Fine Art Auction
Paintings, Drawings, Prints and Sculpture
Milford, Connecticut • September 17, 2020
49 Research Drive, Milford, CT 06460
www.shannons.com
|
info@shannons.com
(203) 877-1711
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Fax (203) 877-1719
Front cover illustration #56
Back cover illustration #37
FINE ART AUCTION
PAINTINGS, DRAWINGS,
PRINTS AND SCULPTURE
PREVIEW DATES & TIMES:
In-person previews by appointment
September 8-16th (weekdays from 11AM-6PM)
Saturday, September 12th (10AM-3PM, closed Sunday)
Virtual previews & additional photos are available by request.
Bid by telephone, absentee and live online through Invaluable.com.
AUCTION INFORMATION
Thursday, September 17, 2020 | 6:00 PM EDT
TABLE OF CONTENTS
Artist Index 172
Invitation to Consign 174
Bid Form 175
Conditions of Sale 176
Sandra Germain
Owner
sandra@shannons.com
Ali Danker
Specialist
ali@shannons.com
Gene Shannon
Owner
gene@shannons.com
Specialist Contacts
General Sale Inquiries
info@shannons.com
1
HENRY GASSER
American (1909-1981)
"THE HARBOR"
watercolor, signed lower left "H. Gasser,"
signed and titled on the reverse
22 x 29
1
2
inches (sight)
PROVENANCE
Private Collection, New Jersey;
Private Collection, California.
Estimate $5,000—$7,000
2
JOHANN BERTHELSEN
American (1883-1972)
"SUMMER EVENING, THE PLAZA, NEW YORK CITY"
oil on canvas, signed lower right "Johann
Berthelsen," signed, titled and dated on the
reverse "1948"
25
1
4
x 30
1
4
inches
PROVENANCE
Private Collection, Connecticut; Shannon's,
Milford, Connecticut, May 4, 2017, lot 118;
Private Collection, California.
Estimate $5,000—$7,000
1
2
2
3
JOHANN BERTHELSEN
American (1883-1972)
PLAZA IN WINTER
oil on canvas,
signed lower right "Johann Berthelsen"
25 x 30 inches
PROVENANCE
Private Collection, New York.
Estimate $7,000—$10,000
3
3
4
GUY CARLETON WIGGINS
American (1883-1962)
"VILLAGE IN MAINE, WINTERS MANTLE"
oil on canvasboard, signed lower left
"Guy Wiggins," signed, titled and dated
on the reverse "1934"
16 x 20 inches
PROVENANCE
Joseph Sartor Galleries, Dallas, Texas;
Private Collection, Texas.
Estimate $8,000—$12,000
4
4
5
5
5
WALTER LAUNT PALMER
American (1854-1932)
"A BERKSHIRE BROOK"
mixed media on paperboard,
signed lower right "W.L. Palmer"
24 x 18 inches
PROVENANCE
Private Collection, Lexington, Kentucky.
Estimate $10,000—$15,000
6
LEON KROLL
American (1884-1975)
STUDY FOR "BUILDING MANHATTAN"
oil on panel, signed lower right "Leon Kroll"
8 x 10
1
4
inches
PROVENANCE
Bernard Danenberg Galleries, Inc., New York,
New York; Private Collection, Connecticut.
Notes
This work is a study for "Building Manhattan" a
46 x 51 inch oil painting of the same subject
offered by Christie's, New York, New York,
May 22, 2018, lot 6.
Estimate $5,000—$7,000
6
7
6
7
AARON GORSON
American (1872-1933)
RIVER AND NEW YORK SKYLINE, 1909
oil on canvas, signed lower left "A. H. Gorson"
18 x 40 inches
PROVENANCE
Spanierman Gallery, New York, New York;
Private Collection, New York.
Estimate $7,000—$10,000
8
CHEN CHI
American/Chinese (1912-2005)
CENTRAL PARK
watercolor on paper, signed and
dated lower right "Chen Chi 1974"
35
3
4
x 31
1
2
inches (sight)
PROVENANCE
Private Collection, Connecticut.
EXHIBITED
Butler Institute of American Art,
Youngstown, Ohio, "1976 Midyear
Show."
Estimate $10,000—$15,000
8
7
8
Jean Dufy was born in Le Havre, France in 1888. There he discovered works by Matisse, Derain,
Marquet and Picasso at the Le Havre Exposition in 1906. In 1912, he moved to Paris and met
Derain, Braque and Picasso. Dufy’s early watercolors are characterized by muted tones and
somber browns, blues and reds—a technique influenced by Cézanne and inherited through his
brother Raoul Dufy, who became a mentor throughout Jean’s career.
In 1916, Jean embarked upon 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, Jean settled in Montmartre, where Georges Braque was his neighbor. He 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) where his paintings were put in the public eye for the first time.
Dufy traveled extensively throughout the 1950s, but it is obvious through subjects of his works that
France was the place he considered home and his favorite subject matter.
The Champs Elysees is one of Paris’ most recognizable boulevards extending from the Place de
La Concorde to the Arc de Triomphe. Pictured here is the end of the Champs Elysees at the Arc
de Triomphe, crowded with pedestrians and carriages. The spontaneous and quick brushstrokes
capture the hustle and bustle of the busy street and the movement of the people.
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.”
9
JEAN DUFY
French (1888-1964)
LES CHAMPS - ELYSEES
oil on canvas, signed lower left "Jean Dufy"
15 x 21
3
4
inches
PROVENANCE
Private Collection, Westchester, New York;
Shannon's, Milford, Connecticut, October
23, 2008, lot 91; Private Collection, New York.
Notes
A photo-certificate numbered 4081 from
Jacques Bailly accompanies the lot.
Estimate $40,000—$60,000
9
9
10
MARIE LAURENCIN
French (1883-1956)
JEUNE FEMME
oil on canvas, signed lower right "Marie Laurencin"
14 x 10
1
2
inches
PROVENANCE
Galerie Hérve Odermatt, Paris, France; A Park
Avenue, New York, New York estate.
LITERATURE
Daniel Marchesseau, "Marie Laurencin, 1883-1956:
Catalogue Raisonné de l'Oeuvre Peint," (Nagano-
ken: Japan, 1986), cat. no. 1100.
Notes
In a Heydenryk frame.
Estimate $15,000—$25,000
10
10
11
11
11
EDOUARD LEON CORTES
French (1882-1969)
NEAR NOTRE DAME
oil on canvas, signed "Edouard Cortes" lower left
13 x 18 inches
PROVENANCE
Galerie F. Clair, Paris, France; A Connecticut estate.
Notes
A copy of the original purchase receipt from Galerie F. Clair,
Paris accompanies the lot. This painting will be included in the
forthcoming Volume III of "Edouard Cortes, Catalogue
Raisonné de l'oeuvre peint" by Nicole Verdier. A Marshall Field
& Co. label is on the reverse.
Estimate $12,000—$18,000
12
Known for his expressive bright imagery and use of folklore and magical motifs, Chagall has
become an icon of Modern art. A successor of the Impressionist avant-garde tradition, Chagall
exhibited at the Salon d’Automne and the Salon des Independants in 1912. Born in Belarus, and
trained in Saint Petersburg, Chagall identified as a Belorusian although after his exile from the
Soviet Union in 1923, he became a major figure in the Ecole de Paris.
Chagall was extremely prolific during his lifetime working in a range of media including paintings,
ceramics, mosaics, stained glass and prints and producing over 10,000 works. Chagall was the
eldest of nine children, born into a poor family, he was expected to help contribute. With little
support from his parents Chagall took a few art classes in his native Vitebsk before eventually
leaving for St. Petersburg. There he studied with Leon Bakst who introduced him to French artists
like Manet, Cezanne and Matisse. At the age of 24, with the help of a modest stipend from a
patron, Chagall left for Paris.
In Paris, he spent time at the Louvre, roomed in Montparnasse at an artists’ commune called La
Ruche and lived frugally. At La Ruche he was in the company of Fernand Leger, Chaim Soutine,
Amedeo Modigliani and Robert Delaunay. He absorbed aspects of Cubism and Fauvism into his
early French works which many consider among his most creative. In 1914 he returned to Vitebsk
for what he intended to be a brief visit. Trapped by the outbreak of World War I, he stayed longer
and married Bella Rosenfeld, a wealthy, cultured actress. Chagall would paint the couple
floating over Vitebsk in his 1914-1918 Above the Town.
After briefly joining the Bolshevik Revolution, Chagall returned to Europe when he realized they
preferred abstract art and social realism. Although Chagall is an important figure in Modern art,
he rejected abstraction and preferred to paint in his dreamlike, figurative style. By 1923, with his
wife and now daughter, the Chagall family settled in Paris.
In Paris, Chagall met Ambroise Vollard an influential art dealer who secured many important
commissions despite anti-Semitic critics. Chagall quickly gained recognition and was working as
an established artist in Paris. The present work L’Ombrelle from 1939, a drawing on paper, is a
finished composition with many of Chagall’s classic motifs. A woman reaches up to pull fruits from
a tree. Behind her birds and a goat, and above her head a parasol. The color, originally a bright
blue, pours rain over the scene. The picture is filled with joy as if the rain is a source for all of the
life in the scene.
In 1941, shortly after creating this work, Chagall and his family would flee World War II to New York
City where they stayed until 1948. During this time MoMA organized a retrospective of Chagall’s
work, firmly securing his international recognition. Chagall returned to Paris where he continued
to work until his death in 1985. He was an avant-garde artist who never embraced Modernism
and whose work could not be pigeonholed into one particular style.
Today, Chagall’s works can be seen in public spaces around the world. His murals at Lincoln
Center, the Four Seasons Mosaic in Chicago, stained glass windows at St. Stephen’s in Mainz,
Germany and All Saints’ Church in Kent, England and the famed ceiling at the Garnier Opera
House in Paris are just a few examples.
12
MARC CHAGALL
French/Russian (1887-1985)
L'OMBRELLE (THE PARASOL), 1939
India ink and gouache on paper, signed lower right "Marc Chagall"
17
3
4
x 11
1
2
inches
PROVENANCE
Perls Galleries, New York, New York; Mrs. Vera List, philanthropist and
supporter of contemporary art, Greenwich, Connecticut; descended
in the family until the present.
LITERATURE
Franz Meyer, "Marc Chagall: Life and Work," (New York, New York:
Harry N. Abrams Publishers, 1963), p. 428 (illus.), cat. no. 428.
Estimate $60,000—$80,000
12
13
14
13
13
PAUL SIGNAC
French (1863-1935)
"BOURG-SAINT-ANDÉOL"
charcoal, brush, wash and sepia ink on cream laid paper,
signed, dated and titled in pencil lower left "P. Signac 1926"
10
1
2
x 17
7
8
inches (sight)
PROVENANCE
Mr. & Mrs. Otto Gerson, New Hampshire; Sotheby's Parke
Bernet, New York, New York, May 22, 1981, lot 937; Swann
Galleries, September 22, 2016, lot 111; Private Collection.
EXHIBITED
Museum of Fine Art, Boston, Massachusetts, "Watercolors,
Prints and Drawings by Paul Signac", 1954, no. 10.
LITERATURE
Peter A. Wick, "Paul Signac Exhibition," Bulletin of the
Museum of Fine Arts, vol. LII, no. 289, (October 1954),
pages 65-73.
Estimate $15,000—$25,000
14
ARTHUR RACKHAM
British (1867-1939)
"THE TEMPEST"
ink and watercolor on illustration board,
signed lower left "Arthur Rackham," signed,
titled, numbered and inscribed on the reverse
"No. 8 Sea nymphs hourly ring his knell"
11
1
2
x 9
1
2
inches
PROVENANCE
Private Collection, Connecticut.
Estimate $10,000—$15,000
14
15
16
15
15
ARTHUR RACKHAM
British (1867-1939)
"THE OLD BIRD OR CRONIES"
ink and watercolor on illustration board,
signed lower left "Arthur Rackham,"
signed and titled on the reverse
10
1
2
x 7
3
8
inches
PROVENANCE
Private Collection, Connecticut.
Estimate $2,000—$3,000
16
ARTHUR RACKHAM
British (1867-1939)
"THE PORTRAIT"
ink and watercolor on illustration board, signed lower
left "Arthur Rackham," signed, titled and numbered
on the reverse "No. 8"
12 x 11 inches
PROVENANCE
Private Collection, Connecticut.
Notes
Possibly from "A Fairy Tale" by A. A. Milne.
Estimate $5,000—$7,000
17
18
16
17
GEORGE AMES ALDRICH
American (1872-1941)
STREAM IN WINTER
oil on canvas, signed lower left
"G. Ames Aldrich"
36 x 36 inches
PROVENANCE
Private Collection, New York, New York.
Notes
A Findlay Galleries label is on the
reverse.
Estimate $5,000—$7,000
18
HENRY HOBART NICHOLS
American (1869-1962)
"BRONX RIVER WINTER"
oil on canvas, signed lower left
"Hobart Nichols"
43 x 38 inches
PROVENANCE
Private Collection, New York.
Estimate $5,000—$7,000
19
ERIC SLOANE
American (1905-1985)
BRINGING HOME THE CHRISTMAS TREE
oil on masonite, signed lower left "Eric Sloane"
24 x 31
1
2
inches
PROVENANCE
Private Collection, Pennsylvania;
Private Collection, New Oxford, Pennsylvania;
Private Collection, New York.
Estimate $20,000—$30,000
19
17
Eric Sloane's depiction of this charming Pennsylvania winter
subject represents a rare foray into a Christmas motif in
Sloane's oeuvre. A similar Sloane scene last sold in 1993 for
an artist auction record that endured until 1999. In Sloane's
book entitled "The Seasons of America Past," he exclaims
that Christmas is the most profound season of the year…
Christmas is the one season that should outlast all
others."The painted decorations on the side of the barn are
Pennsylvania Dutch hex signs, which grew out of the local
fraktur and folk art traditions. The practice of painting them
on the sides of barns began in the mid-nineteenth century
when paint became affordable. The Eight Pointed Star
symbolizes abundance and goodwill for all.
20
CHARLES HENRY EBERT
American (1873-1959)
ON THE BEACH (MONHEGAN, MAINE, CA. 1920)
oil on canvas, signed lower left "Ebert"
25 x 30 inches
PROVENANCE
Private Collection, New York, New York.
Notes
A Lyme Art Association label is on the reverse.
Estimate $10,000—$15,000
20
18
21
19
21
ANDREW WINTER
American (1893-1958)
MONHEGAN ISLAND LIGHT
oil on canvas, signed and dated lower right "A. Winter 43"
22 x 28 inches
PROVENANCE
Barridoff Galleries, South Portland, Maine, August 7, 2009,
lot 116; by descent to Private Collection, Baltimore,
Maryland; Private Collection, Connecticut.
Estimate $10,000—$15,000
23
JOHN F. CARLSON
American (1893-1967)
TREES IN WINTER
oil on canvas, signed on the stretcher "John F. Carlson"
20 x 24 inches
PROVENANCE
Private Collection, New York.
Estimate $4,000—$6,000
22
23
24
20
22
ANTONIO CIRINO
American (1889-1983)
WINTER SCENE
oil on canvas, signed lower left "A. Cirino"
25 x 30 inches
PROVENANCE
Rockport Art Association, Rockport, Massachusetts,
May 6, 2017, lot 75; Private Collection, California.
Estimate $4,000—$6,000
24
WALTER EMERSON BAUM
American (1884-1956)
"BUCKS COUNTY"
oil on masonite, signed lower left "W.E. Baum,"
signed and titled on the reverse
24
3
8
x 30 inches
PROVENANCE
Private Collection, Southport, Connecticut.
Estimate $4,000—$6,000
25
21
25
WALTER EMERSON BAUM
American (1884-1956)
"PINE TREES IN WINTER"
oil on canvas, signed lower left
"W. E. Baum," titled on the reverse
36 x 40
1
8
inches
PROVENANCE
Private Collection, New Jersey.
Estimate $15,000—$25,000
22
“Artist to America.”
-President Lyndon Johnson commented of Charles Burchfield
Charles Burchfield was born in Ashtabula Harbor, Ohio. 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.
Burchfield was raised with his four siblings in a lower-middle-class neighborhood in Salem. 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 had few friends at the plant and he
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 as in Buzzard and Cabin (Buzzard Landscape) from 1918 (lot 81).
In Buzzard and Cabin the buzzard is flying towards the forest where surreal domes with ethereal
light look like tunnel passages between the trees.
In other scenes, he would find the expressive potential of factories and old houses possibly
inspired by contemporary Midwestern novelist Sherwood Anderson. The Red Row Houses
depicted in Steel Mill Homes (Blast Furnace) were part of the 33 company houses on the fringes
of the Cherry Valley Iron and Coal Company complex in Leetonia, Ohio, close to the Mullins
plant. Here the Cherry Valley furnaces of Leetonia are visible in the background and the Red Row
Houses in front.
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. He married in 1922 and
moved to Buffalo, New York to work as a wallpaper designer. In his spare time he continued, as
before, 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.
His fame spread and he became loosely associated with the Regionalist School of artists led by
Thomas Hart Benton, John Steuart Curry and Grant Wood. Although he shunned the association,
his work shares a dedication to the American heartland as a well-spring of subjects and
inspiration. [1]
___
[1] “Charles Burchfield: Biography,” Terra Foundation for American Art,
https://collection.terraamericanart.org/view/people/asitem/items$0040null:157/0
26
CHARLES BURCHFIELD
American (1893-1967)
STEEL MILL HOMES (BLAST FURNACE)
watercolor on paper, signed and dated lower right "C. Burchfield 1919"
18
1
4
x 31
3
8
inches (sight)
PROVENANCE
Harry Spiro, New York, New York; Kennedy Galleries, New York, New York;
Private Collection, Connecticut.
EXHIBITED
Kevorkian Gallery, New York, New York, February 16 -28, 1920; The University of Arizona, Tucson, Arizona,
"Charles Burchfield, His Golden Year, a Retrospective Exhibition of Watercolors, Oils and Graphics,"
November 14 - January 9, 1966; Munson Williams Proctor Institute Museum of Art, Utica, New York, "The
Nature of Charles Burchfield - A Memorial Exhibition," April 9 - May 31, 1970.
LITERATURE
Joseph Trovato, "Charles Burchfield, Catalogue of Paintings in Public and Private Collections," (Utica,
New York: 1970), cat. no. 530; John I.H. Baur, "The Inlander: Life and Work of Charles Burchfield, 1893-
1967", (Newark, New Jersey: University of Delaware Press, 1984), fig. 73, p. 99 (illus.); Lois Firestone, "Red
Row Houses Scene of 1918 Tragedy," in "Yesteryears," Aug. 19, 1991, p. 1 (illus.).
Estimate $50,000—$75,000
26
23
27
24
27
HUGUES MERLE
French (1822-1881)
YOUNG WOMAN IN BLUE
oil on canvas, signed and dated left center "Hugues Merle 79"
24
3
4
x 21
3
4
inches
PROVENANCE
Private Collection, Rhode Island.
Estimate $10,000—$15,000
28
25
28
ANTOINE PONCET
Swiss (b. 1928)
TRAGEALILES
marble, signed and dated "Poncet 80"
height: 32
3
4
inches (on a 3-inch base)
PROVENANCE
A Florida estate.
Estimate $15,000—$25,000
26
This famous work is the beginning of Picasso’s success as a print maker. Although he had no
formal training as a printmaker, this is only his second known print. The despondency and isolation
evident in this image are typical of Picasso’s work during this period, possibly his last work from the
Blue Period. In 1904 when he finished the work, he had only a few copies. In 1913, his dealer in
Paris, Ambroise Vollard, published The Frugal Repast in an edition of 250. Together with eleven
drypoints and two etchings made by Picasso from 1904-1906, these prints are collectively known
as the Suite des Saltimbanques. Saltimbanques were itinerant circus performers who fascinated
Picasso and would become the primary subjects of his Rose Period from 1904-1907.
Picasso was working at the time on an etching, which has become famous since: it is of a man
and a woman sitting at a table in a wine-shop. There is the most intense feeling of poverty and
alcoholism and a startling realism in the figures of the wretched, starving couple.
Fernande Olivier from Picasso and His Friends (1964)
The woman in the picture is Madeline, Picasso’s lover and muse in Paris at the time. The man is a
figure from his time in Barcelona, a blind man who had appeared in other works from Picasso’s
Blue Period and would recur thematically throughout Picasso’s career. Despite the misery of the
figures in the scene, there is a warmth and humanity in the couple’s embrace and the woman’s
gaze confronting the viewer with a knowing smile. The print medium adds to the composition, the
darkness suggests the interior of the wine shop and the verticality and lines emphasize the skinny
figures. Picasso’s career would quickly prove his competence and skill with print media in
subsequent years.
Picasso famously said “Painting is not made to decorate apartments...it’s an offensive and
defensive weapon against the enemy.” These humanist portraits of people on the fringes of
society, poor, hungry and ill demand attention to an often ignored population.
Pablo Picasso’s importance in the history of Modern art is apparent in the works of Cubist,
Surrealist, Neoclassical and Expressionist artists. Although he is best known for his Cubist works, his
Saltimbanques from this period were painted with a sense of social realism that would influence
future generations of artists.
In the realm of 20th century prints, Picasso is a master printmaker and among the best of the
period. He created more than 2,000 print images in intaglio, lithography and linocut media. His
imagination fueled by exposure to new techniques and experimentation. Only two years after
creating Le Frugal Repast he moved onto a new subject and a new muse. His woodcut of
Fernande Olivier from 1906 shows the emerging influences of Oceanic, African and Iberian
sculpture which foreshadow his use of simplified forms and his willingness to quickly adapt his style
and pursue a new idea.
29
PABLO PICASSO
Spanish (1881-1973)
"LE REPAS FRUGAL", 1964
FROM "LA SUITE DES SALTIMBANQUES"
etching with drypoint on Van Gelder Zonen paper, 1904,
from the edition of 250, published by A. Vollard, Paris
18
1
4
x 14
7
8
inches (plate)
PROVENANCE
Mrs. Vera List, philanthropist and supporter of
contemporary art, Greenwich, Connecticut; descended
in the family until the present.
LITERATURE
Bloch 1; Baer 2
Estimate $80,000—$120,000
29
27
28
31
PABLO PICASSO
Spanish (1881-1973)
"TETE DE FEMME, DE PROFIL", 1905
FROM "LA SUITE DES SALTIMBANQUES"
drypoint on wove paper, from an edition of 250 on
Van Gelder Zonen paper
11
3
8
x 9
3
4
inches (plate)
PROVENANCE
Mrs. Vera List, philanthropist and supporter of
contemporary art, Greenwich, Connecticut;
descended in the family until the present.
