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Fine American and European Paintings Drawings Prints and Sculpture Milford Connecticut October 25 2018

FINE AMERIC AN A N D EUROPEAN PAINTINGS DRAWINGS PRINTS A N D SCULPTURE AUCTION INFORMATION Thursday October 25 2018 6 00p m PREVIEW DATES TIMES October 15 October 24 October 20 Weekdays 11 a m 6 p m Saturday 10 a m 3 p m Closed Sundays October 25 Thursday 12 p m 5 30 p m The sale will begin at 6 00 p m EDT on Thursday October 25 2018 Shannon s Fine Art Auctioneers 49 Research Drive Milford CT 06460 www shannons com info shannons com 203 877 1711 Fax 203 877 1719 Front cover illustration 61 detail Back cover illustration 57

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TABLE OF CONTENTS Map and Directions 2 Specialist Contacts 3 Ar tist Index 156 Invitation to Consign 158 Bid Form 159 Conditions of Sale 160 Specialist Contacts Sandra Germain Owner voice 203 877 1711 fax 203 877 1719 sandra shannons com Ali Danker Specialist voice 203 877 1711 fax 203 877 1719 ali shannons com Gene Shannon Owner voice 203 877 1711 fax 203 877 1719 gene shannons com General Sale Inquiries info shannons com

1 JOHANN BERTHELSEN American 1883 1972 BRIDGE IN CENTRAL PARK oil on canvas board 10 x 8 inches signed lower right Johann Berthelsen PROVENANCE Private Collection Connecticut Estimate 2 000 3 000 1 2 JOHANN BERTHELSEN American 1883 1972 VIEW FROM CENTRAL PARK oil on canvas board 10 x 8 inches signed lower right Johann Berthelsen PROVENANCE Private Collection Connecticut Estimate 2 000 3 000 2 3 JOHANN BERTHELSEN American 1883 1972 GRAMERCY PARK EDWIN BORTH STUDIO LOOKING FROM THE PLAYER S CLUB oil on canvas board 12 x 16 inches signed lower right Johann Berthelsen PROVENANCE Private Collection Florida Estimate 3 000 5 000 3 4

4 4 HENRY GASSER American 1909 1981 ANDERSON S WHARF GLOUCESTER HARBOR watercolor and gouache on paper 22 x 30 inches sight signed H Gasser lower right signed and titled on the reverse PROVENANCE Private Collection Connecticut Estimate 4 000 6 000 5 HENRY GASSER American 1909 1981 OVERLOOKING THE HARBOR watercolor on paper 29 7 8 x 21 3 4 inches sight signed lower left H Gasser PROVENANCE Private Collection Florida Estimate 4 000 6 000 5 5

6 JOHANN BERTHELSEN American 1883 1972 5TH AVENUE oil on canvas board 16 x 12 inches signed lower right Johann Berthelsen PROVENANCE Private Collection Connecticut Estimate 4 000 6 000 6 7 CHARLES SALIS KAELIN American 1858 1929 OPEN FIELD oil on canvas 19 x 16 inches signed lower right Kaelin PROVENANCE Private Collection New Jersey Estimate 3 000 5 000 7 6

8 8 HENRY GASSER 9 ERIC SLOANE American 1909 1981 HEADING TO WORK watercolor on paper 21 1 2 x 29 7 8 inches sight signed lower left H Gasser PROVENANCE Private Collection Florida Estimate 3 000 5 000 9 American 1905 1985 CONNECTICUT MORNING oil on masonite 22 x 31 1 2 inches signed lower right Sloane titled lower left PROVENANCE The estate of Charles Beach Barlow New Milford Connecticut Estimate 5 000 7 000 Sold to benefit the New Milford Trust for Historic Preservation 7

10 10 ANTONIO CIRINO American 1889 1983 STONE BRIDGE IN WINTER oil on canvas 20 x 24 inches signed lower right A Cirino PROVENANCE Private Collection New Jersey Private Collection Florida Estimate 2 500 3 500 11 8 11 ANTHONY THIEME American 1888 1954 A SUNNY DAY ROCKPORT oil on canvas 20 x 24 inches signed A Thieme lower left titled on reverse PROVENANCE Grand Central Art Galleries New York New York Clarke Galleries Stowe Vermont Private Collection Maine Estimate 6 000 8 000

12 12 ERIC SLOANE American 1905 1985 NEW ENGLAND MID WINTER oil on masonite 28 x 30 inches signed and titled lower left Sloane signed and inscribed on the reverse Eric Sloane Cornwall Bridge Conn PROVENANCE Abercrombie Fitch Co New York New York Shannon s October 20 2005 lot 32 Private Collection New York Note In the original frame made by Sloane s barnwood framer Estimate 20 000 30 000 9

13 EMILE ALBERT GRUPPE American 1896 1978 FIESTA oil on canvas 20 x 18 inches signed lower right Emile A Gruppe signed and titled on the reverse PROVENANCE Thomas Colville Fine Art New Haven Connecticut Private Collection New Jersey Estimate 4 000 6 000 13 14 EMILE ALBERT GRUPPE American 1896 1978 SCHOONER AT THE PIER oil on canvas 30 x 24 inches signed lower right Emile A Gruppe PROVENANCE R H Love Galleries Chicago Illinois Private Collection Illinois Estimate 5 000 7 000 14 10

15 15 WILLIAM BRADFORD 16 WILLIAM WILSON COWELL American 1823 1892 American 1848 1910 RED BAY LABRADOR oil on board 7 x 13 5 8 inches signed W Bradford lower right PROVENANCE Private Collection New York New York Estimate 6 000 8 000 SHIPS SAILING AT SUNSET oil on canvas 7 x 10 inches signed lower left W W Cowell PROVENANCE Private Collection New York Estimate 4 000 6 000 16 11

17 17 GEORGE HENRY SMILLIE American 1840 1921 A VIEW OF LAKE GEORGE oil on canvas 18 x 33 inches signed and dated lower left Geo H Smillie 1878 PROVENANCE Private Collection New Hampshire descended in the family to the current owner New Hampshire Estimate 7 000 10 000 12

18 18 HERMANN HERZOG American German 1832 1932 DEER IN THE FLORIDA EVERGLADES oil on canvas 19 x 25 inches signed lower right H Herzog PROVENANCE Mr and Mrs Robert C Dorey Jr Private Collection Pennsylvania EXHIBITED American Paintings of Herman Herzog Brandywine River Museum Chadds Ford Pennsylvania September 12 November 22 1992 cat no 24 illus Estimate 10 000 15 000 13

19 19 EDOUARD LEON CORTES French 1882 1969 EVENING STREET SCENE PARIS oil on canvas 18 X 21 inches signed lower right Edouard Cortes PROVENANCE The artist Private Collection Texas Estimate 25 000 35 000 14

20 20 ABEL GEORGE WARSHAWSKY American 1883 1962 BOOK STALLS ALONG THE SEINE oil on canvas 25 3 4 x 31 3 4 inches unsigned PROVENANCE The artist Anderson Galleries Chicago Illinois Private Collection Massachusetts Note A copy of a letter from Anderson Galleries dated December 16 1926 accompanies the lot Estimate 8 000 12 000 15

21 21 THERESA FERBER BERNSTEIN American 1890 2002 LADIES ON THE BEACH oil on board 9 1 4 x 11 1 4 inches signed lower right T Bernstein PROVENANCE The artist Private Collection Connecticut Estimate 10 000 15 000 16

22 LOUIS RITMAN American 1889 1963 MEDITATION oil on canvas 36 x 30 1 4 inches signed lower right L Ritman PROVENANCE R H Love Galleries Chicago Illinois Private Collection Illinois Estimate 2 000 3 000 23 THERESA FERBER BERNSTEIN American 1890 2002 NEW YORK PUBLIC LIBRARY oil on board 6 x 8 inches signed on the reverse Theresa Bernstein PROVENANCE The artist Private Collection Connecticut Estimate 7 000 10 000 22 23 17

24 24 GEORGE GARDNER SYMONS American 1863 1930 LATE AFTERNOON SHELBURNE FALLS oil on canvas 20 x 25 inches signed lower right Gardner Symons PROVENANCE Florence M K Pierce Providence Rhode Island A Massachusetts estate Private Collection California Bianco Gallery Buckingham Pennsylvania AMT Fine Art Greenwich Connecticut Private Collection New Jersey EXHIBITED Rhode Island School of Design c 1920 Estimate 15 000 25 000 18

25 25 WALTER LAUNT PALMER American 1854 1932 STREAM IN WINTER pencil watercolor and gouache on paper 19 1 2 x 23 1 4 inches sight signed W L Palmer lower left PROVENANCE Purchased ca 1972 by descent to the present owner Private Collection Connecticut Estimate 15 000 25 000 19

26 26 CHARLES PAUL GRUPPE American 1860 1940 BOATS IN HARBOR oil on canvas 24 x 30 inches signed lower left Chas P Gruppe PROVENANCE Private Collection New York Estimate 8 000 12 000 20

27 27 FREDERICK J MULHAUPT American 1871 1938 END OF THE DAY GLOUCESTER HARBOR oil on canvas 18 x 24 inches signed lower right Mulhaupt PROVENANCE David Hall Fine Art Dover Massachusetts Private Collection New Jersey Estimate 20 000 30 000 21

28 28 MERCEDES MATTER American 1913 2001 B BARN BETHEL CONNECTICUT oil on board executed in 1962 20 x 24 inches unsigned PROVENANCE Estate of the Artist Borghi Fine Art Englewood New Jersey Private Collection New Jersey ILLUSTRATED Ellen G Landau Sandra Kraskin Phyllis Braff and Michael Zakian Mercedes Matter New York MF Art Publishing Co 2009 pl 80 p 197 illus Estimate 10 000 15 000 22 Mercedes Matter was an original member of the American Abstract Artists organization a WPA artist and the founder of the New York Studio School Teachers at the school included Philip Guston Bradley Walker Tomlin and Meyer Schapiro Matter studied with Hans Hofmann at the Art Student s league and emulated work by Franz Kline and Philip Guston

29 29 MAUDE IRVINE KERNS American 1876 1965 UNTITLED watercolor on paper 15 3 8 x 20 5 8 inches signed and dated lower right Maude I Kerns 1941 PROVENANCE Stevens Fine Art Phoenix Arizona Private Collection Connecticut Estimate 6 000 8 000 From 1941 1951 Maude Kerns exhibited her work regularly at the Solomon Guggenheim Museum of Non Objective Painting During the autumn of 1943 she exhibited seven paintings there alongside works by her contemporaries Hila Rebay Alice Mattern Rolph Scarlett Jean Xceren Werner Drewes and Harry Bertoia She studied under Hans Hofmann and later learned the principles of non objective painting from Rolph Scarlett The present lots are recently rediscovered works by this important female modernist 23

30 MAUDE IRVINE KERNS American 1876 1965 CYCLES OF ENLIGHTMENT oil on canvas 30 x 24 inches signed lower left M I Kerns signed titled and inscribed on the reverse Eugene Oregon PROVENANCE Guestroom Gallery Eugene Oregon Private Collection Connecticut Estimate 4 000 6 000 30 31 MARC CHAGALL French Russian 1887 1985 THE FOUR SEASONS CHICAGO lithograph in colors 1974 on wove paper 24 x 36 inches image signed in pencil published by the First National Bank of Chicago Mourlot 727 signed in pencil lower right Chagall and numbered lower left 65 100 PROVENANCE Private Collection New York New York Estimate 4 000 6 000 31 24

32 32 PIERRE SOULAGES French b 1919 EAU FORTE IX lithograph 25 3 4 x 19 5 8 inches signed lower right Soulages numbered lower left 65 100 PROVENANCE Private Collection Boston Massachusetts Private Collection Philadelphia Pennsylvania Estimate 8 000 12 000 25

33 CLAES OLDENBURG American b 1929 TRINITY NEON COCKTAIL chromed steel sculpture 17 3 4 H 18 H with base initialled titled dated and numbered on the base C O 1983 15 50 PROVENANCE Private Collection New York New York Estimate 5 000 7 000 34 BLAIR HUGHES STANTON British 1902 1981 THE DRESSING ROOM oil on canvas 20 x 24 inches initialed lower left H S dated on the reverse 1929 PROVENANCE Los Angeles Fine Arts Gallery Los Angeles California Private Collection California Estimate 5 000 7 000 33 34 26

35 35 MICHAEL GOLDBERG American 1924 2007 MINIATURE ROSEMARY OF MY EXCESSIVE PALLOR oil on canvas 22 1 4 x 21 1 4 inches signed dated and titled on the reverse Goldberg 93 PROVENANCE Private Collection Italy Private Collection New York New York Estimate 7 000 10 000 27

36 36 EDWARD HENRY POTTHAST American 1857 1927 BEACH SCENE AT THE WATER oil on panel 5 x 7 inches signed lower right E Potthast PROVENANCE The estate of Antoinette Goetz Greenwich Connecticut Private Collection Connecticut Note A letter of authentication from Mary Leonhard Ran accompanies the lot Estimate 8 000 12 000 28

37 EDWARD HENRY POTTHAST American 1857 1927 SUMMER oil on canvas 16 x 12 1 4 inches signed lower left E Potthast PROVENANCE Christie s June 5 1997 lot 37 Private Collection Texas Note Letter of authentication from Mary Leonhard Ran accompanies the lot Estimate 10 000 12 000 38 LAWTON SILAS PARKER American 1868 1954 WOMAN READING oil on canvas 25 x 30 inches unsigned PROVENANCE De Ru Gallery Bellflower California Private Collection California Note A copy of a letter of authenticity from DeWitt C McCall II of De Ru s Fine Arts accompanies the lot A copy of a letter from Bill Gerdts discussing the painting also accompanies the lot Estimate 7 000 9 000 37 38 29

39 39 JOZEF TEODOR MOUSSON Slovakian 1877 1946 MARKET DAY oil on canvas laid down on board 15 x 19 1 4 inches signed dated and inscribed lower right Mousson Michalovce 1929 PROVENANCE Private Collection New York New York Estimate 8 000 12 000 30

40 40 ANDRE HAMBOURG French 1909 1999 LA PLAGE oil on canvas 20 x 29 inches signed lower left A Hambourg PROVENANCE Wally Findlay Galleries New York New York Private Collection of Loretta Swit Private Collection New York Estimate 12 000 18 000 31

