lower right "Robert Vickrey" 20 x 30 inches PROVENANCE Midtown Galleries, New York, New York; Hirschl and Adler Galleries, New York, New York; Private Collection, Florida. LITERATURE Robert Vickrey, "Robert Vickrey Artist at Work," (New York, New York: Watson-Guptill Publications, 1979), p. 9 (illus.). ESTIMATE $10,000—$15,0008095

81 JOHN CARLTON ATHERTON American (1900-1952) FOGGY DAY, 1941 oil on canvas signed and dated lower right "Atherton, 1941" 26 x 36 inches PROVENANCE Property from a distinguished American collection. EXHIBITED New York, New York, The Museum of Modern Art (MoMA), "Romantic Painting in America," November 17, 1943 - February 6, 1944; Chicago, Illinois, The Art Institute of Chicago, "American Paintings and Sculpture, 53rd Annual Exhibition," October 29 - December 10, 1942. NOTES A label from The Associated American Artists, New York, New York is on the reverse. ESTIMATE $12,000—$18,00096John Carlton Atherton was born in Brainerd, Minnesota in 1900. After a brief service in the U.S. Navy during WWI, Atherton moved to San Francisco, California in 1920. There, he attended College of the Pacific and The California School of Fine Arts (now the San Francisco Art Institute) and practiced his techniques in various WestCoast studios. After winning a five-hundred dollar first prize award in the Bohemian Club’s annual exhibition in 1929, Atherton was able to afford to move to New York City, where he was able to achieve success as both a fine and commercial artist. He had his first solo exhibition at the Julien Levy Gallery in New York in 1938, a gallery which was home to other avant garde artists including Joseph Cornell, Frida Kahlo and Max Ernst. He was included in the landmark exhibition “American Realists and Magic Realists” at the Museum of Modern Art in 1943, where he exhibited alongside George Tooker and Jared French. He said in his statement for this exhibition; “Any painting lives or will last because it is well painted, regardless of whether it is a potato or a human body. By this I do not mean mere technical dexterity but painting which builds the spirit of the forms.” Considered to be one of the Magical Realists, John Atherton was one a group of artists who turned away from abstraction and sought inspiration from the masters of the Italian Renaissance. The influence of Giorgio de Chirico is evident in the current example, Foggy Day, 1941. Magical Realism can be considered an off-shoot of surrealism, with the disconnect in the mood rather than in the distorted object itself. Atherton’s work is included in the permanent collections of the Whitney Museum, the Museum of Modern Art, the Art Institute of Chicago, the Pennsylvania Academy of the Fine Arts, The Albright Art Gallery in Buffalo, and the Wadsworth Atheneum in Hartford.

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82 JOHN CARLTON ATHERTON American (1900-1952) SHADED NIGHT, 1943 oil on canvas signed and dated lower right "Atherton 1943" 34 x 50 inches PROVENANCE Property from a distinguished American collection. ESTIMATE $8,000—$12,0008298

83 DAVID BURLIUK Ukrainian (1882-1967) EVENING PROCESSION oil on canvas signed lower left "Burliuk" 30 x 40 inches PROVENANCE Raymond C. Ingersoll, Duck Island, New York; Private Collection, Great Neck, New York. NOTES This work has been confirmed by The Burliuk Foundation. A copy of the letter of authenticity from The Burliuk Foundation accompanies the lot. ESTIMATE $15,000—$25,0008399

85 ROBERT GOODNOUGH American (1917-2010) UNTITLED acrylic on canvas signed lower right "Goodnough" 26 x 56 1⁄2 inches PROVENANCE Ann Chernow Fine Arts, Westport, Connecticut; Private Collection, Connecticut. ESTIMATE $6,000—$8,000848510084 ROGER MUHL French (1929-2008) "L'ALLIE" oil on canvas signed lower center "Muhl" 12 x 23 3⁄4 inches PROVENANCE David Findlay, New York, New York; A New Jersey estate; Private Collection, Massachusetts. NOTES A copy of the exhibition catalog from the following exhibition accompanies the lot: New York, New York, David Findlay Galleries "Roger Muhl," November 17 - December 11, 1993. ESTIMATE $3,000—$5,000