LITERATURE
Block 6; Geiser 7
Notes
A portrait of Madeleine, a model for Picasso and his
lover during his early years in Paris from his Blue and
Rose periods.
Estimate $8,000—$12,000
30
PABLO PICASSO
Spanish (1881-1973)
"LES PAUVRES", 1905
FROM "LA SUITE DES SALTIMBANQUES"
etching on paper, from an edition of 250, published by
A. Vollard, Paris, 1913
9
1
8
x 7 inches (image)
PROVENANCE
Mrs. Vera List, philanthropist and supporter of contemporary
art, Greenwich, Connecticut; descended in the family until
the present.
LITERATURE
Bloch, 3; Baer 4
Estimate $6,000—$8,000
30
31
29
32
32
PABLO PICASSO
Spanish (1881-1973)
FEMME ASSISE (SEATED WOMAN)
bronze, signed "Picasso" on the bottom
H. 5
1
2
inches.
PROVENANCE
Mrs. Vera List, philanthropist and supporter of contemporary art, Greenwich,
Connecticut; descended in the family until the present.
LITERATURE
John Richardson, "Picasso, An American Tribute," (New York: New York, 1962), no.
2 (another example literature); Roland Penrose, "The Sculpture of Picasso", (New
York, New York: 1967), p. 50 (another example literature); Werner Spies, "Pablo
Picasso, Das Plastiche Werk", (Berlin, Germany: 1983), no. 1, pp. 15, 326 (another
example literature); Werner Spies, "Picasso, The Sculptures", (Paris, France: 2,000),
no. 1, p. 19 (another example literature).
Notes
This bronze is aside from the edition of 12, plus one cast numbered "0" by Mark A.
Rudier, Paris, France.
Estimate $40,000—$60,000
30
Montague Dawson is internationally recognized as the leading marine artist of the twentieth
Century. He was the grandson of painter Henry Dawson (1811-1878). He spent much of his
childhood with his father, an avid sailor, on the waters of Southampton where he learned about
sailing and ships.
Dawson studied under the renowned artist Charles Napier Hemy (1841–1917) at the Royal
Academy. He met Hemy in Falmouth during the first World War when he was a member of the
Royal Navy. It was during this time that he became skilled in painting naval ships. After the war,
Dawson exhibited frequently at the Royal Academy and began his exclusive relationship with
Frost & Reed Gallery in London. He was appointed as an official war artist during World War II.
After WWII, Dawson established himself as a professional marine artist. He concentrated on
historical subjects and on painting sailing ships, masterfully capturing the movement of the ocean
waves and wind in the sails.
The Needles, the subject of this current painting, is a row of three stacks of natural chalk that rise
about 30 meters out of the sea off the western extremity of the Isle of Wight, United Kingdom,
close to Alum Bay. The Needles Lighthouse stands at the outer, western end of the formation. Built
in 1859 the lighthouse has been automated since 1994. [1]
The formation takes its name from a fourth needle-shaped pillar called Lot’s Wife, which
collapsed in a storm in 1764. [2] The remaining rocks are not needle-like, but the name has stuck.
The Needles were the site of a long-standing artillery battery, from the 1860s to 1954, which was
eventually decommissioned. Tourists from around the world are still drawn to The Needles today
as scenic boat trips that operate from Alum Bay offer close-up views of the Needles. The rocks
and lighthouse have become icons of the Isle of Wight. The site is an internationally well-known
sailing destination.
“Shortly before his death in 1973,” writes Ron Ranson in his 1993 monograph, “a remarkable
tribute was made to Montague Dawson. He looked out of his window one day to see two fully
rigged training ships, the Royalist and the Sir Winston Churchill, apparently sailing straight towards
his house on the shore. At what appeared to be the very last moment, they turned about, and
both ships dipped their ensigns in salute to the man who had probably done more than any other
to capture the magic and majesty of sail.” [3]
Dawson was an associate of the Royal Society of Artists and a member of the Royal Society of
Marine Artists. His works can be viewed in museums around the world.
___
[1] "Needles Lighthouse". Trinity House. n.d. Archived from the original on 2 May 2010. Retrieved 25 May 2010.
[2] "The History of The Needles at Alum Bay". The Needles Park.
[3] Ron Ranson, The Maritime Paintings of Montague Dawson, Newton Abbot, Devon, 1993, p. 15 essay
33
31
33
MONTAGUE DAWSON
British (1890-1973)
THE NEEDLES (PASSING THE LIGHTHOUSE)
oil on canvas, signed "Montague Dawson" lower left
24 x 36 inches
PROVENANCE
The artist; Frost and Reed, London (acquired directly from the artist);
A Connecticut estate.
Notes
A label from Galleries Maurice Sternberg, Chicago, Illinois is on the reverse.
Estimate $60,000—$80,000
34
CHARLES EUPHRASIE KUWASSEG
French (1833-1904)
VIEW FROM THE CANAL
oil on canvas, signed lower right "C. Kuwasseg. Fils"
24 x 42 inches
PROVENANCE
Doyle, New York, New York, May 26, 1999, lot 28;
Private Collection, North Carolina.
Estimate $10,000—$15,000
34
32
35
33
35
FREDERICK ARTHUR BRIDGMAN
American (1847-1928)
A SUNSET RIDE ALONG THE RIVER
oil on canvas, signed lower left "F. A. Bridgman"
15
1
4
x 20
3
4
inches
PROVENANCE
A Philadelphia, Pennsylvania estate.
Estimate $20,000—$30,000
34
George Bellows was born in Columbus, Ohio and attended Ohio State University. In 1904 he
moved to New York City to study with Robert Henri. Under Henri’s influence Bellows became the
leading young member of the Ashcan School. Unlike many of his contemporaries, Bellows never
studied in Europe and was trained entirely in the United States.
From 1920-1924, Bellows and his family spent their summer and fall vacations in Woodstock, New
York. The Woodstock Artists association was formed in 1919, and the area was increasingly
drawing in artists including Robert Henri, Leon Kroll and Andrew Dasburg. In Woodstock, Bellows
drew inspiration from the mountains, villages and barns that surrounded him.
This work Farmer and Chickens was painted in October of 1922 at Bellows’ home in Woodstock.
The farmer at the lower right corner of the scene is hunched over looking at his chickens, tired
from a life of hard work on the farm. The quick brush strokes and treatment of the landscape lean
towards emerging abstract art styles.
Elizabeth Kennedy, Curator of “Leaving the Country: George Bellows at Woodstock,” a 2003-2004
exhibition at the Terra Museum of American Art stated “It was in Woodstock where Bellows found
the perfect combination of nature and neighborhood that imbued his work with the maturity
and vision that characterized those final five years.”
In 1911, the Metropolitan Museum acquired his painting Up the Hudson, making him one of the
youngest artists in the collection at the time— Bellows was twenty-nine. Bellows’ tragic and
sudden death from a ruptured appendix when he was only forty-two years old cut short an
impressive career. In 1925, shortly after his death, the Met organized a memorial retrospective of
his work and in 2013 hosted a blockbuster retrospective exhibition with over 100 works organized
by the National Gallery of Art in Washington D.C. in association with The Met and the Royal
Academy of Arts in London.
36
35
36
GEORGE BELLOWS
American (1882-1925)
"FARMER AND CHICKENS," WOODSTOCK, OCTOBER 1922
oil on panel, signed by the artist's wife (Emily S. Bellows)
lower left "Geo. Bellows / E.S.B"
PROVENANCE
Estate of the Artist (1925); Emma S. Bellows (artist's wife);
H.V. Allison & Co., New York, New York; Private
Collection, Connecticut.
EXHIBITED
H.V. Allinson and Co., New York, New York, 1970.
LITERATURE
Recorded in the artist's private book of paintings, Record
Book B, p. 278.
Other Notes: This work is included in the online version
of the artist's catalogue raisonne prepared by Glenn C.
Peck and available at http://www.hvallison.com.
Estimate $50,000—$75,000
36
Charles Ethan Porter was born to a free African American family in Rockville, Connecticut in 1847.
His early interest in drawing was inspired by the flowers in his mother’s garden and in other
Connecticut fields. He saved money throughout his childhood by doing odd jobs in order to
attend art school. Just a few years after the Civil War ended in 1869, Porter became the first
African American to attend the National Academy of Design in New York.
After his studies, in 1878, Porter set up a studio in Hartford, Connecticut, where his fruit and flower
paintings were purchased by area collectors. Local resident and author Mark Twain was a patron
of his and landscape painter Frederic Edwin Church visited his studio, also acquiring a painting,
and complimented his use of color.
In 1881, at the age of 34, Porter held an auction in his Connecticut studio, selling 100 paintings for
a total of $1,000 which was enough to support him for 2 years in Paris, where he studied at the
French National Academy for Decorative Arts and Académie Julian.
“I am aware that there are a goodly number of my Hartford friends and others who are anxious
to see how the colored artist will make out,” Porter wrote to Twain from Paris in 1883. “But this is
not the motive which impresses me. There is something of more importance, the colored people
— my people — as a race I am interested in, and my success will only add to others who have
already shown wherein they are capable the same as other men.”
Porter returned to Connecticut in 1883 and for the next several years he created some of his most
powerful works. It is said that a significant part of his output in these years still hangs unrecognized
on the walls of Hartford homes. His use of both light and dark colors to create dramatic renderings
of flowers is evident in the current offering, Peonies.
By the time of his death in 1923, racism had cast him into complete obscurity, and it was only very
recently that he is now once again recognized as one of the country’s outstanding late
nineteenth-century artists.
37
CHARLES ETHAN PORTER
American (1847-1923)
PEONIES
oil on canvas, signed lower right "C.E. Porter"
20 x 24 inches
PROVENANCE
Private Collection, Connecticut.
Estimate $15,000—$25,000
37
37
38
EDWARD BANNISTER
American (1828-1901)
LANDSCAPE WITH TREES
oil on canvas, signed and dated
lower right "E.M. Bannister 91"
20 x 30 inches
PROVENANCE
Private Collection, New York.
Estimate $10,000—$15,000
38
38
39
EDWARD BANNISTER
American (1828-1901)
HOME AMONG THE TREES
oil on board, signed lower right "E.M. Bannister"
11
5
8
x 19 inches
PROVENANCE
Private Collection, New York.
Estimate $4,000—$6,000
39
40
39
40
EDWARD BANNISTER
American (1828-1901)
LANDSCAPE ON THE SHORE
oil on canvas, unsigned
8
1
4
x 12 inches
PROVENANCE
Private Collection, New York.
Estimate $3,000—$5,000
40
Born on June 20, 1887 in Hanover, Germany, Kurt Schwitters was an artist involved in both
Dadaism and Constructivism. He attended the Kunstgewerbeschule in Hannover from 1908 to
1909 and from 1909 to 1914 studied at the Kunstakademie Dresden.
After serving as a draftsman in the military in 1917, Schwitters experimented with Expressionist and
Cubist styles. In 1918, he made his first collages and in 1919 invented the term “Merz,” which he
described as "In the war, things were in terrible turmoil. What I had learned at the academy was
of no use to me and the useful new ideas were still unready.... Everything had broken down and
new things had to be made out of the fragments; and this is Merz. It was like a revolution within
me, not as it was, but as it should have been.". [1]
Schwitters is best known for his Merz works, which incorporate collage, found objects,
typography, and sound poetry to construct unique compositions. “I could see no reason why
used tram tickets, bits of driftwood, buttons and old junk from attics and rubbish heaps should not
serve well as materials for paintings,” he observed. “It is possible to cry out using bits of old rubbish,
and that’s what I did, gluing and nailing them together.”
This year also marked the beginning of his friendships with Jean Arp and Raoul Hausmann.
Schwitters’s earliest Merzbilder date from 1919, the year of his first exhibition at Der Sturm Gallery
in Berlin, and the first publication of his writings in the periodical Der Sturm. Schwitters showed at
the Société Anonyme in New York in 1920, the same year he completed the current example
“Merz 149” offered here.
Today, Schwitters’s works are held in the collections of The Museum of Modern Art (MoMA), New
York, Solomon R. Guggenheim Museum, New York, the Metropolitan Museum of Art, New York,
the Tate Gallery, London, and the National Gallery of Art, Washington, D.C., among numerous
others.
__
[1] Dietrich, The Collages of Kurt Schwitters, (London: Cambridge University Press, 1993) p. 6-7.
41
KURT SCHWITTERS
German (1887-1948)
"MERZ 149"
collage, signed and dated lower right "K.S. 1920,
titled "Mz 149"and inscribed lower left "Rwfn"
6
1
2
x 4
3
4
inches
PROVENANCE
Sidney Janis Gallery, New York, New York; Mrs. Vera
List, philanthropist and supporter of contemporary
art, Greenwich, Connecticut; descended in the
family until the present.
Estimate $40,000—$60,000
41
41
42
Born on October 20, 1939 in Birmingham, United Kingdom, Patrick Hughes is known for his creation
of a unique optical illusion he calls “reverspective.” In these three-dimensional relief paintings,
objects that appear closest to the viewer, are in fact, the furthest away in physical space. He
created Sticking-out Room—his first reverspective—in 1964 after studying at Leeds Day Training
College.
In the current example, Making Marks, the viewer can see a Rothko exhibition when standing in
front of the work, and then as the viewer walks, the exhibition appears to move. It is truly amazing,
as it combines sculpture and painting with optical illusion. The paintings that appear on the back
wall of the exhibition are in the front plane of the composition.
The reason that the pictures seem to move is because our eyes are telling us we are moving in
one direction and our bodies are telling us that we are moving in the opposite direction. All our
lives our feet and our eyes have been in perfect synchronicity, so now that the eyes are lying to
the legs, or the legs are lying to the eyes, we cannot accept this. But there is a way out of this
difficulty: we presume that the planes in the paintings are moving. We are used to seeing things
turning and moving in front of us and this presumption puts our bodies back together again.
The magic of the reverspectives is that I have managed to create an art that comes alive. Each
plane of the picture shrinks or expands to accommodate the movement of the onlooker, in
perfect harmony, like a good dance partner. Contrasted with the drips of Jackson Pollock, which
record actions long past my pictures still keep the ability to turn and twist. Movement seems to
be a condition of life. ~ Partick Hughes
42
PATRICK HUGHES
British (b. 1939)
"MAKING MARKS"
oil on board construction, signed, dated and
titled on the reverse "Patrick Hughes 2001"
15
1
4
x 51
1
2
x 7 inches
PROVENANCE
Flowers Gallery, London, England;
Private Collection, Connecticut.
Estimate $30,000—$50,000
42
43
44
“Nina Leen. The Irascibles. 1950 | MoMA.” The Museum of Modern Art,
www.moma.org/collection/works/163461. Accessed 26 Aug. 2020.
The
Irascibles
45
Assembled with great care of the past 30 years, the Jeanne and Carroll Berry Collection includes works
by sixteen of the original “Irascible Eighteen.” The Berrys knew “advanced art” when they saw it and
collected works by this leading group of Abstract Expressionist artists ahead of the trend
In 1950, Adolph Gottlieb led an organized boycott against the Metropolitan Museum of Art’s exhibition
“American Painting Today.” In a letter, drafted by Gottlieb, the undersigned artists rejected submission to
the Metropolitan’s jurors on the grounds that the selection committee “does not warrant any hope that
a just proportion of advanced art will be included.”
Eighteen painters and eleven sculptors signed the letter first published by the New York Times. The group
caused a stir in the art world and beyond. The Tribune published the letter under the headline “The
Irascible Eighteen,” giving the group their name. Life magazine contacted the artists to have their group
portrait taken, a portrait that has become the defining image of the abstract expressionists for the
remainder of the 20th century.
The artists of the New York School felt that the mainstream media was disinterested in their work and that
New York museums were not giving Abstract Expressionism the credit it deserved. This may have been
somewhat misguided as MoMA had been exhibiting their work and critic Clement Greenberg, an early
champion of Abstract Expressionism, was writing prolifically at the time. The Metropolitan Museum of Art,
however, never responded to the letter.
Despite what they perceived as a poor reception in the New York art scene, the Irascible 18 have
become the leading names of American Modernism today. Jackson Pollock, Willem de Kooning, Ad
Reinhardt, Adolph Gottlieb, Mark Rothko are to name a few of these now iconic artists.
Jeanne and Carroll Berry traveled between their home in Atlanta to New York City on numerous visits
collecting art and collecting “stories.” The Berrys would bring their friends to dealers, lectures and
exhibitions on Abstract Expressionism at a time when only a handful of people were collecting
abstraction. On one such visit to New York, Mr. Berry found himself in the right place at the right time and
was lucky enough to meet the youngest artist of the group, Theodoros Stamos.
On other occasions, the Berry’s corresponded with dealers, foundations and the artist’s family piecing
together the story of New York at the time when these artists were working.They generously loaned from
their collection for exhibition at the University of Georgia, Athens and the University of North Carolina,
Chapel Hill.
The collection the Berrys assembled is therefore a reflection of their exquisite taste but also a highly
personal document of their depth of knowledge and their stories of getting to know this eclectic group
of artists through their art.
It is always exciting for us to meet a consignor who is passionate about their collection and what it means
to them. Mrs. Berry has not only been an inspiration to us, but has also become a friend. We are honored
to offer her and her late husband Carroll’s collection for sale.
The Collection of
Jeanne & Carroll Berry
46
Adolph Gottlieb was born and raised in New York City, the oldest of 3 children. When he was 17 years
old, determined to be an artist, he left for Europe. He spent six months in Paris sketching at the Louvre
and auditing a sketch class at the Academie de la Grande Chaumiere.
In New York he studied at the Art Students League with Robert Henri and John Sloan. He also studied at
Cooper Union and Parsons School of Design. Mark Rothko, John Graham, Milton Avery, Chaim Gross and
Barnett Newman were among his earliest friends in art school.
By 1924, he was working as an artist in New York City. He was a founding member of the Ten in 1935, a
group sympathetic to abstraction and expressionism that exhibited together until 1940. Other notable
artists in The Ten included Rothko, Willem De Kooning and Ilya Bolotowsky.
His early works were regionalist compositions stylistically influenced by Milton Avery. In the early 1940s
there were numerous European Surrealists exiled in New York during WWII. Like many New York School
abstract artists, their influence on Gottlieb is apparent in his early works from this period. His Pictographs
series, started in 1941, was an effort to reconcile abstraction with the exploration of the unconscious
championed by Surrealism. These grids of made-up symbols inspired by African, Oceanic and Native
American art attempted to capture a collective unconscious.
In 1950, Gottlieb penned a letter with fellow artists in protest of the Metropolitan Museum’s “American
Painting Today – 1950” exhibition. The letter accused the selection committee of being “notoriously
hostile” towards Modern Art. Published by the New York Times on a Monday morning, the letter became
the talk of the New York City art scene. In response, the Herald published an editorial calling the group
“The Irascible Eighteen,” a now famous moniker.
From 1951-1957, Gottlieb created a series of Imaginary Landscapes. From 1956-1974 he painted his
iconic Burst series. Many, like the example offered here, are composed of a disc above a volatile mass.
In these compositions, Gottlieb captures the dichotomous forces of light and dark, order and chaos,
both in the same picture.
In 1990 Manny Silverman Gallery organized an exhibition Adolph Gottlieb, Works on Paper, 1966-1973. This
exhibition of the artist’s later works on paper summarized the importance of Gottlieb’s work during this
period right up until his death in 1974. Scholar Mary Davis McNaughton writes;
“As small works, they functioned like sketches, allowing him to express his visual ideas in the freshest way.
But these works were not traditional sketches; in other words, they were not studies for paintings, but
rather independent works that paralleled his paintings. Their energy is equally dynamic but their scale is
more intimate.
Gottlieb did not paint a major group of works on paper when he began a new series, but when he was
well into it…Thus, these works on paper come at the highpoint of his artistic development when he is a
virtuoso. In his best works he handles paint so surely – whether he is broadly brushing, freely spattering, or
carefully contouring forms—that the effort is invisible. The consummate skill and artistic confidence in
these works summarize forty years of painting experience.”
Jeanne and Carroll Berry sought a painting by Gottlieb specifically because it was he who penned the
letter signed by the Irascible eighteen. When this late work became available, Carroll Berry wrote to the
Adolph and Esther Gottlieb Foundation to confirm that it had been painted before Gottlieb’s stroke in
the fall of 1970. Executive Director, Sanford Hirsch, replied that the painting, as indicated by the number,
was the 30
th
work on paper Gottlieb created in the year 1970, before the stroke left him almost
completely paralyzed.
There are so many opposites in nature and life, like male and female, positive and negative. My paintings
have always been an attempt to resolve the polarity. - Adolph Gottlieb
43
ADOLPH GOTTLIEB
American (1903-1974)
UNTITLED, #30, 1970
acrylic on paper, signed, dated and numbered lower right "Adolph Gottlieb 1970 / 30,"
stamped on a label on the reverse "Adolph and Esther Gottlieb Foundation, Inc."
23
3
4
x 18
3
4
inches
PROVENANCE
Adolph and Esther Gottlieb Foundation, Inc., New York, New York; Andre Emmerich
Gallery, Inc., New York, New York, sold 1977; M. Knoedler and Company, Inc., New
York, New York; Sotheby's, New York, New York, May 19, 1999, Lot 227; The Jeanne and
Carroll Berry Collection, Atlanta, Georgia.
EXHIBITED
Georgia Museum of Art, University of Georgia, Athens, Georgia, "Advanced and
Irascible: Abstract Expressionism from the Collection of Jeanne and Carroll Berry," Jan.
14 - Apr. 30, 2017.
Notes
A copy of a letter dated June 17, 1999 to Mr. Carroll Berry, Jr. from the Adolph and
Esther Gottlieb Foundation, Inc. accompanies the lot.
Estimate $80,000—$120,000
43
47
48
The Woman became compulsive in the sense of not being able to get a hold of it—it really is very
funny to get stuck with a woman’s knees, for instance. You say, “What the hell am I going to do
with that now?”,; it’s really ridiculous. It may be that it fascinates me, that it isn’t supposed to be
done. A lot of people paint a figure because they feel it out to be done, because since they’re
human beings themselves, they feel they ought to make another one, a substitute. I haven’t got
that interest at all. I really think it’s sort of silly to do it. But the moment you take this attitude it’s
just as silly not to do it.
