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Fine Art Auction Paintings, Drawings, Prints and Sculpture Milford, Connecticut • October 27, 2022

Front cover illustration #26 Back cover illustration #48FINE ART AUCTION PAINTINGS, DRAWINGS, PRINTS AND SCULPTURE PREVIEW DATES & TIMES: In-person previews by appointment October 17-26th (weekdays from 11AM-6PM) Saturday, October 22nd (10AM-3PM, closed Sunday) Virtual previews & additional photos are available by request. Bid by telephone, absentee and live on shannons.com.AUCTION INFORMATION Thursday, October 27, 2022 | 6:00 PM EDT

CONTENTSContacts 2 Artist Index 156 Invitation to Consign 158 Bid Form 159 Conditions of Sale 160Sandra Germain Managing Partner sandra@shannons.comAli Danker Specialist ali@shannons.comGene Shannon Founder / Consultant info@shannons.comMary Bretthauer Gallery Manager mary@shannons.comJoe Bartolomeo Operations / Photography joe@shannons.comContactsGeneral Sale Inquiries info@shannons.com

1 JOHANN BERTHELSEN American (1883-1972) SNOWY DAY, CITY HALL oil on canvas signed lower right "Johann Berthelsen" 25 x 30 inches PROVENANCE Sam and Ruth Levinson, New York, 1949; Gail Levinson, New Castle, Delaware (by descent from the above); Private Collection; Sotheby's, New York, New York, April 7, 2017, lot 129; Private Collection, New York. ESTIMATE $12,000—$18,00013

2 JOHANN BERTHELSEN American (1883-1972) GRAND ARMY PLAZA oil on canvasboard signed lower right "Johann Berthelsen", artist stamp on the reverse 12 x 9 inches PROVENANCE Pocock Fine Art, Fort Lauderdale, Florida; Private Collection, New York; Private Collection, New Jersey. ESTIMATE $2,500—$3,500234B4A443 EVERETT LONGLEY WARNER American (1877–1963) EVENING STREET SCENE oil on canvas signed lower left "Everett Warner" 19 5⁄8 x 15 1⁄2 inches PROVENANCE Private Collection, Connecticut. ESTIMATE $2,000—$3,0004 JULES EUGENE PAGES American (1867-1946) "GARDENS OF TUILERIES " "IN THE LUXEMBOURG GARDEN" (A PAIR) oil on canvasboard signed lower right "Jules Pages", (a) titled, inscribed and initialed on the reverse "(Louvre), Paris / J.P." (b) titled, inscribed and initialed on the reverse "in Queens of France / Paris / J.P. / 3" 8 x 10 inches (each) PROVENANCE DeRu's Fine Arts, Laguna Beach, California; Private Collection, Florida. ESTIMATE $4,000—$6,000

5 FELICIE WALDO HOWELL American (1897–1968) "ST. PAUL'S FROM JOHN STREET, N.Y.", 1926 oil on canvas signed and dated lower right "Felicie Waldo Howell, 1926", titled on the reverse 40 1⁄4 x 30 inches PROVENANCE Private Collection, Los Angeles, California. EXHIBITED Pittsburgh, Pennsylvania, Carnegie Institute of Pittsburgh (label on the reverse); New York, New York, Grand Central Art Galleries, "Exhibition of Paintings and Sculpture Contributed by Artist members of the Galleries", June 1 - September 30, 1927, cat. no. 72 (illustrated). NOTES A label from Grand Central Art Galleries, New York, New York is on the reverse. A label from Washington, D.C., Corcoran Gallery of Art, "10th exhibition Contemporary American Oil Paintings", 1926 for "From the Attic Window" is on the frame. ESTIMATE $10,000—$15,00055

6 ERIC SLOANE American (1905-1985) BARN IN WARREN, CT, 1956 oil on masonite signed lower left "Eric Sloane", inscribed and dated on the reverse "Warren, CT / 1956" 23 5⁄8 x 27 1⁄2 inches PROVENANCE Purchased in Northampton, Massachusetts, ca. 1970; by descent to Private Collection, New York, New York. ESTIMATE $5,000—$7,0007 ERIC SLOANE American (1905-1985) "ABOVE THE WEATHER, FORTRESSES AT 15000' " oil on canvas signed and titled lower right "E. Sloane" 25 x 30 1⁄4 inches PROVENANCE Purchased in Northampton, Massachusetts, ca. 1970; by descent to Private Collection, New York, New York. ESTIMATE $3,000—$5,000676

8 JACK LORIMER GRAY Canadian (1927-1981) "THE BELL BUOY" oil on canvasboard signed lower right "Jack L. Gray", signed and titled on the reverse 22 x 30 inches PROVENANCE Charles H. Mallory, Mystic, Connecticut; Russ Antiques & Auctions, on-site auction of the Charles H. Mallory House, Mystic, Connecticut, August 18, 2012; Private Collection, Connecticut. EXHIBITED Nova Scotia Society of Artists, "Annual Exhibition". ESTIMATE $12,000—$18,00087