86 MERCEDES MATTER American (1913-2001) UNTITLED oil on canvasboard unsigned 20 x 16 inches PROVENANCE Estate of the artist, New York; Private Collection, New York. NOTES Our thanks to Mark Borghi for confirming the authenticity of this lot. ESTIMATE $12,000—$18,00086101

10287 BRUCE CRANE American (1857-1937) RUSSET FIELDS oil on canvas signed lower left "Bruce Crane N.A." 20 x 30 inches PROVENANCE Private Collection, New York; Shannon's, Milford, Connecticut, October 24, 2013, lot 20; Private Collection, Connecticut. ESTIMATE $6,000—$8,00088 JOHN CARLETON WIGGINS American (1848-1932) LANDSCAPE AT TWILIGHT, 1877 oil on canvas signed, dated and inscribed lower left "J.C. Wiggins / N.Y. 1877" 16 x 28 inches PROVENANCE A Baltimore, Maryland estate; Private Collection, Pennsylvania. ESTIMATE $6,000—$8,0008788

10389 JOHN WILLIAMSON American (1826–1885) "A TROUT STREAM" oil on canvas initialed, titled and inscribed on the reverse "Ulster Co. N.Y. / J.W." 14 x 12 inches PROVENANCE Private Collection, New York. ESTIMATE $2,500—$3,50090 JAMES MCDOUGAL HART American (1828-1901) LATE SUMMER LANDSCAPE, 1875 oil on canvas signed lower left "James Hart 1875" 13 1⁄2 x 21 1⁄2 inches PROVENANCE Bonham's, New York, New York, May 15, 2012, lot 31; Private Collection, New York. ESTIMATE $3,000—$5,0008990

10491 GEORGE HENRY STORY American (1835-1923) IMAGINATION oil on board signed lower right "G.H. Story" 13 3⁄4 x 10 3⁄4 inches PROVENANCE Doyle, New York, New York, April 2, 2014, lot 6; Private Collection, New York, New York. ESTIMATE $3,000—$5,00092 GEORGE HENRY HALL American (1825-1913) FRESH PICKED STRAWBERRIES oil on canvas signed lower left "G.H. Hall" 10 1⁄2 x 12 1⁄4 inches PROVENANCE Private Collection, Massachusetts. ESTIMATE $6,000—$8,0009192

93 ROBERT SPEAR DUNNING American (1829-1905) STRAWBERRIES, 1877 oil on canvas signed and dated lower left "R.S. Dunning 1877," signed and dated on the reverse 12 1⁄4 x 8 inches PROVENANCE Sotheby's, New York, New York, December 5, 1985, lot 9; Private Collection, Massachusetts. ESTIMATE $10,000—$15,00093105

10694 MOSES WIGHT American (1827-1895) LITTLE NELL oil on canvas signed lower left "M. Wight" 40 1⁄4 x 27 inches PROVENANCE Vose Galleries, Boston, Massachusetts; Private Collection, Pennsylvania. ESTIMATE $3,000—$5,00095 FRANCIS HOPKINSON SMITH American (1838-1915) THE INN OF WILLIAM THE CONQUEROR pastel and gouache on paper signed lower right "Francis Hopkinson Smith" 27 1⁄4 x 21 3⁄4 inches (sight) PROVENANCE The estate of Vance Jordan, New York, New York; Private Collection, New York, New York. ESTIMATE $2,000—$3,0009495

96 FRANCIS LUIS MORA American (1874-1940) "LAS MANOLAS" (MODELS IN SEVILLA), ca. 1909 oil on canvas signed lower left "F. Luis Mora," signed and titled on the reverse 36 x 40 inches PROVENANCE Shannon's, Greenwich, Connecticut, April 25, 2002, lot 154; Gerald Peters Gallery, New York, New York; Private Collection, Los Angeles, California; Private Collection, New York, New York. EXHIBITED Little Rock, Arkansas, Arkansas Art Center, "49th Collectors Show and Sale," November 10, 2017 - January 7, 2018. LITERATURE Lynne Pauls Baron, “F. Luis Mora: America’s First Hispanic Master,” (Madison, Connecticut: Falk Art Reference, 2008), p. 127, cat. no. 5.8 (illus.). NOTES A watercolor study, 6 1⁄2 x 20 3⁄4 inches (sight) accompanies the lot. ESTIMATE $7,000—$10,00096107