-Willem de Kooning, Excerpt from an interview with David Sylvester (BBC), Spring 1963
Willem de Kooning arrived in the United States as a young man snuck aboard a ship from the
Netherlands. He skirted immigration in Virginia and made his way to New Jersey. There, he
worked as a house painter, carpenter and sign maker. He made his way to New York where he
befriended Arshile Gorky and John Graham who quickly brought de Kooning into the fold of the
downtown New York art scene.
In 1929, he worked with Fernand Leger on a mural project for the WPA. By 1936 he was a full-time
artist. A few years later, by the end of the 1930s and early 40s de Kooning together with Gorky
had become the underground leaders of the New York art scene, de Kooning was known as an
“artist’s artist” among his peers. In 1945, his work was included in Peggy Guggenheim’s show “Art
of this Century” alongside his contemporaries Hofmann, Pollock and Motherwell.
In 1948 Charles Egan Gallery hosted de Kooning’s first one-man show. Three years later he was
awarded the Logan Medal and Purchase Prize from the Art Institute of Chicago for Excavation
(1950) an icon of American Modernism. Critic Clement Greenberg began to champion his work
during this period and later Harold Rosenberg, a rivaling critic also supported de Kooning’s style.
In 1953, de Kooning shocked the art world by exhibiting his “Woman” paintings. These
aggressively painted figural works were seen by some as a betrayal of Abstract Expressionist
principles. The Woman paintings represented a commitment to the figurative tradition when
artists like Pollock and Kline were moving away from representational imagery to pure
abstraction. He lost the support of Greenberg, but Rosenberg continued to laud his works. MoMA
purchased Woman I in 1953, a validation of de Kooning’s new experiment.
The present composition on paper relates closely to Woman in the Water, a 1967, oil on paper
mounted on canvas, illustrated in Thomas B. Hess’ Willem de Kooning (MoMA, 1968). De Kooning
was fond of working on paper, as it allowed for an immediacy that appealed to him. Woman
presented here is a drawing on paper, but there are numerous places where the artist applied
color to the composition.
Inscribed on the lower right the drawing reads “To Max for Old Times Sake” Bill / de Kooning.” Max
likely refers to Max Margulis, a friend, musician and writer in the downtown New York milieu of
artists and intellectuals in the post-war period. Margulis was known affectionately as “Max the
Owl” for his horn rimmed glasses.
44
WILLEM DE KOONING
American/Dutch (1904-1997)
WOMAN, CA. 1954-1974
oil, charcoal and gouache on paper, signed and inscribed
lower right "To Max, for old times' sake /Bill / de Kooning"
23
1
4
x 18
1
4
inches (sight)
PROVENANCE
The artist; Private Collection, New York, New York; by descent;
Sotheby's, New York, New York, November 13, 2002, lot 227; The
Jeanne and Carroll Berry Collection, Atlanta, Georgia.
EXHIBITED
Ackland Art Museum, University of North Carolina, Chapel Hill, North
Carolina, March 4 - May 31, 2007; Georgia Museum of Art, University
of Georgia, Athens, Georgia, “Advanced and Irascible: Abstract
Expressionism from the Collection of Jeanne and Carroll Berry,”
Jan. 14 - Apr. 30, 2017.
LITERATURE
Stevens, Mary and Annalyn Swan, "de Kooning - An American Master,"
(New York, New York: Knopf, 2006), p. 145 (describes de Kooning’s
friendship with Max Margulis, a.k.a. Max the Owl, see also lot 59).
Estimate $25,000—$35,000
44
49
50
Jackson Pollock arrived in New York in 1930 as a young art student from Los Angeles. He studied with Thomas
Hart Benton at the Art Students League. Early in his career he absorbed the ideals of the European Surrealists,
Mexican Socialist Muralists including David Alfaro Siqueiros and Jose Clemente Orozco and Picasso through
works like Les Demoiselles d’Avignon exhibited at MoMA in 1945.
As a young artist, he worked for the Works Progress Administration (WPA) alongside Mark Rothko and Arshile
Gorky. In the early 1940s championed by critic Clement Greenberg and patrons and gallerists Betty Parsons and
Peggy Guggenheim he started to earn recognition and success as an artist. MoMA became the first museum
to acquire a painting by Pollock, The She-Wolf of 1943.
The present drawing offered here harkens back to Pollock’s early works where he was exploring Surrealist and
Symbolist themes. The calligraphic imagery captures the viewer by being almost legible as biomorphic glyphs
dancing across the paper. The spontaneity of the composition and the gestural qualities evoked by each flourish
are evidence of a competent and sure hand.
The following passages were adapted from “Jackson Pollock: The Colored Paper Drawings,” an exhibition at
Washburn Gallery in New York City where the present work was included.
In his drawings and works on paper, which were an integral part of his working life, Pollock used a wide variety
of media: pencil, crayon, colored pencil, ink gouache, tempera, watercolor, pastel, chalk, and enamel, alone
and in combination. He worked on sketchbook sheets; textured, lined, and colored paper; Japanese paper;
and other fine handmade papers.
Elizabeth Frank, “Notes on Technique” in Jackson Pollock (New York: Abbeville Press, 1983), pp. 114-115.
Pollock often chose to work on surfaces prepared with one evenly saturated color [as in the example offered
here]. The colors of these sheets don’t become local to the mostly inked-on images but rather provide ground
tone, a continuum extensive as surface, air or light, or sometimes all of these. Given a red, gray, light or dark
blue, pink, brown or purple tone, the stage is set. Literally grounded or aswim in color, Pollock’s fancy wanders.
The viewer’s imagination, too, is set loose among the resultant, accumulated conjurings.
The drawings can be seen as instances of a vast storyboard…It looks like aimless doodling until you catch onto
the sequencing, the syntax. Perhaps therein lie the fundamentals of Pollock’s genius: a high tolerance for the
notionally unintelligible backed by extraordinary deftness at pattern recognition. There are no semaphores. The
graceful interstices add up in clusters articulated.
…Across a single spread may unfold a sensuous diary entry recounting the several adventures of a biomorph or
just how many ways a flick of the wrist can make a black stain turn—all in a day’s work, so to speak. The
endlessness of Pollock’s entanglement occurs not in unchecked infinitude but within each discrete site of the
tangle itself, the surface Pollock made with whatever medium he took up . The support for such a fictive surface
—-in this case, some piece of paper—- retains in every dimension the plainness of its boundaries. Thus, the
interval between the image and surface closes. (Bill Berkson, November 1999)
In 1956, at 44 years old, Pollock died in an automobile accident. His wife and artist, Lee Krasner, continued to
further his legacy donating major works to museum collections. Pollock is today recognized as one of the
leading proponents of Abstract Expressionism and one of the most groundbreaking American artists.
Abstract painting is abstract. It confronts you. There was a reviewer a while back who wrote that my pictures
didn’t have any beginning or any end. He didn’t mean it as a compliment, but it was. - Jackson Pollock
45
51
45
JACKSON POLLOCK
American (1912-1956)
UNTITLED, 1952-1956
ink and gouache on light blue paper, unsigned
3 ½ x 12
3
8
inches
PROVENANCE
The Pollock-Krasner Foundation, Inc., catalog raisonné #866, New York, New York;
Washburn Gallery, New York, New York; Jason McCoy, Inc., New York, New York;
The Jeanne and Carroll Berry Collection, Atlanta, Georgia.
EXHIBITED
Joan T. Washburn Gallery, New York, New York, "Jackson Pollock - The Colored
Paper Drawings," January 8 - March 4, 2,000, illus., n.p.; Ackland Art Museum,
University of North Carolina, Chapel Hill, North Carolina, March 4 - May 31, 2007;
Georgia Museum of Art, University of Georgia, Athens, Georgia, "Advanced and
Irascible: Abstract Expressionism from the Collection of Jeanne and Carroll Berry,"
Jan. 14 - Apr. 30, 2017.
Notes
A copy of the Washburn Gallery exhibition catalog accompanies the lot.
Estimate $80,000—$120,000
46
HANS HOFMANN
American/German (1880-1966)
UNTITLED, 1942
oil pastel crayon with ink on paper, initialed in pencil lower right "HH"
14 x 17 inches
PROVENANCE
Estate of the artist; Andre Emmerich Gallery, New York, New York; Susanne Hilberry Gallery Inc.,
Birmingham, Michigan; Christie's, New York, New York, September 15, 2004, lot 15; The Jeanne
and Carroll Berry Collection, Atlanta, Georgia.
EXHIBITED
Georgia Museum of Art, University of Georgia, Athens, Georgia, “Advanced and Irascible:
Abstract Expressionism from the Collection of Jeanne and Carroll Berry,” Jan. 14 - Apr. 30, 2017;
Ackland Art Museum, University of North Carolina, Chapel Hill, North Carolina, March 4 - May 31,
2007; Andre Emmerich Gallery, New York, New York, "Hans Hofmann: Provincetown Landscapes
1941-1943," January 1979
LITERATURE
This work is to be included in the catalogue raisonné being supported by the Renate, Hans and
Maria Hofmann Trust.
Estimate $12,000—$18,000
52
46
47
53
47
WILLIAM BAZIOTES
American (1912–1963)
PUPPET FORMS, 1945
watercolor and gouache on paper, signed lower right "Baziotes"
10 7/8 x 13 7/8 inches
PROVENANCE
Kootz Gallery, New York, New York; Linda Hyman Fine Arts, New York, New York; Kraushaar Galleries,
New York, New York; Christie's, New York, New York, February 26, 1996, lot 8; The Jeanne and Carroll
Berry Collection, Atlanta, Georgia.
EXHIBITED
Ackland Art Museum, University of North Carolina, Chapel Hill, North Carolina, March 4 - May 31,
2007; Georgia Museum of Art, University of Georgia, Athens, Georgia, “Advanced and Irascible:
Abstract Expressionism from the Collection of Jeanne and Carroll Berry,” Jan. 14 - Apr. 30, 2017.
Estimate $8,000—$12,000
48
JAMES BROOKS
American (1906–1992)
UNTITLED,1961
gouache on paper, signed and dated lower right "J. Brooks
'61," signed and dated on the reverse
28
1
2
x 22
3
8
inches
PROVENANCE
The estate of the artist; Washburn Gallery, New York, New
York; Manny Silverman Gallery, Beverly Hills, California; The
Collection of Jeanne and Carroll Berry, Atlanta, Georgia.
EXHIBITED
Manny Silverman Gallery, Los Angeles, California, "James
Brooks: Selected Works 1948-1986," April 17 - May 29, 2004,
illustrated in the catalog; Georgia Museum of Art, University
of Georgia, Athens, Georgia, “Artist of the New York
School," January 14 - March 19, 2017.
Notes
A copy of the exhibition catalog from the 2004 Manny
Silverman Gallery exhibition accompanies the lot.
Estimate $7,000—$10,000
48
49
54
49
THEODOROS STAMOS
American (1922 - 1997)
UNTITLED, 1950
black pen, ink and gouache on board,
signed and dated lower left "Stamos 1950"
10
3
4
x 15
3
4
inches (sight)
PROVENANCE
Kouros Gallery, New York, New York,
February 26, 2005; The Jeanne and Carroll
Berry Collection, Atlanta, Georgia.
EXHIBITED
Georgia Museum of Art, University of
Georgia, Athens, Georgia, "Advanced and
Irascible: Abstract Expressionism from the
Collection of Jeanne and Carroll Berry," Jan.
14 - Apr. 30, 2017.
Estimate $1,500—$2,500
50
55
50
JAMES BROOKS
American (1906–1992)
"LURRY," 1962
acrylic on canvas, signed lower right "J. Brooks," signed, titled and dated on the reverse "1962"
48 x 42 inches
PROVENANCE
Collection of Mrs. Maurice L. Stone; Kootz Gallery, New York, New York; Solomon & Co., New York,
New York; The Jeanne and Carroll Berry Collection, Atlanta, Georgia.
EXHIBITED
The Whitney Museum of American Art, New York, New York, "James Brooks Retrospective,"
Feb. 12 - March 17, 1963, illus. in the catalog, cat. no. 42; Katonah Gallery, Katonah, New York,
"American Painting 1900-1976, Part III: Abstract Expressionism and Later Movements,"
May 29 - July 18, 1976; Ackland Art Museum, University of North Carolina, Chapel Hill,
North Carolina, March 4 - May 31, 2007; Georgia Museum of Art, University of Georgia, Athens,
Georgia, “Advanced and Irascible: Abstract Expressionism from the Collection of Jeanne and
Carroll Berry,” Jan. 14 - Apr. 30, 2017.
Notes
A photocopy of the relevant pages from the James Brooks Retrospective exhibition catalog
accompanies this lot.
Estimate $12,000—$15,000
56
Born Markus Rothkowitz in Latvia in 1903, Mark Rothko immigrated to the United States with his
family in 1913. He entered Yale University in 1921, but left two years later to go to New York. There,
in 1925, he began to study at Parsons School of Design under Arshile Gorky, who strongly
influenced him and the other Abstract Expressionists. Rothko and Gorky shared an interest in
European Surrealism which is evidenced by the biomorphic forms in their paintings from the early
1940s.
Rothko’s surrealist work from the 1940s coincides with the aftermath of the second world war.
After hearing of the horrors of war from abroad, artists in New York responded with mythical and
primitive, and symbolic motifs. They explored Surrealism and automatism learned from European
artists exiled in the Americas after the war.
Scholar Bonnie Clearwater in her book Mark Rothko: Works on Paper, notes “The years 1947-1950
were a crucial period in Rothko’s development. Abstraction finally supplanted Surrealism in his
paintings...the small number of extant works on paper from this transitional period indicates that
Rothko concentrated on the production of paintings on canvas. In the 1947 watercolor Fantasy
the amorphous masses of color abandon the strict geometry of his Surrealist paintings.” Fantasy
from 1947 is akin to the example offered here from the same period. As Clearwater goes on to
say “...In general, these works on paper were created with techniques similar to those seen in the
Surrealist watercolors. Rothko still used black ink in these watercolors, but less calligraphically; and
although he used some sgraffiti in some of the works, their surfaces are less tactile.”
This shift away from calligraphy and texture immediately foreshadowed Rothko’s mature style. By
the mid 1940s, Rothko’s work became completely abstract. He had joined the group of artists
including Jackson Pollock, Clyfford Still, Willem de Kooning, Helen Frankenthaler, Barnett Newman
and others, who became known as the Abstract Expressionists. This group was united by their
abilities to paint feelings of raw emotion and from their appreciation and subsequent rejection of
the modern techniques of early 20th century Europe such as Surrealism, Cubism and Bauhaus.
Like many of his fellow Abstract Expressionist artists, Rothko preferred not to title his works. As
evidenced in the current offering, “Untitled, circa 1948”. They wanted to avoid influencing the
viewer, instead they numbered their works and believed that the art could speak for itself.
To me art is an adventure into an unknown world, which can be explored only by those willing to
take the risk ~ Mark Rothko
51
MARK ROTHKO
American (1903-1970)
UNTITLED, C. 1948
brush and black ink, watercolor and gouache on paper, embossed with the artist's
estate stamp lower left
17
1
2
x 9 inches (sight)
PROVENANCE
The artist; Roy Edwards, Madison Heights, Michigan (an assistant in Rothko’s studio);
Gertrude Kasle Gallery, Detroit, Michigan; Acquired from the above, 1975; Christie's,
New York, New York, November 16, 2,000, lot 101; The Jeanne and Carroll Berry
Collection, Atlanta, Georgia.
EXHIBITED
Ackland Art Museum, University of North Carolina, Chapel Hill, North Carolina,
March 4 - May 31, 2007; Georgia Museum of Art, University of Georgia, Athens,
Georgia, “Advanced and Irascible: Abstract Expressionism from the Collection of
Jeanne and Carroll Berry,” Jan. 14 - Apr. 30, 2017.
Estimate $60,000—$80,000
51
57
53
HEDDA STERNE
American (1910–2011)
(A PAIR)
BALDANDERS 1
BALDANDERS 2
India ink on linen, signed lower right (a) "H. Sterne" (b) "Hedda Sterne"
29 x 19
1
4
inches (sight, each)
PROVENANCE
The Betty Parsons Gallery, New York, New York; Sotheby's Arcade,
New York, New York, February 12, 1991, lot 395; The Jeanne and
Carroll Berry Collection, Atlanta, Georgia.
EXHIBITED
Ackland Art Museum, University of North Carolina, Chapel Hill, North
Carolina, March 4 - May 31, 2007; Georgia Museum of Art, University
of Georgia, Athens, Georgia, “Advanced and Irascible: Abstract
Expressionism from the Collection of Jeanne and Carroll Berry,” Jan.
14 - Apr. 30, 2017.
Notes
In a letter dated Oct. 1, 2003 from CDS Gallery to Mr. Caroll Berry
Gallery Director, Clara D. Sujo, notes, “ Baldanders is a play of words
from two German terms that mean soon and different, which implies
that the images change every time you look at them. Executed in
the 1960s, the works are not portraits and have no relation to
automatic writing, as the aim was to stimulate the imagination of the
viewer.”
Estimate $1,000—$1,500
52
HARRY WELDON KEES
American (1914-1955)
UNTITLED, 1946
tempera and paper collage, signed and dated upper right
"Weldon Kees 1946"
13
1
2
x 9
1
2
inches
PROVENANCE
Norris Getty, inherited by his niece; Stephen Foster Fine Arts, New London,
Connecticut, May 6, 2006; The Jeanne and Carroll Berry Collection,
Atlanta, Georgia.
EXHIBITED
Ackland Art Museum, University of North Carolina, Chapel Hill, North
Carolina, March 4 - May 31, 2007; Georgia Museum of Art, University of
Georgia, Athens, Georgia, “Advanced and Irascible: Abstract
Expressionism from the Collection of Jeanne and Carroll Berry,”
Jan. 14 - Apr. 30, 2017.
Estimate
$3,000—$5,000
52
53A
53B
58
54
55
59
54
THEODOROS STAMOS
American (1922 - 1997)
"INFINITY FIELD, LEFKADA SERIES"
acrylic on paper, signed, titled and dated on
the reverse "Stamos 1978"
30 x 22
1
2
inches
PROVENANCE
Turske & Whitney Gallery, Los Angeles,
California; Sotheby's, New York, New York,
February 15, 1989, lot 135; The Jeanne and
Carroll Berry Collection, Atlanta, Georgia.
EXHIBITED
Georgia Museum of Art, University of Georgia,
Athens, Georgia, "Advanced and Irascible:
Abstract Expressionism from the Collection of
Jeanne and Carroll Berry," Jan. 14 - Apr. 30,
2017.
Estimate $6,000—$8,000
55
THEODOROS STAMOS
American/Greek (1922-1997)
"INFINITY FIELD, LEFKADA SERIES," 1980
gouache on paper, signed, titled and dated on
the reverse "Stamos 1980"
30 x 22
1
4
inches
PROVENANCE
Sotheby's Arcade, New York, New York,
February 21, 1990, lot 397; The Jeanne and
Carroll Berry Collection, Atlanta, Georgia.
EXHIBITED
Ackland Art Museum, University of North
Carolina, Chapel Hill, North Carolina, March 4 -
May 31, 2007.
Estimate $4,000—$6,000
We shall never understand this seemingly 'new' art until we recall that to the 'new'
artist as well as to the Asiatic artists the highest effort was made to suggest infinity,
the infinity which belongs to the free mind of man. — Theodoros Stamos
60
Richard Pousette-Dart was among the youngest artists of the New York School’s first generation
of Abstract Expressionists. He was born in 1916 in St. Paul, Minnesota. His father was Nathaniel
Pousette, an artist and art writer, and his mother was Flora Louise Dart, a poet and musician. His
parents hyphenated their surnames when they got married in 1913 to show their mutual respect
to each other as equals.
Pousette-Dart had no formal art training but spent considerable time as a child with his father at
the easel painting with him. After graduating from high school he briefly attended Bard College
in 1936, and after a few months he moved to Manhattan to further his career as an artist. To
support himself, he first served as an assistant to the sculptor Paul Manship, who was his father’s
friend. While working during the day, he spent his nights working on his artwork and in 1939, he
devoted himself fully to painting and sculpture.
During the 1940s, Pousette-Dart was active in the avant-garde New York art world as he moved
into Abstract Expressionism with work that focused on philosophical issues such as the hidden
meaning of life. Expressing his new frame of mind, he said: "Art is always mystical in its final
meaning. . . Painting is a spark from an invisible, pointless central fire." (Herskovic 266).
He had his first solo show at the Artist’s Gallery in 1941 then exhibited at Willard Gallery along with
Mark Tobey in 1943, at Peggy Guggenheim’s Art of This Century gallery in 1944, and at the Betty
Parsons Gallery (from 1948 to 1967), where Jackson Pollock, Barnett Newman, and Mark Rothko
also showed their work. Pousette-Dart participated in discussions about abstraction at the
legendary Studio 35, a meeting place for Abstract Expressionist artists, including William Baziotes,
David Hare, Robert Motherwell and Mark Rothko, and in the activities of the Eighth Street Club,
founded by Franz Kline, Willem de Kooning, and Ad Reinhardt among others. He socialized with
Abstract Expressionist painters at the Cedar Street Tavern on University Place and at the 59th
Street Automat.
In 1946, the year after he painted “Cerulean Garden” he married poet Evelyn Gracey and they
started a family. A few years later, he moved with his family to Rockland County, New York, where
he lived until his death in 1992.
During that time, he taught at a variety of schools in and around New York City, including the
New School for Social Research, the School of Visual Arts, Columbia University, the Arts Students
League, Bard College and Sarah Lawrence College.
His works are in the collections of many major museums including the Hirshhorn Museum and
Sculpture Garden, Smithsonian Institution in Washington, D.C.; the Los Angeles County Museum
of Art; The Metropolitan Museum of Art; the Museum of Fine Arts, Boston; The Museum of Modern
Art, New York; the Philadelphia Museum of Art; the Solomon R. Guggenheim Museum; and the
Whitney Museum of American Art.
I strive to express the spiritual nature of the Universe. Painting for me is a dynamic balance and
wholeness of life; it is mysterious and transcending, yet solid and real. ~ Richard Pousette-Dart
56
RICHARD POUSETTE-DART
American (1916-1992)
"CERULEAN GARDEN," 1945
Mixed media (oil, watercolor and gouache), titled, dated and
stamped on the reverse "Richard Pousette-Dart / Evelyn Pousette-Dart
/ March 29, 1996"
9
1
2
x 13
1
2
inches (sight)
PROVENANCE
Estate of the artist; ACA Galleries, New York, New York; American
Contemporary Artists, Munich, Germany; Manny Silverman Gallery,
Los Angeles, California, March 13, 2003; The Jeanne and Carroll Berry
Collection, Atlanta, Georgia.