9 RICHARD HAYLEY LEVER American (1876-1958) GLOUCESTER ROOFTOPS AND HARBOR, CA. 1920S oil on canvas signed lower left "Hayley Lever" 20 1⁄4 x 24 1⁄2 inches PROVENANCE Spanierman Gallery, New York, New York; Private Collection, Atlanta. EXHIBITED New York, New York, Spanierman Gallery, "Painters of Cape Ann, 1840-1940: One Hundred Years in Gloucester and Rockport", April 13 - June 22, 1996; New York, New York, Spanierman Gallery, "Hayley Lever (1876-1958)", February 20 - April 5, 2003, p. 73 (illustrated). ESTIMATE $10,000—$15,00098

10 LEON DABO American (1868-1960) ON THE HUDSON oil on canvas signed lower center "Leon Dabo" 21 x 28 inches PROVENANCE Private Collection. NOTES A label from the Art Library of Beloit College, Beloit, Wisconsin is on the reverse. ESTIMATE $8,000—$12,000109

11 DAME LAURA KNIGHT British (1877-1970) "WINTER, FIGURES SKATING (WINTER)", 1916 oil on canvas signed lower left "Laura Knight" 25 x 30 inches PROVENANCE Sotheby's, London, June 10, 1998, lot 88; Private Collection, New York, New York. NOTES This work is included in the Catalogue Raisonné of the artists’ works, currently being compiled by R. John Croft FCA, great nephew to the artist. We are grateful to Mr. Croft for his assistance cataloging this lot. ESTIMATE $40,000—$60,00010Recognized as the most prodigious female artist of her generation, Laura Knight elevated the status of female artists through her talent and determination. Banned from life drawing classes, she had to work from nude plaster casts at the Royal Academy. In 1913, she painted Self Portrait with Nude, depicting herself painting with a nude model. This caused controversy and was rejected from the Royal Academy and described by critics as ‘vulgar.’ For Knight, it was a chance to open the dialogue of how women artists were being treated as outsiders. She persevered and in 1965 became the first female artist to be the subject of a large-scale retrospective at the Royal Academy. The painting is now considered one of her masterpieces. Knight was born in Derbyshire in 1911, the youngest of three daughters. Her father abandoned the family, burdening them with further financial problems. She was sent to live with relatives in France before their financial troubles forced her to return home. Knight’s mother was a teacher at the Nottingham School of Art and enrolled Laura, at no cost, in classes at the age of 13. Knight’s talent was evident and she won a gold medal in a national competition. At 15, her mother was diagnosed with cancer and Knight took over her mother’s teaching responsibilities. At age 17, Laura met Harold Knight at the School of Art. She copied his technique as a way to learn painting herself. The two became friends and married in 1903. Together the artist couple traveled visiting the artists working in the Netherlands at the Hague School in Laren. In 1907, the couple moved to Cornwall and became central figures in the Newlyn School artists colony. During this time, Knight painted in an increasingly impressionist style. She found support in the colony and was able to paint from nude models and en plein air. Shortly before painting the present lot, Knight had broken her leg. She and her husband were staying with their good friends Bernard (1874 - 1941) and Annie Walke, an artist from the Newlyn School, at their home St Hilary, Cornwall. In her autobiography Oil Paint and Grease Paint Knight writes that the painting was made from drawings whilst sitting in a borrowed old bath chair that Bernard Walke “trundled” her around in every day to a pond where children were skating and sliding. In the foreground, she depicted where the young ice skaters had discarded their jackets and shoes onto the bank of the pond when they had put on their skates. A skater rapidly passes by two children who have taken a tumble with perhaps one of their parents carefully watching over them on the far bank. From the drawings made at the same time, the artist also painted Ice Hockey, 1917, an oil on canvas, depicting a game of ice hockey being played by two local teams on a nearby pond, and The Frozen Pond, another oil on canvas that was purchased by Sir William Longstaff for the New South Wales Museum and Art Gallery, Australia.