97 FRANZ XAVIER KOSLER Austrian (1864-1905) "A TRAVERSE LE DESERT" (CROSSING THE DESERT), 1897 oil on panel signed and dated lower right "Franz Kosler 1897" 20 3⁄4 x 14 5⁄8 inches PROVENANCE Christie's East, New York, New York, September 13, 2000, lot 159; Private Collection, New York, New York. NOTES Titled on the artist's label on the reverse. ESTIMATE $6,000—$9,00098 JOSEPH SCHIPPERS Belgian (1868-1950) "LES TROIS GRACES", 1905 oil on panel signed and dated lower right "Jos. Schippers 1905," signed, dated and titled on reverse 14 1⁄4 x 18 inches PROVENANCE Sotheby's, New York, New York, February 27, 1986, Lot 190; Property of an American Collection; Shannon's, Milford, Connecticut, October 29, 2015, lot 193; Private Collection, Pennsylvania. ESTIMATE $4,000—$6,0009798108

99 FLORENCE CARLYLE Canadian (1864-1923) THE LIBRARIAN, 1909 oil on canvas signed and inscribed lower left "F. Carlyle, copyright 1909" 32 x 25 inches PROVENANCE Private Collection, Pennsylvania. ESTIMATE $3,000—$5,00099100109100 CONTINENTAL SCHOOL European (19/20th century) INTERIOR SCENE oil on canvas signed lower left "R. Lorenz" 24 x 47 inches PROVENANCE Private Collection, Darien, Connecticut. Private Collection, Connecticut. ESTIMATE $2,500—$3,500

110101 ROGER MEDEARIS American (1920-2001) "SMALL FARM", 1950 oil on masonite signed and dated lower left "R.M. 1-50," signed, titled, dated and inscribed on the reverse "sketch in oils, near / Jefferson City, Mo./ January, 1950 / This sketch was used for / the painting "The Pump"/ 16" x 24" 1970/ Cleaned, touched up, / and varnished / R.M. November, 1989" 9 1⁄2 x 14 1⁄2 inches PROVENANCE Private Collection, Florida. ESTIMATE $3,000—$5,000102 ROGER MEDEARIS American (1920-2001) "UNDER THE BRIDGE", 1949 oil on masonite initialed and dated lower left "RM 10-49," titled, signed, dated and inscribed on the reverse "sketch in oils, new / Chester, Conn. October, 1949 / cleaned, touched up, / and varnished R.M., November, 1989" 11 x 13 inches PROVENANCE Christie's, New York, New York, April 2, 2013, lot 64; Private Collection, Florida. ESTIMATE $2,500—$3,500101102

111103104104 FELIX KELLY British (1917-1994) THE ALEXANDER HAMILTON ON THE HUDSON oil on masonite signed and dated lower right "Felix Kelly © 76" 17 x 22 inches PROVENANCE Estate of Nancy McIlvaine; Portals Ltd., Chicago, Illinois; Private Collection, Chicago, Illinois. EXHIBITED New York, New York, Kennedy Galleries, "Romantic America, Paintings By Felix Kelly," November 17 - December 4, 1976, cat. no. 17 (illus.). ESTIMATE $5,000—$7,000103 ANTONIO JACOBSEN American/Danish (1850-1921) SAIL AND STEAMSHIP, NEWPORT, 1881 oil on canvas signed, dated and inscribed lower right "A. Jacobsen, 1881 / 405 Palisades Ave. West Hoboken, N.J.," inscribed on the reverse "The following canvas stamp appears on the reverse of the original canvas: Prepared by E. H. Fredichs / 267 Bowery, New York, photographed" 22 x 36 inches PROVENANCE Kennedy Galleries Inc., New York, New York; Christie's, New York, New York, January 15, 2009, lot 210; Private Collection, New York, New York. LITERATURE Harold S. Sniffen, "Antonio Jacobsen - The Checklist," New York, 1984, pp. 218-219, no. 3. ESTIMATE $3,000—$5,000