EXHIBITED
Georgia Museum of Art, University of Georgia, Athens, Georgia,
"Advanced and Irascible: Abstract Expressionism from the Collection
of Jeanne and Carroll Berry," Jan. 14 - Apr. 30, 2017.
Estimate $25,000—$35,000
56
61
62
Bradley Tomlin was born 1899 in Syracuse, New York. He died in 1953 in New York City abruptly
culminating a career and a lifespan concurrent with the Abstract Expressionist movement in the
United States.
After graduating with a degree in painting from Syracuse University, Tomlin moved to New York
City. There, he worked as a magazine and commercial illustrator. In 1923, he went to Paris on a
fellowship to study at the Academie Colarossi and the Académie de la Grande Chaumière. In
1926, he had his first solo exhibition and in 1929 he sold a painting to the Pennsylvania Academy
of Fine Arts, his first sale to a museum.
During the depression from 1932-1941, Tomlin taught painting at Sarah Lawrence College and
other preparatory schools in New York. During this period, he was primarily painting in a cubist
style. MoMA’s 1936 exhibition “Fantastic Art, Dada and Surrealism” had a profound effect on
Tomlin as it did on many other artists of the day. Tomlin’s work after this show became increasingly
abstract and surrealist.
In 1945, Tomlin met Adolph Gottlieb and through him some of the leading Abstract Expressionists
including Robert Motherwell, Phillip Guston and Jackson Pollock. At this point in Tomlin’s career,
his work became assertively distinctive. He stopped teaching in order to focus on his own
painting. He began to experiment with automatism using themes like calligraphy and
typography. In the 1940s and 50s his work was abstract but focused on geometry and order.
In the present work “Number 16” Tomlin used the yellow/khaki ground that is apparent in his other
works from the 1952-1953. The use of 14 different colors on top of this ground and texture of the
brushstrokes are magnificent. Duncan Phillips, founder of the Phillips Collection, called examples
in this style “petal paintings” because the thick, rhythmic brush strokes resemble falling flower
petals.
In a new volume The Irascibles: Painters Against the Museum, New York, 1950, author Daniel
Belasco notes, “Tomlin isolated the brushstroke as a discrete image, becoming among the first to
pare Abstract Expressionism to its gestural essentials.”
Tomlin died in 1957 of a heart attack, prematurely ending his career. Rothko remembered him
saying “the first of our family to leave us.” In 1957 the Whitney organized a memorial exhibition of
his work and MoMA included him in their landmark 1958-1959 travelling exhibition The New
American Painting.
In 2016 the Samuel Dorsky Museum of Art at SUNY New Paltz together with the Everson Museum
of Art, Syracuse, New York organized the first retrospective and catalog of Tomlin’s work since
1975. A review of the exhibition noted, “It is largely because Tomlin avoided the automatic,
action-packed swagger of his compatriots that he’s often denied true Abstract Expressionist
honors. Others see, through the unobtrusive, quiet, gracious demeanor of a gay man from the
1940s, an artist who found it necessary to shun all bravado. Some cite his early death and paucity
of extant Expressionist works as reasons why he may never have fully realized his vision. However,
setting these asides aside, this retrospective provides a fresh view of Tomlin as an artist whose
keen understanding of the structure of a new aesthetic enabled him to distill its visual and psychic
energy. He did this fully knowing himself, acknowledging his voice, and expressing it
authentically, in irrepressibly original ways.”[1]
__
[1] Joyce Beckenstein, “Bradley Walker Tomlin, A Retrospective,” in The Brooklyn Rail, Oct. 4, 2016,
http://brooklynrail.org/2016/10/artseen/bradley-walker-tomlin-a-retrospective
[2] Bradley Walker Tomlin, catalog, circ. Exhibition organized by the Art Galleries of the University of California, Los
Angeles, in association with the Whitney Museum of American Art (New York, Published for the Whitney Museum of
American Art by Macmillan, 1957).
57
63
57
BRADLEY WALKER TOMLIN
American (1899-1953)
NUMBER 16, CA. 1952-53
oil on canvas, unsigned
12 x 16 inches
PROVENANCE
Betty Parsons Gallery, New York, New York; Jason McCoy, Inc., New York, New York; Robert Elkon Gallery,
New York, New York; John C. Stoller & Co., Minneapolis, Minnesota; B.C. Holland, Inc., Chicago, Illinois; The
Jeanne and Carroll Berry Collection, Atlanta, Georgia.
EXHIBITED
Emily Lowe Gallery, Hofstra University Museum of Art, Hempstead, New York, "Bradley Walker Tomlin, A
Retrospective View," April 17 - May 25, 1975; The Elkon Gallery, New York, New York, "Modern and
Contemporary Masters – Spring 1990," April 30 - June 8, 1990; Thomas McCormick Gallery, Chicago, Illinois,
"Mighty Small - Small Scale Abstract Expressionist Works," March 21-April 26, 2003; Georgia Museum of Art,
University of Georgia, Athens, Georgia, "Advanced and Irascible: Abstract Expressionism from the
Collection of Jeanne and Carroll Berry," Jan. 14 - Apr. 30, 2017.
LITERATURE
"Bradley Walker Tomlin: A Retrospective View", (Buffalo, New York: Buffalo Fine Arts Academy, 1975), cat.
no. 68, p. 126 (illus.).
Notes
A copy of the relevant pages from the Tomlin retrospective exhibition catalog accompany the lot.
Estimate $25,000—$35,000
64
Art is too serious to be taken seriously. -Ad Reinhardt
Ad Reinhardt, born Adolph Dietrich Friedrich Reinhardt, grew up in Queens to German and East
Prussian immigrants with socialist leaning politics. He studied art history at Columbia University
under Meyer Schapiro and later at the Institute of Fine Arts at New York University.
In college, joined pacifist groups and drew political cartoons for the Columbia Review and the
Columbia Jester. When he graduated in 1935, he took painting classes at the National Academy
of Design and the American Artists School. Reinhardt worked exclusively as an abstract painter
from the beginning of his professional career, separating his graphic design work from his studio
practice. He joined the American Abstract Artists group, the Artists’ Union and the American
Artists Congress.
In 1944, Reinhardt served in the US Navy as a photographer until the end of World War II. From
1947-1967 he taught art history at Brooklyn college and travelled extensively in America giving
lectures on how abstraction was the style of the century. He lectured at universities including
Hunter College, the California School of Fine Arts, the University of Wyoming and Yale University.
Lucy Lippard, a contemporary author and curator, did a survey of exhibitions from 1935-1945 at
the Whitney and MoMA determining that less than 5% of the works exhibited were by abstract
artists. Reinhardt, in his day, was keenly aware of this lack of support and wrote letters in protest,
and designed a pamphlet that distinguished collector A.E. Gallatin, distributed in front of MoMA.
In this spirit, it comes as no surprise that Reinhardt signed the inflammatory letter to the
Metropolitan in 1950.
In the 1930s, like many of the New York School, he was profoundly influenced by the work of the
Surrealists. By 1940 he had moved from biomorphic abstraction to geometric abstraction. In the
late 1940s, influenced by Eastern, art styles he started painting in a vertical format. His color
palette was reduced to monochromatic red, blue and eventually just black.
The present work from 1943 represents a turning point in Reinhardt’s oeuvre where he had moved
from Surrealism to a more rigid geometric abstraction. The composition is rhythmic and
pattern-like, with a restricted use of color. His confidence working with ink on paper is evident in
this composition, a nod to his work in graphic design.
Reinhardt is considered an important proponent of American abstraction as one of the first
generation New York School artists and a teacher and lecturer on the subject. His works
foreshadowed Minimalism and Conceptual Art that would follow in the 1970s. During his lifetime
his works were exhibited at Graham Gallery, Stable Gallery and Betty Parsons Gallery. In 1966, a
year before he died, the Jewish Museum in New York presented his first retrospective.
58
AD REINHARDT
American (1913-1967)
UNTITLED, 1943
crayon and India ink on paper, signed and dated lower right "Reinhardt 43"
8
3
8
x 16
3
8
inches (sight), 10
1
4
x 18 inches (sheet)
PROVENANCE
The Artist to P. Beirne, New York, New York; by descent; Private Collection,
New York, New York (1998-2001); Conner-Rosenkranz Gallery, New York, New
York, 2003; The Jeanne and Carroll Berry Collection, Atlanta, Georgia.
EXHIBITED
Ackland Art Museum, University of North Carolina, Chapel Hill, North Carolina,
March 4 - May 31, 2007; Georgia Museum of Art, University of Georgia,
Athens, Georgia, “Advanced and Irascible: Abstract Expressionism from the
Collection of Jeanne and Carroll Berry,” Jan. 14 - Apr. 30, 2017.
Estimate $30,000—$50,000
58
65
66
59
60
59
WILLEM DE KOONING
American/Dutch (1904-1997)
UNTITLED (OWL), 1970
charcoal on paper, signed lower right "de Kooning"
9
3
4
x 8 inches
PROVENANCE
The artist; Sotheby's, New York, New York,
November 13, 2002, lot 224; The Jeanne and Carroll
Berry Collection, Atlanta, Georgia.
Notes
This drawing along with Woman (lot 44) were likely
painted for the artist’s friend Max Margulis. Margulis,
a musician, hosted De Kooning and a circle of
friends almost weekly at his apartment in Chelsea.
His nickname was “Max the Owl” because of his
thick-rimmed glasses (see lot 44).
Estimate $8,000—$12,000
60
FRITZ BULTMAN
American (1919–1985)
"FROM THE DOOR," 1954
oil on board, titled and inscribed on the reverse
"Providence"
14 x 10 inches
PROVENANCE
Estate of the Artist; Gallery Schlesinger, New York, New York;
The Jeanne and Carroll Berry Collection, Atlanta, Georgia.
EXHIBITED
Georgia Museum of Art, University of Georgia, Athens,
Georgia, "Advanced and Irascible: Abstract Expressionism
from the Collection of Jeanne and Carroll Berry," Jan. 14 -
Apr. 30, 2017; Provincetown Art Association and Museum,
Provincetown, Massachusetts, "Fritz Bultman: A
Retrospective," Sept. 9 - Oct. 30, 1994; Art Museum of
Western Virginia, Roanoke, Virginia, "Fritz Bultman: A
Retrospective," Apr. 29 - Jul. 10, 1994; Greenville County
Museum of Art, Greenville, South Carolina, "Fritz Bultman: A
Retrospective," Nov. 9 - Jan. 2, 1994; New Orleans Museum
of Art, New Orleans, Louisiana, "Fritz Bultman: A
Retrospective," Aug. 7 - Oct. 3, 1993; Gallery Schlesinger,
New York, New York, "Fritz Bultman – Paintings, 1952-1962,"
May 22 - Jun 15, 1991.
LITERATURE
"Fritz Bultman: A Retrospective," New Orleans, Louisiana,
New Orleans Museum of Art, 1993, cat. no. 13, p. 46. (a
copy of this catalog accompanies the lot)
Notes
In a letter dated May 29, 2003, Jeanne Bultman wrote to
Jeanne and Carroll Berry describing "From the Door." In her
letter, she writes, “I was so pleased to get your good letter
and that you are so happy with FROM THE DOOR. Yes, it is a
terrific painting—it was a Christmas present to me some
years ago and one that I especially liked. The title refers to
his studio in Provincetown where he could look out the door
to our wonderful vegetable garden.” Jeanne and Carroll
Berry maintained correspondence with Jeanne Bultman
and visited her in the Fall of 2005. A copy of this letter
accompanies the lot.
Estimate $6,000—$8,000
67
61
62
61
JIMMY ERNST
American / German (1920-1984)
BLACK ON BLACK #4, 1962
oil and enamel on fiberboard, signed and dated
lower right "Jimmy Ernst 62"
13
7
8
x 19
7
8
inches
PROVENANCE
Grace Borgenicht Gallery, New York, New York;
Joseph H. Hirshhorn, New York and Washington,
D.C. (acquired from the above in 1966); Joseph
H. Hirshhorn bequest, Hirshhorn Museum,
Washington, D.C., 1981; Sotheby's Arcade, New
York, New York, February 24, 1995, lot 331; The
Jeanne and Carroll Berry Collection, Atlanta,
Georgia.
EXHIBITED
Kolnischer Kunstverein, Cologne, Germany,
"Jimmy Ernst, " May 17 - June 23, 1963, no. 15;
Grace Borgenicht Gallery, New York, New York,
"Jimmy Ernst: A selection of Black on Black
Paintings 1952-1966," April 19 - May 1966, no. 7;
Ackland Art Museum, University of North
Carolina, Chapel Hill, North Carolina, March 4 -
May 31, 2007.
Estimate $6,000—$8,000
62
JIMMY ERNST
American / German (1920-1984)
"NEBULA III,"1954
gouache on paper mounted on masonite, signed
and dated lower right "Jimmy Ernst 54"
18 x 24 inches
PROVENANCE
Grace Borgenicht Gallery, New York, New York; Parke
Bernet Galleries, New York, New York, March 25, 1971,
lot 46; Sotheby's Arcade, New York, New York, June
10, 2004, lot 452; The Jeanne and Carroll Berry
Collection, Atlanta, Georgia.
EXHIBITED
Brandeis University, Rose Art Museum, Waltham,
Massachusetts, "Jimmy Ernst", 1956-1957; Ackland Art
Museum, University of North Carolina, Chapel Hill,
North Carolina, March 4 - May 31, 2007; Georgia
Museum of Art, University of Georgia, Athens,
Georgia, “Advanced and Irascible: Abstract
Expressionism from the Collection of Jeanne and
Carroll Berry,” Jan. 14 - Apr. 30, 2017.
Estimate $4,000—$6,000
68
Robert Motherwell was born in Washington state to a wealthy family. He attended Stanford
University in California and graduated in 1937 with a degree in Philosophy. He studied painting
briefly at the California School of Fine Arts in San Francisco before heading to Harvard to pursue
a graduate degree in Philosophy. During a study abroad trip in Paris, Motherwell spent his time
painting rather than conducting research. He returned to the United States to the University of
Oregon where he taught art history for one year, and then enrolled at Columbia to study art
history with Meyer Schapiro.
Schapiro, noting Motherwell’s interest in artistic practice over academia, arranged for him to
study with Swiss Surrealist Kurt Seligmann who was in New York at the time. In 1941, Motherwell met
Chilean Surrealist Roberto Matta and learned about automatism. In the Summer of 1941,
Motherwell and Matta went on a trip to Mexico and met Wolfgang Paalen, a Surrealist painter
and theorist.
In Paalen’s studio, Motherwell learned of Surrealism in a six-week crash course. He became
involved with Dyn, Paalen’s journal that only lasted six issues but was critical in stimulating the
conversation among Surrealist intellectuals and the young New York School. The journal illustrated
works by William Baziotes, Motherwell, Matta, Jackson Pollock, Henry Moore and others.
Motherwell painted for four months in Mexico City absorbing the colors of Mexican folk art and
using them as a repeated theme in later works. His Mexican sketchbook at MoMA is filled with
black and white surrealist drawings that foreshadow his later gestural canvases. The present work
Mexico, 1943 is inscribed to Walter Pistole, a publisher with the New York firm Reynal and
Hitchcock. Pistole collected Motherwell in the early 1940s and at least two other works by
Motherwell from this period are known from Pistole’s collection.
On a trip to Taxco outside Mexico City he wrote to Paalen, “Taxco is so dull that there is nothing
to do but work. I have rather radically changed the way I paint—and much more flatly than I was
– and I think perhaps I am on a track that will lead to some good things.”
In 1942, Motherwell returned to New York City and joined with the group of European exiles and
New York School Abstract Expressionist artists in downtown. He brought Paalen’s ideas to New
York and circulated Dyn in artist’s studios. At this time, Motherwell began to develop his mature
style. He came back from Mexico embracing automatism and ready to pursue a professional
career as an artist.
In 1944, Motherwell had his first New York solo exhibition at Peggy Guggenheim’s Art of this
Century gallery; that year MoMA also purchased one of his works. By 1949, Motherwell had
achieved his mature style with large-format expressive black on white canvases. He continued
to write and teach extensively at Black Mountain College in North Carolina and Hunter College
in New York.
Art is an experience, not an object. ~ Robert Motherwell
63
69
63
ROBERT MOTHERWELL
American (1915-1991)
"MEXICO," 1943
watercolor and gouache on paper, signed, dated and titled lower left "Motherwell Mexico 43,"
inscribed upper right "For Walter Pistole III.45,” signed, titled and dated on reverse
12
3
4
x 9
3
4
inches (sight)
PROVENANCE
The artist; Walter Pistole, New York, New York; Sotheby's, New York, New York, February 18, 1999,
lot 183; The Jeanne and Carroll Berry Collection, Atlanta, Georgia.
EXHIBITED
Ackland Art Museum, University of North Carolina, Chapel Hill, North Carolina, March 4 - May 31,
2007; Georgia Museum of Art, University of Georgia, Athens, Georgia, “Advanced and Irascible:
Abstract Expressionism from the Collection of Jeanne and Carroll Berry,” Jan. 14 - Apr. 30, 2017.
Estimate $20,000—$30,000
64
GEROME KAMROWSKI
American (b. 1914)
UNTITLED, C. 1940
gouache and ink on paper, signed lower left "Kamrowski,"
signed faintly lower center “Kamrowski”
7
1
2
x 10 inches
PROVENANCE
The River Gallery, Chelsea, Michigan; The Jeanne and Carroll Berry
Collection, Atlanta, Georgia.
EXHIBITED
The River Gallery, Chelsea, Michigan, "Gerome Kamrowski: 1914-2004, A
Memorial Retrospective," November - December 5, 2004; Georgia Museum
of Art, University of Georgia, Athens, Georgia, "Artist of the New York School,"
January 14 - March 19, 2017.
Notes
In 1940-41, Baziotes, Kamrowski and Pollock experimented with a new
lacquer paint. The three artists created a series of three canvases with this
new technique a forerunner of Pollock's famed drip paintings. Of the three
works only one survived when Kamrowski moved his studio. The biomorphic
forms in that composition relate closely to this early Kamrowski from the
same period.
Estimate $7,000—$10,000
64
70
65
ARSHILE GORKY
American (1904–1948)
UNTITLED DOUBLE DRAWING, 1937-1938
charcoal on paper, unsigned
24 x 18
1
2
inches (sight)
PROVENANCE
Martha Jackson Gallery, Inc., New York, New York; Private Collection, Palo Alto, California; Oakland Museum,
Oakland, California; Christie's, New York, New York, February 20, 2001, lot 47; The Jeanne and Carroll Berry
Collection, Atlanta, Georgia.
EXHIBITED
Knoedler & Co., New York, New York. November 25 - December 27, 1969, cat. no. 51; Salvador Dalí Museum, St.
Petersburg, Florida, "Surrealism in America during the 1930s and 1940s: Selections from the Penny and Elton
Yasuna Collection," November 7, 1998 – February 21, 1999, traveled to the David and Alfred Smart Museum of
Art, the University of Chicago, Chicago, Illinois, November 19, 1999 - January 9, 2000; Cape Museum of Fine
Arts, Dennis, Massachusetts, July 19 - September 2000; Georgia Museum of Art, University of Georgia, Athens,
Georgia, "Advanced and Irascible: Abstract Expressionism from the Collection of Jeanne and Carroll Berry,"
Jan. 14 - Apr. 30, 2017.
LITERATURE
Jim M. Jordan, "Gorky Drawings," (New York, New York: M. Knoedler & Co., Inc., 1969), p. 31, cat. no. 51 (illus.);
William Jeffett, edited, "Surrealism in America during the 1930s and 1940s: Selections from the Penny and Elton
Yasuna Collection," exhibition catalog, (Saint Petersburg, Florida: Salvador Dali Museum, 1998), p. 48 (illus.).
Estimate $15,000—$25,000
65
71
72
Guy 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, New York Times, “A Family of
Painters is Having Its Moment, Jun. 6, 2011)
Wiggins first studied architecture at Brooklyn Polytechnic Institute then left to pursue fine arts
training at the National Academy of Design. The architectural cityscape 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.
Wiggins’ legacy was preserved in the history of American Art and his works are included in
numerous public and private collections including the Wadsworth Athenaeum in Hartford,
Connecticut, the Metropolitan Museum of Art, the Brooklyn Museum, the National Gallery in
Washington D.C. and the Art Institute of Chicago.
66
GUY CARLETON WIGGINS
American (1883-1962)
"WINTER AT THE LIBRARY"
oil on canvas, signed lower right "Guy Wiggins N.A.," signed,
titled and dated on the reverse "1957"
20 x 24 inches
PROVENANCE
Private Collection, Texas.
Notes
A photocopy of a letter of authenticity from Guy A. Wiggins,
son of the artist, accompanies the lot.
Estimate $40,000—$60,000
66
73
67
74
67
JOHN F. CARLSON
American (1893-1967)
WINTER QUIET
oil on canvas, signed lower right "John F. Carlson,"
signed and titled on the reverse
25 x 30 inches
PROVENANCE
Private Collection, Houston, Texas.
Estimate $20,000—$30,000
68
69
75
68
ANTONIO CIRINO
American (1889-1983)
"FOR SALE"
oil on canvas, signed and titled lower left center "A. Cirino"
25 x 30 inches
PROVENANCE
Private Collection, New York; Shannon's, Milford,
Connecticut, April 28, 2005, lot 19; Private Collection,
Georgia; Private Collection, North Carolina.
EXHIBITED
Rockport Art Association, Rockport, Maine,
September 10 - 30, 2010.
Estimate $8,000—$12,000
69
ANTHONY THIEME
American (1888-1954)
"ROCKPORT CHURCH"
oil on canvas, signed lower right "A. Thieme,"
titled on the reverse
30 x 36 inches
PROVENANCE
Christie's, New York, New York, July 17, 2002, lot 23;
Private Collection, North Carolina.
EXHIBITED
Rockport Art Association, Rockport, Maine.
Estimate $7,000—$10,000
71
PAUL STRISIK
American (1918-1998)
AT THE HARBOR, GLOUCESTER
oil on canvas, signed lower left "P. Strisik"
19
3
4
x 29
3
4
inches
PROVENANCE
Spanierman Gallery, New York, New York;
Private Collection, North Carolina.