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12 MASSIMO CAMPIGLI Italian (1895-1971) "AMICHE / AMIES / LE CONSOLATRICI", 1946 oil on canvas signed and dated lower right "Campigli 46" 23 1⁄2 x 29 1⁄2 inches PROVENANCE Private Collection, New York; Private Collection, Connecticut. EXHIBITED Amsterdam, Netherlands, Stedelijk Museum, "Massimo Campigli", December 20, 1946 - February 2, 1947; Rotterdam, Netherlands, Museum Boymans, February 8 - March 2, 1947, no. 55. LITERATURE Raffaele Carrieri, "Massimo Campigli 1946. Un messaggero dell’arte italiana all’estero", in: “Il Sabato del Lombardo”, (Milan: November 30, 1946);Franco Russoli, "Campigli. Pittore", (Milan: Edizioni del Milione, 1965), (Monografie di Artisti Italiani Contemporanei, 9), plate 31;Raffaele De Grada, "Campigli", (Rome: Il Collezionista editore, 1969), p. 76, p. 308 (in the French part, p. 314);"Omaggio a Campigli", a cura di Giancarlo Serafini, Carlo Bestetti, (Rome: Edizioni d’Arte, Il Collezionista d’Arte Contemporanea, 1972), p. 82;Nicola Campigli, Eva Weiss, Marcus Weiss, "Campigli. catalogue raisonné", a cura di Archives Campigli Saint-Tropez, (Milan: Silvana Editoriale, 2013), vol. II, no. 44-019, p. 539;Eva Weiss, "Massimo Campigli, Kunst aus Obsession", (Munich: 2015 (dissertation University of Basel (CH) 2015, https://edoc.unibas.ch/79499/)), pp. 90-91 (fig. 149) and 132, 178 (fig. 42); vol. 2, p. 42, fig. 149e, p. 64, fig. 42. NOTES A declaration of authenticity from Dr. Eva Weiss and Marcus Weiss of the Archiv Weiss and the Campigli Archives accompanies this lot. ESTIMATE $30,000—$50,00012Amiche was exhibited in 1946 in a large and important Campigli retrospective at the Stedelijk Museum in Amsterdam and published in two of the main monographs about the artist during his lifetime (Russoli 1965 and De Grada 1969). In the catalogue raisonné (2013) it is published as catalog number 44-019, unfortunately wrongly dated 1944. The date should be corrected to the year 1946 thanks to the reappearance of the painting after almost eighty years, hidden in an American private collection. Stylistically and technically, the painting fits perfectly in the artist‘s work of the mid-forties with a very reduced scale of subtle earthy tones and thick layers of oil paint, visible paint strokes and even paint globs remaining on the surface. Thematically, the painting relates to a motif Campigli has depicted since the twenties. Here, though, the motif of two women is composed in a very particular way because the contours of the two women embracing each other merge into one single, com-pact form. Not only do their horizontally bowed heads, resting on each other, precisely fit together but also, vertically seen, the eyes of one figure create a compositional line with the necklace of the other figure and vice versa, a fact which further emphasizes and visualizes in perfection the complete union of the two women. The painting is closely related to a drawing and one of twelve lithographs Campigli created in 1944 to illustrate the Liriche di Saffo, his second artist’s book, stamped by the Officina Bodoni, Verona and the Edizioni del Cavallino, Venice 1}(images of these are available on shannons.com). The historical context may be an explanation for the antique-like clothing of the women, but is also found in other paintings of this time, especially in the Donne velate-series. Comparing the drawing, the lithograph and the painting with each other, the creative process becomes apparent in which Campigli was gradually perfecting the idea of unification of the two women. In the drawing there are two full-length figures with long dresses, whose ornamental ribbons at the bottom, resemble a meander band, catching the attention of the viewer, while in the lithograph Campigli cuts off the lower part of the women’s figures concentrating on the upper part of their bodies and extending the width of the composition. Consequently, the focus is much more on the embrace and the intertwining of heads and hands. But in both works, the drawing and the lithograph, there is a third hand shown which belongs to the woman above. In the painting, Campigli eliminates the third hand with an astonishing effect – it reduces the composition to the essential and strengthens the impression of two figures becoming one. The pictorial idea of the painting meant so much to Campigli that in 1966 he incorporated it into the design for the mosaic panel for the tomb of his wife Giuditta Scalini (no. M66-001) to whom twenty two years earlier he had already dedicated the lithograph in Saffo. SOURCE: Adapted from the Declaration of Authenticity prepared by Dr. Eva and Marcus Weiss of the Archiv Weiss.

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13 RAFAL OLBINSKI Polish (b. 1943) HOT AIR BALLOON oil on board signed lower right "Olbinski" 22 1⁄2 x 16 1⁄4 inches PROVENANCE Private Collection, New Jersey. ESTIMATE $5,000—$7,00014 DAVID BURLIUK Ukrainian (1882-1967) FLOWERS BY THE RIVER oil on canvas signed lower left "Burliuk" 16 x 20 inches PROVENANCE Private Collection, Oregon. ESTIMATE $8,000—$12,000141413

151515 VASILY PETROVIC VERESCHAGIN Russian (1835-1904) PORTRAIT OF A NORTH RUSSIAN TRIBE MEMBER oil on panel artist stamp on the reverse 9 x 6 1⁄2 inches PROVENANCE Mrs. Clement A. Griscom, by descent in the family; Robert Lindsay Fine Art, Philadelphia, Pennsylvania; Private Collection, Philadelphia, Pennsylvania. NOTES Inscribed on a label on the reverse from Robert M. Lindsay Fine Art, Philadelphia, Pennsylvania "An original oil sketch. From the collec. of Mrs. C.A. Griscom and Vereschagin collec. sold by The American Art Association, 1881". ESTIMATE $25,000—$35,000

1616 JOHN PASCHE British (b. 1945) "TONGUE AND LIPS" gouache and pencil on paper signed in pencil lower right "John Pasche" 31 1⁄2 x 31 1⁄2 inches PROVENANCE The artist; Private Collection, California. ESTIMATE $8,000—$12,00017 GERALD LAING British (1936-2011) "GYRON I", 1965 liquetex and chromium plate on aluminum unsigned 66 1⁄2 x 90 x 34 inches PROVENANCE John G. Powers, New York, New York; John G. and Kimiko Powers Collection; property of a Non-Profit Organization, received as a gift from the above. ESTIMATE $6,000—$8,0001617

1718 GERALD LAING British (1936-2011) "INDENTY" enameled steel signed, titled, dated and inscribed on the reverse "1965-6 / NYC" 56 x 159 inches "MAQUETTE FOR INDENTY", 1965-66 enamel on aluminum, chrome on brass signed, titled, inscribed, dated and numbered on the reverse "Gerald Laing, NYC, 1965-66 # 109" 10 1⁄2 x 21 5⁄8 inches PROVENANCE Richard Feigen Gallery, New York, New York; John G. and Kimiko Powers Collection; property of a Non-Profit Organization, received as a gift from the above. ESTIMATE $12,000—$18,00018