41 WALTER EMERSON BAUM American 1884 1956 SPRING LEHIGH COUNTY oil on canvas board 16 x 20 inches signed lower left Baum signed titled and inscribed on the reverse Sellersville PA PROVENANCE Private Collection New York New York Estimate 3 000 5 000 41 42 GEORGE GARDNER SYMONS American 1863 1930 MORNING CHILL oil on board 3 3 4 x 5 7 8 inches initialled lower left G S estate stamp on the reverse PROVENANCE Redfern Gallery Laguna Beach California Private Collection Florida Estimate 1 200 1 800 42 43 WALTER EMERSON BAUM American 1884 1956 WINTER LANDSCAPE oil on canvas board 16 x 20 inches signed and dated lower right W E Baum 11 16 1938 PROVENANCE Private Collection New York New York Estimate 3 000 5 000 43 32

44 44 WALTER EMERSON BAUM American 1884 1956 WINTER HUNT oil on canvas 25 x 30 inches signed lower left W E Baum PROVENANCE Private Collection New Jersey Estimate 10 000 15 000 33

Walter Elmer Schofield is best known for his Impressionist landscapes of his native Pennsylvania His parents emigrated from England to Philadelphia where he was raised Schofield studied art first at the Pennsylvania Academy of Fine Arts in 1889 and 1892 Soon after he went to Paris to study at the famed Acad mie Julian He spent three years studying in Paris before returning to the states After trying his hand at the family business Schofield decided to return to Europe and pursue painting in earnest He travelled extensively in Europe with his friends Robert Henri and William Glackens They toured Holland Belgium England and Paris In 1897 Schofield married Muriel Redmayne of Southport England Muriel did not take to life in the States so the couple moved to England eventually settling in St Ives Cornwall During his time in St Ives Schofield was instrumental in bringing other American artists there and supporting those artists who had already established themselves such as George Oberteuffer and Hayley Lever Schofield painted the landscape around him but missed the American landscape He made frequent trips to the States and continued painting in Pennsylvania He crossed the Atlantic more than forty times between 1902 and 1937 Schofield s landscapes as in the present lot are light filled with bright colors and impressionist brushstrokes His ability to capture atmosphere is immediately apparent especially on a painting of this scale When viewed in person the viewer is completely immersed in the landscape Despite his status as an expatriate artist Schofield is best remembered as a Pennsylvania Impressionist His works are collected in both the United States and abroad in notable private and public collections including the Metropolitan Museum of Art the Pennsylvania Academy of Fine Arts and the Smithsonian Institution 34

45 45 WALTER ELMER SCHOFIELD American 1867 1944 WINTER LANDSCAPE oil on canvas 45 x 60 inches signed and dated lower right W E Schofield 1909 PROVENANCE Maxfield Galleries San Francisco California Private Collection St Louis Missouri Private Collection Florida EXHIBITED Partial illegible exhibition label is on the reverse Note A label from Maxwell Paintings San Francisco California is on the reverse Estimate 30 000 50 000 35

There are few published records about William Wilcox an artist who lived nearly a century He is mentioned in Groce and Wallace s 1954 publication as Landscape painter born in New York State about 1831 In 1849 when he was living in Long Island he exhibited two pencil drawings at the American Institute and sold two landscapes to the American Art Union By 1850 he had moved with his parents to Philadelphia and he was active there at least until 1868 during which time he exhibited at the Pennsylvania Academy views in New Hampshire New York and Pennsylvania To this record the PAFA records indicate that he also exhibited there from 1880 1913 and he exhibited at the National Academy of Design from 1867 1869 It is known that Wilcox was a close friend of William Trost Richards and the two corresponded and worked together Wilcox s best paintings are reminiscent of works by Richards Both artists were able to brilliantly capture the atmospheric effects of the sun and clouds on the water The present lot On the Boardwalk Atlantic City New Jersey was painted in 1874 four years after the first boardwalk was first constructed The first boardwalk was constructed in ten by twelve feet sections that came apart each winter In the painting the raised boardwalk is visible in the left middle ground Just to the right of it the iconic Absecon Lighthouse now blue readily identifies the scene Although there are only a few biographical details about Wilcox it is clear that he was a well trained artist whose exhibition history indicates a successful career The present lot is a unique painting as fewer than a dozen have passed through auction and rarely are they available in the market The large format of this work and the expensive panel backing indicate that the artist intended this work for exhibition 36

46 46 WILLIAM WILCOX American 1831 1929 ON THE BOARDWALK ATLANTIC CITY NEW JERSEY oil on canvas 20 x 35 3 4 inches signed and dated lower right W H Wilcox 1874 PROVENANCE A Florida estate Estimate 10 000 15 000 37

47 AMERICAN SCHOOL 19th Century COWS GRAZING RIVER LANDSCAPE A PAIR oil on canvas 4 1 2 x 7 inches each unsigned PROVENANCE Private Collection Florida Estimate 2 500 3 500 47A 47B 48 VIRGIL WILLIAMS American 1830 1886 DUCKS IN A LANDSCAPE oil on canvas 20 x 14 inches signed lower right Virgil Williams PROVENANCE A New York estate Private Collection New York Estimate 7 000 9 000 48 38

49 49 ARTHUR FITZWILLIAM TAIT American 1819 1905 SOLITUDE FORKED LAKE oil on canvas 20 x 30 inches signed inscribed and dated lower left A F Tait NY 85 signed titled and dated on the reverse PROVENANCE Collection of the Yale University Art Gallery Property from a New York State Collection EXHIBITED Yale University Art Gallery Whitney Collection of Sporting Art Acc 1932 LITERATURE Warder H Cadbury and Henry F Marsh Arthur Fitzwilliam Tait Artist in the Adirondacks Newark University of Delaware 1986 p 275 fig 85 19 illus Note A label from the Lyman Allyn Art Museum is on the reverse Estimate 15 000 25 000 39

Mauritz Frederick H De Haas was a prolific painter of seascapes of the Dutch and American coasts De Haas was born in Rotterdam Holland in 1832 At age 15 he started his artistic education at the Rotterdam Academy of Art There he studied under Nicolaas Johannes Roosenboom a noted landscape artist It was during this early period in his artistic career where he discovered his love for painting seascapes De Haas travelled extensively painting along the Dutch coast In 1851 he spent a year in London painting along the coast of the English Channel When he returned to the Netherlands he studied at the Hague under prominent marine artist Louis Meyer He exhibited his work throughout Europe and achieved success as an artist in his homeland In 1856 the Queen of Holland acquired one his paintings She was so impressed with his work that she appointed him artist of the Dutch Navy in 1857 In 1859 De Haas moved to New York City possibly supported by a minister of The Hague He quickly became a prominent Dutch artist working in America and received several important commissions Admiral David Farragut for instance commissioned De Haas to paint naval scenes during the Civil War From 1861 1896 he exhibited his work at the National Academy of Design in New York where he became a full academician in 1867 De Haas also exhibited his work at the Brooklyn Art Association the Boston Art Club the Pennsylvania Academy of the Fine Arts and the Art Institute of Chicago De Haas spent the rest of his life in the United States He painted extensively in New York Maine and Massachusetts He died in New York City in 1895 His works are featured in numerous private and public collections including the New York Historical Society and the Museum of Fine Arts Boston 40

50 50 MAURITZ FREDERICK H DE HAAS American 1832 1895 HOLE IN THE WALL GRAND MANAN oil on canvas 18 x 30 inches signed and dated lower left MFH De Haas 1867 PROVENANCE Private Collection Florida Estimate 20 000 30 000 41

51 LOUIS ASTON KNIGHT American 1873 1948 THE GEORGE WASHINGTON BRIDGE oil on board 10 3 4 x 17 3 4 inches signed lower right Aston Knight New York PROVENANCE Private Collection New Jersey Estimate 2 500 3 500 51 52 LOUIS ASTON KNIGHT American 1873 1948 THE SEINE NEAR PARIS oil on canvas 29 x 25 1 2 inches signed and inscribed lower left Aston Knight Paris signed dated and dedicated on the reverse 1929 PROVENANCE Sotheby s New York Arcade March 17 1988 lot 175 Private Collection Florida Estimate 3 000 5 000 52 53 PEDRO RIBERA Spanish 1867 1949 MANHATTAN SKYLINE gouache and pastel on paper 10 1 8 x 14 7 8 inches sight signed lower right and dated P Ribera 1911 Nueva York PROVENANCE Private Collection New York New York Estimate 2 000 3 000 53 42

54 54 LOUIS ASTON KNIGHT American 1873 1948 COTTAGE BY A RIVER oil on canvas 25 7 8 x 32 inches signed and inscribed lower right Aston Knight Paris PROVENANCE Christie s September 12 2007 Private Collection New York Private Collection Greenwich Connecticut Estimate 7 000 10 000 43

Andrew Winter was a full year resident on Maine s Monhegan Island He lived there from 1940 until his death in 1958 although he began visiting in the 1930s Originally from Estonia Winter had sailed around the world before coming to the United States and becoming a citizen He spent his youth in Estonia working on the Baltic Sea from the time he was 20 Winter came to New York City in the 1920s and enrolled at the School of the National Academy of Design In New York he met Jay Hall Connaway who encouraged him to visit Monhegan In 2017 the Monhegan Museum of Art and History hosted an exhibition called Reckoning with Nature Andrew Winter at Monhegan Island The exhibition featured works painted by Winter of Monhegan in the off season Commenting on the exhibition museum director Edward L Deci noted If you go back through the years the artists on Monhegan overwhelmingly have been people who were here for the summer There s just a small number who lived year round Deci said It really was unusual and the thing that goes along with that with respect to Andrew Winter he was very much into the heavy rough seas and the ice and snow As people who knew him said he was out in any weather It didn t matter what it was he was out there painting and an awful lot of his work is of winter scenes with lots of ice and snow and very rough waters The present lot is arguably one of Winter s best paintings The size and quality indicate the work was intended for exhibition The original owners purchased the work in a New York City gallery and it has since descended in the family This is the first time it has been shown publicly since the original purchase 44

55 55 ANDREW WINTER American 1893 1958 BLUE DAY MONHEGAN ISLAND oil on canvas 24 x 40 inches signed and dated lower right A Winter 43 PROVENANCE Private Collection New York New York Private Collection Connecticut Estimate 20 000 30 000 45

56 56 GIFFORD BEAL American 1879 1956 PLUM COVE ANNISQUAM oil on canvas circa 1925 20 x 30 inches signed Gifford Beal lower right PROVENANCE Kraushaar Galleries New York New York Thomas Colville Fine Art Guilford Connecticut Private Collection Washington Shannon s May 4 2017 lot 82 Private Collection Ohio EXHIBITED Providence Rhode Island Rhode Island School of Design 1936 Kraushaar Galleries New York Gifford Beal A Centennial Exhibition November 6 December 1 1979 Estimate 8 000 12 000 46

WILLARD LEROY METCALF American 1858 1925

Willard Leroy Metcalf is celebrated as the poet laureate of the New England hills His paintings capture subtle variations in color the fleeting effects of light and shadow and the overwhelming unique beauty of the region Metcalf began his painting career early in life studying painting first in Boston After finishing his apprenticeship and a two year program at the School of the Museum of Fine Arts he travelled to New Mexico to paint the Zuni people Once he had saved enough money he set out to study in Europe travelling to France England and Northern Africa He spent several years abroad primarily in Paris summering in Grez and Giverny He studied at the famous Acad mie Julian exhibited at the Salon and befriended artists including Childe Hassam and John Twachtman By 1889 Metcalf returned to the United States and was living in New York The following ten years had mixed successes for Metcalf as the taste for French style painting waned in the States Notably in 1898 he was a founding member of The Ten a group of like minded American artists who seceded from the Society of American Artists to exhibit together in smaller venues In late 1903 or early 1904 he retreated to his parents home in Clark s Cove Maine to reconsider his work In 1905 he had his first one man show at Fishel Adler and Schwartz Gallery in New York City It was here that Metcalf finally hit his stride in the States Elizabeth DeVeer writes at Clark s Cove he rid himself of his nostalgia for France and became first and foremost an American with a new and profound allegiance to the land Following his period in Maine and finding ample inspiration in the New England landscape Metcalf begin to summer in Old Lyme with Mrs Florence Griswold Miss Florence as she was known maintained a boarding house that became a destination for artists working in Old Lyme He spent three summers there and then after quickly becoming famous retreated to Maine spending time with Frank Benson and his wife Ellen Metcalf s life changed dramatically after the success of the 1905 exhibition He became highly successful exhibiting again at Fishel Adler and Schwartz in New York Albert Milch became his gallerist and friend mounting highly successful one man exhibitions of Metcalf s latest paintings As his career took off his personal life faced hurdles His wife Marguerite ran away with his friend and fellow artist Robert Nisbet Metcalf personally struggled with alcoholism but found support from his friends particularly Benson and Milch His freedom and success afforded him the opportunity to travel in New England He spent periods in Maine Vermont New Hampshire and Connecticut painting the landscape throughout Despite his personal hardships his paintings became better and better and the critical reception for his works grew increasingly favorable In February 1925 mid way through yet another successful exhibition at Milch Galleries he suffered a fatal heart attack Today Metcalf is considered one of America s treasured Impressionists and among the best of the New England Impressionists His work is featured in numerous private and public collections including The Metropolitan Museum of Art in New York the Museum of Fine Arts in Boston and the Corcoran Gallery in Washington D C 48

57 57 WILLARD LEROY METCALF American 1858 1925 THE ROAD THAT LEADS HOME oil on canvas 26 x 29 1 4 inches signed lower right W L Metcalf also faintly signed lower left W L Metcalf PROVENANCE The artist Private Collection Spanierman Gallery New York New York R H Love Galleries Chicago Illinois Private Collection Chicago Illinois Private Collection Illinois Note This work will be included in the forthcoming catalogue raisonne being coordinated by Betty Krulik and the Willard Leroy Metcalf Catalogue Raisonne Project Inc Estimate 200 000 300 000 49

58 KEN DAVIES American 1925 2017 THE SLED oil on paper 22 x 15 inches signed lower right Ken Davies PROVENANCE Silvermine Galleries New Canaan Connecticut Private Collection Connecticut Private Collection Florida Estimate 5 000 7 000 59 PETER POSKAS American b 1939 JANUARY THAW oil on canvas 41 1 2 x 55 1 2 inches signed upper right Poskas PROVENANCE Private Collection New York New York Estimate 5 000 7 000 58 59 50

60 60 WALTER LAUNT PALMER American 1854 1932 THE RED BARN IN WINTER oil on canvas 18 x 24 inches signed lower right W L Palmer PROVENANCE Private Collection Oregon Estimate 25 000 35 000 51