Estimate $4,000—$6,000
70
ANTHONY THIEME
American (1888-1954)
HARBOR SCENE
oil on canvas, signed lower right "A. Thieme," artist's stamp
on the stretcher
30 x 36 inches
PROVENANCE
Private Collection, New York.
EXHIBITED
Rockport Art Association, Rockport, Massachusetts,
October 2 - November 14, 1999.
Estimate $4,000—$6,000
70
71
76
72
77
72
EMILE A. GRUPPE
American (1896-1978)
MISTY MORNING II, GLOUCESTER HARBOR
oil on canvas, signed lower right "Emile A. Gruppe,"
signed and dated on the reverse "1961"
30 x 36 inches
PROVENANCE
Barridoff Galleries, South Portland, Maine, August 3,
2007, lot 177; Private Collection, Dallas, Texas.
Estimate $12,000—$18,000
78
74
GUY CARLETON WIGGINS
American (1883-1962)
"THE FISHING FLEET"
oil on canvas, signed lower right "Guy Wiggins N.A.,"
signed, titled and dated on the reverse "1941"
20 x 24
1
4
inches
PROVENANCE
Descended in the artist's family; Private Collection,
Nashville, Tennessee; Shannon's, Milford, Connecticut,
October 20, 2005, lot 45; Private Collection, New York.
Estimate $10,000—$15,000
73
ALDRO THOMPSON HIBBARD
American (1886-1972)
"MOTIF #1, ROCKPORT"
oil on masonite, signed lower left "A.T. Hibbard"
9
1
4
x 12 inches
PROVENANCE
Private Collection, Massachusetts.
Estimate $5,000—$7,000
73
74
75
ANTHONY THIEME
American (1888-1954)
"OLD ROCKPORT"
oil on canvas, signed lower right "A. Thieme"
30 x 36 inches
PROVENANCE
The artist's wife; Flair Galleries; Private Collection, Delray Beach,
Florida; Bill Hood and Sons Art and Antique Auctions, Delray Beach,
Florida, April 6, 2004; Private Collection, North Carolina.
EXHIBITED
Rockport Art Association, Rockport, Massachusetts, "Harry A. Vincent
ANA and His Contemporaries," October 6 - November 12, 2006.
Notes
In a Paul Carter Goodnow gilded frame.
Estimate $20,000—$30,000
75
79
80
77
ALFRED HENRY MAURER
American (1868-1932)
"VASE AVEC FLEURS, #2"
oil on panel, signed upper left "A. H. Maurer"
11 x 8
3
4
inches
PROVENANCE
Bernard Danenberg Galleries, New York, New York;
Private Collection, Connecticut.
Notes
This work closely relates to "Flowers" from ca. 1912 at
the Whitney Museum of American Art in New York
City (acc. no. 31.300).
Estimate $7,000—$10,000
76
ALFRED HENRY MAURER
American (1868-1932)
LE FEMME DANS LE VOILE MAUVE, 1912
oil on wood panel, signed upper right "A.H. Maurer"
11
1
4
x 9 inches
PROVENANCE
Bernard Danenberg Galleries, New York, New York;
Private Collection, Connecticut.
Estimate $7,000—$10,000
76
77
78
LEON KROLL
American (1884-1975)
STILL LIFE WITH FRUIT, FLOWER AND VASE
oil on canvas, signed and dated lower right "Kroll 1916"
25 x 30 inches
PROVENANCE
Private Collection, Connecticut.
Estimate $10,000—$15,000
78
81
82
80
MARSDEN HARTLEY
American (1877-1943)
STILL LIFE, POMEGRANATES
graphite on paper, signed and dated in pencil
lower right "Marsden Hartley 27"
11
1
2
x 14
3
8
inches (sight)
PROVENANCE
Kennedy Galleries, New York, New York; Lewis A. Shepard,
Worcester, Massachusetts; Private Collection, New York,
New York; Denenberg Fine Arts, Inc., San Francisco,
California; Private Collection, New York.
EXHIBITED
Arkansas Art Center, Little Rock, Arkansas, "50th Collectors
Show and Sale," November 16, 2018 - January 6, 2019.
Estimate $7,000—$10,000
79
MARSDEN HARTLEY
American (1877-1943)
STILL LIFE WITH PEARS
pastel on paper, signed in pencil lower right "Marsden Hartley"
14
1
8
x 18
3
8
inches (sight)
PROVENANCE
The artist; Adelaide Kuntz, New York (acquired as a gift from the
artist); By descent in the family to the present owner; Sotheby's,
New York, New York, April 5, 2012, lot 5; Private Collection.
Estimate $10,000—$15,000
79
80
81
CHARLES BURCHFIELD
American (1893-1967)
BUZZARD AND CABIN (BUZZARD LANDSCAPE), 1918
watercolor on paper, signed and dated lower left "Chas. Burchfield 1918"
9 x 12 inches
PROVENANCE
With the artist (1963); Private Collection, Connecticut.
EXHIBITED
Upton Hall Gallery, State College at Buffalo, Buffalo, New York, "Charles
Burchfield Recent Paintings,",1963; Albright-Knox Art Gallery, Buffalo,
New York, "Early Watercolors," April 24 - May 19, 1963.
LITERATURE
Joseph Trovato, "Charles Burchfield, Catalogue of Paintings in Public and
Private Collections," (Utica, New York: 1970), cat. no. 510.
Estimate $10,000—$15,000
81
83
84
Alfred Thompson Bricher was one of America’s best-known seascape painters of the nineteenth
century. Unlike the artists of the two generations preceding, who sought untamed wilderness in
the Catskill Mountains, the White Mountains, and the Adirondacks, Bricher specialized in
picturesque scenes of the New England seaboard. Today Bricher is widely appreciated by art
historians for his mastery of Luminist realism. As a Luminist painter, he was predominantly interested
in the pictorial effects of light and translucency. It is always possible to ascertain specifics such as
the time of day, weather conditions, and geography in his work, yet his paintings manifest a
spiritual quality that was an important component of Hudson River School.
In 1879 Bricher was elected an Associate member of the National Academy of Design. His work
was seen regularly in the annual exhibitions of both the Academy and the American Watercolor
Society. Bricher also exhibited at the Art Institute of Chicago, the Boston Art Club, and the gallery
of James Gill in Springfield, Massachusetts. Following a second marriage in 1881, Bricher built a
summer home and studio in Southampton, Long Island. “Here he interpreted the expansive coast
and quaint village areas in paintings displayed at annual exhibitions from 1882 until 1894. He
painted all along the south shore of Long Island. He exhibited views of rugged Montauk Point at
the eastern tip between 1882 and 1885; Water Mills, adjacent to Southampton from 1882 to 1888;
Patchogue and Blue Point on Great South Bay protected from the Atlantic by Fire Island from
1886-91; further west, Freeport and Far Rockaway from 1888 to 1891; and Wantagh in 1893.”[1]
By the time he died in 1908, Bricher’s career had spanned a period of momentous evolution in
American art, indeed from the era of the Hudson River School to the imminent appearance of
Synchromism, or color abstraction. When Bricher died at New Dorp on September 30, 1908, his
obituary commented, “[Bricher] did not receive the notice in the press that the artist’s ability and
reputation deserved.”
The three lots offered in this auction are led by this example of Sailboats Along the Rocky Shore.
In this composition, a lighthouse is visible along the horizon and a group of sailboats sail just out
ahead of it. The moss covered rocks in greens and browns capture the effect of the changing
tide. In Lot 90, Bricher instead chose a quiet inlet with flat calm water. Depicting a boathouse at
the left of the composition, giving the scene a calm, quiet feeling. In Lot 126 the cloudy skies and
rough water foreshadow inclement weather and the waves crash into the foreground capturing
the viewer’s attention. These three paintings illustrate the differences in Bricher’s work and his
constant curiosity in capturing the effects of the changing water, sky and atmosphere in different
places and different times.
Today New England seascapes by Bricher are in the permanent collections of many of America’s
most prestigious museums, the Metropolitan Museum of Art, the Brooklyn Museum of Art, the
Smithsonian American Art Museum, the White House, The Wadsworth Atheneum and the
Pennsylvania Academy of Fine Arts, to name only a few.
___
[1] Jeffrey R. Brown, assisted by Ellen W. Lee, Alfred Thompson Bricher, 1837-1908, (Indianapolis, Indiana: Indianapolis
Museum of Art, 1973).
82
ALFRED THOMPSON BRICHER
American (1837-1908)
SAILBOAT ALONG THE ROCKY SHORE
oil on canvas, signed lower right "Bricher"
18 x 39
1
2
inches
PROVENANCE
Private Collection, New York.
Estimate $40,000—$60,000
82
85
86
84
GEORGE HEBERT MCCORD
American (1848-1909)
TWILIGHT ON THE HARLEM
oil on canvas, signed lower left
12 x 20 inches
PROVENANCE
Private Collection, New York.
Estimate $4,000—$6,000
83
HERMAN FUECHSEL
American (1833-1915)
END OF THE DAY SAIL
oil on board, signed lower left "H.F. Fuechsel"
10 x 14 inches
PROVENANCE
Grand Central Art Gallery, New York, New York
(probably); Private Collection, New York.
Estimate $3,000—$5,000
83
84
85
87
85
CHARLES H. GIFFORD
American (1839-1904)
NEW BEDFORD HARBOR
(Palmer Island Lighthouse, Fort Phoenix, Fairhaven, 1848)
oil on canvas, signed faintly lower right
26 x 36 inches
PROVENANCE
Private Collection, New York, New York.
Estimate $12,000—$18,000
88
87
HUGH BOLTON JONES
American (1848-1927)
A MEADOW STREAM
oil on canvas laid down on masonite, signed
lower right "H. Bolton Jones"
14 x 20 inches
PROVENANCE
Doyle, New York, New York, May 9, 2012, lot 340;
Private Collection, New York, New York.
Estimate $4,000—$6,000
86
MAURITZ FREDERIK HENDRICK DE HAAS
American/Dutch (1832-1895)
SUNSET ON THE EAST COAST
oil on canvas, signed and dated lower right
"M.F.H. de Haas 1871"
12 x 22 inches
PROVENANCE
Berry-Hill Galleries, Inc. New York, New York;
Private Collection, New York.
Estimate $4,000—$6,000
86
87
88
MAURITZ FREDERICK HENDRICK DE HAAS
American/Dutch (1832-1895)
COAST OF ENGLAND
oil on canvas, signed and dated lower left "M.F.H de Haas 1859"
33
1
2
x 45
3
4
inches
PROVENANCE
Private Collection, Scotland.
Estimate $8,000—$12,000
89
88
90
89
WILLIAM FREDERICK DE HAAS
American/Dutch (1830-1880)
A QUIET COVE
oil on canvas, signed and dated lower right
"William F. de Haas 75," signed and dated on the reverse
21 x 36 inches
PROVENANCE
Private Collection, New York, New York.
Estimate $12,000—$18,000
89
90
ALFRED THOMPSON BRICHER
American (1837-1908)
ALONG THE COAST
oil on canvas, signed lower left "AT Bricher"
15 x 33 inches
PROVENANCE
McColl Fine Art, Charlotte, North Carolina;
Private Collection, New York, New York.
Estimate $25,000—$35,000
90
91
92
91
ROBERT RAUSCHENBERG
American (1925-2008)
SIGNS, 1970
silkscreen, signed, numbered and dated in pencil
lower right "Rauschenberg, 237/250, '70", published
by Castelli Graphics, New York.
25
1
8
x 26
5
8
inches
PROVENANCE
The artist; Castelli Graphics, New York, New York;
Private Collection, New Jersey.
LITERATURE
Foster, 155.
Estimate $15,000—$25,000
91
92
92
ROBERT RAUSCHENBERG
American (1925-2008)
BELINI #2, 1987
intaglio with color lithograph, signed, numbered
and dated in pencil lower left "Rauschenberg,
18/48, 87", published by ULAE
58
7
8
x 37
1
2
inches
PROVENANCE
The artist; Castelli Graphics, New York, New York;
Private Collection, New Jersey.
Estimate $8,000—$12,000
93
ROBERT RAUSCHENBERG
American (1925-2008)
UNTITLED
solvent transfer, acrylic and graphite, signed and
dated lower right "Rauschenberg 83"
28
3
4
x 21
3
4
inches
PROVENANCE
The artist; Castelli Graphics, New York, New York;
Private Collection, New Jersey.
Estimate $20,000—$30,000
93
93
94
“INAUGURAL IMPRESSIONS,” 1976
Each numbered 57/100, including:
ANDY WARHOL
American (1928-1987)
“Jimmy Carter”, lithograph, signed and numbered lower left
ROBERT RAUSCHENBERG
American (1925-2008)
“Presidential Inauguration, 1977”, titled in a watermark, signed
and numbered lower right, with publisher’s blind stamp lower
left “ULAE”
JACOB LAWRENCE
American (1917-2,000)
“The Swearing Inn” silkscreen, signed and dated lower right,
numbered lower left, titled lower center
ROY LICHTENSTEIN
American (1923-1997)
Untitled, silkscreen on paper, signed, dated and numbered
lower right
JAMIE WYETH
American (b. 1946)
“Jimmy Carter Inaugural,” lithograph, signed and numbered
lower right
(a) 23 x 20 inches (b) 30
3
4
x 20
1
2
inches (c) 20 x 30 inches
(d) 19
3
4
x 30 inches (e) 28 x 20
3
4
inches (sheet, each)
PROVENANCE
By subscription from the Inaugural Committee, 1976; Private
Collection, Virginia.
Other Notes: Preserved in pristine condition with edges intact
in the original folio.
Estimate $10,000—$15,000
94A
94B
94C
94D
94E
94
In 1976 the Jimmy Carter campaign Inaugural Committee needed $150,000 to pay for cultural
events and late museum hours during Inaugural Week. Tom Beard, aide to the Carter
administration, commissioned the four artists included here to each produce a print based on
the Inauguration. Each artist was paid $10,000 and the edition of 100 (originally sold for $2,500
each) sold out in advance, raising well over the needed funds.
96
CLAES THURE OLDENBURG
American (b. 1929)
"I SAW A MONSTROUS FUNERAL PIECE"
watercolor and charcoal on paper, initialed and
dated lower left "C.O. 1961," titled upper center
8
1
2
x 6 inches (sheet)
PROVENANCE
Originally acquired 1964, by descent, Private
Collection; Private Collection, Connecticut.
Estimate $5,000—$7,000
97
JASPER JOHNS
American (b. 1930)
"FEET," FROM CASTS FROM UNTITLED, 1974
color lithograph on paper, signed and dated
lower right "Jasper Johns 74," with G.E.L. publisher's
blind stamp lower left, numbered lower left "42/47"
14
3
8
x 15
7
8
inches (image), 31 x 22
7
8
inches (sheet)
PROVENANCE
Private Collection, Connecticut.
LITERATURE
Universal Limited Art Editions 140; Gemini 504.
Estimate $4,000—$6,000
96
95
97
95
95
DAVID HOCKNEY
British (b. 1937)
HOMAGE TO MICHELANGELO
etching and aquatint in black and red, signed
and dated in pencil lower right "David
Hockney 75", numbered lower left "137/200",
published by Studio Bruckmann
18 x 26
1
4
inches
PROVENANCE
Sotheby's, New York, New York, November 9,
1997, lot 186; Private Collection.
Estimate $4,000—$6,000
96
Claudio Bravo’s New York city debut at Staempfli Gallery in 1970 was met with critical acclaim.
Bravo had a well established reputation in Madrid working as a society portrait painter. In 1972,
after a trip to Morocco, Bravo expanded his repertory painting landscapes, animals, still lifes and
human subjects. His work is firmly rooted in art historical traditions especially the Spanish Old
Master painters Zurbaran, Cotan and Velazquez.
Bravo was born in Valparaiso, Chile and grew up on his family’s farm in Melipilla. He took some
art lessons in school but was largely self-taught. He had his first exhibition at the prestigious Salon
13 in Valparaiso and when he moved to Concepcion he became a portrait painter.
In 1961, Bravo moved to Spain and continued to paint society portraits including the portrait of
Gen. Francisco Franco’s daughter. In 1968, he painted the portraits of Ferdinand and Imelda
Marcos in the Philippines and other society elites. He was hugely successful and owned four villas
in Morocco and an apartment in Manhattan.
In the late 60s, he started pursuing his own subjects and painting in a style influenced by Color
Field artists including Mark Rothko. He exhibited again at Staempfli in New York in 1972 and 1974,
with a broad range of subjects including figurative works. [1] Vivian Sentada was likely included
in one of these exhibitions as indicated by the labels on the reverse. The stain-like application of
the blue and grey tones, carefully shaded, is undoubtedly influenced by Color Field techniques.
In a review of Bravo’s Philippine portraits exhibited in 2012, critic Cid Reyes described Bravo’s work
after 1968;
“In succeeding decades, greater fame attended his international shows of classical
interpretations of still lifes, human figures, packages, drapery, which were all imbued with the
magical Bravo stamp: an almost hallucinatory realism in the Grand Manner, conceived in the
classical vein, wrought with extreme elegance of composition, technically faultless, and
seemingly haunted by a piercing silence.” [2]
In 1994 the National Museum of Fine Arts in Santiago, Chile hosted a retrospective exhibition of
his work that attracted more than 280,000 visitors. He died in 2011 at his home in Morocco.
____
[1] William Grimes, “Claudio Bravo, Chilean Artist, Dies at 74.” in The New York Times, June 12, 2011,
(https://www.nytimes.com/2011/06/13/arts/claudio-bravo-artist-who-blended-hyperrealism-and-classical-
elements-dies-at-74.html)
[2] Cid Reyes, “Claudio Bravo’s Philippine portraits come to life at Met,” in Philippine Daily Inquirer,
September 17, 2012, (https://lifestyle.inquirer.net/67110/claudio-bravos-philippine-portraits-come-back-to-
life-at-met/)
98
97
98
CLAUDIO BRAVO
Chilean (1936-2011)
"VIVIAN SENTADA", 1974
charcoal on paper, signed and dated upper left
"Claudio Bravo MCMLXXIV"
17
1
8
X 22
5
8
inches (sight)
PROVENANCE
Staempfli Gallery, New York, New York; Dr. and Mrs.
Henry Weinstock, New York, New York; Christie's,
New York, New York, November 20, 1991, lot 128;
Private Collection, New York, New York.
Estimate $50,000—$75,000
99
JENNIFER BARTLETT
American (b.1941)
HOUSE PORTFOLIO, 2003
set of 25 screenprint images, each signed
and dated lower right "JB 2003" and
numbered lower left "AP 2/10," museum
edition with one additional silkscreen on
metal, signed, dated and inscribed on the
reverse "Bartlett 2003, AP 2/10"
12 x 12 inches (image) 14 x 14 inches
(sheet)
PROVENANCE
The artist; Private Collection, New Jersey.
Notes
In original folio.
Estimate $10,000—$15,000
98
100
99
100
SOL LEWITT
American (1928-2007)
UNTITLED
gouache on paper, signed and dated lower right "Lewitt '01"
15 x 7
1
2
inches
PROVENANCE
Chester Gallery, Chester, Connecticut;
Private Collection, Connecticut.
Estimate $8,000—$12,000
101
THEODOROS STAMOS
American (1922 - 1997)
UNTITLED
oil and sand on board, signed lower center "Stamos"
15
3
8
x 32
1
4
inches
PROVENANCE
Private Collection, New York; Shannon's, Milford,
Connecticut, May 1, 2014, lot 108; Private Collection,
Connecticut.
EXHIBITED
Hollis Taggart Galleries, New York, New York; "Theodoros
Stamos: Contemplations on the Universal," January 26 -
March 4, 2017, no. 13.
LITERATURE
"Theodoros Stamos: Contemplations on the Universal"
(New York, New York: Hollis Taggart Galleries, 2017), p. 13.
Estimate $8,000—$12,000
101
100
102
ESTEBAN VICENTE
American (1903-2001)
COLLAGE, NO. IV, 1959
mixed media on board, signed lower left "Esteban Vicente"
6
1
2
x 7
1
2
inches
PROVENANCE
Andre Emmerich Gallery, New York, New York; Mrs. Vera
List, philanthropist and supporter of contemporary art,
Greenwich, Connecticut; descended in the family until
the present.
Estimate $8,000—$12,000
102
101
102
The following passages are adapted from a letter regarding this work from Benton scholar, Henry
Adams of Case Western University. A full copy of the letter is available by request.
After examining it [“Threshing Rice”] I’m confident both that the watercolor is authentic and that
I can date it with reasonable confidence to circa 1926.
Benton made visits to Louisiana both early in his career, during his sketching trips of 1926 and 1928,
and in 1941. The sketches of 1926 resulted in one of his early masterworks, the tempera painting
Louisiana Rice Fields of circa 1928 in the Brooklyn Museum. He also included vignettes of rice
threshing in the upper left corner of his panel of The South in his famous mural of 1930, American
Today— perhaps the breakthrough painting of his career- now owned by AXA Equitable Life
Insurance in New York.
When I first saw your watercolor I was unsure how it should be dated, but it definitely belongs to
the earlier period. There are basically three reasons for assigning it an early date.
It carries a watermark reading “1925 UNBLEACHED ARNOLD”. While of course it’s not impossible
that the watercolor was made years after the paper was purchased, most likely it was made
soon afterwards. Arnold paper was a high-quality watercolor paper made by Arnold & Foster LTd
at the Eynsford Paper Mills in Kent, and it was used by other notable American artists, including
Charles Demuth. They were in business from the 1890s into the 1930s.
The watercolor directly relates to a drawing of 1926 by Benton in the Benton Trust, executed in ink
and pencil, 4 x 6 inches. This is inscribed $50 on the verso and is inscribed on the recto with a
signature and date: Benton ‘26. (see shannons.com for an illustration of this work)
Benton made his first major sketching trip in 1926, financing it with some money he had just
received from decorating a sportsman’s den. He spent most of the trip making a walking tour
through Northwest Arkansas and Southwest Missouri, but presumably he made this drawing on
the train route west, presumably in Louisiana. This drawing is clearly a sketch made from life and
the style is entirely consistent with Benton’s work of 1926.
The technique and style of the work you sent me, with its combination of watercolor and lines in
pen-and-ink, and its vigorous, free, at times almost cartoon-like execution, seems to be distinctive
to a particular period extending from 1926 into the early 1930s.
