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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 | Fax (203) 877-1719 Front cover illustration #56 Back cover illustration #37FINE 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 EDTTABLE OF CONTENTSArtist Index 172 Invitation to Consign 174 Bid Form 175 Conditions of Sale 176Sandra Germain Owner sandra@shannons.com Ali Danker Specialist ali@shannons.com Gene Shannon Owner gene@shannons.comSpecialist ContactsGeneral 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—$7,0002 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—$7,000122

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—$10,00033

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—$12,00044

555 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—$7,0006767 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—$15,00087

8Jean 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—$60,00099

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—$25,0001010

111111 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

12Known 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—$80,0001213

141313 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—$15,0001415161515 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—$3,00016 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

17181617 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—$7,00018 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—$30,0001917Eric 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—$15,0002018

211921 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—$6,0002223242022 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—$6,00024 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

252125 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—$75,0002623

272427 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

282528 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

26This 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—$120,0002927

2831 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—$12,00030 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—$8,0003031

293232 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

30Montague 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

333133 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—$15,0003432

353335 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

34George 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.

363536 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

36Charles 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—$25,0003737

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—$15,0003838

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—$6,00039403940 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

40Born 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—$60,0004141

42Born 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—$50,0004243

44“Nina Leen. The Irascibles. 1950 | MoMA.” The Museum of Modern Art, www.moma.org/collection/works/163461. Accessed 26 Aug. 2020.The Irascibles

45Assembled 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

46Adolph 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 30th 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—$120,0004347

48The 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—$35,0004449

50Jackson 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

455145 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—$18,0005246

475347 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—$10,00048495449 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

505550 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

56Born 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—$80,0005157

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—$1,50052 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—$5,0005253A53B58

54555954 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—$8,00055 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—$6,000We 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

60Richard 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—$35,0005661

62Bradley 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).

576357 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

64Art 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—$50,0005865

66596059 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—$12,00060 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

67616261 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—$8,00062 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

68Robert 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

636963 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—$10,0006470

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—$25,0006571

72Guy 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—$60,0006673

677467 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

68697568 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—$12,00069 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—$6,00070 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—$6,000707176

727772 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

7874 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—$15,00073 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—$7,0007374

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—$30,0007579

8077 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—$10,00076 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—$10,0007677

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—$15,0007881

8280 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—$10,00079 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—$15,0007980

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—$15,0008183

84Alfred 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—$60,0008285

8684 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—$6,00083 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—$5,0008384

858785 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

8887 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—$6,00086 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—$6,0008687

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—$12,0008988

9089 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—$18,00089

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—$35,0009091

9291 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—$25,000919292 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—$30,0009393

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—$15,00094A94B94C94D94E94In 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—$7,00097 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—$6,0009695979595 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

96Claudio 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/)

989798 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—$15,00098

10099100 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—$12,000101100

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—$12,000102101

102The 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—$50,000103103

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—$15,000105 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—$8,000104105104

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—$25,000106105

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—$7,000107 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—$6,000107A 107B108106

109107109 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

108Charles 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—$90,000110 109

110111 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—$12,000112 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—$12,000111112

111113 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—$25,000113114114 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

112Frederick 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—$60,000115113

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—$18,000116114

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—$25,000117115

116William 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).

118117118 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

118Jasper 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—$50,000119119

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—$10,000121 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—$8,000120121120

122121122 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—$12,000123122

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—$18,000124123

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—$15,000125124

126125126 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—$8,000127 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—$7,000127128126

129127129 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

128130 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—$6,000130132131131 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—$3,000132 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—$15,000133129

130134 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—$6,000134136135135 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—$5,000136 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—$6,000137138131138 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—$12,000A 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—$7,000139141140132140 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—$7,000141 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

133142 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—$7,000143 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—$6,000142143144144 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

134145 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—$10,000145147146146 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—$6,000147 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

135148 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—$30,000148

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—$7,000150 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—$7,000149150136

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—$35,000151137

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—$8,000153 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—$10,000152153138

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—$18,000154139

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—$5,000156 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—$6,000157 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—$3,000155157156140

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—$7,000159 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—$7,000158159141

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—$8,000161 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—$12,000160161142

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—$12,000162143

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—$8,000164 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—$8,000163164144

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—$12,000165145

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—$6,000167 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—$6,000168 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—$5,000166168167146