Edward Moran 1829 1901 was born in Bolton Lancashire England in 1829 At the age of fifteen Moran immigrated with his family to the United States He first studied landscape and marine painting in Philadelphia under Paul Weber and James Hamilton and later returned to England to study at the Royal Academy in London In 1872 he moved to New York City which would except for a brief move to France in the late 1870s thenceforth be his primary city of residence Throughout the 1860s Moran exhibited at venues in New York Boston and Philadelphia In New York Moran painted the city s harbor then the busiest in the United States New York Harbor provided him with inspiration for many paintings with the port seen at different times of day and in a variety of weather conditions He became known for his depictions of ships in stormy seas and was hired for private commissions by ship owners captains and members of the New York Yacht Club The present canvas The Winning Yacht Madeleine and Countess of Dufferin depicts the third challenge of the 1876 America s Cup race The Countess Dufferin a boat submitted by the Royal Canadian Yacht Club of Toronto was to race the Madeleine in a three race series The Madeleine won the first race at the New York Yacht Club s inner course and the second race at Sandy Hook eliminating the need for the third race The present canvas likely portrays the first race In the background Moran depicted the other vessels in the race and the spectator steamboat During the race the Madeleine was leading at each buoy here the boat can be identified by the New York Yacht Club burgee a blue flag with a red cross and a white star at the center The Madeleine was a very successful vessel In 1876 she was unanimously voted to represent the New York Yacht Club in the America s Cup race She was considered the fastest boat in the NYYC fleet measuring 107 feet in length overall with 23 feet 9 inch beam and a draft of 18 feet with her centerboard down At the time of the race the boat was owned by Captain John S Dickerson It had been designed by J Voorhis and built by David Kirby of Rye New York In 1888 Moran published Hints for Practical Study of Marine Painting in the Art Amateur His most ambitious endeavor was the creation of thirteen works entitled The Edward Moran Series of Historical Paintings Representing Important Epochs in the Maritime History of the United States which he completed in 1898 At the time of his death in 1901 it was written that and none artists perhaps have surpassed him as a painter of marines It is as a painter of seascapes doubtless that he will live in fame 1 Moran s work is represented in numerous public collections including the Butler Institute of American Art Chrysler Museum National Museum of American Art United States Naval Academy Denver Art Museum the Metropolitan Museum of Art the Boston Museum of Fine Art and the Smithsonian American Art Museum 1 Hugh W Coleman Passing of a Famous Artist Edward Moran Brush and Pencil vol 8 no 4 July 1901 p 188 52

61 61 EDWARD MORAN American 1829 1901 THE WINNING YACHT MADELEINE AND COUNTESS OF DUFFERIN oil on canvas circa 1876 40 x 32 inches signed lower left Edward Moran PROVENANCE Private Collection Connecticut descended in the family to the current owner Private Collection Connecticut Estimate 40 000 60 000 53

62 62 ARTHUR QUARTLEY American 1839 1886 SHIPS RETURNING TO SHORE oil on canvas 12 x 24 inches unsigned PROVENANCE Private Collection Florida Estimate 4 000 6 000 63 54 63 GEORGE HENRY SMILLIE American 1840 1921 FISHING BOATS FECAMP FRANCE oil on canvas 19 x 33 inches signed dated and inscribed lower right Geo H Smillie New York 1888 PROVENANCE Private Collection Arizona Estimate 6 000 8 000

64 64 JULIAN ONDERDONK 65 WILLIAM EDWARD NORTON American 1882 1922 American 1843 1916 SUNSET oil on panel 6 1 2 x 9 1 2 inches signed lower left Julian Onderdonk PROVENANCE Private Collection Arizona Note A label from John Nighland Art Dealer Montclair New Jersey is on the reverse Estimate 5 000 7 000 OFF THE BATTERY EXITING NEW YORK HARBOR oil on canvas 22 x 26 inches signed lower left William E Norton PROVENANCE Private Collection Arizona Estimate 5 000 7 000 65 55

William Trost Richards paintings of the New England coastline have set the standard for excellence in American seascape painting His luminist views of the Rhode Island New Jersey and Massachusetts coastlines dramatically capture waves crashing against rocks or calm rolling seas He often visited his favorite beaches painting Cape Ann Newport New Jersey and Conanicut Island on repeated trips In 1882 William Trost Richards built a summer cottage on the southernmost heights of Conanicut Island which looks across Rhode Island s Narragansett Bay towards Newport He called his cottage Gray Cliff reflecting both the spectacular geological formations of the sea washed coast and the predominant hue of summer fog and haze The current lot dated 1891 was likely painted in his studio at Gray Cliff The present canvas depicts rolling waves along a sandy shore In the background the sun peaks through the clouds to cast a warm glow over the water creating a Luminist view In the foreground a seagull gives the viewer a sense of the expansive vista Richards was born in Philadelphia in 1833 He abandoned his formal education at age 13 to work and help support his family He pursued painting privately studying under William Stanley Haseltine and Paul Weber in Philadelphia Wealthy patrons supported his continued study in Europe where together with Hiram Powers Emanuel Leutze Frederick Church John Kensett and Albert Bierstadt he traveled By the 1850s Richards was an established landscape artist exhibiting at Knoedler galleries and supported mainly by private commissions from his friend and patron Asa Whitney Richards was a devoted seascape painter His best paintings as in the present lot capture the light and atmosphere of the scene He accomplished this by making numerous watercolor studies painted on site en plein air Richards was a member of the National Academy of Design His works are represented in many public institutions including the Brooklyn Museum the Cooper Hewitt Museum of Decorative Arts and Design The Corcoran Gallery The Metropolitan Museum of Art and the Newark Museum among others 56

66 66 WILLIAM TROST RICHARDS American 1833 1905 SEASCAPE oil on canvas 24 1 2 x 36 inches signed and dated lower left W T Richards 91 PROVENANCE The artist Private Collection Connecticut by descent in the family to Jane Alan Mali Norfolk Connecticut Norfolk Library Norfolk Connecticut The Greenwich Gallery Greenwich Connecticut Private Collection New Jersey Estimate 60 000 80 000 57

Laurence A Campbell was born in Philadelphia in 1939 at the end of the Great Depression The Philadelphia Museum of Art and the Pennsylvania Academy of Fine Arts were both a few blocks from his home and he spent many hours visiting the Museums during his childhood It was there that he was influenced by exhibitions of the European masters Monet and Pissarro This experience and his admiration for art led him to study architecture at Temple University and later develop his own construction firm in the 1960s During those years he regularly painted including commissions for clients who wanted to own reproductions of well known artists to which he always signed his own name He also restored paintings during that time The combination of emulating artists like Guy Wiggins and Childe Hassam and learning the techniques used in the preparation and application of paint to a canvas helped Campbell became successful enough to establish his own art gallery in Westmont New Jersey in 1970 Gallery 35 It was there that Campbell continued to depict his favorite subjects scenes of New York City and Philadelphia with American flags blowing in the wind snow and rain His subdued palette combined with his ability to project sunlight on his canvases are reminiscent of the artists he learned from but certainly reflect his own abilities Campbell stopped painting in 2003 at the age of 65 There was a recent exhibition of his works The Mennello Museum of American Art from July 20 October 7 2018 The Collectors Passion Paintings By Laurence A Campbell The exhibition was curated by Katherine E Navarro who states Campbell s scenes of his native Philadelphia and New York City extoll his own and by extension his collectors pride in country and admiration for the historic architecture established in the American city The current lot View of Wall Street in Winter evokes the pulse of Wall Street the people hustling down the street in the snow with the American flags waving It was painted shortly after 9 11 2001 58

67 67 LAURENCE A CAMPBELL American b 1939 VIEW OF WALL STREET IN WINTER oil on panel 16 x 12 inches signed lower left Laurence A Campbell executed in 2001 signed and titled on the reverse PROVENANCE Private Collection New Jersey Estimate 20 000 30 000 59

68 68 LAURENCE A CAMPBELL American b 1939 CAMDEN BOAT YARD WINTER 1992 oil on canvas 24 x 36 inches signed lower right Laurence A Campbell signed titled and dated on the reverse PROVENANCE The artist Private Collection Philadelphia Pennsylvania Private Collection New Jersey Estimate 7 000 10 000 60

69 69 JOHN JOSEPH ENNEKING American 1841 1916 THE CALL OF THE WILD oil on canvas 32 1 4 x 39 1 2 inches signed lower right Enneking PROVENANCE Estate of the artist Vose Galleries Boston inventory no 6017 1922 Private Collection Boston Massachusetts Private Collection South Carolina Private Collection Beaufort South Carolina EXHIBITED Selected Paintings by John J Enneking Vose Galleries Boston October 16 28 1922 ILLUSTRATED Reproduced in International Studio October 1922 No 305 Vol LXXVI article on Vose s Enneking exhibition was reviewed in the publication The Art of John J Enneking by William Baxter Closson Estimate 15 000 25 000 61

70 70 WINOLD REISS German American 1886 1953 RED BARN watercolor on paper 21 x 29 5 8 inches sight signed Winold Reiss lower left PROVENANCE Private Collection Florida EXHIBITED D Wigmore Fine Art The American Farm Spring 2018 Estimate 6 000 8 000 62

71 71 DALE NICHOLS American 1904 1995 DAYS END gouache on illustration board 15 x 19 inches signed lower left Dale Nichols titled lower center PROVENANCE Private Collection New Jersey Estimate 8 000 12 000 63

The son of landscape painter Lemuel Maynard Wiles Irving Ramsey Wiles grew up in upstate New York where his father worked as an art instructor Eventually the Wiles family settled down in Silver Lake New York where his father established an art school Irving assisted his father for a year before moving on to the Art Students League under the instruction of James Carroll Beckwith Thomas Wilmer Dewing and William Merritt Chase Chase cut an impressive figure in the New York art world of the 1880s and Wiles emulated him throughout his career maintaining a lavish studio succeeding him as an important teacher and even setting up a plein air school on Long Island just as Chase did For his part Chase thought Wiles to be one of the most talented students he ever had and he encouraged Wiles to continue his studies abroad Wiles first studied at the Acad mie Julian in Paris before entering the atelier of Carolus Duran Carolus who attracted young Americans because of the dazzling success of his former student John Singer Sargent taught a method of painting directly from the model with minimum preparatory drawing which was the antithesis of the labor intensive style advocated by the cole des Beaux Arts His system was to create the illusion of form not through line but through the juxtaposition of colors or tones 1 Wiles employed this technique for the rest of his life becoming a master of the seemingly effortless bravura brushstroke After returning to New York in 1884 Wiles made a living as a teacher and illustrator By the turn of the century he was receiving many commissions from prominent Americans as his talents as a portrait and figure painter were becoming recognized The novelist Theodore Dreiser wrote of him in 1898 As a painter Mr Wiles is greatly to the fore just at present and his pictures are justly admired for a style that is not so much pleasing for what it accurately puts in as for what it leaves out His art has originality in that the situations presented are new the attitudes possessing both the grace of naturalness and what is not quite the same the naturalness of grace You can appreciate his work more when you understand that he believes art should present only the beautiful 2 The Loiterers depicts Wiles and his wife Mary lingering over the remnants of their repast at a restaurant table 3 probably drinking Caf Brulot Both figures are watching the preparation of the drink which entails pouring cognac or brandy over a sugar cube lighting the cube on fire and then dropping the cube into a cup of coffee The painting closely relates to one of Wiles entries at the previous annual exhibition The Corner Table illustrated in Christie s catalogue December 4 2003 lot 33 in which Mary appears in a similar costume The image reflects Wiles early adoption of elements of French Impressionism as seen in the bohemian subject matter of The Loiterers 1 Reynolds Wiles 12 2 Theodore Dreisser sic Art Work of Irving R Wiles Metropolitan Magazine 7 no 4 April 1898 357 61 3 The National Academy Exhibition Art Amateur 16 no 6 May 1887 125 64

72 72 IRVING RAMSEY WILES American 1861 1948 THE LOITERERS oil on canvas 18 x 24 inches signed and dated lower left Irving R Wiles 1887 PROVENANCE Christie s New York December 1 2005 lot 49 Private collection New Jersey EXHIBITED National Academy of Design 1887 no 243 Nassau County Museum of Art Roslyn Harbor New York La Belle Epoque Toulouse Lautrec June 8 September 7 2003 ILLUSTRATED Harper s Weekly April 9 1887 hanging in exhibition drawing by Frank DuMond after the Harper s photograph History and Highlights of the National Academy of Design 2000 La Belle Epoque and Toulouse Lautrec exh cat 67 Reynolds Gary A Irving Wiles New York National Academy of Design 1988 Estimate 100 000 150 000 65

73 DE SCOTT EVANS American 1847 1898 73A 73B 66 TROMPE L OEIL APPLES AND PEARS A PAIR oil on panel 12 x 10 inches each a signed lower left S S David b signed lower right S S David PROVENANCE Private Collection San Francisco California Estimate 10 000 15 000

74 74 JOHN FREDERICK PETO American 1854 1907 STILL LIFE WITH PIPE MUG AND BOOK oil on canvas 12 1 4 x 15 1 4 inches signed lower right JF Peto PROVENANCE Property from a New York State Collection Estimate 10 000 15 000 67

Felix Ziem was born in 1821 in Beaune France He is mostly known for his paintings of Istanbul and Venice where he captures the seas and cities around them with sunlight and reflection Ziem s works were first exhibited in 1849 at the Paris Salon and Ziem remained a regular exhibitor there for many years 1 He was also the first artist whose works were acquired by the Louvre while he was still alive Ziem was an avid traveler in search of picturesque subjects to paint preferring areas with extraordinary atmospheric traits He owned homes in Venice the Martigues Nice and Paris In 1844 he travelled to Greece Turkey and Russia and would later travel through Belgium Holland Egypt Hungary and Algeria The current lot is a depiction of a sunny afternoon on the banks of the Bosphorus It portrays people gathered under a tree with a panoramic view of the historically known city of Istanbul in the background As part of the only passage between the Black Sea and the Mediterranean the Bosphorus as a waterway has been of great historical importance both to commerce and the military It remains strategically important today 1 Poulet and Murphy 1979 p 45 68

75 75 FELIX ZIEM French 1821 1911 ON THE BANKS OF THE BOSPHORUS oil on panel 18 x 30 1 4 inches signed lower left Ziem PROVENANCE Rey Sale Galerie Georges Petit Burton S Castles Parke Bernet New York December 14 15 1934 lot 301 The estate of Antoinette Goetz Greenwich Connecticut Sotheby s May 1 2001 lot 10 Private Collection Connecticut ILLUSTRATED Anne Burdin Hellebranth F Ziem Paris 1998 Vol ii 9 254 no 1576 Pierre Miguel F Ziem Maurs La Jolie 1978 Vol II p 125 no 726 illus Estimate 30 000 50 000 69