112105 YVONNE CANU French (1921-2007) "PORT GRIMAUD" oil on canvas signed lower right "Canu," signed, titled and numbered on the reverse "209" 10 3⁄4 x 13 3⁄4 inches PROVENANCE Private Collection, Connecticut. ESTIMATE $2,500—$3,500106 DALE PHILIP BESSIRE American (1892-1974) "PEACE" oil on canvas signed lower right "Dale Bessire," signed and titled on the stretcher 30 x 36 inches PROVENANCE The artist; Private Collection, Florida. ESTIMATE $3,000—$5,000105106

113107 JOHN EDWARD COSTIGAN American (1888-1972) THE BATHERS oil on canvas signed lower left "J.E. Costigan N.A." 25 x 30 inches PROVENANCE Gallery Moderne, New York; Private Collection, New York, New York. ESTIMATE $6,000—$8,000107108108 JOHN EDWARD COSTIGAN American (1888-1972) "GROUP OF BATHERS" oil on canvas signed lower left "J. E. Costigan N.A.," signed, titled and inscribed with artist inventory number on the stretcher "c-11243" 20 x 24 inches PROVENANCE Private Collection, Palm Beach, Florida; Private Collection, New York, New York. NOTES A partial Salmagundi Club label is on the reverse. ESTIMATE $5,000—$7,000

109 JOHN WHORF American (1903-1959) "CAMPFIRE" watercolor on paper signed lower right "Whorf" 14 1⁄4 x 21 1⁄4 inches (sight) PROVENANCE Estate of Ms. Françoise Hermann of Falmouth, Massachusetts; Bonhams, San Francisco, California, May 2, 2004, lot 1175. NOTES This work is double-sided with a scene titled On Deck on the reverse. ESTIMATE $3,000—$5,000109110 HENRY DUTTON MORSE American (1826–1888) RETRIEVER ON THE HUNT, 1857 oil on canvas signed and dated lower right "H.D. Morse 1857" 28 x 24 inches PROVENANCE A Colorado estate; Private Collection, Colorado. ESTIMATE $3,000—$5,000110114

111 JOHN GEORGE BROWN American (1831-1913) A BOY AND HIS COMPANION oil on canvas signed and inscribed lower left "J.G. Brown N.A. / copyright" 24 x 16 inches PROVENANCE Shannon's, Milford, Connecticut, October 20, 2005, lot 49; Private Collection, New Jersey. NOTES A label from Lapham & Dibble Gallery, Inc., New York, New York is on the reverse. ESTIMATE $10,000—$15,000111115

116112 IVAN G. OLINSKY American/Russian (1878-1962) YELLOW SCARF oil on canvasboard signed lower right "Ivan G. Olinsky" 24 x 18 inches PROVENANCE Private Collection, New York, New York. ESTIMATE $4,000—$6,000113 IVAN G. OLINSKY American/Russian (1878-1962) THE MODEL oil on canvas signed upper right "Ivan G. Olinsky" 28 x 22 inches PROVENANCE Arthur James Galleries, Delray Beach, Florida; Private Collection, New York, New York. ESTIMATE $3,000—$5,000112113