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—$10,000169170147170 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

148171172173171 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—$3,500172 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—$5,000173 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

149174 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—$5,000175 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—$7,000174175176176 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

150177178177 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—$5,000178 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—$5,000180 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—$3,000151179180181181 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—$6,000183 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—$5,000184 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—$7,000182184183152

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—$3,500186 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—$5,000185186187153187 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

154188 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—$5,000189 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—$5,000190 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—$3,500188190189

155191 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—$5,000192 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—$5,000191192193193 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

156194 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—$6,000195 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—$5,000196 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—$3,500194195196

157197198199197 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—$6,000198 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—$6,000199 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—$7,000158201 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—$8,000200201

159202203202 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—$3,000203 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

160204205204 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—$8,000205 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

161206206 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

162207208209207 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—$5,000208 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—$3,500209 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

163210211210 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—$15,000211 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

164212213212 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—$12,000213 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

165214215214 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—$10,000215 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

166216217216 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—$6,000217 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

167218218 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

168219220221219 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—$3,000220 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—$5,000221 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

169222223224222 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—$6,000223 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—$6,000224 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

170225226227225 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—$6,000226 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—$6,000227 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 —228229230A230B231228 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—$3,000229 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—$3,000230 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—$3,000231 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

172INDEXA 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

173Lewis, 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

174CONSIGNMENTS INVITED TESTIMONIALSOn 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, CaliforniaTo submit artwork for consideration please email photos to info@shannons.com or visit www.shannons.comNovember 19, 2020 On-Line Fine Art Auction. Consignment deadline - October 15, 2020. Spring 2021 Fine Art Auction: Paintings, Drawings, Prints & Sculpture. Consignments invitedAt 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.

175BIDS MUST BE RECEIVED AT LEAST 24 HOURS PRIOR TO DAY OF SALE. Lot # Artist’s Name Maximum Bid (Excluding buyers premium) $ $ $ $ $ $ $ $ $Bidding Increments $1,000 – $2,000 . . . . . . . . . .$100 $2,000 – $5,000 . . . . . . . . . .$250 $5,000 – $10,000 . . . . . . . . .$500 $10,000 – $20,000 . . . . . .$1,000 $20,000 – $50,000 . . . . . .$2,000 Over $50,000 . . . . . . . . . .$5,000 Over $100,000 . . . . . . . .$10,000 The Auctioneer has the discretion to accept bids not commensurate with this pattern.EMAIL OR FAX BIDS TO: 49 Research Drive, Milford, CT 06460 P: (203) 877-1711 | F: (203) 877-1719 Email: info@shannons.com CHECK ONE: ABSENTEE BID PHONE BIDI understand that Shannon's will execute my bids as a convenience, and will not be held responsible for errors, or the inadvertent failure to execute bids. On my behalf, Shannon's will try to purchase these lots for the lowest possible price. If identical absentee bids are left, Shannon's will give precedence to the first one received. I have read and agree to the Conditions of Sale printed in this catalog. Payment for successful bids must be made within two weeks of the sale. A premium of 25% of the successful bid up to and including $200,000, and 20% on any amount exceeding $200,000 will be applied to the hammer price of all lots sold, to be paid by the buyer as part of the purchase price. Name Date Address City State Zip Country Phone # Alternate# Fax# EmailSignature (required) Date