Born in Denmark Emil Carlsen immigrated to the United States in 1872 After stints in Chicago Boston Paris and San Francisco he settled in New York in 1891 Carlsen initially painted still lifes of game developed floral subjects while in Paris in the mid 1880s and experimented with a variety of subjects and styles in the 1890s before turning to contemplative images of old pots and jugs after 1900 In the second half of his long and varied career he also painted landscapes and seascapes though he remained primarily identified with still life and was considered the preeminent American still life painter of his time The verso inscription on Chrysanthemums attests to Carlsen s presence in London in 1898 a fact not previously recorded by art historians In 1899 a period source placed him there painting a picture for the Paris Exposition the huge world s fair of 1900 He had returned to New York by September 1900 1 During this English sojourn Carlsen appears to have continued his experimentation with aspects of the Impressionist style which was gaining acceptance in the United States during the 1890s With its strong color and active brushwork Chrysanthemums is one of Carlsen s boldest forays into Impressionism The chrysanthemum was the ideal subject for such an endeavor Carlsen articulated the narrow petals of the big fluffy blooms with long flickering brushstrokes and he treated the vase and background in broad patches of color He evoked the original Greek meaning of the flower s name golden flower with glowing yellow orange and creamy white blooms bathed in a yellow green haze Moving away from the complex spatial arrangements of his earlier still lifes in works like Chrysanthemums of the mid to late 1890s Carlsen presented objects in shallow depth with a new structural clarity that presaged the subdued formal sophistication of his work after 1900 Carlsen s work can be found in the collections of The Metropolitan Museum of Art New York Currier Gallery of Art Manchester New Hampshire National Gallery of Art Washington D C Dallas Museum of Art Texas and the Los Angeles County Museum of Art 1 Local Notes Mark Hopkins Institute Review of Art December 1899 26 Studio Notes Mark Hopkins Institute Review of Art September 1900 42 70

76 76 SOREN EMIL CARLSEN American 1848 1932 CHRYSANTHEMUMS oil on canvas 24 x 20 inches signed lower left Emil Carlsen signed titled inscribed and dated on the reverse London 98 PROVENANCE The estate of Ketil Carlsen the artist s nephew John Carlsen a grand nephew of the artist 1945 by descent in the family Estimate 30 000 50 000 71

Alfred S Mira was born in 1940 in New York s in Greenwich Village Mira is known for creating intimate views of New York City s most timeless landmarks and structures The lure of the outdoors always attracted me especially the city streets with their movements color and depth they were the things that inspired me and which I painted as they looked and as I felt them Judging by my style and subjects my artist friends argued that I was influenced by French Impressionists While I bare great esteem for the French Masters I do not claim comparison with them However my ultimate goal is to paint exclusively American Impressionism In 1928 my adventurous spirit took hold of me again and I went to Europe I arrived in Paris and found that the gay life was not conducive to constructive work so I went to South France with its sunny skies and mild climate where I was able to accomplish more After traveling throughout the continent I was awakened to the realization that the work I had done in Europe did not serve my purposes and that I was better inspired in Washington Square Back home in New York I devoted myself to painting street scenes In 1929 my first effort to exhibit one of my street scenes was at the National Academy The critics received this very kindly and I was so encouraged that I attempted other national exhibits that have flattered me in accepting every one of my paintings Alfred Mira In the present example Washington Square Park the viewer can feel the excitement and pulse of Washington Square viewed from the side with the realistic figures and light projecting mood and scenery Mira s works were exhibited at the Corcoran Gallery of Art in 1932 1945 and 1949 at the Carnegie International from 1941 and 1944 1949 and at the National Academy from 1931 1932 and 1941 1945 72

77 77 ALFRED S MIRA American 1900 1981 WASHINGTON SQUARE PARK oil on canvas 25 x 30 inches signed lower right Mira signed and dated on the reverse 1930 PROVENANCE Private Collection New York Private Collection Connecticut Note In a Carrig Rohane frame Estimate 25 000 35 000 73

78 CLARENCE HOLBROOK CARTER American 1904 2000 PORTSMOUTH OHIO IN AUGUST watercolor 21 3 8 x 14 1 4 inches sight signed and dated lower right Clarence H Carter 36 PROVENANCE A New Hampshire estate Private Collection Connecticut Estimate 3 000 5 000 79 HENRY GASSER American 1909 1981 INDUSTRIAL SCENE oil on board 30 x 40 inches signed lower right H Gasser PROVENANCE Acquired from the Artist by Milton Gelman Private Collection New York Shannon s October 26 2017 lot 12 Private Collection Ohio ILLUSTRATED Henry Gasser Techniques of Picture Making New York Reinhold Publishing Corporation 1962 p 104 illus Estimate 15 000 25 000 78 79 74

80 80 LEON KROLL American 1884 1975 BAY VIEW GLOUCESTER MASSACHUSETTS oil on masonite 18 x 28 inches signed lower right Leon Kroll PROVENANCE Christie s New York East October 4 2000 lot 140 Private Collection Maine EXHIBITED Leon Kroll A Singular Vision Cape Ann Historical Association Aug 14 2004 Jan 29 2005 Estimate 12 000 18 000 75

A founding member of the famed group The Ten Willard Leroy Metcalf has cemented his reputation as a leading figure in American Impressionism Born in Lowell Massachusetts in 1858 Metcalf begin his artistic training at an early age His parents interested in the occult divined that their son was destined to be a painter and encouraged him to move in that direction By 1875 he was apprenticed to wood engraver George Loring Brown In 1876 Metcalf was one of five students offered a scholarship to attend the new School of Art at the Museum of Fine Arts Boston From 1877 1876 Metcalf took artistic anatomy courses from Dr William Rimmer an odd personality in the Boston artistic circle Despite this John La Farge William Morris Hunt and Frank Benson all studied with Rimmer Metcalf s figure drawings improved during this period It was during this time as a young artist when Metcalf painted In the Garden Although he had not yet travelled to France Metcalf was clearly absorbing a French Impressionist style and moving away from the influence of George Loring Brown Elizabeth de Veer notes in Sunlight and Shadow Two Vermont pictures of 1878 Landscape with Chickens painted at Bridgewater and In the Garden probably done in Woodstock strongly reflect the French style The figure in In the Garden is reminiscent not only of Millet in an American light but also of Winslow Homer s figure pieces of the late sixties and early seventies although the overall feeling is French The authors go on to describe the availability of paintings by American artists emulating a Barbizon style in Boston museums and private collections Metcalf would have seen works by George Inness Winckworth Allan Gay and Thomas Robinson William Morris Hunt was a particularly influential figure in the Boston art scene bringing works by French Barbizon artists Couture and Millet to his Boston home 1 In the Garden is an important work in Metcalf s oeuvre It begins the story of a skilled artist who was drawn to French Impressionism from the start Five years after the painting was completed Metcalf travelled to France and immersed himself in the French Impressionist style A decade or so later he would return to the States and become a distinctly American artist and the preeminent Impressionist painter of New England landscapes see lot 57 1 Elizabeth de Veer and Richard Boyle Sunlight and Shadow The Life and Art of Willard Leroy Metcalf New York Abbeville Press 1987 pp 168 169 76

81 81 WILLARD LEROY METCALF American 1858 1925 IN THE GARDEN oil on canvas 14 x 17 inches signed and dated lower right W L Metcalf 78 PROVENANCE Sewell C Biggs Museum Dover Delaware Spanierman Gallery New York 1996 Mrs Alma Gilbert 1996 Spanierman Gallery New York R H Love Chicago Illinois Private Collection Chicago Illinois Private Collection Illinois EXHIBITED Spanierman Gallery New York Willard Leroy Metcalf An American Impressionist November 21 1995 January 27 1996 Note This work will be included in the forthcoming catalogue raisonne being coordinated by Betty Krulik and the Willard Leroy Metcalf Catalogue Raisonne Project Inc Estimate 60 000 80 000 77

82 82 JOHN MARIN American 1870 1953 MARIN ISLAND NO 1 SMALL POINT MAINE watercolor on paper 14 x 18 1 4 inches sight signed and dated lower right Marin 26 PROVENANCE Julius Meier Graefe Esq 1928 gift from Alfred Stieglitz Andre Chenue S A Paris France By descent in the family Private Collection Sotheby s New York May 21 2009 lot 78 Private Collection Maine EXHIBITED Portland Maine Portland Museum of Art Maine Modern The Stieglitz Circle in Sequinland 2011 Notes This lot has been authenticated by Norma Marin the artist s daughter in law The backing affixed to the reverse illustrated is inscribed Marin Island No I Small Point Maine Series 1926 Watercolor by John Marin To J Meier Graefe Esq with cordial greetings from John Marin Georgia O Keeffe Alfred Stieglitz as a souvenir of the first American trip Alfred Stieglitz March 5 1928 New York Room 303 Julius Meier Graefe 1867 1935 was an art historian and critic known for his writings on Impressionism and Post Impressionism Estimate 25 000 35 000 78

83 83 JOHN MARIN American 1870 1953 WHITE MOUNTAIN COUNTRY NO 34 watercolor on paper 16 1 2 x 22 inches sight signed and dated Marin 27 lower right PROVENANCE Estate of the artist An American Place New York New York The Downtown Gallery New York New York Andre Previn Collection of Lady Heather Previn Sotheby s New York December 4 2002 lot 63 Private Collection Maine EXHIBITED Intimate Gallery New York Fifty New Paintings by John Marin November December 1928 no 34 The Philadelphia Art Alliance Philadelphia Pennsylvania John Marin Watercolors Oils May June 1954 no 12 Felix Landau Gallery Los Angeles California Paintings and Watercolors by John Marin June July 1960 no 19 illustrated University of Arizona Art Gallery Tuscson Arizona John Marin 18701953 February March 1963 no 45 Santa Barbara Museum of Art Santa Barbara Three Young Collections January February 1967 ILLUSTRATED Sheldon Reich John Marin A Stylistic Analysis and Catalogue Raisonne vol II Tucson Arizona 1970 no 27 54 p 587 as White Mountain Country Summer No 34 Franconia Range Mountain and Fir Tree Estimate 25 000 35 000 79

84 ARTHUR DOVE American 1880 1946 WET SUNSET watercolor on paper 5 x 7 inches signed lower center Dove PROVENANCE Alfred Stieglitz Studio probably Park Gallery Detroit Michigan The Downtown Gallery New York New York Private Collection Connecticut EXHIBITED San Francisco California San Francisco Museum of Art Dove April 18 1947 Note A label from Alfred Stieglitz is on the reverse Estimate 8 000 12 000 84 85 WOLF KAHN American b 1927 ON THE HORIZON pastel on paper 18 1 8 x 23 inches sight signed lower right W Kahn PROVENANCE Private Collection Connecticut Estimate 5 000 7 000 85 80

86 86 DAVID BURLIUK American Russian 1882 1967 BALANCING TIME oil on canvas 10 x 16 inches signed lower right Burliuk PROVENANCE Private Collection Connecticut Estimate 10 000 15 000 81

87 87 LOUISA MCELWAIN American b 1953 JEMEZ VIEW WITH CHAMISAS oil on canvas 30 x 40 inches signed lower left McElwain signed titled and dated on the stretcher 1991 PROVENANCE Private Collection Connecticut Estimate 7 000 10 000 88 82 88 JOHN MARSHALL GAMBLE American 1863 1957 THE SANDY ROAD oil on canvas 20 x 24 1 4 inches signed lower right John M Gamble PROVENANCE Shannon s October 23 2014 lot 70 Private Collection Pennsylvania Spanierman Gallery New York New York Private Collection Pennsylvania Private Collection New Jersey Estimate 5 000 7 000

89 89 JOSEPH JONES American 1909 1963 LANDSCAPE oil on canvas 20 x 26 inches signed lower right Joseph Jones PROVENANCE Private Collection St Louis Missouri ILLUSTRATED Janeen Turk and Andrew Walker Joe Jones Radical Painter of the American Scene Saint Louis Saint Louis Art Museum 2010 pl 15 illus Estimate 15 000 25 000 83

90 90 VICTOR DE GRAILLY French 1804 1889 PASSAMAQUODDY BAY oil on canvas 17 x 23 inches unsigned PROVENANCE Childs Gallery Boston Massachusetts Private Collection New York New York EXHIBITED Museum of Fine Arts Boston Massachusetts Estimate 5 000 7 000 91 84 91 HENRY SUYDAM American 1803 1883 ALONG THE RIVER oil on canvas 30 x 45 1 4 inches signed and dated lower right H Suydam 1873 PROVENANCE Private Collection Connecticut Estimate 4 000 6 000

92 92 MARTIN JOHNSON HEADE American 1819 1904 THE SWING CHILDREN IN WOODS oil on canvas 11 1 2 x 15 1 2 inches signed lower left M J Heade 1858 PROVENANCE Kennedy Galleries New York New York Private Collection ILLUSTRATED Theodore E Stebbins Jr The Life and Work of Martin Johnson Heade New Haven Yale University Press 2000 p 209 fig 48 illus Heade exhibition catalog Boston Museum of Fine Arts 1999 pp 174 175 figs 28 and 29 illus Estimate 15 000 25 000 85

93 VACLAV VYTLACIL American 1892 1984 ANTICIPATION oil on board 18 x 14 inches signed and dated upper left Vaclav Vytlacil 39 signed and dated lower right 1940 PROVENANCE Private Collection New Jersey Estimate 4 000 6 000 94 VACLAV VYTLACIL American 1892 1984 BEACH AND BOATS casein tempera on board 18 3 8 x 24 inches signed and dated lower right Vaclav Vytlacil 1946 PROVENANCE Private Collection New Jersey Estimate 4 000 6 000 93 94 86

95 VASSILIS SPERANTZAS Greek b 1938 REFLECTIONS oil on canvas 28 1 2 x 36 inches signed upper left V Sperantzas PROVENANCE Private Collection New Jersey Estimate 4 000 6 000 95 96 EMILIO GRAU SALA Spanish 1911 1975 MATERNITE oil on board 14 7 8 x 18 inches signed lower left Grau Sala signed titled dated and inscribed on the reverse 1967 Paris PROVENANCE Private Collection New York Note Framed in a period five inch gold leaf and black finished corner frame Estimate 5 000 7 000 96 87

97 97 LAWRENCE MAZZANOVICH American 1872 1959 GOLDEN LANDSCAPE oil on canvas 21 1 2 x 28 1 2 inches signed lower right Mazzanovich PROVENANCE Private Collection Connecticut Estimate 5 000 7 000 98 88 98 WILSON HENRY IRVINE American 1869 1936 TREES IN THE GREEN GRASS oil on canvas 25 x 30 inches signed lower left Irvine PROVENANCE Estate of H M Barbour Chicago Illinois Leslie Hindman Auctioneers December 12 2012 Lot 5 Private Collection New York Estimate 5 000 7 000