My guess is that the watercolor you sent to me was made around 1926, shortly after Benton
returned to New York, but it also could have been made a few years afterwards. Given its
distinctive pen and watercolor style, I don’t think it was made too much after 1930.
From March 3 to 25, 1930, Benton exhibited a large group of drawings and paintings- mostly works
associated with his sketching trips of 1926 and 1928—at the Delphic Studios in New York, in an
exhibition titled Recent paintings by Thomas H. Benton. This was the exhibition that first established
Benton as the leading artist of the American Scene and it seems to me likely that this work was
included in that important show.
I had never seen this work before and to my knowledge it has never been published. Thus, it’s a
treat to come upon a work such as this, which illuminates how he handled watercolor at a key
moment in his development. Benton’s sketching trips of 1926 and 1928 marked the major turning
point in his career, when he shifted from a little-known modernist to becoming the major
American painter of the American scene. It’s in works such as this that Benton first evolved the
style and subject matter for which he is best-remembered today.
What’s marvelous about this watercolor is something that might somewhat put one off at first—
it’s directness of attack. There’s a bold and at times almost cartoon-like energy to the piece.
Nothing is indecisive. At the same time Benton has a complete understanding of everything he
represents, of what it is and where it fits in space. He has a full grasp of the mechanics of the rice
threshing process and of the machinery that carries it out.
103
THOMAS HART BENTON
American (1889-1975)
"THRESHING RICE", CA. 1920
watercolor on paper, signed lower right "Benton"
12 x 19
1
8
inches (sight)
PROVENANCE
Bernard Danenberg Galleries, Inc., New York, New York;
Private Collection, Santa Monica, California; Mitchell
Brown Fine Art, Paradise Valley, Arizona; James Reinish
Associates, Inc., New York, New York; Private Collection,
California.
Notes
A copy of a letter describing the authorship and date
of this work dated November 18, 2010 from Dr. Henry
Adams, recognized expert on Thomas Hart Benton and
professor of Art History at Case Western Reserve
University, Cleveland, Ohio, accompanies the lot.
Estimate $30,000—$50,000
103
103
104
OGDEN MINTON PLEISSNER
American (1905-1983)
WINTER HUNT
watercolor on paper, signed lower right "Pleissner"
17
3
4
x 27
3
4
inches (sight)
PROVENANCE
A Florida estate; Private Collection, South Carolina.
Estimate $10,000—$15,000
105
ERIC SLOANE
American (1905-1985)
"THE OLD COVERED BRIDGE, CONWAY, NEW HAMPSHIRE"
oil on masonite, signed lower right "Sloane," inscribed
lower left "Conway, NH," signed and inscribed on the
reverse "Brookfield Conn"
20 x 24 inches
PROVENANCE
The artist; by descent to the current owner, Private
Collection.
Estimate $6,000—$8,000
104
105
104
106
ERIC SLOANE
American (1905-1985)
LAST HAY OF THE SEASON
oil on masonite, signed lower left "Eric Sloane," signed
and inscribed on the reverse "Cornwall Bridge / Conn"
23
1
2
x 35
1
2
inches
PROVENANCE
The artist; by descent to the current owner,
Private Collection.
Estimate $15,000—$25,000
106
105
108
EMIL JAMES BISTTRAM
American (1895-1976)
"MADONNA OF THE PUEBLO, TAOS"
oil on canvas, signed and dated lower right
"Bisttram 68," titled on the stretcher
42 x 36 inches
PROVENANCE
The Owings Gallery, Santa Fe, New Mexico;
Private Collection, California.
Estimate $5,000—$7,000
107
RAY SWANSON
American (1937-2004)
(A PAIR)
NAVAJO GIRL AND GOATS
NAVAJO BOY AND BURRO
oil on masonite, (a) signed lower right "Ray Swanson ©"
(b) signed and dated lower right "Ray Swanson © 78"
18
3
4
x 12
3
4
inches
PROVENANCE
Grand Central Art Gallery, New York, New York;
Private Collection, New York.
Estimate $4,000—$6,000
107A 107B
108
106
109
107
109
VICTOR HIGGINS
American (1884-1949)
"WINTER STREAM"
watercolor on paper, signed lower right "Victor Higgins"
21
1
4
x 17
1
2
inches (sight)
PROVENANCE
Gerald Peters Gallery, Santa Fe, New Mexico.
EXHIBITED
Phoenix Art Museum, Phoenix, Arizona,"Victor Higgins: An American Master,"
December 1990- February 1991; Buffalo Bill Historical Center, Cody, Wyoming,
March - May 1991; Snite Museum of Art, Notre Dame, Indiana, June - September
1991; The Gilcrease Museum, Tulsa, Oklahoma, October 12 - December 29, 1991;
Gene Autry Museum, Los Angeles, California, January - March , 1992; Eiteljorg
Museum, Indianapolis, Indiana, April - May 1992; Tucson Museum of Art, Tucson,
Arizona, "Tucson Collects 20th century American."
Estimate $10,000—$15,000
108
Charles Courtney Curran was born in Kentucky and raised in Ohio. He first studied at the
Cincinnati School of Design before moving to New York City in 1882. In New York City he attended
the National Academy of Design (NAD) and the Art Students League. He exhibited his first
painting at the NAD in 1883 at 23 years old. From 1888-1891 Curran studied at the Academie
Julian in Paris. While abroad, he successfully exhibited works at the Paris Salon and at Durand-
Ruel Gallery.
In 1891, Curran returned to the States where he continued to enjoy success exhibiting at the
World’s Columbian Exposition in Chicago, the NAD, Exposition Universelle in Paris, the Pan-
American Exposition in Buffalo, the Louisiana Purchase exhibition and many others. He was
elected a full Academician in 1904.
For 40 years Curran and his family would summer in Cragsmoor, New York, a growing artist colony
since the late 19th century. The artist and his family were very active in the community
participating in summer social activities and helping to improve the town. Curran would “load his
painting equipment into a child’s red wagon and head off to Bear Hill to work.”[1]
From 1908-1910 Curran built “Winahdin,” a family summer home in Cragsmoor, New York. It was
there that he painted the pastel colored landscapes for which he best remembered, including
the present lot. Curran’s best works from his Cragsmoor years feature young, elegant women in
bright sunlight. The subjects are typically perched on cliffs set against a dramatic sky. In Wind on
the Cliff, a young woman the artist’s daughter Emily) stands with her wrap and skirt blowing in
the wind, beside her a younger woman sits perched on the rock (a friend, Gene Lewis). The
technique in this painting reprises the technique used in A Breezy Day (collection PAFA) which first
brought Curran public notice and acclaim for his depiction of the effect of wind on fabric.
Curran’s work is in the permanent collections of the Terra Museum of American Art in Illinois,
National Museum of Art, Smithsonian Institution in Washington, D.C., The Pennsylvania Academy
of Fine Art, the Witte Memorial Museum in Texas, the Fort Worth Art Museum in Texas, the
Metropolitan Museum of Art in New York, Vassar College in New York and many other notable
public and private collections.
110
CHARLES COURTNEY CURRAN
American (1861-1942)
"WIND ON THE CLIFF"
oil on canvas board, signed and dated lower right "Charles C. Curran N.A. 1930,"
signed, titled, numbered and inscribed on the reverse "236-5 C.C.C / 39 W 67th St.
N.Y. City"
30 x 40 inches
PROVENANCE
The artist; Emily Curran Liang (the artist's daughter); The Collection of Kaycee
Benton Thompson, Cragsmoor, New York; The Ronald Berg Collection.
EXHIBITED
New York Society of Painters, 1931; Lotos Club Summer Exhibition, New York, New
York, 1939; Allied Artists Association, October 1940.
LITERATURE
The recorded number in the Curran record book is 236-5.
Notes
A photocopy of a letter signed by Kaycee Benton Thompson discussing the
provenance accompanies the lot.
Estimate $70,000—$90,000
110
109
110
111
HAMILTON HAMILTON
American (1847-1928)
STORY TIME
oil on canvas, signed lower left "Hamilton Hamilton N.A."
12 x 20 inches
PROVENANCE
Shannon's, Milford, Connecticut, April 24, 2003, lot 76;
Private Collection, New York.
Estimate $8,000—$12,000
112
HAMILTON HAMILTON
American (1847-1928)
YOUNG GIRL WITH GERANIUM
oil on canvas, signed lower right "Hamilton Hamilton NA"
24 x 18 inches
PROVENANCE
Private Collection, Ohio; Shannon's, Milford,
Connecticut, October 20, 2005, lot 48; Private
Collection, New York.
Estimate $8,000—$12,000
111
112
111
113
CHARLES COURTNEY CURRAN
American (1861-1942)
SUNSHINE AND FLOWERS ("CHILD WITH PHLOX")
oil on canvas, signed and dated lower left
"Charles C. Curran 1922," signed and titled on
the reverse
22
1
2
x 18 inches
PROVENANCE
Newhouse & Son, St. Louis, Missouri; Niagara
Lithograph Company, copyright, 1925; Gallery
Detroit, Michigan; Private Collection,
Massachusetts.
Notes
Labels on the reverse signed by the artist.
Estimate $15,000—$25,000
113
114
114
CARDUCIUS PLANTAGENET REAM
American (1837-1917)
FRUIT BASKET
oil on canvas, signed lower left "C.P. Ream"
18 x 26 inches
PROVENANCE
Private Collection, Scotland.
Estimate $4,000—$6,000
112
Frederick Carl Frieseke was among the group of American Impressionist artists who settled in the
French village of Giverny, forty miles northwest of Paris, shortly after 1900. This group, which is
sometimes referred to as the Giverny Luminists, was attracted to the village by the presence of
the great French Impressionist, Claude Monet, who had settled there in 1883.
Frieseke is believed to have visited Giverny as early as 1900; in 1906 he and his wife moved into
a two-story cottage that adjoined the property of Claude Monet. At Giverny his colleagues
included the American painters Guy Rose, Lawton Parker, Edmund Greacen, and Richard E.
Miller, with whose work Frieseke’s is often compared. While he maintained an apartment and
studio in Paris all his life, Giverny was Frieseke’s summer residence for fourteen years.
In 1920, Frieseke bought a summer home at Le Mesnil-sur-Blangy in Normandy and left the
Giverny art colony. He commenced production of a large group of canvases representing
frontally posed female figures, most often using his daughter Frances as model. The palette in
these paintings is darker than that of his Giverny period and shows more interest in qualities of
chiaroscuro as he explored less brilliant light effects. Works painted after 1920 evidence a great
deal of control on Frieseke’s part, which, combined with the deeper palette, contribute to a
sense of psychological awareness and intensity.
The painting offered here depicts a stylish Paris interior with French antiques and oriental rugs. The
woman is in a stylish Kimono, reflecting the Japonisme trend popular in France at the turn of the
century. Standing in the doorway and looking back into the room with her hand on her hip, she
represents a modern woman, unconfined by a rigid corset and standing in a casual posture. This
work was painted on a Parisian canvas indicating it was likely done while the artist was in his Paris
apartment before he moved to Giverny in 1906.
115
FREDERICK CARL FRIESEKE
American (1874-1939)
WOMAN IN A SILK ROBE
oil on canvas, signed lower left "F.C. Frieseke"
32 x 25
1
2
inches
PROVENANCE
A Private estate.
Estimate $40,000—$60,000
115
113
116
CHARLES DEMUTH
American (1883-1935)
SEATED WOMAN, C. 1908
watercolor and graphite on paper, unsigned
11
3
4
x 8
7
8
inches (sheet)
PROVENANCE
The artist; Estate of the artist; Professor Nelson
Goodman; Private Collection, New York; Mark
Borghi Fine Art, New York, New York; Private
Collection; Private Collection, New York.
Estimate $12,000—$18,000
116
114
117
EDWARD HENRY POTTHAST
American (1857-1927)
PLAYING ON THE BEACH
watercolor and graphite on paper, signed lower right "E. Potthast"
17
1
2
x 15
1
2
inches (sight)
PROVENANCE
Barridoff Galleries, South Portland, Maine, August 4, 1999, lot 86;
Private Collection, Philadelphia, Pennsylvania.
Estimate $15,000—$25,000
117
115
116
William Merritt Chase is one of the most celebrated American artists. He was an influential
teacher of plein-air painting and a tremendously successful artist working in a progressive style
that included elements of Tonalism, Impressionism and Realism. Chase was born in Franklin,
Indiana where he began his artistic training under Benjamin Hayes. He spent a brief period in St.
Louis, Missouri studying under Munich-trained artist John Mulvaney.
His talent was apparent and patrons from St. Louis sponsored a trip for Chase to go to Munich
and study bravura painting at the Royal Academy. (Bravura is a type of brushstroke used by John
Singer Sargent, Anders Zorn, Velazquez and others. To accomplish this style, painters use what
appears to be quick brushstroke but is actually a deliberate, purposeful paint application.) From
1872-1878 Chase studied in Munich with friends J. Frank Currier, Frank Duveneck and John
Twachtman.
In 1878, Chase returned to New York where he became a teacher at the Art Students League
and rented a studio in Greenwich Village. Chase quickly outgrew his original space and took
over the large gallery originally intended for all of the Tenth Street Studio Building tenants to
exhibit their work.
He made several trips to Europe absorbing the styles of the Old Masters but also increasingly of
contemporary European artists like Edouard Manet and Giuseppe de Nittis. Back in New York he
painted park scenes from 1886-1890. In February of 1887, he married Alice Gerson and moved
with his new wife to his parents’ house in Brooklyn. In Brooklyn, they had their first child and Chase
painted nearby Prospect Park and Tompkins Park. Public parks in New York were a response to
urban growth and an emblem of modernity in cities.
Chase may have been inspired to paint parks through the work of his contemporaries. In Europe
in 1881, Chase met John Singer Sargent and the two would form a life-long friendship. Sargent’s
In Luxembourg Gardens was exhibited in New York in the mid-1880s. In 1885 in London, Chase
and Whistler met painting portraits of one another, although it did not end favorably as Whistler
did not like Chase’s portrait of him. Chase may have come to know Whistler through his work
including his etchings of London and Paris and his paintings of London park scenes from 1872-
1877.
Parks were a genteel subject, places where stylish urban socialites could gather to view the
artistic product of landscape architects like Frederick Law Olmsted and Calvert Vaux. [1]
It was during this period of Chase’s fascination with park subjects that he painted Poplar Lake.
The catalogue raisonne notes,
“The painting is also known by the descriptive title, Lakeside Park. Chase exhibited Poplar Lake in
his first one man show held at the Boston Art Club in late 1886. The dating derives from the
painting’s stylistic similarity to others created by Chase during this period. The poplar trees, seen
here on the distant shore, are also evident in at least two other works by Chase dating from this
period. Summertime (L. 60) and Pulling for Shore (L. 53). These scenes are thought to depict the
areas of Brooklyn where Chase and his wife, Alice, lived at the time. There is no record of a
“Poplar Lake” in New York or New Jersey—perhaps there was one at the time that has since
come to be known by a different name or Chase might have coined the name himself.”
[1] adapted from H. Barbara Weinberg, “William Merritt Chase,” July 2011, The Metropolitan Museum of Art
(https://www.metmuseum.org/toah/hd/chas/hd_chas.htm).
118
117
118
WILLIAM MERRITT CHASE
American (1849-1916)
POPLAR LAKE, 1886
oil on panel, signed lower left "W.M. Chase"
10 x 14 inches
PROVENANCE
Private Collection, New York, ca. 1935-1940; By descent; Private Collection, Florida.
EXHIBITED
Avery Galleries, Bryn Mawr, Pennsylvania, "Circling Chase: The Art and Influence of
William Merritt Chase and the Pursuit of Modernity," October 30 - December 11, 2008,
cat. no. 3; Spanierman Gallery, New York, New York, "William Merritt Chase: Master
of American Impressionism," November 2, 1994 - January 31, 1995, No. 5; Moore's Art
Galleries, New York, New York, "Paintings by Mr. William M. Chase," March 2-3, 1887,
No. 84; Boston Art Club, Boston, Massachusetts, "Pictures Studies and Sketches by
Mr. Wm. M. Chase, of New York City," November 13 - December 4, 1886, lent by
the artist.
LITERATURE
Ronald G. Pisano, completed by Carolyn K. Lane with a chronology by D. Frederick
Baker, "The Complete Catalogue of Known and Documented Works by William
Merritt Chase, 1849-1916," vol. 3, "William Merritt Chase: Landscapes in Oil," (New
Haven, Connecticut: Yale University Press, 2009), cat. no L. 52, p. 29.
Estimate $30,000—$50,000
118
Jasper Cropsey trained as an architect, a profession which he exercised at various times
throughout his life, but he turned to painting full-time in 1843. He soon became one of the leading
landscape painters of the Hudson River School and was widely regarded as "America’s painter
of autumn."
Following his marriage to Maria Cooley in 1847, Cropsey and his wife traveled to Europe on a
Grand Tour until 1849. In Rome, Cropsey moved into the studio formerly occupied by Thomas
Cole, an artist who influenced him greatly from the start of his career. On his return to America,
he opened a studio in New York and traveled throughout New England to paint.
Cropsey returned once again to Europe and lived in England from 1856 to 1863. During this time,
he enjoyed the same success he had in America and in 1862 completed one of the most
ambitious landscapes of his career, Autumn on the Hudson River, now in the permanent
collection of the National Gallery of Art, Washington, DC.
On his return to America in 1863, Cropsey’s paintings illustrated his admiration for the luminist
aesthetic inspired by the natural splendor around him. That same year, he built a Victorian-style
residence named “Aladdin” next to Greenwood Lake, situated in a 45-acre property near
Warwick, New York. This became the location and inspiration for many of his paintings in the
1860s, which illustrate his masterful fluency in depicting the Hudson River Valley in all its natural
splendor.
The Hudson River Valley, and the artist’s later retirement locale in Hastings-on-Hudson, where he
began painting the Palisades and the rocky outcroppings on the Hudson’s West Bank, were
considered by the artist to be "one of the finest passages of scenery of the river." Autumn, with its
rich colors, was a favored season among many 19th century American landscape painters.
Cropsey specialized in painting the fall for half a century, and devoted himself almost exclusively
to that theme in his later career.
The painting offered here depicts the Delaware River in Autumn with warm sunlight and
reflections, it is a fine work from this period and represents the rich colors and atmosphere
Cropsey was best known for.
119
JASPER FRANCIS CROPSEY
American (1823-1900)
"DELAWARE RIVER"
oil on canvas, signed and dated lower left "J.F. Cropsey 1883"
12 x 20 inches
PROVENANCE
Godel and Co. Inc., New York, New York; Private Collection, New York.
Estimate $30,000—$50,000
119
119
120
JAMES MC DOUGAL HART
American (1828-1901)
SUNDAY MORNING
oil on canvas, initialed lower right "JMH"
12 x 23 inches
PROVENANCE
Private Collection, California.
Estimate $7,000—$10,000
121
WILLIAM LOUIS SONNTAG SR
American (1822-1900)
"HUDSON VALLEY"
oil on canvas, signed lower right "Sonntag"
16 x 24 inches
PROVENANCE
M. R. Schweitzer Gallery, New York, New York; Private
Collection, Louisiana; Shannon's, Milford, Connecticut,
October 20, 2005, lot 122; Private Collection New York.
EXHIBITED
Montclair Art Museum, Montclair, New Jersey, ''Paintings from
the Collection of Dr. & Mrs. Luria,'' January 31 - March 14, 1971;
Louisiana State University, Anglo American Art Museum, Baton
Rouge, Louisiana, "Hudson River Valley School and Its
Influences" January 20 - February 27, 1978; Ray Harm Wildlife
Art, Louisville, Kentucky.
Estimate $6,000—$8,000
120
121
120
122
121
122
EDMUND DARCH LEWIS
American (1832-1928)
WHITE MOUNTAINS FROM THE ANDROSCOGGIN RIVER
oil on canvas, signed and dated lower left "Edmund D. Lewis 1861"
39 x 62 inches
PROVENANCE
Bob Goldberg, North Conway, New Hampshire; Private Collection,
Massachusetts.
EXHIBITED
Pennsylvania Academy of Art, Philadelphia, Pennsylvania, 1864.
Notes
This painting depicts Mount Washington, Mount Adams, and the
Presidential Range in the White Mountains, New Hampshire from
the Androscoggin River.
Estimate $9,000—$12,000
123
HUGH BOLTON JONES
American (1848-1927)
LATE AUTUMN
oil on canvas, signed lower left "H. Bolton Jones"
24 x 34 inches
PROVENANCE
Private Collection, New York, New York.
Estimate $8,000—$12,000
123
122
124
JOHN FRANCIS MURPHY
American (1853-1921)
"SMILING COUNTRYSIDE"
oil on canvas, signed lower right "J. F. Murphy"
20 x 34 inches
PROVENANCE
Private Collection, California.
Estimate $12,000—$18,000
124
123
125
FREDERICK JUDD WAUGH
American (1861-1940)
ROCKY COAST AT SUNSET
oil on masonite, signed lower right "Waugh"
30 x 40 inches
PROVENANCE
The Montclair Museum, Montclair, New Jersey; Christie's,
New York, New York, March 4, 2010, lot 142; Private
Collection, Connecticut.
EXHIBITED
Office of Senator Frank R. Lautenberg, Senate Office
Building, Washington, D.C., long term loan until 2,000.
LITERATURE
M.S. Kushner, A. Anreus, M. Grzesiak and V. Wageman,
"Three Hundred Years of American Painting: The
Montclair Art Museum Collection," (New York: Hudson
Hills Press, 1989), p. 183, no. 495, literature.
Estimate $10,000—$15,000
125
124
126
125
126
ALFRED THOMPSON BRICHER
American (1837-1908)
A COASTAL VIEW
oil on canvas, signed lower left "A.T. Bricher"
17 x 36 inches
PROVENANCE
Private Collection, Massachusetts.
Estimate $25,000—$35,000
128
HENRY GASSER
American (1909-1981)
"TELEPHONE POLES IN THE SNOW"
oil on canvas, signed lower left "H. Gasser"
24 x 36 inches
PROVENANCE
The artist; Private Collection; William Doyle
Galleries, New York, April 1, 1987, Lot 165;
Private Collection, New York; Shannon's,
Milford, Connecticut, October 26, 2017, lot
13; Private Collection New York.
Estimate $6,000—$8,000
127
HENRY GASSER
American (1909-1981)
"WINTER VISTA"
watercolor on board, signed lower right "H. Gasser,"
signed and titled on the reverse
22
1
4
x 29 inches
PROVENANCE
Private Collection, New Jersey; by descent to the
current owner, Private Collection, California.