117114115115 HARRIET WHITNEY FRISHMUTH American (1880-1980) PUSHING MEN (A PAIR OF BOOKENDS) bronze signed and dated "Harriet W. Frishmuth 1917," with foundry mark "Gorham Co. Founders OLR / #53" height: 7 1⁄2 inches PROVENANCE Christie's, New York, New York, November 20, 1990, lot 341; Private Collection, New York, New York. LITERATURE Janis Conner, Leah Rosenblatt Lehmbeck and Thayer Tolles, “Captured Motion: The Sculpture of Harriet Whitney Frishmuth,” (New York, New York: Hohmann Holdings, LLC, 2006), p. 226, cat. no. 1912:4 (another example illustrated). ESTIMATE $3,000—$5,000114 HARRIET WHITNEY FRISHMUTH American (1880-1980) GREEK DANCERS (FIRST VERSION), 1910 (A PAIR OF BOOKENDS) bronze signed and dated "Harriet W. Frishmuth 1910 / Copyright," with foundry mark "Gorham Co." height: 9 1⁄2 inches PROVENANCE Marion Antique Auctions, Marion, Massachusetts, November 30, 2013, lot 77A; Private Collection, New York, New York. LITERATURE Janis Conner, Leah Rosenblatt Lehmbeck and Thayer Tolles, “Captured Motion: The Sculpture of Harriet Whitney Frishmuth,” (New York, New York: Hohmann Holdings, LLC, 2006), p. 230, cat. no. 1910:10 (another example illustrated). ESTIMATE $6,000—$8,000

118116117118116 LENNART ANDERSON American (1928-2015) SEATED NUDE oil on canvas signed lower right "And." 21 x 16 inches PROVENANCE Estate of Daniel Dietrich, II; William Bunch Auctions & Appraisals, Chadds Ford, Pennsylvania; Private Collection, Indiana. EXHIBITED Wilmington, Delaware, Delaware Art Museum, "Lennart Anderson," October 2- November 29, 1992; New York, New York, James Graham & Sons, Graham Gallery, No. 159, October 1969. ESTIMATE $3,000—$5,000117 ISAAC (ITSHAK) HOLTZ American/Polish (1925-2018) CONTEMPLATION pastel on board signed lower center "I. Holtz" 9 3⁄4 x 7 5⁄8 inches (sight) PROVENANCE Private Collection, Connecticut. NOTES This painting belonged to Bonnie Bernard of Westport, Connecticut, whose father had an art framing business in New York throughout the 1940s - 1960s. For a time, Itshak Holtz worked for him. ESTIMATE $2,000—$3,000118 WALDO PIERCE American (1884-1970) FLORAL STILL LIFE oil on board signed lower right "W. Pierce" 24 x 20 inches PROVENANCE Private Collection, New York. NOTES There is a label on the reverse inscribed "This painting given to H.B. Dakas by Mrs. Mary Boland (screen, stage, and T.V. actress)." ESTIMATE $2,000—$3,000

119119120121119 FRANK VINCENT DUMOND American (1865-1951) TREE IN BLOOM oil on canvas estate stamped on the reverse 26 x 36 inches PROVENANCE Private Collection, Mississippi. ESTIMATE $2,000—$3,000120 JOHN EDWARD COSTIGAN American (1888-1972) "AUTUMN WOODLAND", 1948 oil on masonite signed lower left "J.E. Costigan," signed, dated and inscribed on the reverse "Orangeburg, N.Y. / painted 1948" 16 1⁄4 x 17 1⁄8 inches PROVENANCE Bonham's, New York, New York, May 24, 2011, lot 1062; Private Collection, New York, New York. EXHIBITED New York, New York, Grand Central Art Galleries, Inc., "Impressionism and Post- Impressionism Transformations in the Modern American Mode 1885-1945," March 29 - May 14, 1988. ESTIMATE $2,000—$3,000121 CHARLES APPEL American (1857-1928) LITTLE WHITE HOUSE AT DUSK, 1925 oil on canvas signed and dated lower left "C.P. Appel 1925" 12 x 16 inches PROVENANCE Private Collection, Westchester, New York; Shannon's, Milford, Connecticut, October 28, 2010, lot 210; Private Collection, New York. ESTIMATE $2,000—$3,000

120122 ROLPH SCARLETT American (1889-1984) UNTITLED acrylic on paper signed lower right "Scarlett" 27 x 36 inches (sight) PROVENANCE Private Collection, Woodstock, New York; Shannon's, Milford, Connecticut, April 28th, 2011, lot 170; Private Collection, Connecticut. ESTIMATE $6,000—$8,000123 ED GILLIAM American (b. 1941) UNTITLED, 1983 oil on canvas signed and dated on the reverse "Gilliam '83" 49 1⁄2 x 56 inches PROVENANCE Private Collection, Los Angeles, California; Private Collection, New York, New York. ESTIMATE $2,000—$3,000122123