99 WILLARD LEROY METCALF American 1858 1925 KENNEBUNKPORT MAINE STUDY FOR NORTH WIND oil on artist board 7 1 2 x 9 1 2 inches signed inscribed and dated lower right To Tark en souvenier Metty 1920 inscribed on the reverse Kennebunkport Maine initialled W L M Do Not Varnish PROVENANCE Gift of the artist Booth Tarkington Lepore Fine Arts Newburyport Massachusetts Sotheby s New York June 24 1988 lot 152 The Rev John R Spitler Camarillo California by descent to the present owner Note This work will be included in the forthcoming catalogue raisonne being coordinated by Betty Krulik and the Willard Leroy Metcalf Catalogue Raisonne Project Inc Estimate 6 000 8 000 99 100 FERN ISABEL COPPEDGE American 1883 1951 SCHOONER GLOUCESTER HARBOR TWILIGHT oil on canvas 14 x 16 inches signed lower left Fern I Coppedge PROVENANCE Mark Borghi Fine Art New York New York Private Collection New York Estimate 8 000 12 000 100 89

Guy C Wiggins is one of the most iconic New York City Impressionist painters His snowy scenes of the city have captured audiences since the 1920s Wiggins was a successful and prolific artist He operated an art school in Old Lyme Connecticut and divided his time between there and New York City Born in Brooklyn New York in 1883 Wiggins started his formal training in architecture By 1919 however he had transferred to the National Academy of Design to study painting under the tutelage of William Merritt Chase and Robert Henri Henri encouraged his students to look to the streets of Manhattan for subjects from everyday life Wiggins remembering his early architectural training took to cityscapes and depicting New York City s famous architecture He quickly established a national reputation and by age 20 his work was included in the permanent collection of the Metropolitan Museum of Art in New York City Wiggins father Carleton Wiggins was a painter in the Barbizon style The Wiggins family would spend their summers in Old Lyme and in 1915 the family relocated there permanently Carleton became an active member of the Old Lyme Art Association however his style remained predominantly tonalist Guy on the other hand learned from the artists in Old Lyme He absorbed their style of Impressionism employing a bright color palette and American painting techniques Wiggins was an active member of the National Academy of Design elected a full academician in 1919 He exhibited regularly with the Old Lyme artists and earned prizes for his work from the Connecticut Academy of Fine Arts the Salmagundi Club and the Art Club of Philadelphia In 1917 he won the prestigious Norman Wait Harris Bronze Medal from the Art Institute of Chicago Throughout his life Wiggins would continue to paint scenes of New York City as a favored subject In late 1930s and 40s he maintained a studio in New York overlooking Washington Square Park The present canvas is a quality example of one of his Washington Square paintings with bright white snow and bustling pedestrians 90

101 101 GUY CARLETON WIGGINS American 1883 1962 WINTER WASHINGTON SQ oil on canvas 25 x 30 1 4 inches signed lower right Guy Wiggins NA signed and titled on the reverse PROVENANCE Mystic Fine Arts October 6 1994 lot 152A Private Collection Connecticut Estimate 30 000 50 000 91

102 102 ROBERT WILLIAM VONNOH American 1858 1933 PLEASANT VALLEY LYME CONNECTICUT oil on canvas 18 x 22 1 4 inches signed lower right Vonnoh PROVENANCE R H Love Galleries Chicago Illinois Private Collection Illinois Estimate 8 000 12 000 92

103 103 BERNHARD GUTMANN American 1869 1936 WOMAN AND CHILD BY THE SEA MALLORCA oil on panel 15 x 18 1 8 inches unsigned PROVENANCE R H Love Galleries Chicago Illinois Private Collection Illinois ILLUSTRATED Percy North Bernard Gutmann An American Impressionist New York Abbeville Press p 117 pl 75 illus Estimate 15 000 25 000 93

104 104 GEORGE LOFTUS NOYES American 1864 1954 II REDENTORE ON THE GUIDECCA VENICE oil on canvas 16 1 2 x 24 inches signed G L Noyes lower right titled on the reverse PROVENANCE Private Collection New York New York Estimate 6 000 8 000 94

105 105 GEORGE LOFTUS NOYES American 1864 1954 THE FOOTBRIDGE ANNISQUAM oil on canvas 18 x 24 inches signed G L Noyes lower right PROVENANCE Vose Galleries Boston Massachusetts Private Collection New York New York Estimate 7 000 10 000 95

106 106 ERIC SLOANE American 1905 1985 WINTER ON A FARM oil on masonite 22 x 36 inches signed lower left Eric Sloane N A titled on the reverse PROVENANCE Simpson Galleries Houston Texas Private Collection New York Estimate 15 000 25 000 96

107 107 ALDRO THOMPSON HIBBARD American 1886 1972 COVERED BRIDGE oil on canvas on board 17 3 4 x 26 inches signed A T Hibbard lower right titled on reverse PROVENANCE Vose Galleries Boston Massachusetts Clarke Galleries Stowe Vermont Private Collection Maine Estimate 8 000 12 000 97

108 108 CHARLES ROBERT KNIGHT American 1874 1953 JAGUAR BY A RIVER oil on canvas 18 x 24 inches signed lower left Chas R Knight PROVENANCE Private Collection New York Note A portion of the proceeds from the sale of the lot will be donated to Tigers4ever org Estimate 12 000 18 000 98

109 CHARLES ROBERT KNIGHT American 1874 1953 FOUR BIG CATS watercolor and gouache on paper 14 1 2 x 12 7 8 inches signed lower right C R Knight illustration on the reverse PROVENANCE Private Collection New York Notes This painting was commissioned by Collier Magazine in the 1890s A portion of the proceeds from the sale of the lot will be donated to Tigers4ever org Estimate 3 000 5 000 109 110 CHARLES ROBERT KNIGHT American 1874 1953 TWO TIGERS gouache on paper 6 x 10 inches sight signed lower left Chas R Knight PROVENANCE Private Collection New York Note A portion of the proceeds from the sale of the lot will be donated to Tigers4ever org Estimate 3 000 5 000 110 111 CHARLES ROBERT KNIGHT American 1874 1953 FIGHTING CAVE BEARS FROM ANTIQUITY OF MAN oil on canvas 27 x 18 inches signed and dated lower left Chas R Knight 1915 PROVENANCE The Century Company New York New York Private Collection New York Estimate 2 000 3 000 111 99

112 112 ARNOLD FRIEDMAN American 1874 1946 THE VEGETABLE STAND oil on canvas 30 x 36 inches signed lower left Friedman PROVENANCE The artist By descent Salander O Reilly Galleries Inc New York New York Sotheby s March 23 2005 lot 122 Christie s March 8 2008 lot 207 Private Collection New York New York EXHIBITED Marquie Gallery New York 1945 Note A exhibition label from the California Palace of the Legion of Honor is on the reverse Estimate 15 000 25 000 100

113 113 KARL HORST HODICKE German b 1938 RUHERIGUR RESTING FIGURE acrylic on canvas 73 x 106 1 2 inches signed and dated on the reverse Hodicke 78 PROVENANCE Private Collection New Jersey Estimate 25 000 35 000 101

114 114 GERSHON BENJAMIN Romanian American 1899 1985 CAROLINE SLEEPING oil on paper 34 1 2 x 29 5 8 inches sight signed and dated upper left Gershon Benjamin 1950 signed titled and numbered on the reverse 388 PROVENANCE Gerald Peters Gallery New York New York Private Collection New Jersey Estimate 8 000 12 000 102 Gershon Benjamin had a seven decades long career When his estate was discovered historians and scholars immediately appreciated the significance of his work Benjamin was the subject of a 2008 retrospective exhibition at Spanierman Gallery in New York New York The catalog written by Lisa N Peters details Benjamin s life his close connections to the artistic mileau in New York City and the breadth and quality of the estate Benjamin was close friends with Milton Avery and his wife Sally Michel Avery Through Avery Benjamin befriended Mark Rothko an admirer of Benjamin s work and Adolph Gottlieb

115 115 EUGENE BERMAN American Russian 1899 1972 LOS MUROS DE LOS PICOS oil on canvas initialled upper center E B 51 5 8 x 38 3 8 inches signed dated and inscribed on the reverse E Berman Hollywood Jan Feb 1948 PROVENANCE Knoedler Gallery New York New York 1990 Private Collection New York New York EXHIBITED Pennsylvania Academy of Fine Arts PAFA 146th Annual Exhibition 1941 Estimate 12 000 15 000 103

116 116 WILL HUTCHINS American 1878 1945 American 1878 1945 RISING MOON oil on canvas 18 x 24 inches estate stamp on the reverse PROVENANCE The estate of the artist Private Collection Connecticut Estimate 3 000 5 000 HARVEST MOON oil on canvas 16 x 20 inches estate stamp on the reverse PROVENANCE The estate of the artist Private Collection Connecticut Estimate 3 000 5 000 117 104 117 WILL HUTCHINS

118 WILL HUTCHINS American 1878 1945 POPLARS EVENING oil on canvas 16 x 13 inches signed and dated lower right Will Hutchins 1906 estate stamp on the reverse PROVENANCE The estate of the artist Private Collection Connecticut Estimate 1 500 2 500 118 119 WILL HUTCHINS American 1878 1945 NOCTURNE DOUBLE SIDED oil on panel 13 x 16 inches signed and dated lower right Will Hutchins 1915 estate stamp on the reverse PROVENANCE The estate of the artist Private Collection Connecticut Estimate 1 500 2 500 119 120 WILL HUTCHINS American 1878 1945 SUNSET oil on board 12 1 2 x 14 1 2 inches estate stamp on the reverse PROVENANCE The estate of the artist Private Collection Connecticut Estimate 2 000 3 000 120 105

121 WILL HUTCHINS American 1878 1945 WOMAN IN RED oil on canvas 9 1 2 x 6 1 4 inches initialled upper left W H estate stamp on the reverse PROVENANCE The estate of the artist Private Collection Connecticut Estimate 800 1 200 122 FRANCIS LUIS MORA American 1874 1940 A DOLL S DRESS oil on panel 16 x 11 3 4 inches signed lower right F Luis Mora inscribed on the reverse Daughter of the Artist at the age of eight PROVENANCE Chapelier Galleries New York New York Property from a New York State Collection Estimate 2 500 3 500 121 123 GEORGE OWEN WYNNE APPERLEY British 1884 1960 WOMAN WITH FLOWER watercolor on paper 10 x 8 inches sight signed lower left Apperley inscribed and dated on the reverse Granada 1922 PROVENANCE Private Collection New York New York Estimate 3 000 5 000 122 106 123

124 WALTER MACEWEN American 1860 1943 READY TO KNIT oil on canvas board 21 1 2 x 17 1 2 inches unsigned PROVENANCE Private Collection St Louis Missouri Estimate 3 000 5 000 125 EDWIN THOMAS ROBERTS British 1840 1917 PICNICING oil on canvas 28 x 36 inches signed lower right Edwin Roberts signed and titled on the reverse PROVENANCE Private Collection Connecticut Estimate 3 000 5 000 124 125 107

126 JOHN WHORF American 1903 1959 TOM S HILL TRURO MASSACHUSETTS watercolor on paper 13 3 4 x 19 3 4 inches sight signed lower left John Whorf PROVENANCE Comenos Fine Arts Boston Massachusetts Private Collection Boston Massachusetts Note A period label is on the reverse Estimate 2 500 3 500 126 127 CARL WILLIAM PETERS American 1897 1980 ROAD THROUGH THE VALLEY oil on canvas 20 x 24 inches signed lower right Carl W Peters PROVENANCE R H Love Galleries Chicago Illinois Private Collection Illinois Estimate 2 000 3 000 127 128 CARL WUERMER American 1900 1983 LATE SUMMER oil on canvas 26 x 28 inches signed and dated Carl Wuermer 24 lower right PROVENANCE Private Collection New York New York Estimate 2 500 3 500 128 108

129 WILLIAM SERGEANT KENDALL American 1869 1938 STUDY CHESTNUT SPROUTS oil on board 30 1 2 x 22 3 4 inches signed dated and titled on the reverse Sergeant Kendall Oct 21 1927 PROVENANCE Private Collection Connecticut Estimate 4 000 6 000 130 HAMILTON HAMILTON American 1847 1928 FIELD IN SPRING oil on canvas estate stamp on the reverse 20 x 32 inches PROVENANCE From the Collection of Helen Hamilton Silvermine Norwalk Connecticut Private Collection Connecticut Note Estate Inventory No 39 Estimate 4 000 6 000 129 130 109

131 HUGH BOLTON JONES American 1848 1927 MID SUMMER oil on board 22 x 32 inches signed lower right H Bolton Jones signed and titled on the frame PROVENANCE Private Collection New York New York Estimate 4 000 6 000 131 132 HERMANN HERZOG American German 1832 1932 DUTCH LANDSCAPE WITH SHEEP oil on canvas 14 x 21 inches signed lower right H Herzog PROVENANCE Private Collection New York New York Estimate 3 000 5 000 132 133 HUGH BOLTON JONES American 1848 1927 RIVER IN WINTER oil on canvas 16 x 24 inches signed lower left H Bolton Jones PROVENANCE Private Collection Connecticut Estimate 3 000 5 000 133 110

134 CHARLES H GIFFORD American 1839 1904 COASTAL SCENE oil on canvas 8 3 4 x 13 3 4 inches signed and dated lower right C H Gifford 1899 PROVENANCE Private Collection Florida Estimate 3 000 5 000 134 135 JOHN THOMAS HAMILTON MACALLUM Scottish 1841 1896 THE COAST ARGYLLSHIRE oil on canvas 20 x 30 inches signed lower right Macallum PROVENANCE Private Collection Kansas Estimate 2 500 3 500 135 136 ARTHUR QUARTLEY American 1839 1886 SHIPS AT SEA oil on board 5 x 9 1 2 inches initialled lower left AQ PROVENANCE Private Collection Florida Estimate 2 500 3 500 136 111

137A 137 ALFRED THOMPSON BRICHER American 1837 1908 137B MAINE COAST 4 VIEWS watercolor en grisaille with Chinese white on paper 3 3 8 x 7 1 2 inches and smaller all signed with monogram lower right one titled Rocks and Ships at Grand Manan Maine 1886 PROVENANCE These drawings were purchased as an intact sketchbook from his niece by Clayton Liberatore Gallery of New York City and Bridgehampton Long Island Private Collection Connecticut Estimate 2 000 3 000 137C 137D 112

138 138 WILLIAM MASON BROWN American 1828 1898 ROUGH SEAS ALONG THE COAST oil on canvas 14 x 12 inches initialled lower left W M B PROVENANCE Private Collection Rumson New Jersey Estimate 8 000 12 000 113