Estimate $5,000—$7,000
127
128
126
129
127
129
JACK LORIMER GRAY
Canadian (1927-1981)
"NORTH RIVER" (HUDSON RIVER)
oil on canvas, signed and dated lower left
"Jack L. Gray 61," titled on the stretcher
26
1
4
x 40 inches
PROVENANCE
Quester Gallery, Stonington, Connecticut;
Private Collection, New York.
Estimate $25,000—$35,000
128
130
JOHANN BERTHELSEN
American (1883-1972)
BROOKLYN BRIDGE
oil on canvas, signed lower right "Johann Berthelsen"
20 x 16 inches
PROVENANCE
Private Collection, New York.
Estimate $4,000—$6,000
130
132
131
131
T.M. NICHOLAS
American (1963)
"GLOUCESTER EVENING"
oil on board, signed lower left "T.M. Nicholas,"
signed, titled and dated on the reverse "99"
8 x 10 inches
PROVENANCE
Private Collection, New York.
Estimate $2,000—$3,000
132
JOHANN BERTHELSEN
American (1883-1972)
UNION SQUARE
oil on canvasboard, signed lower
right "Johann Berthelsen"
12 x 9 inches
PROVENANCE
Private Collection, Alabama;
Shannon's, Milford, Connecticut,
May 4, 2017, lot 127; Private
Collection, California.
Estimate $2,000—$3,000
133
ANTHONY THIEME
American (1888-1954)
T-WHARF WITH VIEW OF THE CUSTOM HOUSE
oil on canvas, signed lower left "A. Thieme"
27 x 21
3
4
inches
PROVENANCE
Private Collection, Massachusetts.
Estimate $10,000—$15,000
133
129
130
134
JOHN F. CARLSON
American (1893-1967)
"MOUNTAIN BROOK"
oil on canvasboard, signed lower right
"John F. Carlson," signed and titled on the reverse
12 x 16 inches
PROVENANCE
A Georgia estate; Private Collection, Georgia.
Estimate $4,000—$6,000
134
136
135
135
JOHN F. CARLSON
American (1893-1967)
WINTER LANDSCAPE
watercolor on board, signed lower right
"John F. Carlson"
20
3
4
x 24
3
8
inches (sight)
PROVENANCE
A Georgia estate; Private Collection,
Georgia.
Estimate $3,000—$5,000
136
JOHN FERY
American/Austrian (1859-1934)
MOUNTAIN LANDSCAPE
oil on canvas, signed lower right "J. Fery"
24 x 31
3
4
inches
PROVENANCE
Private Collection, Connecticut.
Estimate $4,000—$6,000
137
FRANK MCCARTHY
American (1924-2002)
COWBOY ON THE RIVER/LONG HAUL
oil on illustration board, signed lower
right "McCarthy"
17
3
4
x 13
3
4
inches
PROVENANCE
The artist; descended in the family to
the current owner, Private Collection,
Connecticut.
Estimate $4,000—$6,000
137
138
131
138
FRANK MCCARTHY
American (1924-2002)
WESTERN SCENE WITH COWBOYS AND
WAGONS
oil on board, signed lower right
"McCarthy"
12
1
4
x 24
1
4
inches
PROVENANCE
The artist; descended in the family to
the current owner, Private Collection,
Connecticut.
Estimate $8,000—$12,000
A selection of works from the family of Frank McCarthy
139
FRANK MCCARTHY
American (1924-2002)
TRANSPORTING PRISONERS
oil on illustration board,
signed lower right "McCarthy"
15
1
2
x 22
1
2
inches (sight)
PROVENANCE
The artist; descended in the family to the
current owner, Private Collection,
Connecticut.
Estimate $5,000—$7,000
139
141
140
132
140
FRANK MCCARTHY
American (1924-2002)
COVER ILLUSTRATION FOR "TOUGH HOMBRE"
oil on board, signed lower right "McCarthy," inscribed
on the reverse "gmb 601," titled on the reverse
21 x 13
1
4
inches
PROVENANCE
The artist; descended in the family to the current owner,
Private Collection, Connecticut.
Estimate $5,000—$7,000
141
FRANK MCCARTHY
American (1924-2002)
TWO COWBOYS
oil on board, signed lower left
"McCarthy"
25
1
8
x 15
3
4
inches
PROVENANCE
The artist; descended in the family
to the current owner, Private
Collection, Massachusetts.
Estimate $4,000—$6,000
133
142
FRANK MCCARTHY
American (1924-2002)
FROM "SANGRE EN LA COLINA" (BLOOD ON BOOT HILL)
oil on board, signed lower left "McCarthy"
12 x 20 inches (sight)
PROVENANCE
The artist; descended in the family to the current owner,
Private Collection, New Jersey.
Notes
Cover illustration for Spanish language edition of
"Sangre en la Colina" (Blood on Boot Hill) by Kermit
Welles, published by Bruguera, 1964.
Estimate $5,000—$7,000
143
FRANK MCCARTHY
American (1924-2002)
"FIVE RODE WEST"
oil on illustration board, signed lower right "McCarthy"
30 x 20 inches
PROVENANCE
The artist; descended in the family to the current
owner, Private Collection, Connecticut.
Notes
Cover illustration for "Five Rode West," by Lewis B.
Patten, Gold Medal, 1962.
Estimate $4,000—$6,000
142
143
144
144
FRANK MCCARTHY
American (1924-2002)
FROM "AVENTURA #380: JINETES DEL OESTE"
(ADVENTURE #380: COWBOYS)
oil on board, signed lower left "McCarthy"
20 x 15 inches (sight)
PROVENANCE
The artist; descended in the family to the cur-
rent owner, Private Collection, New Jersey.
Notes
From "Aventura," a Mexican comic in Spanish
published by Novaro, April 1965.
Estimate $4,000—$6,000
134
145
WALTER GAY
American (1856-1937)
CORNER OF THE STUDY (INTERIOR)
oil on canvas, signed lower left
"Walter Gay"
22
1
2
x 18 inches
PROVENANCE
Private Collection, California.
EXHIBITED
Finch College Art Museum, New York,
New York.
Estimate $7,000—$10,000
145
147
146
146
IVAN OLINSKY
American/Russian (1878-1962)
WOMAN WITH FLOWERS
oil on canvas, signed upper right
"Ivan G. Olinsky"
30 x 24 inches
PROVENANCE
Private Collection, New Jersey; Shannon's,
Milford, Connecticut, October 27, 2016, lot
74; Private Collection, New York.
Estimate $4,000—$6,000
147
JAMES BRADE SWORD
American (1839-1915)
WOMAN SEWING BY THE WINDOW
oil on canvas, signed lower right
"J.B. Sword"
14 x18 inches
PROVENANCE
The William and Frances Haussner
Collection; Private Collection, New York.
Estimate $4,000—$6,000
135
148
JOHN GEORGE BROWN
American (1831-1913)
SEESAW
oil on canvas, signed and dated
lower right "J.G. Brown 1881"
23
1
2
x 17
1
2
inches
PROVENANCE
Private Collection, Massachusetts.
Estimate $20,000—$30,000
148
149
ANTONIO JACOBSEN
American (1850-1921)
THE SEMINOLE
oil on board, signed and dated lower left
"Antonio Jacobsen 1916"
16 x 23
1
2
inches
PROVENANCE
A Delaware estate.
Estimate $5,000—$7,000
150
ANTONIO JACOBSEN
American (1850-1921)
CLIPPER SHIP PASSING A STEAMSHIP
oil on board, signed and dated lower right
"Antonio Jacobsen 1915"
18 x 29
1
2
inches
PROVENANCE
Private Collection, New Jersey.
Estimate $5,000—$7,000
149
150
136
151
JAMES EDWARD BUTTERSWORTH
American/British (1817-1894)
"START OF THE GREAT ATLANTIC RACE"
oil on board, signed lower right
"J.E. Buttersworth"
10
1
4
x 11
7
8
inches
PROVENANCE
Private Collection, Massachusetts.
Estimate $25,000—$35,000
151
137
152
WILSON HENRY IRVINE
American (1869-1936)
HOUSES THROUGH THE TREES
oil on canvas, signed lower left "Irvine"
25 x 30 inches
PROVENANCE
Private Collection, Old Lyme,
Connecticut; Shannon's, Milford,
Connecticut, April 26, 2007, lot 68;
Private Collection, New York.
Estimate $6,000—$8,000
153
BEN FOSTER
American (1852-1926)
"OCTOBER MOONRISE"
oil on canvas, signed lower left "Ben Foster"
42 x 48 inches
PROVENANCE
Private Collection, California.
EXHIBITED
American Exhibition, Luxemburg Museum
1919; Winner National Arts Club, New York,
New York, 1917.
Estimate $7,000—$10,000
152
153
138
154
ALDRO THOMPSON HIBBARD
American (1886-1972)
"RIVER IN AUTUMN"
oil on canvas, signed lower right "A.T. Hibbard,"
titled and numbered on the reverse "#4"
24 x 32 inches
PROVENANCE
Bryan Gallery, Jeffersonville, Vermont; Bonhams &
Butterfields, San Francisco, California, June 11, 2003,
lot 4084; Private Collection, North Carolina.
EXHIBITED
Rockport Art Association, Rockport, Massachusetts,
October 5 - November 11, 2012.
Estimate $12,000—$18,000
154
139
155
ROBERT J. WOLFF
American (1905-1978)
"BAYSIDE, WELLFLEET," CAPE COD
oil on canvas, signed, titled, and dated
on the reverse "R.J. Wolff / August 1971"
50 x 36 inches
PROVENANCE
Estate of the artist, Washington Depot,
Connecticut; Private Collection,
Connecticut.
Estimate $3,000—$5,000
156
ROLPH SCARLETT
American (1889-1984)
UNTITLED
oil and mixed media on canvas, signed lower
right "Scarlett," signed on the reverse
24 x 18 inches
PROVENANCE
Fletcher Gallery, Woodstock, New York;
Private Collection, Connecticut.
Estimate
$4,000—$6,000
157
SCHOOL OF JUAN GRIS
French (20th Century)
UNTITLED
oil on canvas, bears signature lower left
18 x 14 inches
PROVENANCE
Private Collection, Connecticut.
Estimate $2,000—$3,000
155
157
156
140
158
JOHN GRILLO
American (1917–2014)
FORCES
oil on canvas, signed lower left "Grillo"
32 x 16 inches
PROVENANCE
Bertha Schaeffer Gallery, New York;
Private Collection, Massachusetts.
Estimate $5,000—$7,000
159
JOHN GRILLO
American (1917-2014)
"MYSTIC FORM"
oil on panel, signed lower left "Grillo," and dated
illegibly lower center, titled on the stretcher
45 x 11
1
2
inches
PROVENANCE
Private Collection, Massachusetts.
EXHIBITED
Portland Museum of Art, Portland, Maine.
Estimate $5,000—$7,000
158
159
141
160
LILL TSCHUDI
Swiss (1911-2004)
"ICE HOCKEY"
linocut on paper, signed in pencil lower right
"Lill Tschudi," numbered upper right "46/50,"
inscribed upper left "handgedruckt"
10
1
8
x 11 inches
PROVENANCE
Christie's, South Kensington, May 19, 2016, lot 59;
Private Collection, New York.
LITERATURE
Coppel, LT 31.
Estimate $6,000—$8,000
161
LARRY RIVERS
American (1923-2002)
"ABOUT THE ZOO"
mixed media, signed and dated lower right "Larry Rivers '85"
23 x 30 inches
PROVENANCE
Irving Galleries, Palm Beach, Florida; A Florida estate.
Notes
This work is a mixed media collage composed of a
lithograph and silkscreen print "The Bronx Zoo", made by
Larry Rivers and published by the New York Graphic Society
in 1983. He cut and three-dimensionalized on wood, then
extensively reworked and painted over to create a unique
piece. Special thanks to David Joel, Executive Director of
the Larry Rivers Foundation for his assistance in cataloging
this lot.
Estimate $8,000—$12,000
160
161
142
162
MARTIN LEWIS
American (1881-1962)
ARCH, MIDNIGHT, 1930
drypoint on paper, signed in plate lower left,
signed in pencil lower right "Martin Lewis"
8 x 11
1
2
inches
PROVENANCE
Private Collection, Wisconsin.
Estimate $8,000—$12,000
162
143
163
WALTER LAUNT PALMER
American (1854-1932)
"VENICE AND POSTS"
pastel on paper, signed and dated lower right
"W. L. Palmer 1886"
17 x 25
5
8
inches (sight)
PROVENANCE
Private Collection, New York, New York.
Estimate $6,000—$8,000
164
OGDEN MINTON PLEISSNER
American (1905-1983)
HONFLEUR, LOW TIDE
watercolor on paper, signed lower left "Pleissner"
17
5
8
x 25
3
4
inches
PROVENANCE
The Milch Galleries, New York, New York; Private
Collection, New York; Sotheby's, New York, New
York, March 6, 2008, lot 97; Private Collection,
North Carolina.
Estimate $6,000—$8,000
163
164
144
165
RICHARD HAYLEY LEVER
American (1876-1958)
BOATS IN A HARBOR
oil on canvas on board, signed lower left
"Hayley Lever," signed on the reverse
16 x 20 inches
PROVENANCE
Questroyal Fine Art, New York, New York;
Private Collection, Maryland.
Estimate $8,000—$12,000
165
145
166
JEAN DUFY
French (1888-1964)
"BATEAUX DE PECHE AU PORT"
watercolor on paper, signed lower right "Jean Dufy"
16 x 20 inches
PROVENANCE
Collection of Germaine Dufy (younger sister of
Raoul and Jean Dufy); Sotheby's, New York, New
York, December 14, 1976, lot 43; Swann Galleries,
New York, New York, March 2, 2017, lot 578; Private
Collection.
Estimate $4,000—$6,000
167
H. CLAUDE PISSARRO
French (b. 1935)
"NEIGE Á COSSESSEVILLE"
oil on canvas, signed lower left "Claude
Pissarro," signed, titled and numbered on the
reverse "8F"
15 x 18 inches
PROVENANCE
Doyle, New York, New York, January 14, 2015,
lot 83; Private Collection, New York.
Estimate $4,000—$6,000
168
GEORGES D'ESPAGNAT
French (1870-1950)
WOMAN, THREE-QUARTER PROFILE
oil on board, initialed lower left "G d E"
14 x 11
1
4
inches
PROVENANCE
Private Collection, New York, New York.
Estimate $3,000—$5,000
166
168
167
146
169
ANDRE HAMBOURG
French (1909-1999)
"TEMPS DOUX POUR LES YACHTS, DEAUVILLE"
oil on canvas, signed lower left "A. Hambourg," initialed and
titled on the reverse
21
1
2
x 18 inches
PROVENANCE
Private Collection, Wellington, Florida; Shannon's, Milford,
Connecticut, May 4, 2017, lot 188; Private Collection, California.
Notes
A label from Galerie Paul Petrides, Paris is on the reverse.
Estimate $7,000—$10,000
169
170
147
170
EDWARD SEAGO
British (1910-1974)
VENICE
oil on board, signed lower left "Edward Seago"
18 x 24 inches
PROVENANCE
Private Collection, Pennsylvania.
EXHIBITED
Kennedy Galleries, New York, New York, 1956.
Estimate $8,000—$12,000
148
171
172
173
171
WILL HUTCHINS
American (1878-1945)
"SUNSET OVER THE BAY"
oil on board, unsigned, estate stamped and
titled on the reverse
11
7
8
x 17
3
4
inches
PROVENANCE
The estate of the artist;
Private Collection, Connecticut.
Estimate $2,500—$3,500
172
EDWARD HENRY POTTHAST
American (1857-1927)
"SINGING BEACH," MANCHESTER, MASSACHUSETTS
oil on board, signed lower right "E. Potthast,"
artist's studio stamp on the reverse
8 x 12 inches
PROVENANCE
The artist; by descent to Private Collection,
Madeira, Ohio; Wixon and Wixon Fine Art,
Newburyport, Massachusetts.
Estimate $3,000—$5,000
173
ANNE LOFQUIST
American (b. 1964)
"CROSSING OVER"
oil on canvas, initialed and dated lower left "AL 00,"
signed, titled and dated on the reverse
30 x 68 inches
PROVENANCE
Hackett Freedman Gallery, San Francisco, California;
Private Collection, Pennsylvania; Shannon's, Milford,
Connecticut, May 4, 2017, lot 25; Private Collection,
California.
Estimate $4,000—$6,000
149
174
GEORGE LOFTUS NOYES
American (1864-1954)
GLOUCESTER HARBOR
oil on canvas, signed lower right "G.L. Noyes"
20 x 16 inches
PROVENANCE
Private Collection, New York, New York.
Estimate $3,000—$5,000
175
WILLIAM CHADWICK
American (1879-1962)
LANDSCAPE WITH BLUE HOUSES
oil on canvas, signed lower right
"W. Chadwick"
20 x 24 inches
PROVENANCE
Private Collection, Old Lyme,
Connecticut; Shannon's, Milford,
Connecticut, April 26, 2007, lot
255; Private Collection, New York.
Estimate $5,000—$7,000
174
175
176
176
THEODORE WENDEL
American (1859-1932)
AFTERNOON REFLECTIONS
oil on canvas, signed lower right "Theodore
Wendel"
16 x 22 inches
PROVENANCE
Private Collection, Massachusetts; Shannon's,
Milford, Connecticut, April 26, 2007, lot 117;
Private Collection, New York.
Estimate $3,000—$5,000
150
177
178
177
WILLIAM TROST RICHARDS
American (1833-1905)
"SEA MISTS, TWILIGHT NEAR DAWN"
watercolor on paper, signed lower left "W.T. Richards,"
titled on a label on the reverse
13
1
2
x 25
1
4
inches (sight)
PROVENANCE
William Vareika Gallery, Newport, Rhode Island;
Private Collection, Massachusetts.
Estimate $3,000—$5,000
178
WILLIAM LOUIS SONNTAG, JR.
American (1869-1989)
GIRL ON A BEACH
oil on paper, signed lower left "Sonntag Jr."
13 x 20
1
8
inches (sight)
PROVENANCE
A Maine estate; Shannon's, Milford,
Connecticut, October 20, 2005, lot 205;
Private Collection, New York.
Estimate $3,000—$5,000
179
EDWARD MORAN
American (1829-1901)
LIGHTHOUSE ALONG THE COASTLINE
oil on board, signed lower left "Edward Moran"
12
1
4
x 18
1
2
PROVENANCE
Private Collection, New Jersey.
Estimate $3,000—$5,000
180
HENRY PEMBER SMITH
American (1854-1907)
HOME ALONG THE LAKE
oil on canvas, signed lower left
"Henry P. Smith"
20 x 28 inches
PROVENANCE
Private Collection, Connecticut.
Estimate $2,000—$3,000
151
179
180
181
181
AARON DRAPER SHATTUCK
American (1832-1928)
"VIEW OF MT. LAFAYETTE, NEW HAMPSHIRE"
oil on canvas, signed and dated lower left
"A.D. Shattuck 1857""
7
1
2
x 15
1
2
inches
PROVENANCE
Private Collection, California.
Estimate $3,000—$5,000
182
MORRIS KANTOR
American (1896-1974)
"UNION SQUARE"
oil on canvas, signed and dated lower right
"M. Kantor 1931," inscribed on the stretcher "Lincoln in
Union Square"
23 x 15 inches
PROVENANCE
Rehn Gallery, New York, New York; Private Collection,
New York.
EXHIBITED
College Art Association, New York, New York.
Estimate $4,000—$6,000
183
JOHANN BERTHELSEN
American (1883-1972)
ST. PAUL'S CHURCH
oil on canvas, signed lower right "Johann Berthelsen"
16 x 12 inches
PROVENANCE
Private Collection, New York, New York.
Estimate $3,000—$5,000
184
EVERETT LONGLEY WARNER
American (1877-1963)
LOWER MANHATTAN
oil on canvas, signed lower right "Everett Warner"
21
1
2
x 15
3
4
inches
PROVENANCE
Private Collection, Massachusetts.
Estimate $5,000—$7,000
182
184
183
152
185
RICHARD HAYLEY LEVER
American (1876-1958)
EADS BRIDGE, ST. LOUIS ON THE MISSISSIPPI
oil on board, signed lower left "Hayley Lever"
10 x 14 inches
PROVENANCE
Private Collection, Connecticut.
Estimate $2,500—$3,500
186
JOHANN BERTHELSEN
American (1883-1972)
5TH AVENUE
oil on canvasboard, signed lower right "Johann Berthelsen"
15
3
4
x 11
7
8
inches
PROVENANCE
Private Collection, New York, New York.
Estimate $3,000—$5,000
185
186
187
153
187
CECIL CROSLEY BELL
American (1906-1970)
"GOODBYE MANHATTAN", CA. 1945
oil on canvas, signed lower right "Cecil C. Bell"
30 x 36 inches
PROVENANCE
Mr. & Mrs. George Levine, New York;
Private Collection, New York.
LITERATURE
Phyllis Barton, "Cecil Bell," (Kansas City,
Missouri: McGrew Color Graphics), 1976,
p. 20 (illus.).
Estimate $5,000—$7,000
154
188
AIDEN LASSELL RIPLEY
American (1896-1969)
"WOODCOCK SHOOTING: WOODS AND MEADOW BROOK"
watercolor and gouache on paper, signed lower left
"A. Lassell Ripley," signed and titled on the reverse
15
1
4
x 25 inches (sight)
PROVENANCE
The Guild of Boston Artists, Boston, Massachusetts; Private
Collection; Christie's, New York, May 17, 2017, lot 211;
Private Collection, California.
Notes
A label from the Guild of Boston Artists, Boston,
Massachusetts is on the reverse.
Estimate $3,000—$5,000
189
HUGH BOLTON JONES
American (1848-1927)
WINTER TREES ALONG A BROOK
oil on canvas, signed lower right "H. Bolton Jones"
18 x 14 inches
PROVENANCE
Grand Central Art Gallery, New York, New York
(probably); Private Collection, New York.
Estimate $3,000—$5,000
190
ALLEN COCHRAN
American (1888-1971)
WOODLAND VIEW
oil on canvas, signed lower right "Allen Cochran"
20 x 16 inches
PROVENANCE
Private Collection, New York, New York.
Estimate $2,500—$3,500
188
190
189
155
191
HERMAN FUECHSEL
American (1833-1915)
MOUNTAIN VIEW FROM THE LAKE SHORE
oil on canvas, signed lower left "H. Fuechsel"
10 x 16 inches
PROVENANCE
Private Collection, New Jersey.