121124 TOM WESSELMANN American (1931-2004) FAST SKETCH STILL LIFE WITH GOLDFISH screenprint on paper signed and numbered in pencil lower right "Wesselmann 11/100" 56 1⁄4 x 78 inches (sight) PROVENANCE International Images Inc., Putney, Vermont (pub-lisher); Private Collection, Pennsylvania. ESTIMATE $4,000—$6,000124125125 ROBERT MOTHERWELL American (1915-1991) "BLACK CATHEDRAL", 1991 lithograph on Tyler Graphics Ltd. handmade paper in 4 colors initialed and numbered in pencil lower left "RM 16/40," dated and inscribed in pencil on the reverse " 5/29/90 #54" 67 x 47 inches (sheet) PROVENANCE Chandler Edward Gallery, Port Washington, New York, 1991; A Connecticut estate. NOTES A copy of the purchase receipt accompanies the lot. ESTIMATE $6,000—$8,000

122126 DORIS PORTER CAESAR American (1892-1971) STANDING WOMAN bronze signed on the base "Caesar" height: 13 1⁄4 inches PROVENANCE Private Collection, New Hope, Pennsylvania. ESTIMATE $2,000—$3,000127 JONATHAN SCOTT HARTLEY American (1845-1912) THE BASEBALL PLAYER, 1886 bronze signed, dated and inscribed "J. S. Hartley, Sculptor, Copyrighted, 1886," with foundry mark "The Henry Bonnard Bronze Co. N.Y." height: 12 3⁄4 inches PROVENANCE Private Collection, New York; Conner Rosenkranz, New York, New York; Barry Halper Baseball Collection, New Jersey; Christie's, New York, New York, September 27, 2011, lot 129; Private Collection, New York, New York. LITERATURE Bronzes d'Art: The Henry-Bonnard Bronze Company (New York, n. d.), no. 6. NOTES Along with Thomas Eakins and William Morris Hunt, Hartley was one of the earlier artists to treat the subject of the newly popular sport of baseball. The Baseball Player captures a player in the midst of catching a ball bare-handed—it was not yet common to wear a glove. His close-fitting baseball uniform, complete with a short-brimmed cap and heeled boots, bunches in places as he reaches upwards and balances on one foot to reach the ball. While Hartley’s modern subject was unusual for sculpture of the period, which generally treated historical and mythological figures, this work is infused with idealization and balance stressed in the sculptor’s neoclassical training. The Italian Renaissance sculptor Giambologna’s Mercury, who lifts his right arm and leg as he flies upward, may have inspired the baseball player’s similar pose. ESTIMATE $5,000—$7,000126127

123— END OF SALE —128 EMILE GILIOLI French (1911-1977) "LYS" bronze signed and numbered on marble base "Gilioli 4/5" height: 8 3⁄4 inches PROVENANCE Christie's, New York, New York, February 23, 1994, lot 89; Private Collection, Westport, Connecticut. ESTIMATE $3,000—$5,000128129129 JOSEF ALBERS American/German (1888-1976) STRUCTURAL CONSTELLATION, ca. 1960-1963 machine-engraved plastic laminate mounted on wood inscribed on the reverse "For Nad / Thanksgiving 1963 / Josef Albers" 8 1⁄4 x 9 1⁄2 inches PROVENANCE Private Collection, Connecticut. NOTES Albers’s Structural Constellations were produced using a mechanical process, similar to a pantograph, which enabled production of the same composition multiple times at varying scales. There is an ‘original’, unique engraving of this composition, measuring 16-1⁄2 x 21-3⁄4 inches, made in 1955. Subsequently, that original composition of interlocking boxes was used as the basis of the ‘SV edition’, produced by Edition MAT, Oeuvres d'Art Multipliées, Paris [Daniel Spoerri], in 1959-1961, in what was intended to be an edition of 100. It is uncertain as to how many engravings were actually produced and/or sold by Edition MAT. Meanwhile, using the same template, Albers also had engraved versions of the same composition with further, varying dimensions. A few of these engravings were subsequently mounted and given as gifts to friends and colleagues, such as the present example. Our thanks to Jeannette Redensek and Brenda Danilowitz of the Josef Albers catalogue raisonne, Josef and Anni Albers Foundation, for their assis-tance cataloging this lot. ESTIMATE $5,000—$7,000