139 THEODORE KAUTZKY American 1896 1953 CITYSCAPE NEW YORK CITY watercolor on paper 19 x 13 inches sight signed and dated lower right T Kautzky 1931 PROVENANCE Private Collection Texas Note A copy of Ted Kautzky Master of Pencil and Watercolor by Charles R Kinghorn accompanies the lot Estimate 2 000 3 000 140 RICHARD HAROLD REDVERS TAYLOR British 1900 1975 POWER gouache watercolor and ink on paper 23 x 34 3 4 inches sight initialed lower right RHRT PROVENANCE Private Collection Massachusetts EXHIBITED Retrospective Gimpel Fils London February 14 March 10 1972 Estimate 3 000 5 000 139 140 114

141 MYRON BARLOW American French 1873 1937 AFTERNOON READ oil on canvas 39 3 4 x 39 3 4 inches signed lower leftt Myron Barlow PROVENANCE Private Collection Connecticut Estimate 6 000 8 000 142 NOEL ROCKMORE American 1928 1995 SELF PORTRAIT WITH THE ARTIST S SISTER oil on canvas 40 x 50 inches signed and dated upper center Noel Davis 48 PROVENANCE Private Collection Pennsylvania Estimate 4 000 6 000 141 142 115

143 WILLIAM WENDT American 1865 1946 IN THE GARISH LIGHT OF DAY ST IVES CORNWALL oil on canvas 16 x 12 inches signed lower right W Wendt PROVENANCE Private Collection New York New York Estimate 2 000 3 000 144 ROBERT HENRI American 1865 1929 SUNLIGHT THROUGH TREES MONHEGAN pastel on paper 8 1 2 x 11 3 4 inches sight signed lower left center R Henri PROVENANCE Kraushaar Galleries New York New York McNay Art Institute San Antonio Texas Private Collection Western Pennsylvania Freeman s December 6 2009 lot 220 Private Collection Maine Estimate 2 500 3 500 143 144 116

145 GEORGE LOFTUS NOYES American 1864 1954 THE FARM IN FALL oil on canvas 20 x 24 inches signed lower right G L Noyes PROVENANCE Private Collection Connecticut Estimate 3 000 5 000 145 146 JOHN JOSEPH ENNEKING American 1841 1916 THE SPREADING OAK oil on canvas board 12 x 14 inches signed lower right Enneking artist s estate stamp on the reverse PROVENANCE Property from a New York State Collection Estimate 2 500 3 500 146 147 GUY CARLETON WIGGINS American 1883 1962 LATE AUTUMN DAYS oil on canvas 12 x 16 inches signed lower right Guy Wiggins signed titled and dated on the reverse 1923 PROVENANCE Private Collection New York Estimate 3 000 5 000 147 117

148 IRVING RAMSEY WILES ATTRIBUTED American 1861 1948 AT THE PIANO oil on canvas 15 5 8 x 13 5 8 inches unsigned PROVENANCE Godel Company New York New York Private Collection New York New York Estimate 4 000 6 000 149 JULIAN ALDEN WEIR American 1852 1919 CAROLINE WEIR IN FISHING ATTIRE AGE 14 pencil on paper 13 1 8 x 9 1 4 inches sight signed inscribed and dated lower right J Alden Weir Branchville 1895 PROVENANCE The artist The artist s daughter Caroline Weir Ely the sitter to her daughter Anna Smith to her daughter Caroline Smith Bick Private Collection Wellesley Massachusetts Estimate 2 500 3 500 148 149 150 GEORGE BENJAMIN LUKS American 1867 1933 THE OLD SQUIRE oil on canvas 30 1 8 x 25 1 8 inches signed lower left George Luks PROVENANCE Property from a New York State Collection Estimate 5 000 7 000 150 118

151 151 IRVING RAMSEY WILES American 1861 1948 WOMAN IN HER DRESSING ROOM oil on panel 14 x 12 inches signed upper left Irving R Wiles PROVENANCE Private Collection Philadelphia Pennsylvania Note Special thanks to Geoffrey K Fleming Executive Director of the Huntington Museum of Art Huntington West Virginia for his assistance cataloging this lot Fleming writes of the present painting The figure is similar to an ink sketch from 1888 that depicts the artist s wife May with her baby daughter now in the collection of the Southold Historical Society and may depict her The figure is also similar in position and pose to a work depicting May Wiles present location unknown done by Irving Wiles that originally hung in the studio of the artist s father Lemuel Wiles located on Silver Lake in the village of Perry New York unpublished letter dated October 4 2017 Estimate 12 000 18 000 119

152 152 GIROLAMO GIANNI Italian 1837 1895 THE CARAVAN oil on canvas 14 x 24 inches signed and dated lower right G Gianni 1891 PROVENANCE Private Collection New Jersey Private Collection Pennsylvania Note A label from W Bessler Augsburg Germany is on the reverse Estimate 8 000 12 000 120

153B 153A 153C 153D 153 ALBERT BIERSTADT American 1830 1902 ITALIAN FIGURE STUDIES SEATED WOMAN LEANING ON ELBOW STANDING WOMAN SEATED WOMAN LEANING ON ALTER STANDING MALE GROUP OF FOUR a oil on paper laid down on board signed and initialed lower left Albert Bierstadt inscribed upper left Italian Costume Study b oil on paper laid down on board initialed lower right AB inscribed upper left Italian Costume Study c oil on paper laid down on board laid down on panel signed and initialed lower right ABierstadt inscribed upper left Italian Costume Study inscribed lower center Sorento d watercolor and pencil on paper laid down on board laid down on panel inscribed illegibly lower left 11 3 4 x 8 3 4 inches and smaller PROVENANCE Property from a New York State Collection Estimate 8 000 12 000 121

154 COLIN CAMPBELL COOPER American 1856 1937 CATHEDRAL CARCASSONNE oil on canvas 26 x 20 inches signed lower right Colin Campbell Cooper PROVENANCE Private Collection Florida Estimate 4 000 6 000 154 155 LEON DE MEUTTER BRUNIN Belgian 1861 1949 TEA TIME oil on panel 24 x 19 inches signed inscribed and dated lower left Leon Brunin Anvers 87 PROVENANCE Private Collection Connecticut Estimate 7 000 10 000 155 122

156 156 JANE PETERSON American 1876 1965 VENICE watercolor and gouache on paper 18 x 17 7 8 inches signed lower left Jane Peterson PROVENANCE Jane Peterson Philipp estate sale auction O Rundle Gilbert Auctioneers August 9 10 1966 lot 1095 Private Collection New York Estimate 12 000 18 000 123

157 BEN FOSTER American 1852 1926 LANDSCAPE WITH STREAM oil on canvas 25 x 30 inches signed lower right Ben Foster PROVENANCE Private Collection Pennsylvania Estimate 3 000 5 000 157 158 FRANK VINCENT DUMOND American 1865 1951 THE ARTIST S HOME BRIARCLIFF MANOR NEW YORK oil on canvas laid down on board 24 x 30 inches signed lower left F V Dumond estate stamp on the reverse PROVENANCE Elizabeth Dumond Perry Private Collection Connecticut Estimate 3 000 5 000 158 159 FRANK VINCENT DUMOND American 1865 1951 SPRING LANDSCAPE oil on canvas 26 x 36 inches signed and dated lower left Frank V Dumond 11 estate stamp on the reverse PROVENANCE Elizabeth Dumond Perry Private Collection Connecticut EXHIBITED Art Students League of New York F V Dumond Show October 19 November 6 1987 Estimate 3 000 5 000 159 124

160 160 CHARLES HAROLD DAVIS American 1856 1933 A VIEW TO THE RIVER AUTUMN oil on canvas 30 1 8 x 25 1 8 inches signed C H Davis lower left PROVENANCE Gerald Peters Galleries New York New York Shannon s Fine Art Auctioneers Oct 26 2006 lot 235 Private Collection New York New York Estimate 8 000 12 000 125

161 JUNIUS BRUTUS STEARNS American 1810 1885 CHILDREN FISHING oil on canvas 28 1 2 x 36 inches signed and dated lower right Stearns 1850 PROVENANCE Butler Institute of American Art Youngstown Ohio Property from a New York State Collection EXHIBITED New York American Art Union 1851 Milwaukee Wisconsin Milwaukee Institute of Art and Design 1947 Youngstown Ohio Butler Institute of American Art 1959 100 Years Ago organized by the American Federation of Arts Estimate 5 000 7 000 161 162 CHARLES HUNT British 1829 1900 HERE COMES TROUBLE oil on canvas 24 x 36 inches signed lower left C Hunt PROVENANCE Private Collection New Jersey Estimate 4 000 6 000 162 126

163 163 EMILIO ALVAREZ AYLON 164 IRVING E HURLBURT Spanish 19th 20th Century American 1869 1918 SUNNY AFTERNOON oil on panel 5 1 4 x 9 1 2 inches signed lower left with pseudonym E A Mayo PROVENANCE Private Collection New York Estimate 4 000 6 000 THE ARTIST S STUDIO oil on canvas 24 x 32 inches signed lower right Irving E Hurlburt PROVENANCE Private Collection New York Private Collection Connecticut Estimate 2 500 3 500 164 127

165 GEORGE CURTIS American 1826 1881 SAILING AT SUNSET oil on board 10 x 14 inches unsigned PROVENANCE Private Collection Massachusetts Estimate 2 000 3 000 165 166 ELISHA TAYLOR BAKER American 1827 1890 GLEN COVE LONG ISLAND SOUND oil on canvas 22 x 36 inches signed lower right E Baker signed and titled on the stretcher PROVENANCE Private Collection Massachusetts Estimate 2 500 3 500 166 167 ELISHA TAYLOR BAKER American 1827 1890 BREEZING OUT oil on canvas 26 x 32 inches signed and dated lower right E Baker 73 PROVENANCE Private Collection Massachusetts Estimate 2 500 3 500 167 128

168 JAY HALL CONNAWAY American 1893 1970 SUMMER HAZE AT WHITE HEAD MONHEGAN oil on canvas board 20 x 24 inches titled and inscribed on the reverse For Marjorie Osborne L C unsigned PROVENANCE Spanierman Gallery New York New York Gleason Fine Art Boothbay Harbor Maine Private Collection New Jersey Estimate 2 500 3 500 168 169 WARREN W SHEPPARD American 1858 1937 SUNRISE AT THE SHORE oil on canvas 14 x 20 inches signed lower right Warren Sheppard PROVENANCE Private Collection Florida Estimate 3 000 5 000 169 170 ABRAHAM BOGDANOVE Russian American 1887 1946 ROCK AND OCEAN oil on canvas 25 x 30 inches unsigned PROVENANCE Vose Galleries Boston New York Private Collection New Jersey Estimate 3 000 5 000 170 129

171 171 KEN DAVIES American 1925 2017 HITCHING POST pencil and oil on paper 13 7 8 x 20 7 8 inches sight signed lower left Ken Davies PROVENANCE Silvermine Galleries New Canaan Connecticut Private Collection Connecticut Private Collection Florida Estimate 2 000 3 000 172 KEN DAVIES American 1925 2017 BACK DOOR KNOB oil on board 17 1 2 x 10 3 4 inches signed lower left Ken Davies PROVENANCE Collection of Robert J Maxwell Jr Private Collection Vermont EXHIBITED Ken Davies Retrospective Hirschl Adler New York New York November 9 December 2 1978 Estimate 2 500 3 500 172 130

173 BRUCE BRAITHWAITE American b 1950 BROOME STREET NYC oil on canvas 30 x 36 inches signed lower right Bruce Braithwaite signed titled and numbered on the reverse 550 Estimate 4 000 6 000 174 BRUCE BRAITHWAITE American b 1950 WASHINGTON SQUARE NYC oil on canvas 18 x 24 inches signed lower right Bruce Braithwaite signed titled and numbered on the reverse 549 Estimate 2 500 3 500 173 174 131

175 175 CHARLES PAUL GRUPPE American 1860 1940 ROCKPORT WHARF oil on canvas 25 x 30 inches signed lower right Chas P Gruppe titled on the reverse PROVENANCE Private Collection Massachusetts Note In a Newcomb Macklin Frame Estimate 7 000 10 000 176 LUIGI LUCIONI American 1900 1988 CLASSIC GREYS oil on canvas 15 x 16 inches signed and dated lower left Luigi Lucioni 1969 PROVENANCE Louis Stern Galleries Beverly Hills California Private Collection Maryland Spanierman Gallery New York New York Shannon s May 11 2000 lot 39 Private Collection New Jersey EXHIBITED Perspectives on Realism 1950 1991 Louis Stern Galleries West Hollywood California April 2 May 11 1991 Estimate 5 000 7 000 176 132

177 CARL WILLIAM PETERS American 1897 1980 OUT FOR A WALK oil on canvas 20 x 24 inches signed lower right Carl W Peters PROVENANCE R H Love Galleries Chicago Illinois Private Collection Illinois Estimate 2 000 3 000 177 178 BURTON SHEPARD BOUNDEY American 1879 1962 BRINGING OUT THE BOAT oil on canvas laid down on board 20 x 30 inches signed lower left Burton S Boundey PROVENANCE William Karges Fine Art Carmel California Private Collection Florida Estimate 3 000 5 000 178 179 BURTON SHEPARD BOUNDEY American 1879 1962 FALL LANDSCAPE WITH COWS oil on canvas 20 x 24 inches signed lower left Burton S Boundey PROVENANCE William Karges Fine Art Carmel California Private Collection Florida Estimate 1 200 1 800 179 133

180 WILLIAM S ROBINSON American 1861 1945 WHITE BIRCHES oil on canvas backed by board 25 x 30 inches signed Wm S Robinson lower left PROVENANCE Altermann Art Gallery Dallas Texas The Connecticut Gallery Marlborough Connecticut Private Collection Connecticut Estimate 3 000 5 000 180 181 BEN FOSTER American 1852 1926 AUTUMN LANDSCAPE oil on canvas 21 x 20 inches signed lower center Ben Foster PROVENANCE Private Collection Pennsylvania Estimate 2 500 3 500 181 182 DELBERT DANA COOMBS American 1850 1938 TRAIN CROSSING AT GREAT FALLS LEWISTON MAINE oil on canvas 27 1 4 x 50 1 2 inches signed and dated lower left D D Coombs 1914 PROVENANCE Private Collection Massachusetts Note The scene depicts Great Falls between Lewiston and Auburn Maine on the Androscoggin River Estimate 2 500 3 500 182 134

183 LOUIS EILSHEMIUS American 1864 1941 CLASSICAL LANDSCAPE WITH FIGURE oil on board 14 x 22 1 4 inches signed lower right Eilshemius PROVENANCE Private Collection St Louis Missouri Estimate 3 000 5 000 183 184 LOUIS EILSHEMIUS American 1864 1941 HYMN TO MOTHERHOOD oil on canvas 26 x 36 inches signed lower right center Eilshemius PROVENANCE Estate of the artist Florence Lewison Gallery New York New York Private Collection New York New York Estimate 6 000 8 000 184 185 PHILIP EVERGOOD American 1901 1973 ROOF TOP TROUBADOUR oil on canvas laid down on panel 25 3 4 x 22 inches signed and dated lower right Philip Evergood 57 signed and titled on the reverse PROVENANCE Property from a New York State Collection Estimate 3 000 5 000 185 135