1819 ROY LICHTENSTEIN American (1923-1997) "REAL ESTATE", 1969 lithograph in blue on Arches paper signed, dated and inscribed in pencil lower right "To Paul - Roy Lichtenstein '69", printed by Atelier Mourlot, published by Chelsea House Publishers, New York, published by Publications IRL, Lausanne, Switzerland; published by Paul Bianchini. Aside from the numbered edition of 100. 13 1⁄2 x 32 inches PROVENANCE John G. and Kimiko Powers Collection, 1986; property of a Non-Profit Organization, received as a gift from the above. LITERATURE Corlett, 88. ESTIMATE $8,000—$12,00019

20 JOHN WESLEY American (1928-2022) "ALICE", 1964 India ink on paper signed, titled and dated lower left "John Wesley 1964" 16 x 25 3⁄4 inches (sight) PROVENANCE Robert Elkon Gallery, New York, New York; Property of a Non-Profit Organization. ESTIMATE $10,000—$15,0002019

21 BOB THOMPSON American (1937-1966) UNTITLED, 1963 gouache on paper signed and dated lower left "B. Thompson '63" 23 1⁄2 x 18 3⁄8 inches (sight) PROVENANCE The Drawing Shop Gallery, New York, New York; John G. and Kimiko Powers Collection; property of a Non-Profit Organization, received as a gift from the above. EXHIBITED New York, New York, The Drawing Shop Gallery, November 1963. ESTIMATE $30,000—$50,00020Robert Louis (Bob) Thompson was born in 1937, in Louisville, Kentucky, where he grew up in a middle class family. His father died in a car accident in 1950 and at the age of thirteen, he was sent to live with his sister and her husband, Robert Holmes, an artist. Holmes encouraged Thompson’s artistic inclinations, offering guidance and inspiration. Thompson graduated from an academically rigorous all-black high school in 1955 and then enrolled as a pre-med student at Boston University. He soon realized, however, that painting, not medicine, was his true passion and transferred to the art program at the University of Louisville, where fellow African American artist Robert Gwathmey was a graduate student in Fine Art. During these years, Thompson’s early abstractionist style gave way to a more figural approach, a shift the artist credited to a summer spent in Provincetown, Massachusetts in 1958. There, Thompson met a group of emerging artists, including Red Grooms, Emilio Cruz, and Gandy Brodie, who, in contradiction to New York trends, embraced figures in their work. Deeply influenced by these non-conforming artists, Thompson modified his own style to incorporate figures. Thompson was inspired by the play of good and evil, which creates both order and chaos in the relationships of man, animals, and nature. In his vision, nude female figures express nature’s sensuality, while birds symbolize power and freedom as well as his preoccupation with the ultimate flight of death. Thompson revered the Old Masters, including Piero della Francesca, Masaccio, and Poussin, and used their works as points of departure. In The Spinning, Spinning, Turning, Directing, he reinterpreted images from three of Goya’s Los Caprichos: Tale Bearers, Hobgoblins, and Rise and Fall. Whether sensual, spiritual, or tortured, Thompson’s paintings are metaphors of both the rational and irrational forces of nature.1 Bob Thompson returned to New York in 1963, where he rented an apartment on the Lower East Side, close to the studio of friend and fellow artist Lester Johnson, who helped Thompson get a one-man show at Martha Jackson’s gallery that year. The show received favorable reviews, and, as Judith Wilson writes, “in rapid succession, mainstream art-world doors began opening to the twenty-six-year-old artist.” 2 The present lot, Untitled from 1963, is an example from this pivotal time in his career, as critics began to recognize his work. He gained unprecedented status for an African American artist by 1965 and was living an extravagant life-stye. He followed his dream of returning to Rome to study Renaissance art. It was there that he succumbed to complications from gallbladder surgery, ending his life and career. Thompson’s works can be found in collections at the Metropolitan Museum of Art, Museum of Modern Art, Solomon R. Guggenheim Museum, and the Whitney Museum of American Art in New York City; the Hirshhorn Museum and Sculpture Garden, Smithsonian American Art Museum, and National Gallery of Art in Washington, DC; Art Institute of Chicago; Detroit Institute of Arts Museum; Minneapolis Institute of Arts; New Orleans Museum of Art; Nasher Museum of Art at Duke University, Durham, North Carolina; and Wadsworth Atheneum, Hartford, Connecticut. 1 Judith Wilson, “Garden of Music,” in “Bob Thompson,” exh. cat. (New York: Whitney Museum of American Art, 1999) 2 Lynda Roscoe Hartigan African-American Art: 19th and 20th-Century Selections (brochure. Washington, D.C.: National Museum of American Art)

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22 WINFRED REMBERT American (1945-2021) "LOVE POTION #55147" dye on carved and tooled leather unsigned 30 1⁄2 x 21 3⁄4 inches (sight) PROVENANCE The artist; descended in the artist's family to the current owner, Private Collection, Connecticut. NOTES This composition depicts the artist and his wife, Patsy, shortly before they left Georgia. A signed letter from Mitchell Rembert, son of the artist, confirming the authenticity of this work accom-panies this lot. ESTIMATE $8,000—$12,0002222