124INDEXA ALBERS, JOSEF 129 ANDERSON, LENNART 27, 28, 116 APPEL, CHARLES 121 ATHERTON, JOHN C. 81, 82 B BESSIRE, DALE PHILIP 106 BLACK, OLIVE PARKER 59 BOMBOIS, CAMILLE 20 BREWSTER, ANNA R. 2 BROWN, JOHN GEORGE 111 BURCHFIELD, CHARLES 34, 35, 36 BURLIUK, DAVID 83 C CAESAR, DORIS PORTER 126 CANU, YVONNE 105 CARLSON, JOHN FABIAN 22, 25 CARLYLE, FLORENCE 99 CONTINENTAL SCHOOL 100 COSTIGAN, JOHN E. 107, 108, 120 CRANE, BRUCE 87 D DE-JINN, SHIY 19 DOW, ARTHUR WESLEY 68 DUFY, JEAN 21 DUMOND, FRANK V. 119 DUNNING, ROBERT S. 93 E ENNEKING, JOHN J. 61 F FEARING, KELLY 31 FOLINSBEE, JOHN F. 70 FRANCIS, JOHN F. 73 FRINK, DAME ELISABETH 17 FRISHMUTH, HARRIET W. 33, 114, 115 G GILIOLI, EMILE 128 GILLIAM, ED 123 GOODNOUGH, ROBERT 85 GREACEN, EDMUND W. 74, 75 GRUPPE, EMILE A. 5, 54, 56, 57 H HALL, GEORGE HENRY 92 HARRISON, L. BIRGE 47 HART, JAMES M. 90 HARTLEY, JONATHAN S. 127 HARTWICK, GEORGE G. 66 HENRY, EDWARD L. 65 HERZOG, HERMANN 39 HIBBARD, ALDRO T. 3, 4, 23 HOLTZ, ISAAC (ITSHAK) 117 HOWELL, FELICIE W. 1 HUBBARD, RICHARD W. 63 J JACOBSEN, ANTONIO 103 JONES, FRANCIS COATES 76 K KELLY, FELIX 104 KNIGHT, DAME LAURA 12, 13 KOSLER, FRANZ XAVIER 97

125L LEVER, RICHARD HAYLEY 30 LEWIS, EDMUND DARCH 38 LIE, JONAS 53 M MARIN, JOHN 49 MARTIN, HOMER DODGE 60 MATTER, MERCEDES 86 MEDEARIS, ROGER 101, 102 MILLER, WILLIAM R. 41 MORA, FRANCIS LUIS 96 MORAN, EDWARD 44 MORSE, HENRY DUTTON 110 MOTHERWELL, ROBERT 125 MOUNT, EVELINA (NINA) 64 MUHL, ROGER 84 N NICHOLS, DALE 69 O OLINSKY, IVAN G. 6, 7, 112, 113 P PALMER, WALTER LAUNT 48 PETERSON, JANE 8, 9, 10, 11 PHILIPP, ROBERT 29 PIERCE, WALDO 118 PORTER, CHARLES E. 32 PRENDERGAST, MAURICE 45 R REMBERT, WINFRED 77 RICHARDT, FERDINAND 42 RIMBERT, RENE 14, 15 RYDER, SOPHIE 16 S SCARLETT, ROLPH 122 SCHIPPERS, JOSEPH 98 SCHOFIELD, WALTER E. 71 SILVA, FRANCIS A. 43 SMITH, FRANCIS H. 95 SONNTAG, WILLIAM L. 62 STORY, GEORGE HENRY 91 SYMONS, GEORGE G. 24, 26 T TAPLIN, GUY 18 TARBELL, EDMUND C. 51 THIEME, ANTHONY 55 V VICKREY, ROBERT 78, 79, 80 VINCENT, HARRY A. 58 W WEIR, JULIAN ALDEN 52 WESSELMANN, TOM 124 WHORF, JOHN 109 WIGGINS, GUY C. 46, 67, 72 WIGGINS, J. CARLTON 88 WIGHT, MOSES 94 WILLIAMSON, JOHN 89 WOODWARD, LAURA 40 WYANT, ALEXANDER H. 37 WYETH, ANDREW 50