186 LEON FOSTER JONES American 1871 1940 WINTER STREAM NEW HAMPSHIRE oil on canvas 26 x 25 inches signed and dated lower left Leon Foster Jones 13 PROVENANCE Comenos Fine Art Boston Massachusetts Private Collection Boston Massachusetts Estimate 4 000 6 000 186 187 AARON HENRY GORSON American 1872 1933 NEW YORK CITY SKYLINE oil on canvas executed in 1909 14 1 8 x 17 inches signed lower right A H Gorson PROVENANCE Spanierman Gallery New York New York Private Collection Scottsdale Arizona Estimate 3 000 5 000 187 136

188 CHARLES SALIS KAELIN American 1858 1929 HARBOR 2 pastel on paper 15 x 16 3 4 inches sight signed lower left C S Kaelin PROVENANCE Private Collection New Jersey Estimate 3 000 5 000 188 189 CHARLES SALIS KAELIN American 1858 1929 ROCKPORT FISHING WHARF pastel on paper 15 x 15 1 4 inches sight signed lower left C S Kaelin PROVENANCE Spanierman Gallery New York New York Private Collection New Jersey EXHIBITED Dialogues with Nature Works by Charles Salis Kaelin 1858 1929 Rockport Art Association Rockport Maine July 28 August 31 1990 Dialogues with Nature Works by Charles Salis Kaelin 1858 1929 Chidlaw Gallery Art Academy of Cincinnati December 4 December 23 1990 Dialogues with Nature Works by Charles Salis Kaelin 1858 1929 Clarke Galleries Stowe Vermont March 23 April 14 1991 Estimate 3 000 5 000 189 190 CHAUNCEY FOSTER RYDER American 1868 1949 THE APPLE TREE oil on canvas 12 x 16 inches signed lower right Chauncey F Ryder PROVENANCE Private Collection Florida Note An exhibition label from Painting by American Artist William Macbeth New York New York is on the reverse Estimate 2 500 3 500 190 137

191 MODERNIST SCHOOL 20th Century ABSTRACT bronze sculpture on concrete base 14 H signed V H PROVENANCE Private Collection Arizona Estimate 2 500 3 500 191 192 ANGELITO ANTONIO Filipino b 1939 BLUE STILL LIFE oil on canvas 20 x 24 inches signed and dated lower left A Antonio 69 PROVENANCE Private Collection Massachusetts Estimate 2 000 3 000 192 193 LIZ GRIBIN American b 1934 FEMALE NUDE oil on canvas 34 1 4 x 45 1 4 inches signed and dated lower right Liz Gribin 81 PROVENANCE Private Collection Arizona Estimate 2 500 3 500 193 138

194 BURGOYNE DILLER American 1906 1965 UNTITLED FIRST THEME tempera and crayon on paper 7 3 8 x 6 inches sight dated lower right d 61 unsigned PROVENANCE Michael Rosenfeld Gallery New York New York Spanierman Modern New York New York Private Collection New Jersey Estimate 2 500 3 500 194 195 BURGOYNE DILLER American 1906 1965 SECOND THEME 3 STUDIES graphite and colored pencil on paper 16 1 2 x 13 5 8 inches sight unsigned PROVENANCE Michael Rosenfeld Gallery New York New York Harcourts Modern and Contemporary Art San Francisco California Meyerson and Nowinski Seattle Washington Private Collection New Jersey Estimate 5 000 7 000 195 196 DWINELL GRANT American 1912 1991 CONTRATHEMIS FRAME 2387 1941 colored pencil on tracing paper 7 3 4 x 10 1 4 inches signed titled and dated lower right initialled and dated lower left PROVENANCE Spanierman Modern New York New York Private Collection New Jersey Estimate 2 000 3 000 196 139

197 JEAN ALBERT POUGNY French Russian 1892 1956 THE NURSE oil on canvas 7 7 8 x 11 1 4 inches signed lower right Pougny PROVENANCE M Knoedler Co New York New York Private Collection New York New York Estimate 6 000 8 000 197 198 GASTON SEBIRE French 1920 2001 FLEURS EN VASE ROCOCO FLOWERS IN A ROCOCO VASE oil on canvas 57 1 2 x 38 1 4 inches signed lower right G Sebire titled on the reverse PROVENANCE Wally Findlay Gallery Chicago Illinois Private Collection New York New York Estimate 3 000 5 000 198 199 YOLANDE ARDISSONE French b 1927 LE PHARE DE DOELAN oil on canvas 45 x 77 inches signed lower right Ardissone PROVENANCE Wally Findlay Galleries New York New York Private Collection New York Estimate 3 000 5 000 199 140

200 HENRY SCOTT TUKE British 1858 1929 MALE FIGURE oil on canvas 36 x 22 inches signed lower left H S Tuke PROVENANCE Private Collection St Louis Missouri Estimate 4 000 6 000 200 201 ROBERT R BLISS American 1925 1981 YOUNG MAN IN BATHING SUIT oil on board 78 3 4 x 31 inches signed and dated upper right R Bliss 80 PROVENANCE Private Collection Boston Massachusetts EXHIBITED Robert Bliss December 20 1971 The Green Dolphin Boston Massachusetts Estimate 5 000 7 000 201 141

202 HOWARD NORTON COOK American 1901 1980 WATERFALL mixed media on panel 57 1 4 x 18 3 8 inches signed lower right Howard Cook signed titled inscribed and dated on the reverse Collage 1959 60 PROVENANCE Private Collection New York New York Estimate 3 000 5 000 203 REX BRANDT American 1914 2000 CROWD AT THE MARK oil on board 13 x 24 3 4 inches signed dated and titled lower right Rex Brandt 1962 1964 PROVENANCE Laguna Studio Galleries A California estate EXHIBITED Rex Brandt Paintings November 6 December 3 1964 Laguna Studio Galleries Laguna Beach California Estimate 3 000 5 000 202 203 142

204 LUTHER EMERSON VAN GORDER American 1861 1931 MARKET SCENE PARIS oil on board 20 x 16 inches signed lower left L E Van Gorder PROVENANCE An Ohio estate A Michigan estate Private Collection Michigan Estimate 3 000 5 000 205 WALTER FARNDON American 1876 1964 STILL LIFE WITH FRUIT AND PITCHER oil on canvas board 16 x 20 signed lower left Walter Farndon N A PROVENANCE Mystic Auction Mystic Connecticut Private Collection Florida Estimate 2 000 3 000 204 205 206 ROBERT KULICKE American 1924 2007 MIXED BOUQUET IN A SUNG VASE Oil on masonite 13 3 4 x 11 inches signed and dated lower center Kulicke 85 PROVENANCE Davis and Langdale Co Inc New York New York Estimate 3 000 5 000 206 143

207 PABLO PICASSO Spanish 1881 1973 DOVE marker on paper 10 1 4 x 8 inches sight signed and dated lower left Picasso 20 9 65 inscribed upper center Pour Le Doctor Robert Riber PROVENANCE Private Collection New York New York Note Dr Robert Ribar was a close friend of Pablo Picasso The present lot includes an illustrated and signed page from a book that the artist had torn out and inscribed to his friend Three days later Picasso mailed the page to Ribar see dated envelope included with the lot Ribar kept both the envelope and the page Also included with the lot is a postcard from Picasso to Dr Ribar mailed on a seperate occasion including a photo of Picasso and his wife Jacqueline Estimate 3 000 5 000 207 208 JEAN PIERRE CASSIGNEUL French b 1935 LA PARISIENNE watercolor on paper 12 1 8 x 9 7 8 inches sight signed and dated lower right Cassigneul 91 inscribed lower center Pour Roger Bouillet avec heureusement PROVENANCE Private Collection France Notes Signed frontispiece from Roger Bouillot Cassigneul Peintures 1950 1990 Paris Editions Michele Trinckvel 1991 Book included with the lot Estimate 2 500 3 500 208 209 ADOLF RICHARD FLEISCHMANN German 1892 1968 ABSTRACT pastel and acrylic on black paper 18 3 4 x 12 inches signed and dated lower right Fleischmann 39 PROVENANCE Private Collection New York New York Estimate 3 000 5 000 209 144

210 BLANCHE LAZZELL American 1878 1956 FOUR RED PETUNIAS ONE WHITE monotype 13 x 9 inches plate sight signed and dated lower right Blanche Lazzell 1945 titled lower left PROVENANCE Martin Diamond Fine Art New York New York Private Collection New York New York Estimate 2 500 3 500 210 211 NICKY NODJOUMI Iranian b 1942 LETTER TO A FRIEND WITH THE BIRD charcoal and colored pencil on paper 25 1 2 x 20 inches image signed and dated lower center N Nodjoumi 78 PROVENANCE Private Collection New York New York Estimate 2 500 3 500 211 145

212 RENE AUGUSTE SEYSSAUD French 1867 1952 HAYSTACKS oil on canvas laid down on board 13 x 16 1 4 inches signed lower left Seyssaud PROVENANCE Private Collection New York New York Estimate 3 000 5 000 212 213 DAVID BURLIUK American Russian 1882 1967 WINTER WOODLAND oil on canvas 16 x 12 inches signed and dated lower left Burliuk 1962 inscribed lower right LI NY 16XII PROVENANCE Private Collection Connecticut Estimate 2 500 3 500 213 214 WILLIAM ST JOHN HARPER American 1851 1910 VEIL IN WINTER oil on canvas 30 x 44 inches unsigned PROVENANCE Estate of the artist descended in the family to the present owner the artist s grandson Edward H Kendall Note A letter from the great grandson of the artist confirming the provenance accompanies the lot Estimate 3 000 5 000 214 146

215 GEORGINA KLITGAARD American 1893 1976 THE MOUNTAIN BEARSVILLE N Y oil on canvas 42 x 34 inches signed lower G Klitgaard PROVENANCE Private Collection Connecticut EXHIBITED Pittsburgh Pennsylvania Carnegie Institute Painting in the United States 1947 October 9 December 1947 Estimate 3 000 5 000 215 216 BERNHARD GUTMANN American 1869 1936 CONNECTICUT AUTUMN oil on canvas 28 x 28 inches titled on the stretcher estate stamp on the reverse and numbered 319 PROVENANCE Estate of the artist De Ville Galleries Los Angeles California Private Collection California ILLUSTRATED Percy North and William H Gerdts Bernhard Gutmann 1869 1936 An American Impressionist New York Abbeville Press 1996 p 117 pl 75 illus Note A copy of the letter from De Ville Galleries accompanies the lot Estimate 4 000 6 000 216 147

217 GEORGE HENRY SMILLIE American 1840 1921 MOUNTAIN LAKE oil on canvas 6 1 8 x 10 inches signed and dated lower left Geo Smillie 73 PROVENANCE Fine Arts Gallery San Diego California Estimate 5 000 7 000 217 218 SCOTT LEIGHTON American 1849 1898 HORSE AND SLEIGH IN WINTER oil on canvas 26 x 42 inches signed and dated lower left Scott Leighton 79 PROVENANCE Christie s November 30 1994 lot 14 Private Collection Massachusetts Estimate 3 000 5 000 218 219 AMERICAN SCHOOL 19th Century HERDING CATTLE oil on canvas 20 x 24 inches unsigned PROVENANCE Private Collection New York Estimate 2 500 3 500 219 148

220 AMERICAN SCHOOL 19th Century FALL LANDSCAPE WITH CATTLE GRAZING oil on canvas 24 x 36 inches unsigned PROVENANCE Private Collection New York Estimate 2 500 3 500 220 221 JULIE HART BEERS American 1835 1913 UNDER THE APPLE TREES oil on board 12 x 10 inches signed and dated lower right Julie H Beers 72 PROVENANCE Private Collection California descended in the family to the current owner Private Collection California Estimate 2 500 3 500 221 222 REGIS FRANCOIS GIGNOUX American French 1816 1882 FALL LANDSCAPE WITH CANOE oil on canvas 12 x 20 inches signed and dated lower left Gignoux 69 PROVENANCE Private Collection New York New York Estimate 2 000 3 000 222 149

223 JESSE TALBOT ATTRIBUTED American 1806 1879 DUCK HUNTING oil on canvas 16 x 23 inches sight oval unsigned PROVENANCE Private Collection Massachusetts Estimate 2 500 3 500 223 224 JOHN BEAUFAIN IRVING American 1825 1877 AUTUMN REFLECTION oil on canvas 12 x 10 inches signed lower right J Irving PROVENANCE Private Collection Fredericksburg Virginia Private Collection Maryland Note Irving was a Charleston South Carolina artist Estimate 2 500 3 500 224 225 AMERICAN SCHOOL 19th Century SUMMER DAY BY THE RIVER oil on canvas 22 x 36 inches unsigned PROVENANCE Private Collection Pennsylvania Estimate 3 000 5 000 225 150

226 WILLIAM TROST RICHARDS American 1833 1905 LAKE SCENE OCEAN SCENE A PAIR watercolor on paper 6 3 4 x 9 5 8 inches sight a signed and dated lower left W T Richards 01 b signed and dated lower left W T Richards 03 PROVENANCE Private Collection California Estimate 3 000 5 000 226A 227 EDWARD MORAN American 1829 1901 A SHIPWRECK oil on canvas 30 x 45 inches signed and dated lower left Edw Moran 1860 PROVENANCE Berry Hill Galleries Inc New York New York Private Collection New York New York EXHIBITED Pensacola Museum of Art Americans and the Sea September 10 October 31 1982 Estimate 7 000 10 000 226B 227 151

228 MILNE RAMSEY American 1847 1915 STILL LIFE WITH FLOWERS oil on canvas 21 1 2 x 24 3 4 inches initialled lower left M R PROVENANCE Private Collection Florida Estimate 4 000 6 000 228 229 JOHN FREDERICK PETO American 1854 1907 STILL LIFE HANGING GRAPES oil on board 9 X 5 3 4 inches signed lower left J F Peto PROVENANCE The artist Private Collection Wisconsin descended in the family to the current owner Private Collection Georgia Estimate 2 000 3 000 229 230 MILNE RAMSEY American 1847 1915 STILL LIFE WITH ROSES BOWL AND VASE oil on canvas 24 x 20 inches signed lower left Milne Ramsey PROVENANCE Private Collection Florida Estimate 2 500 3 500 230 152