23 WINFRED REMBERT American (1945-2021) "AUNT LULA" dye on carved and tooled leather unsigned 19 x 17 3⁄4 inches PROVENANCE The artist; descended in the artist's family to Private Collection, Connecticut. NOTES A signed letter from Mitchell Rembert, son of the artist, confirming the authenticity of this work accompanies this lot. ESTIMATE $5,000—$7,00024 MITCHELL REMBERT American (b. 1984) "REFLECTION", 2021 acrylic leather paint and dye on carved and tooled leather signed, titled and dated on the reverse, "Mitchell Rembert / 2021" 30 x 24 inches (sight) PROVENANCE The artist; Private Collection, Connecticut. NOTES This work is a portrait of the artist's mother, Patsy Rembert. The work is titled "Reflection" as an homage to the artist's grandmother. ESTIMATE $3,000—$5,000232423

2425 WILLIAM LESTER STEVENS American (1888-1969) POINT PLEASANT, DELAWARE RIVER, CA. 1927-1929 oil on canvas signed lower right "W. Lester Stevens" 42 x 48 inches PROVENANCE A New Jersey estate; Private Collection, Massachusetts. ESTIMATE $20,000—$30,000William Lester Stevens was born in Rockport, Massachusetts, a seaside town that had been an established destination for artists. He completed his early formal training with Parker Perkins and then attended the Boston Museum School as a student of Edmund Tarbell, Frank Benson, Philip Hale and William Paxton. In 1917, Stevens joined the Army and was sent to Europe. He painted and sketched while in Europe and when he returned to Rockport found that it had become a destination for artists including Frank Duveneck, Childe Hassam, Leon Kroll and Jonas Lie. Together with his friend, Aldro T. Hibbard, Stevens was instrumental in organizing the Rockport Art Association in 1921 exhibiting the works of fifty area artists.Their shared goal was to make fine art more accessible to a broader audience. Stevens would continue to pursue these goals later in his career by organizing the Conway Festival of the HIlls and the Berkshire Arts Festival. As an established artist, Stevens first taught in Rockport and then from 1925-1926 at Boston University and from 1927-1929 at Princeton. He traveled in the south and had one-man exhibitions in Charlotte and Asheville, North Carolina, where his work was well received. When speaking of Stevens few are aware of his time spent painting in the New Hope, Pennsylvania area from 1927 to 1929. In 1927, he was appointed an instructor of freehand drawing and watercolor at Princeton University. According to his exhibition records, Stevens exhibited two paintings at the Pennsylvania Academy of the Fine Arts with New Hope area subjects, “Winter in New Jersey”,1929, and “Lumberville” in 1930. In addition, a painting titled “Lumberville” was exhibited at the National Academy of Design in 1929 and at the Art Institute of Chicago in 1930. During his time at Princeton, Stevens was extremely productive and exhibited extensively. In 1928, Stevens exhibited at the American Watercolor Society and won the William S. Delano Prize. He also exhibited at the National Gallery of Art and the Corcoran Gallery of Art. Despite his rigorous academic schedule, he produced enough paintings during 1928 to send works to the New Haven Paint and Clay Club where Winter in New Jersey won the Mansfield Prize. Also, during this time he had a one man show at the American Association of University Women at the Public Library in Birmingham, Alabama, followed by an exhibition of over thirty oil paintings at the J.B. Speed Museum in Louisville, Kentucky. In 1929, Stevens gave up his teaching position at Princeton and returned to Rockport. In an article written by Charles Movalli for the ‘American Artist’ he wrote: “Stevens loved to talk about art - and himself. Steve thought he was the only painter in the world, a friend remembers fondly. He used to joke that ‘only God and Lester Stevens can make a tree. He never tired of talking about the time his hero, Edward Redfield, the great outdoor painter, saw a Stevens painting in a show and said, “That kid’s going to go far.” It is likely that Redfield and his paintings of Point Pleasant first inspired Stevens to visit the area.” In 1934, the Stevens family left Rockport and moved to Conway, Massachusetts where the artist remodeled an old farmhouse and built a studio facing Mount Monadnock. He painted throughout his entire life and died in Conway in 1969. By 1964 he had won more awards than any other living artist except for Sargent.