176Shannon’s LLC Fine Art Auctioneers acts solely as an agent for vari-ous owners and consignors. It exercises care in describing all items listed and uses judgment in attributing authorship, but offers no guarantee regarding authenticity, condition, or description. The items described in this catalog, which description may be amend-ed by notice or announcement at sale time, are offered for sale by Shannon’s LLC as agent for various owners or others authorized to sell the items. Hereinafter, Shannon’s LLC is referred to as the Sellers agent. The owners or others authorized to sell the items are here-inafter referred to as Sellers. The person or persons acknowledged by the auctioneer to be the highest bidder on an item shall be hereinafter referred to as the Buyer or Buyers. Shannon’s LLC reserves the right to change the terms of sale by oral announcement. Any such change shall become part of the Conditions of Sale. By placing of a bid, whether present at the sale in person or by agent, by written or oral bid, by telephone or other means, the Buyer agrees to be bound by these conditions of sale. 1. The highest bidder acknowledged by the auctioneer shall be the Buyer. In the event of any dispute between bidders, the auction-eer has the absolute discretion to determine which bidder is the successful Buyer or to re-offer the item in dispute and resell it. 2. In the event of any dispute after the sale, Shannon’s LLC’s record of the final sale price and of the successful buyer shall be con-clusive, Shannon’s LLC reserves the right to withdraw any item before or during the sale. 3. Shannon’s LLC reserves the right to sell items which are not listed in the catalogue. 4. Items in the auction are sold subject to a reserve. Such reserve is confidential, but in no case will the reserve exceed the low esti-mate. The auctioneer may reject any bid or increment not com-mensurate with the value of the lot. 5. Order bids are accepted. A deposit may be required. Absent parties may place bids by mail, email, fax or in person prior to the sale. Order bids must be placed 24 hours prior to the day of sale. Shannon’s LLC will execute such bids up to the maximum amount specified. Phones must be reserved 24 hours prior to the day of sale. Phone bidders are encouraged to leave a cover bid in case of technical failure. Shannon’s is not responsible for errors or omissions in the execution of these bids. 6. A premium of 25% of the successful bid up to and including $200,000, and 20% on any amount exceeding $200,000 per lot, will be applied to the individual hammer price of all lots sold, to be paid by the buyer as part of the purchase price. Payment may be made by cash, check, ACH or wire transfer. Visa, MasterCard and Amex may be used up to the amount of $5,000 per auction. We currently collect sales tax in CA, CT, KS, MA, NJ, OK, PA, RI and VA and remit the appropriate sales tax. If we do not collect sales tax in your state, it is still your responsibility to pay the proper use tax on your purchases. ALL ITEMS MUST BE PAID FOR WITHIN 7 DAYS OF THE SALE, AT WHICH POINT THEY WILL BE RELEASED FOR SHIPMENT OR DELIVERY. 7. Limited Warrantee: Although Shannon’s LLC exercises due care in describing the items listed and use good judgment in attribut-ing authorship; it does not make any express or implied warran-tee as to such authorship. Notwithstanding, Shannon’s LLC may, but shall have no obligation to, consider any reasonable request for refund on the grounds of authenticity of authorship only and only under the following conditions: A. Notification must be made to Shannon’s in writing within 7 days of receipt of the item. B. The items must be returned within 28 days of the sale, accompanied by written testimony from a recognized authority that the lot in question is a forgery. C. The limited warrantee does not extend to the lots identified as attributions, school, circle, manner, or after. D. The limited warrantee is applicable only to the original Buyer. 8. All property is sold "as is". 9. As a convenience to the Buyer, Shannon’s LLC will make a refer-ral for packing and shipping. This is at the request, expense, and risk of the Buyer, and Shannon’s assumes no responsibility for the items or the timing of delivery. Insurance for in transit items is the responsibility of the buyer. All items must be removed within 30 days post sale or a fee of up to $20 per day will be charged for storage. Items not collected within twelve months of a sale will become the property of Shannon’s. 10. Shannon's has retained the Art Loss Register to check all uniquely identifiable items offered for sale in the catalog that are estimated for $5,000 or more against the computerized database of stolen or lost artwork maintained by the Art Loss Register. A search certificate can be provided by the Art Loss Register for an additional fee. The Art Loss Register does not guarantee the provenance or title of any catalogued item against which they search, and will not be liable for any direct or consequential losses of any nature howsoever arising. The statement is not to affect, detract from, or override Shannon's Conditions of Sale, and in the event of any conflict, Shannon's Conditions of Sale will take priority to the terms of this statement. BIDDING AT THIS AUCTION, WHETHER IN PERSON, BY AGENT, ORDER BID, TELEPHONE, INTERNET OR OTHER MEANS, CONSTITUTES YOUR ACKNOWLEDGEMENT AND ACCEPTANCE OF THESE "CONDITIONS OF SALE". CONDITIONS OF SALEAfter: A work of art or object made in the style of an artist or maker, but not by the artist. Sometimes refers multiples that may have used an artist’s mold or plate, but were reproduced by someone other than the artist, including posthumous works. Can also be used to describe a direct reproduction after an original work of art. Attributed (attr.): In our opinion, probably or possibly a work of art by the artist. The work is either unsigned, and/or lacks adequate 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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