231 FRANK CURRIER American German 1843 1909 PORTRAIT OF ROSS TURNER oil on canvas 21 x 19 1 2 inches unsigned PROVENANCE Alfred Walker Fine Art Boston Massachusetts Private Collection Wellesley Massachusetts Estimate 2 000 3 000 231 232 CONTINENTAL SCHOOL 19th Century THE ABSINTHE PARTY oil on canvas laid down on canvas 13 1 2 x 20 inches unsigned PROVENANCE Private Collection New York New York Estimate 3 000 5 000 232 233 FRANK DUVENECK ATTRIBUTED American 1848 1919 ITALIAN MAN oil on canvas circa 1880 16 1 2 x 13 1 2 inches unsigned PROVENANCE Alfred Walker Fine Art Boston Massachusetts Private Collection Wellesley Massachusetts Estimate 1 000 1 500 233 153

234 EDUARDO BORTK Brazilian b 1950 DANCA DO VENTO DANCE OF THE WIND oil on masonite 13 x 8 3 4 inches signed lower right E Bortk signed titled and dated on the reverse 11 86 PROVENANCE Private Collection Vermont Estimate 2 000 3 000 234 235 MARIO SEGUNDO PEREZ Argentine b 1960 ATAJO oil on canvas 18 x 14 inches signed lower right Perez signed titled dated and inscribed on the reverse 1997 San Juan PROVENANCE Private Collection New York New York Estimate 2 000 3 000 235 236 SHIMON OKSHTEYN Ukrainian b 1951 PORTRAIT OF S mixed media and collage on canvas 24 x 18 inches signed lower right S Okshteyn PROVENANCE Edward Nakhamkin Fine Arts Inc 1987 Private Collection New Jersey Estimate 2 000 3 000 236 154

237 237 RONALD SEARLE British 1920 2011 WEDDING CATS pen ink and watercolor on paper 6 1 4 x 8 5 8 inches sight signed lower left Ronald Searle PROVENANCE Private Collection Vermont Inscribed on the original mount For Gladys Percy with Love Mo Ronald Tour illegible France 24 September 1981 In celebration of the 28th June 1981 Estimate 1 500 2 500 238 J P LA DUCA 21st Century PRACTICE MAKES PERFECT A PARODY mixed media 19 x 15 inches signed lower right J P La Duca titled upper right PROVENANCE Private Collection Massachusetts Estimate 2 000 3 000 238 END OF SALE 155

INDEX A American School 47 219 220 225 Antonio Angelito 192 Apperley George Owen Wynne 123 Ardissone Yolande 199 Aylon Emilio Alvarez 163 B Chagall Marc 31 Gianni Girolamo 152 Cirino Antonio 10 Gifford Charles H 134 Connaway Jay Hall 168 Gignoux Regis Francois 222 Continental School 232 Goldberg Michael 35 Cook Howard Norton 202 Gorson Aaron Henry 187 Coombs Delbert Dana 182 Grant Dwinell 196 Cooper Colin Campbell 154 Gribin Liz 193 Coppedge Fern Isabel 100 Gruppe Emile Albert 13 14 Cortes Edouard Leon 19 Gruppe Charles Paul 26 175 Cowell William Wilson 16 Gutmann Bernhard 103 216 Baker Elisha Taylor 166 167 Currier Frank 231 Barlow Myron 141 Curtis George 165 Baum Walter Emerson 41 43 44 Beal Gifford 56 D Beers Julie Hart 221 Davies Ken Benjamin Gershon 114 Berman Eugene H Hambourg Andre 40 Hamilton Hamilton 130 58 171 172 Harper William St John 214 Davis Charles Harold 160 Heade Martin Johnson 92 115 De Grailly Victor 90 Henri Robert 144 Bernstein Theresa Ferber 21 23 De Haas Mauritz Frederick H 50 Herzog Hermann 18 132 Berthelsen Johann 1 2 3 6 Diller Burgoyne 194 195 Hibbard Aldro Thompson 107 Bierstadt Albert 153 Dove Arthur 84 Hodicke Karl Horst 113 Bliss Robert R 201 Dumond Frank Vincent 158 159 Hughes Stanton Blair 34 Bogdanove Abraham 170 Duveneck Attr Frank 233 Hunt Charles 162 Bortk Eduardo 234 Hurlburt Irving E 164 Hutchins Will 116 117 118 178 179 E 15 Eilshemius Louis 183 184 Braithwaite Bruce 173 174 Enneking John Joseph 69 146 Brandt Rex 203 Evans De Scott 73 I Bricher Alfred Thompson 137 Evergood Philip 185 Irvine Wilson Henry 98 Brown William Mason 138 Irving John Beaufain 224 Brunin Leon De Meutter 155 Burliuk David 86 213 Boundey Burton Shepard Bradford William C F 119 120 121 Farndon Walter 205 J Fleischmann Adolf Richard 209 Jones Joseph 89 Foster Ben 157 181 Jones Hugh Bolton 131 133 112 Jones Leon Foster 186 Campbell Laurence A 67 68 Friedman Arnold Carlsen Soren Emil 76 G Carter Clarence Holbrook 78 Gamble John Marshall 88 K Cassigneul Jean Pierre 208 Gasser Henry 4 5 8 79 Kaelin Charles Salis 156 7 188 189

Kahn Wolf 85 Kautzky Theodore 139 Kendall William Sergeant 129 O Kerns Maude Irvine 29 30 Okshteyn Shimon 236 Klitgaard Georgina 215 Oldenburg Claes 33 Knight Louis Aston 51 52 54 Onderdonk Julian 64 Knight Charles Robert 108 109 110 111 Kroll Leon Kulicke Robert Lazzell Blanche Leighton Scott Lucioni Luigi Luks George Benjamin 104 105 145 P Palmer Walter Launt 25 60 Parker Lawton Silas 38 Perez Mario Segundo 235 Peters Carl William 127 177 Peterson Jane 156 Peto John Frederick 74 229 Picasso Pablo 207 Poskas Peter 59 Potthast Edward Henry 36 37 Pougny Jean Albert 197 80 Seyssaud Rene Auguste 212 Sheppard Warren W 169 Sloane Eric 9 12 106 Smillie George Henry 17 63 217 Soulages Pierre 32 Sperantzas Vassilis 95 Stearns Junius Brutus 161 Suydam Henry 91 Symons George Gardner 24 42 206 L La Duca J P Noyes George Loftus 238 210 218 176 T Tait Arthur Fitzwilliam 49 Talbot F Attr Jesse 223 Taylor Richard Harold Redvers 140 Thieme Anthony 11 Tuke Henry Scott 200 150 M Macallum John Thomas Hamilton 135 Q Quartley Arthur MacEwen Walter 124 Marin John 82 83 Matter Mercedes 28 Mazzanovich Lawrence 97 McElwain Louisa Van Gorder Luther Emerson 204 Vonnoh Robert William 102 Vytlacil Vaclav 93 94 62 136 R Ramsey Milne 228 230 Reiss Winold 70 87 Ribera Pedro 53 Metcalf Willard Leroy 57 81 99 Richards William Trost 66 226 Mira Alfred S 77 Ritman Louis 22 Modernist School 191 Roberts Edwin Thomas 125 Mora Francis Luis 122 Robinson William S 180 Moran Edward 61 227 Rockmore Noel 142 Mousson Jozef Teodor 39 Ryder Chauncey Foster 190 Mulhaupt Frederick J 27 S N V Sala Emilio Grau 96 W Warshawsky Abel George 20 Weir Julian Alden 149 Wendt William 143 Whorf John 126 Wiggins Guy Carleton 101 147 Wilcox William 46 Wiles Irving Ramsey 72 151 Wiles Attr Irving Ramsey 148 Williams Virgil 48 Winter Andrew 55 Wuermer Carl 128 Nichols Dale 71 Schofield Walter Elmer 45 Nodjoumi Nicky 211 Searle Ronald 237 Z Norton William Edward 65 Sebire Gaston 198 Ziem Felix 75 157

CONSIGNMENTS INVITED At SHANNON S we offer personalized service and competitive commission rates to ensure you have the most profitable auction experience For over 20 years clients have trusted us with their Fine Art relying on our expertise reputation and history of record prices Since 1997 Shannon s has sold over 100 000 000 in Fine Paintings Drawings Prints and Sculpture Contact us today to see what we can do for your collection Upcoming Auctions January 2019 On Line Fine Art Auction Consignment deadline December 17 2018 April 2019 Important American European Paintings Drawings Prints Sculpture Consignment deadline March 4 2019 To submit artwork for consideration please email photos to info shannons com or visit www shannons com TESTIMONIALS On behalf of my mother and sister I d like to express to you our appreciation for the way you conducted the sale of my mother s oil painting by M J Heade Being complete novices with a valuable oil painting on our hands we could have made any number of wrong decisions Thanks to the guidance and the hard work of your firm we were able to realize what was probably the maximum price for the painting Our experience working with Shannon s was completely enjoyable and satisfying from start to finish Bill New Jersey Approximately three months ago I walked into your gallery with a somewhat damaged soiled painting Since that time I ve experienced a once in a lifetime journey Your expertise honesty and candor were evident throughout this time I thank you for your guidance and professionalism John Connecticut Thank you for your succinct handling of my five offerings in your April auction I was more than pleased with the final financial transactions but even more so with the personal warmth not condescending professional aloofness as evidenced by many auction houses and galleries and willingness to inform the uninitiated to further appreciation of a genuine treasure Your enthusiasm is evident and infectious Luther California 158

EMAIL OR FAX BIDS TO 49 Research Drive Milford CT 06460 P 203 877 1711 F 203 877 1719 Email info shannons com CHECK ONE ABSENTEE BID PHONE BID Name Date Address City State Zip Country Phone Alternate Fax Email Bidding Increments Lot Artist s Name Maximum Bid Excluding buyers premium 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 BIDS MUST BE RECEIVED AT LEAST 24 HOURS PRIOR TO DAY OF SALE I understand that Shannon s will execute my bids as a convenience and will not be held responsible for errors or the inadvertent failure to execute bids On my behalf Shannon s will try to purchase these lots for the lowest possible price If identical absentee bids are left Shannon s will give precedence to the first one received I have read and agree to the Conditions of Sale printed in this catalog Payment for successful bids must be made within two weeks of the sale A premium of 25 of the successful bid up to and including 200 000 and 20 on any amount exceeding 200 000 will be applied to the hammer price of all lots sold to be paid by the buyer as part of the purchase price Signature required Date 159

CONDITIONS OF SALE Shannon s LLC Fine Art Auctioneers acts solely as an agent for various owners and consignors It exercises care in describing all items listed and uses judgment in attributing authorship but offers no guarantee regarding authenticity condition or description The items described in this catalog which description may be amended by notice or announcement at sale time are offered for sale by Shannon s LLC as agent for various owners or others authorized to sell the items Hereinafter Shannon s LLC is referred to as the Sellers agent The owners or others authorized to sell the items are hereinafter referred to as Sellers The person or persons acknowledged by the auctioneer to be the highest bidder on an item shall be hereinafter referred to as the Buyer or Buyers Shannon s LLC reserves the right to change the terms of sale by oral announcement Any such change shall become part of the Conditions of Sale By placing of a bid whether present at the sale in person or by agent by written or oral bid by telephone or other means the Buyer agrees to be bound by these conditions of sale 1 The highest bidder acknowledged by the auctioneer shall be the Buyer In the event of any dispute between bidders the auctioneer has the absolute discretion to determine which bidder is the successful Buyer or to re offer the item in dispute and resell it 2 In the event of any dispute after the sale Shannon s LLC s record of the final sale price and of the successful buyer shall be conclusive Shannon s LLC reserves the right to withdraw any item before or during the sale 3 Shannon s LLC reserves the right to sell items which are not listed in the catalogue 4 Items in the auction are sold subject to a reserve Such reserve is confidential but in no case will the reserve exceed the low estimate The auctioneer may reject any bid or increment not commensurate with the value of the lot 5 Order bids are accepted A deposit may be required Absent parties may place bids by mail email fax or in person prior to the sale Order bids must be placed 24 hours prior to the day of sale Shannon s LLC will execute such bids up to the maximum amount specified Phones must be reserved 24 hours prior to the day of sale Phone bidders are encouraged to leave a cover bid in case of technical failure Shannon s is not responsible for errors or omissions in the execution of these bids 6 A premium of 25 of the successful bid up to and including 200 000 and 20 on any amount exceeding 200 000 per lot will be applied to the individual hammer price of all lots sold to be paid by the buyer as part of the purchase price Payment may be made by cash check or wire transfer Visa MasterCard and Amex may be used up to the amount of 10 000 per auction Purchases are subject to 6 35 CT sales tax 160 ALL ITEMS MUST BE PAID FOR WITHIN 14 DAYS OF THE SALE AT WHICH POINT THEY WILL BE RELEASED FOR SHIPMENT OR DELIVERY 7 Limited Warrantee Although Shannon s LLC exercises due care in describing the items listed and use good judgment in attributing authorship it does not make any express or implied warrantee as to such authorship Notwithstanding Shannon s LLC may but shall have no obligation to consider any reasonable request for refund on the grounds of authenticity of authorship only and only under the following conditions A Notification must be made to Shannon s in writing within 7 days of receipt of the item B The items must be returned within 28 days of the sale accompanied by written testimony from a recognized authority that the lot in question is a forgery C The limited warrantee does not extend to the lots identified as attributions school circle manner or after D The limited warrantee is applicable only to the original Buyer 8 All property is sold as is 9 As a convenience to the Buyer Shannon s LLC will make a referral for packing and shipping This is at the request expense and risk of the Buyer and Shannon s assumes no responsibility for the items or the timing of delivery Insurance for in transit items is the responsibility of the buyer All items must be removed within 30 days post sale or a fee of up to 20 per day will be charged for storage Items not collected within twelve months of a sale will become the property of Shannon s 10 Shannon s has retained the Art Loss Register to check all uniquely identifiable items offered for sale in the catalog that are estimated for 5 000 or more against the computerized database of stolen or lost artwork maintained by the Art Loss Register A search certificate can be provided by the Art Loss Register for an additional fee The Art Loss Register does not guarantee the provenance or title of any catalogued item against which they search and will not be liable for any direct or consequential losses of any nature howsoever arising The statement is not to affect detract from or override Shannon s Conditions of Sale and in the event of any conflict Shannon s Conditions of Sale will take priority to the terms of this statement BIDDING AT THIS AUCTION WHETHER IN PERSON BY AGENT ORDER BID TELEPHONE INTERNET OR OTHER MEANS CONSTITUTES YOUR ACKNOWLEDGEMENT AND ACCEPTANCE OF THESE CONDITIONS OF SALE

49 Research Drive Milford CT 06460 203 877 1711 Fax 203 877 1719