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26 DANIEL GARBER American (1880-1958) "ELM BOUGH", AUGUST 1940 oil on canvas signed lower right "Daniel Garber" 28 x 30 inches PROVENANCE The artist; sold to Molly Woods (Mrs. John R.) Hare, Langhorne, Pennsylvania; bequeathed to Edward L. Johnstone, Princeton, New Jersey, 1956; to (his wife) Mrs. Edward L. Johnstone, Florida, 1976; by descent in the family; Sotheby's, New York, New York, December 3, 2008, lot 85; Private Collection. EXHIBITED Philadelphia, Pennsylvania, McClees Galleries, 1940 LITERATURE Lance Humphries, "Daniel Garber: Catalogue Raisonné, vol. II", (New York: Hollis Taggart Galleries, 2006), cat. no. P757, p. 266 (illustrated). NOTES Documented in the Artist's Record Book I, page 61, lines 25-26. ESTIMATE $200,000—$300,00026Daniel Garber was a leading member of the group of landscape painters who lived and worked in Bucks County, Pennsylvania and became known as the New Hope School of American Impressionists. The New Hope School embraced the French Impressionist approach to painting en plein air and capturing the changing effects of natural light while developing their own distinct idiom in the Bucks County landscape. Garber was born in Manchester, Indiana and attended the Art Academy of Cincinnati where he studied with Frank Duveneck. In 1899 he enrolled at the Pennsylvania Academy of the Fine Arts in Philadelphia where he studied under William Merritt Chase, Thomas Anschutz, J. Alden Weir and Hugh Breckenridge. He opened his own studio in Philadelphia in 1901 working as a portrait painter and commercial artist until 1905. In 1905, Garber won the Pennsylvania Academy’s Cresson Traveling Scholarship which allowed him to spend two years in England, France and Italy. In Paris, Garber was inspired by the French Impressionists, particularly Claude Monet and Camille Pissarro. He exhibited his paintings at the Paris Salon. He returned to the United States in 1907 settling in Lumberville, Pennsylvania just on the outskirts of New Hope. There he painted the landscape, woods and quarries of Bucks County becoming a central figure in the growing New Hope School. Where his predecessor, Edward Redfield painted quickly with bold brushstrokes and a juicy paint application, Garber painted delicately, layering thinned paint to create depth of color. Both artists are considered leaders of the New Hope School and more broadly important artists in the history of American Impressionism. In 1909, Garber accepted a teaching position at the Pennsylvania Academy and remained there for 41 years. He earned the First Hallgarten prize at the National Academy of Design in New York in 1908 and was awarded a Gold Medal at the Panama-Pacific exhibition in 1915. Garber was elected an associate of the N.A.D. in 1910 and a full academician in 1913. His works are displayed in collections including the Philadelphia Museum of Art, the Metropolitan Museum of Art, the Art Institute of Chicago, the Smithsonian Museum of American Art and the Saint Louis Art Museum.

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27 EDWARD WILLIS REDFIELD American (1869-1965) "DRIFTED ROAD", 1917 oil on canvas signed and dated lower right "E.W. Redfield 1917" 38 x 50 inches PROVENANCE Newman Galleries, Philadelphia, Pennsylvania; Private Collection. EXHIBITED Allentown, Pennsylvania, Allentown Art Museum, "Edward Redfield: First Master of the Twentieth Century Landscape", September 20, 1987 - January 10, 1988 and Youngstown, Ohio, The Butler Institute of American Art, February 14 - April 2, 1988. LITERATURE F. Newlin Price, "Edward Redfield ~ Painter of Days", in "International Studio" (vol. 75), August 1922, pp. 402-410, p. 403 (illustrated in color); J.M.W. Fletcher, "Edward Willis Redfield: An American Impressionist, His Paintings and the Man Behind the Palette", (Lahaska, Pennsylvania: JMWF Publishing, 1996), p. 161, cat. no. 198. NOTES This work is listed in the inventory of 157 works owned by Redfield at the time of his death in 1965 (no. 11). ESTIMATE $200,000—$300,00028Edward Redfield was a leading member of the group of landscape painters who lived and worked in Bucks County, Pennsylvania and became known as the New Hope School of American Impressionists. As his reputation grew, Redfield lured other artists to the area including Daniel Garber and Walter Schofield, establishing the region as an important center of American Impressionism. The New Hope School embraced the French Impressionist approach to painting en plein air and capturing the changing effects of natural light while developing their own distinct idiom in the Bucks County landscape. Born in Bridgeville, Delaware, Redfield studied at the Pennsylvania Academy of the Fine Arts in Philadelphia from 1885-1889. There, he worked under Thomas Anschutz and Thomas Hovendon and befriended Robert Henri. In 1889, Redfield traveled to Paris to train with William Bougereau and Tony Robert-Fleury at the Academie Julian. He briefly studied at the Ecole des Beaux Arts and traveled to Fontainebleau with Henri in 1891. On his first visit, Redfield stayed in Europe until 1893 visiting France, Italy and England and painting Impressionist scenes en plein air. He visited France again from 1898-1900 for an extended stay working in Alfortville, near the confluence of the Seine and Marne rivers. When he returned to the United States, he moved to Center Bridge, near New Hope, Pennsylvania. Although Redfield and Henri depicted different subjects, both artists returned from Europe with a commitment to Realism and the goal of developing a new, distinctive version of American Art. Redfield depicted the Bucks County landscape around him, especially in the winter, and traveled to Monhegan Island to paint in the summers. He painted prolifically in the 1890s and by the beginning of the twentieth century had developed his mature style. His best paintings, including Drifted Road, were painted during this period. The larger works, including the present lot, were typically intended for exhibition. Redfield showed his paintings regularly in both American and European exhibitions earning prizes or medals at the the Exposition Universelle in Paris, the Pan-American Exposition in Buffalo, numerous prizes at the Pennsylvania Academy of the Fine Arts, the St. Louis World’s Fair, the Corcoran Gallery, Paris Salons, Art Institute of Chicago, Panama-Pacific Exposition and the National Academy of Design. He was elected an associate of the N.A.D. in 1904 and a full academician in 1906. Redfield is best known for his snow scenes painted quickly, en plein air. Even in his later years, he painted outdoors year-round. Redfield’s paintings are included in numerous important public and private collections including the Metropolitan Museum of Art, the Smithsonian American Art Museum, the Whitney Museum of American Art and the Philadelphia Museum of Art among others. With the exception of John Singer Sargent, Redfield is said to be more decorated with awards, prizes and medals than any other American artist of the twentieth century.