Personalized Service • Competitive Rates • Proven Results2525EXCELLENCE25Contact Sandra Germain info@shannons.com 203 877 1711 shannons.comJune 23, 2022 | 2:00 PM Online Fine Art Auction Consignments accepted now through June 1, 2022. October 27, 2022 | 6:00 PM Important Paintings, Drawings, Prints & Sculpture Consignments accepted now through September 15, 2022. YOU ARE INVITED...Walter Launt Palmer Sold: $137,500 Charles Burchfield Sold: $375,000 Thomas Hart Benton Sold: $275,000 Consignments accepted year-round

127BIDS MUST BE RECEIVED AT LEAST 24 HOURS PRIOR TO DAY OF SALE. Lot # Artist’s Name Maximum Bid (Excluding buyers premium) $ $ $ $ $ $ $ $ $Bidding Increments $1,000 – $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.EMAIL OR FAX BIDS TO: 49 Research Drive, Milford, CT 06460 P: (203) 877-1711 | F: (203) 877-1719 Email: info@shannons.com CHECK ONE: ABSENTEE BID PHONE BID 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 on page 2. Payment for successful bids must be made within two weeks of the sale. A premium of 25% of the successful bid will be applied to the individual hammer price of all lots sold, to be paid by the buyer as part of the purchase price. Purchases made through Invaluable will be subject to an additional 5% charge (30% total buyer’s premium) and purchases made online through shannons.com will be subject to an additional 2% charge (27% buyer’s premium). Name Date Address City State Zip Country Phone # Alternate# EmailSignature (required) DateWe will have a limited phone bidding staff for this sale. We ask that if you request a phone line, you be prepared to bid the

128Shannon’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 theitems 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 catalog. 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 will be applied to the individual hammer price of all lots sold, to be paid by the buyer as part of the purchase price. Purchases made through Invaluable will be subject to an additional 5% charge (30%total buyer’s premium) and purchases made online through shannons.com will be subject to an additional 2% charge (27% buyer’s premium). Payment may be made by, check, ACH or wire transfer. Visa, MasterCard and Amex may be used up to the amount of $5,000 per auction. We currently collect sales tax in CT, DC, FL, GA, IN, KS, MA, MD, MI, NC, NE, NJ, NY, OH, OK, PA, RI, VA and WI and remit the appropriate sales tax. If we do not collect sales tax in your state, it is still your responsibility to pay the proper tax on your purchases. ALL ITEMS MUST BE PAID FOR WITHIN 7 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". CONDITIONS OF SALEAfter: A work of art or object made in the style of an artist or maker, but not by the artist. Sometimes refers multiples that may have used an artist’s mold or plate, but were reproduced by someone other than the artist, including posthumous works. Can also be used to describe a direct reproduction after an original work of art. Attributed (attr.): In our opinion, probably or possibly a work of art by the artist. The work is either unsigned, and/or lacks adequate provenance or authentication by experts in the field. Bears Signature: The work is signed, but the work and signature may not be by the hand of the artist. Manner of: Made in the likeness or style of an artist, with a slight possibility that it was made by the artist or by a follower or student of the artist. Also see “After” and “Attributed”. Possibly: Being something that may or may not be true or actual without guarantee. Probably: Supported by evidence strong enough to establish presumption but not proof. We do not guarantee it to be true. School: Usually relates to a particular artistic or aesthetic movement. It can also relate to an actual school or to followers of a particular artist or maker. Also see: “Manner of”, “Style”, “Attributed to” and “After”. Style: After the time period in which the style originated, or a more recent reproduction (ie: Style of Pablo Picasso or Cubist Style), used to refer to the style of a particular artist or artistic movement, generally made long after that time period.GLOSSARY OF  TERMS

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