Estimate $3,000—$5,000
192
HOMER DODGE MARTIN
American (1836-1897)
MOUNTAIN LANDSCAPE IN AUTUMN
oil on canvas, signed lower right "H.D. Martin"
16 x 14 inches
PROVENANCE
Estate of Dr. Jack Kensinger, Hollywood, Florida;
Shannon's, Milford, Connecticut, October 23,
2003, lot 148; Private Collection, New York.
Estimate $3,000—$5,000
191
192
193
193
BRUCE CRANE
American (1857-1937)
LATE AFTERNOON IN AUTUMN
oil on canvas, signed lower right "Bruce Crane"
14 x 20 inches
PROVENANCE
Young Fine Arts, North Berwick, Maine, 1997;
Private Collection, New York; Shannon's,
Milford, Connecticut, October 28, 2010, lot 208;
Private Collection.
Estimate $3,000—$5,000
156
194
JOHN WELLS JAMES
American (1873-1951)
ON THE VILLAGE PATH
oil on canvas, signed lower right "John Wells James"
30 x 36 inches
PROVENANCE
Private Collection, California.
Estimate $4,000—$6,000
195
HELEN SAWYER
American (1900-1999)
"VILLAGE IN WINTER"
oil on canvas, signed lower right "Helen Sawyer,"
signed and titled on the stretcher
36 x 42 inches
PROVENANCE
Private Collection, New York.
Estimate $3,000—$5,000
196
CHARLES ROSEN
American (1878-1950)
"THE BLUE HOUSE (VILLAGE IN WINTER)"
oil on canvas, signed on the stretcher "Charles Rosen"
18 x 24 inches
PROVENANCE
Private Collection, New York.
Notes
A label from the Woodstock School of Art, Inc. is on the reverse.
Estimate $2,500—$3,500
194
195
196
157
197
198
199
197
JONAS LIE
American (1880-1940)
ON THE COAST
oil on canvas, signed and dated
lower right "Jonas Lie 1920"
22 x 26 inches
PROVENANCE
Private Collection, Pennsylvania.
Estimate $4,000—$6,000
198
ALDRO THOMPSON HIBBARD
American (1886-1972)
"NEW ENGLAND FARM"
oil on canvas, signed lower left
"A.T. Hibbard," titled on a label on the reverse
24 x 30 inches
PROVENANCE
Private Collection, Newburyport, Massachusetts.
Estimate $4,000—$6,000
199
GEORGE AMES ALDRICH
American (1872-1941)
WINTER TREES ALONG THE ICY STREAM
oil on canvas, signed lower right "G. Ames Aldrich"
36 x 40 inches
PROVENANCE
Private Collection, Connecticut;
Private Collection, New York.
Estimate $5,000—$7,000
200
ALFRED THOMPSON BRICHER
American (1837-1908)
AFTERNOON ALONG THE SHORE
watercolor on paper, signed lower left "A.T. Bricher"
17 x
3
4
x 23
3
4
inches (sight)
PROVENANCE
Quester Gallery, Stonington, Connecticut; Private
Collection, New York.
Estimate $5,000—$7,000
158
201
JACK LORIMER GRAY
Canadian (1927-1981)
"MEETING THE PILOT"
oil on canvas, signed lower left "Jack L. Gray,"
titled on the stretcher
26 x 36 inches
PROVENANCE
Private Collection, Connecticut.
Estimate $6,000—$8,000
200
201
159
202
203
202
WILLIAM PIERCE STUBBS
American (1842 - 1909)
A BARK INWARD BOUND
oil on canvas, signed lower left "Stubbs"
10
1
2
x 10
1
2
inches
PROVENANCE
Private Collection, Massachusetts.
Estimate $2,000—$3,000
203
ANTONIO JACOBSEN
American (1850-1921)
"THE MERCATOR"
oil on canvas, signed, dated and inscribed
lower right "Antonio Jacobsen, N.Y. 1879/ H. 57 8
AV," titled left center
22 x 36 inches
PROVENANCE
A Delaware estate.
Estimate $4,000—$6,000
160
204
205
204
LOUISE NEVELSON
American (1899-1988)
SCULPTURE - IN TWO PARTS
painted wood cream cheese boxes,
signed "Nevelson"
height: 10
1
2
inches (each)
PROVENANCE
A Connecticut estate; Private
Collection, Guilford, Connecticut.
Estimate $6,000—$8,000
205
RICHARD ARTSCHWAGER
American (1923-2013)
LOCATIONS, 1969
wood, Plexiglas, mirror and rubberized
horsehair multiples with formica in a
wood container, signed and numbered
on the artist's label on the reverse of the
container "Richard Artschwager 61/90,"
co-published by Brooke Alexander, Inc.,
and Castelli Graphics, New York.
15 × 10 3/4 × 5 inches (box, overall)
PROVENANCE
Castelli Graphics, New York, New York;
Private Collection, New Jersey.
Notes
A copy of the exhibition poster of
another in the series exhibited at the
Whitney Museum, New York, New York,
October 25, 2012 - February 3, 2012
accompanies the lot.
Estimate $6,000—$8,000
161
206
206
MICHAEL (CORINNE) WEST
American (1908-1991)
UNTITLED
oil on canvas, initialed and dated lower left "M.W. 1947"
36 x 30 inches
PROVENANCE
Mystic Fine Arts, Mystic, Connecticut; Private Collection,
New York.
Estimate $12,000—$18,000
162
207
208
209
207
SCOTT PRIOR
American (b. 1949)
"BLUE HOUSE"
oil on wood, signed and dated lower right
"Prior 78," titled on the frame
28 x 24 inches
PROVENANCE
The Great Spring Auction, Springfield,
Massachusetts; by descent to the present
owner, Private Collection, Connecticut.
Estimate $3,000—$5,000
208
PRISCILLA WARREN ROBERTS
American (1916 - 2001)
"HOME TO THANKSGIVING"
oil on masonite, signed and titled on
the reverse of the frame
26
1
4
x 20 inches
PROVENANCE
The artist; Private Collection, New York.
Estimate $2,500—$3,500
209
BRUCE BRAITHWAITE
American (b. 1950)
"AMBASSADOR THEATRE (W. 49TH NYC)"
oil on canvas, signed lower left "Bruce
Braithwaite," signed, titled, numbered, dated
and inscribed on the reverse "#553 /
Princeton, NJ 2018"
18 x 24 inches
PROVENANCE
The artist.
Estimate $3,000—$5,000
163
210
211
210
DOUG BREGA
American (b. 1948)
HOUSE IN THOMASTON
watercolor on paper, signed
lower right "Doug Brega"
25 x 39 1/4 inches (sight)
PROVENANCE
Hollis Taggart Galleries, New York,
New York; Private Collection,
Connecticut.
Estimate $10,000—$15,000
211
DOUG BREGA
American (b. 1948)
UP STAFFORD ROAD
watercolor on paper, signed lower
left "Doug Brega"
25 x 39 1/4 inches (sight)
PROVENANCE
Hollis Taggart Galleries, New York,
New York; Private Collection,
Connecticut.
Estimate $10,000—$15,000
164
212
213
212
WILLIAM GOSCOMBE JOHN
British (1860-1952)
THE ELF
bronze, signed "W. Goscombe John"
height: 23 inches
PROVENANCE
Mallett Antiques, London, England;
Private Collection, New York.
Estimate $8,000—$12,000
213
CHARLES WARREN EATON
American (1857-1937)
VARENNA, LAKE COMO
oil on canvas, signed lower left "Chas. Warren Eaton"
24 x 20 inches
PROVENANCE
Private Collection, Connecticut.
Estimate $3,000—$5,000
165
214
215
214
ACHILLE-EMILE OTHON FRIESZ
French (1879-1949)
CHAPEL SCENE
oil on canvas, signed lower left "E. Othon Friesz"
20 x 24 inches
PROVENANCE
A gift of the artist to Toussaint Brouquier, student
and fellow painter; by descent to his son, Andre
Brouquier; Khachatur Balbabyan, Freehold,
New Jersey; Private Collection, Connecticut.
Estimate $7,000—$10,000
215
LUCIEN J. SIMON
French (1861-1945)
CIRCUS DOG, CONCARNEAU
oil on canvas, signed lower left center "Simon"
22 x 29
1
4
inches
PROVENANCE
McNaught Fine Art, Santa Cruz, California;
Private Collection, New York.
Estimate $7,000—$10,000
166
216
217
216
RAFFAELE TAFURI
Italian (1857-1929)
FEEDING THE ROOSTER
oil on canvas, signed and inscribed lower left
"R. Tafuri / Napoli"
21
3
4
x 14
3
4
inches
PROVENANCE
Private Collection, New Jersey.
Estimate $4,000—$6,000
217
FREDERIK HENDRIK KAEMMERER
Dutch (1839-1902)
"THE FLOWER SELLER"
oil on canvas, signed lower right "F.H. Kaemmerer"
21
1
4
x 32 inches
PROVENANCE
M. Knoedler & Co., New York, New York; Christie's,
New York, New York, April 19, 2006, lot 181;
Shannon's, Milford, Connecticut, May 4, 2017, lot
258; Private Collection, New York; Private
Collection, California.
Estimate $5,000—$7,000
167
218
218
FREDERIC SOULACROIX
French (1858-1933)
AFTERNOON STROLL
oil on canvas, signed lower right "F. Soulacroix"
29
1
2
x 18 inches
PROVENANCE
Private Collection, Scotland.
Notes
A label from Galerie Heineman, Munich is on
the reverse.
Estimate $8,000—$12,000
168
219
220
221
219
NAHUM TSCHACBASOV
American/Russian (1899-1984)
RABBI
oil on canvas, signed and dated lower right "Tschacbasov 33"
24 x 20 inches
PROVENANCE
Private Collection, New York.
Estimate
$2,000—$3,000
220
CARL SCHMITT
American (1889-1989)
"PEACE"
oil on canvas, signed and dated lower right "Schmitt 1920"
35
1
4
x 42
PROVENANCE
Berry Hill Galleries, Inc., New York, New York; Private Collection,
Connecticut.
EXHIBITED
New Canaan Historical Society, New Canaan, Connecticut,
November 12, 2010 - March 28, 2011.
Estimate
$3,000—$5,000
221
CLAIRE JEANNE ROBERTE COLINET
French (1880-1950)
DANCER
bronze, signed on the base "C.J.R. Colinet"
Height: 17 inches
PROVENANCE
Private Collection, New York, New York.
Estimate $4,000—$6,000
169
222
223
224
222
RAFAL OLBINSKI
Polish/American (b. 1943)
"DAS NEUE EUROPA"
oil on canvas, signed lower left "Olbinski"
28
1
2
x 22
1
2
inches
PROVENANCE
The artist; A New York estate.
Notes
Cover illustration for the May 2004 cover of
Der Speigel, under the headline "Das Neue
Europa."
Estimate $4,000—$6,000
223
RAFAL OLBINSKI
Polish/American (b. 1943)
"TRAVEL TO REIMS"
oil on canvas, signed lower right "Olbinski"
23 x 28 inches
PROVENANCE
The artist; A New York estate.
Estimate $4,000—$6,000
224
RAFAL OLBINSKI
Polish/American (b. 1943)
"ALTERNATIVE VALUES"
oil on canvas, signed lower right "Olbinski"
28
1
2
x 19
3
4
inches
PROVENANCE
The artist; A New York estate.
Estimate $4,000—$6,000
170
225
226
227
225
MARCH AVERY
American (b. 1932)
"ON THE DAM"
oil on canvas, signed lower left "March Avery 62,"
signed and titled on the stretcher
16 x 24 inches
PROVENANCE
Madelyn Jordan Fine Art, Scarsdale, New York; Los Angeles
Modern Auctions, Van Nuys, California, February 23, 2014,
lot 239; Private Collection; Christie's, New York, New York,
May 17, 2017, lot 204; Private Collection, California.
Estimate $4,000—$6,000
226
ROY LICHTENSTEIN
American (1923-1977)
SUNRISE, 1965
color silkscreen, signed in pencil lower right
"R. Lichtenstein"
18
1
2
x 24
1
2
inches
PROVENANCE
The artist; Mrs. Terry Quimby, New York, New York.
Estimate $4,000—$6,000
227
SALVATORE SCARPITTA
American (1919-2007)
CAR WING
car paint on aluminium
30
3
8
x 70
1
8
inches (overall)
PROVENANCE
The artist; Private Collection, New York.
Notes
The Scarpitta race team was sponsored by Leo
Castelli Art Gallery, New York, New York. The
number 59 represents the year Castelli began
representing Scarpitta in his New York gallery.
Estimate $4,000—$6,000
171
END OF SALE
228
229
230A
230B
231
228
SALVATORE SCARPITTA
American (1919-2007)
"PALADINO," 1931
oil on canvas, signed and dated "Scarpitta 1931" on reverse, inscribed
dedication on reverse "to Dana on her Birthday"
19 x 16 inches (image, sight)
PROVENANCE
The artist; Private Collection, New York.
LITERATURE
Luigi Sansone, "Salvatore Scarpitta: Catalogue Raisonné," Mazzotta
(Milan), 2005, p. 127, cat. no. 2.
Notes
Also inscribed on the reverse, "I did this one of my very first painting, at
my uncle's house in Palermo. He set up the still life. He liked it. Love SAL"
Estimate $2,000—$3,000
229
SALVATORE SCARPITTA
American (1919-2007)
LOVERS
ink on paper, signed and dated
"Scarpitta 71" lower right
15
1
4
x 20
5
8
inches (sight, sheet)
PROVENANCE
The artist; Private Collection, New York.
Estimate $2,000—$3,000
230
SALVATORE SCARPITTA
American (1919-2007)
PORTRAIT OF A MANPORTRAIT OF YVONNE SCARPITTA
(a) ink on name card, signed and dated "Scarpitta '37"
lower right, inscribed "Rome" lower left(b) ink and wash on
paper, signed and dated "Scarpitta 1940" lower right
(a) 3
3
4
x 2
3
4
inches (image, sight) (b) 15
1
8
x 11
1
2
inches
(image, sight)
PROVENANCE
The artist; Private Collection, New York.
Estimate $2,000—$3,000
231
SALVATORE SCARPITTA
American (1919-2007)
REAR FENDER
car paint on plastic, inscribed love Jaymie with
names of crew, signed "Sal Scarpitta"
22 x 28 x 5 inches (overall)
PROVENANCE
The artist; Private Collection, New York.
Estimate $2,000—$3,000
172
INDEX
A
Aldrich, George Ames 17, 199
Artschwager, Richard 205
Avery, March 225
B
Bannister, Edward 38, 39, 40
Bartlett, Jennifer 99
Baum, Walter Emerson 24, 25
Baziotes, William 47
Bell, Cecil Crosley 187
Bellows, George 36
Benton, Thomas Hart 103
Berthelsen, Johann 2, 3, 130,
132, 183,
186
Bisttram, Emil James 108
Braithwaite, Bruce 209
Bravo, Claudio 98
Brega, Doug 210, 211
Bricher, Alfred T. 82, 90, 126,
200
Bridgman, Frederick A. 35
Brooks, James 48, 50
Brown, John George 148
Bultman, Fritz 60
Burchfield, Charles 26, 81
Buttersworth, James E. 151
C
Carlson, John F. 23, 67, 134,
135
Chadwick, William 175
Chagall, Marc 12
Chase, William Merritt 118
Chi, Chen 8
Cirino, Antonio 22, 68
Cochran, Allen 190
Colinet, Claire J. R. 221
Cortes, Edouard Leon 11
Crane, Bruce 193
Cropsey, Jasper Francis 119
Curran, Charles Courtney 110, 113
D
D'espagnat, Georges 168
Dawson, Montague 33
De Haas, Mauritz F. H. 86, 88
De Haas, William F. 89
De Kooning, Willem 44, 59
Demuth, Charles 116
Dufy, Jean 9, 166
E
Eaton, Charles Warren 213
Ebert, Charles Henry 20
Ernst, Jimmy 61, 62
F
Fery, John 136
Foster, Ben 153
Frieseke, Frederick Carl 115
Friesz, Achille-Emile Othon 214
Fuechsel, Herman 83, 191
G
Gasser, Henry 1, 127, 128
Gay, Walter 145
Gifford, Charles H. 85
Gorky, Arshile 65
Gorson, Aaron 7
Gottlieb, Adolph 43
Gray, Jack Lorimer 129, 201
Grillo, John 158, 159
Gris, Juan (School of) 157
Gruppe, Emile A. 72
H
Hambourg, Andre 169
Hamilton, Hamilton 111, 112
Hart, James Mc Dougal 120
Hartley, Marsden 79, 80
Hibbard, Aldro Thompson 73, 154,
198
Higgins, Victor 109
Hockney, David 95
Hofmann, Hans 46
Hughes, Patrick 42
Hutchins, Will 171
I
Irvine, Wilson Henry 152
J
Jacobsen, Antonio 149, 150,
203
James, John Wells 194
John, William Goscombe 212
Johns, Jasper 97
Jones, Hugh Bolton 87, 123,
189
K
Kaemmerer, Frederik H. 217
Kamrowski, Gerome 64
Kantor, Morris 182
Kroll, Leon 6, 78
Kuwasseg, Charles E. 34
L
Laurencin, Marie 10
Lawrence, Jacob 94
Lever, Richard Hayley 165, 185
173
Lewis, Edmund Darch 122
Lewis, Martin 162
Lewitt, Sol 100
Lichtenstein, Roy 94, 226
Lie, Jonas 197
Lofquist, Anne 173
M
Martin, Homer Dodge 192
Maurer, Alfred Henry 76, 77
Mccarthy, Frank 137, 138,
139, 140,
141, 142,
143, 144
Mccord, George Herbert 84
Merle, Hugues 27
Moran, Edward 179
Motherwell, Robert 63
Murphy, John Francis 124
N
Nevelson, Louise 204
Nicholas, T.M. 131
Nichols, Henry Hobart 18
Noyes, George Loftus 174
O
Olbinski, Rafal 222, 223,
224
Oldenburg, Claes Thure 96
Olinsky, Ivan 146
P
Palmer, Walter Launt 5, 163
Picasso, Pablo 29, 30, 31,
32
Pissarro, H. Claude 167
Pleissner, Ogden Minton 104, 164
Pollock, Jackson 45
Poncet, Antoine 28
Porter, Charles Ethan 37
Potthast, Edward Henry 117, 172
Pousette-Dart, Richard 56
Prior, Scott 207
Q
Quartley, Arthur 9, 149
R
Rackham, Arthur 14, 15, 16
Rauschenberg, Robert 91, 92, 93,
94
Ream, C. Plantagenet 114
Reinhardt, Ad 58
Richards, William Trost 177
Ripley, Aiden L. 188
Rivers, Larry 161
Roberts, Priscilla Warren 208
Rosen, Charles 196
Rothko, Mark 51
S
Sawyer, Helen 195
Scarlett, Rolph 156
Scarpitta, Salvatore 227, 228,
229, 230,
231
Schmitt, Carl 220
Schwitters, Kurt 41
Seago, Edward 170
Shattuck, Aaron Draper 181
Signac, Paul 13
Simon, Lucien J. 215
Sloane, Eric 19, 105,
106
Smith, Henry Pember 180
Sonntag Sr, William Louis 121
Sonntag Jr, William Louis 178
Soulacroix, Frederic 218
Stamos, Theodoros 49, 54, 55,
101
Sterne, Hedda 53
Strisik, Paul 71
Stubbs, William Pierce 202
Swanson, Ray 107
Sword, James Brade 147
T
Tafuri, Raffaele 216
Thieme, Anthony 69, 70, 75,
133
Tomlin, Bradley Walker 57
Tschacbasov, Nahum 219
Tschudi, Lill 160
V
Vicente, Esteban 102
W
Warhol, Andy 94
Warner, Everett Longley 184
Waugh, Frederick Judd 125
Weldon Kees, Harry 52
Wendel, Theodore 176
West, Michael (Corinne) 206
Wiggins, Guy Carleton 4, 66, 74
Winter, Andrew 21
Wolff, Robert J. 155
Wyeth, Jamie 94
174
CONSIGNMENTS INVITED
TESTIMONIALS
On behalf of my mother and sister, I’d like to express to you our appreciation for the way you conducted the sale of
my mother’s oil painting by M.J. Heade. Being complete novices with a valuable oil painting on our hands, we could
have made any number of wrong decisions. Thanks to the guidance and the hard work of your firm we were able
to realize what was probably the maximum price for the painting. Our experience working with Shannon’s was
completely enjoyable and satisfying from start to finish.
-Bill, New Jersey
Approximately three months ago, I walked into your gallery with a somewhat damaged, soiled painting. Since that
time, I’ve experienced a once in a lifetime journey. Your expertise, honesty, and candor were evident throughout
this time. I thank you for your guidance and professionalism.
-John, Connecticut
Thank you for your succinct handling of my five offerings in your April auction. I was more than pleased with the final
financial transactions but even more so with the personal warmth (not condescending professional aloofness as
evidenced by many auction houses and galleries) and willingness to inform the uninitiated to further appreciation
of a genuine treasure. Your enthusiasm is evident and infectious.
-Luther, California
To submit artwork for consideration please email photos to
info@shannons.com or visit www.shannons.com
November 19, 2020
On-Line Fine Art Auction.
Consignment deadline - October 15, 2020.
Spring 2021
Fine Art Auction: Paintings, Drawings, Prints & Sculpture.
Consignments invited
At SHANNON’S we offer personalized service and competitive
commission rates to ensure you have the most profitable
auction experience. For over 20 years clients have trusted us
with their Fine Art, relying on our expertise, reputation and
history of record prices. Since 1997 Shannon’s has sold over
$100,000,000 in Fine Paintings, Drawings, Prints and Sculpture.
Contact us today to see what we can do for your collection.
175
BIDS 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
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176
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statement is not to affect, detract from, or override Shannon's
Conditions of Sale, and in the event of any conflict, Shannon's
Conditions of Sale will take priority to the terms of this statement.
BIDDING AT THIS AUCTION, WHETHER IN PERSON, BY AGENT, ORDER
BID, TELEPHONE, INTERNET OR OTHER MEANS, CONSTITUTES YOUR
ACKNOWLEDGEMENT AND ACCEPTANCE OF THESE "CONDITIONS
OF SALE".
CONDITIONS OF SALE
After: 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 prove-
nance 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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