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3028 JOHN FULTON FOLINSBEE American (1892-1972) "GOAT HILL", 1923 oil on canvas signed lower right "John F. Folinsbee", signed and titled on the stretcher 30 x 30 inches PROVENANCE Estate of the artist until 1978; Private Collection EXHIBITED New York, New York, Ferargil Gallery, "Paintings by John Folinsbee", January 24 - February 8, 1924; Dallas, Texas, Texas State Fair, "19th Annual Loan Exhibition of American Paintings", November 1924; Philadelphia, Pennsylvania, Philadelphia Art Club, "Annual Exhibition", December 15, 1925 - January 3, 1926 LITERATURE Charles H. Caffin, [unknown title] in New York American, January 27, 1924; "Appraisal of Pictures, Estate of John F. Folinsbee", June 20, 1972, (Boston: Vose Galleries, 1972), #420; Kirsten M. Jensen, "Folinsbee Considered", (Hudson Hills Press, 2013), p. 170, color plate 20; p. 241, cat entry. NOTES This work is included in the John F. Folinsbee Catalogue Raisonné online project under the direc-tion of Kristen M. Jensen as cat. no. JFF.350. ESTIMATE $40,000—$60,000As biographer Kirsten M. Jensen notes, Folinsbee started his career with a splash. By 1915, at the age of 23, he had already had his first solo exhibition, his first traveling exhibition, important gallery representation at Macbeth in New York, and his first award from a jury in a national exhibition. During his lifetime, works sold for five-figure sums to important collectors and museums in Chicago, Cleveland, Houston and Los Angeles and his paintings were exhibited at international venues and were considered representative of American art. Folinsbee always intended to be an artist, attending children’s classes at the Art Student’s League of Buffalo at just nine years old. His family moved to Boston where Impressionists Frank Weston Benson and Edmund Tarbell dominated the art scene. In 1906, he had Polio and left the city to recover with his relatives in Plainfield, New Jersey. There, he met Jonas Lie, a strong advocate of plein air painting. Folinsbee spent a few months with Lie before moving to attend the Gunnery school in Washington, Connecticut. In Connecticut, Folinsbee was encouraged to continue painting landscapes by Frank Vincent Dumond and the writings of Birge Harrison who was then at Woodstock. Motivated by Harrison’s writings, Folinsbee first arrived at Woodstock in the summer of 1912 and would return in 1913 and 1914 and in the winter between those years. Folinsbee boarded at Harrison’s house and was exposed to Harrison as a mentor even though he was no longer actively teaching. Together with Harry Leith-Ross the young artists stayed in Woodstock under the tutelage of Harrison in the winter between 1913-1914. In 1914, Folinsbee married and two years later moved with his wife, Ruth Baldwin, to New Hope, Pennsylvania. Edward Redfield, Daniel Garber, Robert Spencer and William Lathrop were already painting there and Folinsbee would join their ranks as a member of the now coined New Hope School or the Pennsylvania Impressionists. Of the present lot Jensen notes, “By the early 1920s, Folinsbee’s palette had subtly shifted away from the cool purples and blues characteristic of his work from the 1910s, to warmer oranges and bright greens. Upon seeing Folinsbee’s annual solo exhibition at Ferargil Galleries in 1924, which included this canvas, critic Charles Caffin remarked that his “latest” paintings reveal a growth on the technical side and have gained in depth and atmosphere. His color is a little higher in key and he is introducing the fresh greens of spring, where before he confined himself to slatey blues and pale browns.” Goat Hill exemplifies Folinsbee’s successful integration of higher-keyed blues, greens, and oranges into a single composition. The subtle contrast of the orange with the green grass creates a mood that is entirely different from his other works of this period…The poetic atmosphere critics noted in his earlier works is still there, but the introduction of color heightens the overall effect and tightens the design.”1 1 Kirsten M. Jensen, Folinsbee Considered, (Easthampton, Massachusetts: Hudson Hills Press, 2013), p. 241, cat. no. 350.

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29 JOHN FULTON FOLINSBEE American (1892-1972) "CANAL AND RIVER", 1930 oil on canvas signed lower right "John Folinsbee", titled on the stretcher, titled and signed on a label on the reverse 32 x 40 inches PROVENANCE Estate of the artist until 1978; Private Collection. EXHIBITED Philadelphia, Pennsylvania, Pennsylvania Academy of the Fine Arts, "126th Annual Exhibition", January 25 - March 15, 1931, no. 214, illustrated, awarded Jennie Sesnan Gold Medal; St. Louis, Missouri, City Art Museum of Saint Louis, "26th Annual Exhibition of Selected Paintings by American Artists", September 19 - November 1, 1931; New York, New York, National Arts Club, "Members Annual Exhibition of Painting and Sculpture", January 6 - 30, 1932, no. 52; New York, New York, National Academy of Design, "107th Annual Exhibition", March 27 - April 17, 1932, no. 19; New York, New York, Rockefeller Center, "Municipal Art Exhibition", February 28 - March 31, 1934; Philadelphia, Pennsylvania, Woodmere Art Museum, "John Folinsbee and American Modernism", November 6, 2010 - March 6, 2011. LITERATURE "Exhibitions", American Magazine of Art (April 1931); "Pennsylvania's Annual Gets Little Praise from Critics", Art Digest 5, no. 9 (February 1, 1931), p. 5, b/w ill.; Elizabeth Luther Cary, "Easy for the Traveler; This Affair Proves a Fairly Elevated Tableland, Heights Above, Depths Below" in New York Times, February 8, 1931; "City Artists win 4 out of 7 Prizes", in Philadelphia Inquirer, January 25, 1931; Pennsylvania Academy of the Fine Arts, "Catalogue of the 126th Annual Exhibition", (Philadelphia: The Academy, 1931), illustrat-ed; "[Stand-Alone Illustration]". New York Times, 1 February 1931, illustrated; "New Yorkers Win 4 of 7 Art Prizes", in New York Times, January 25 1931; "The New Hope", 1:5 (December 1933), p. 3, illustrated; "Able if Conservative Prize-Winners", in Art News 39 (January 25, 1941), p. 17, illustrated; "Appraisal of Pictures, Estate of John F. Folinsbee", June 20, 1972 (Boston: Vose Galleries, 1972), #421; Peter G. Cook, "John Folinsbee", (New York: Kubaba Books, 1994), p. 83, illustrated; Kirsten M. Jensen, "John Folinsbee and American Modernism", (Philadelphia: Woodmere Art Museum, 2010), exhibition catalogue (2010 Woodmere Art Museum Phila), p. 20, illustrated; Kirsten M. Jensen, "John Folinsbee and American Modernism", in American Art Review (February 2011), p. 92, illustrated; Kirsten M. Jensen, "Folinsbee Considered", (Hudson Hills Press, 2013), p. 192-193, color plate 37; p. 257, cat entry. NOTES This work is included in the John F. Folinsbee Catalogue Raisonné online project under the direction of Kristen M. Jensen as cat. no. JFF.379. A label from Grand Central Art Galleries, New York, New York is on the reverse. ESTIMATE $30,000—$50,00032In her monograph on the artist, biographer Kirsten M. Jensen notes, “In Canal and River, the faceted planes of nature—as if viewed through paned glass—recall the machinelike forms of Precisionism. Between 1930 and 1936 Folinsbee painted a number of landscapes in a distinctive, proto-Cubist style that he eventually abandoned in favor of the Expressionism that he employed for the remainder of his career. Those six years are bookended by Canal and River and Windy Bush lock, both of which received major awards. In this group of works, objects are reduced to simple geometric volumes—the barge and buildings lining the waterway in Canal and River are composed of flare planes and angles that stand in sharp contrast to the fluid forms of the tree- and snow-covered canal bank, imparting a sense of interior rhythm. Folinsbee’s ability to balance his dual interest in form and mood produced a dynamic composition that melds structure and representation, and imbues the landscape with evocative human and psychological interest. Perhaps because of its fusion of the formal characteristics of Modernism with a more traditional representation of nature, Canal and River received the prestigious Jennie Sesnan Gold Medal for landscape paintings at the Pennsylvania Academy of the Fine Arts in 1931.” Folinsbee’s work was regularly included in national exhibitions of American art. He was elected as an associate member of the National Academy in 1919 and a full academician in 1928. Today his work can be viewed in numerous public collections including the Corcoran Gallery of Art in Washington D.C., the Museum of Fine Arts in Houston, the New Britain Museum of Art in Connecticut and the Princeton University Art Museum in New Jersey.

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30 JOHN FABIAN CARLSON American (1875-1945) "UPLAND VILLAGE" oil on canvas signed lower left "John F. Carlson", signed and titled on the stretcher 25 x 30 inches PROVENANCE David Carlson, 1959; Vose Galleries, Boston, Massachusetts; Walter Ekwall, by descent in the family to the current owner, Private Collection, Connecticut. ESTIMATE $12,000—$18,0003034

31 WALTER ELMER SCHOFIELD American (1867-1944) CLIFFS ALONG THE SHORE WINTER LANDSCAPE (double sided work) oil on board signed lower left "Schofield", signed on the reverse 30 x 36 inches PROVENANCE Private Collection. ESTIMATE $15,000—$25,0003135

32 WALTER ELMER SCHOFIELD American (1867-1944) HARBOR SCENE oil on canvas signed lower left "Schofield" 20 x 24 inches PROVENANCE Private Collection, Massachusetts; Private Collection, Connecticut. ESTIMATE $8,000—$12,00033 JOHN FABIAN CARLSON American (1874-1945) "WINTER MISTS" oil on canvasboard signed lower left "John F. Carlson", signed and titled on the reverse 12 x 16 inches PROVENANCE Grand Central Art Galleries, New York, New York; Vose Galleries, Boston, Massachusetts; Private Collection, Washington. ESTIMATE $3,000—$5,000323336

3734 CHAUNCEY FOSTER RYDER American (1868-1949) NEAR MANCHESTER, VERMONT oil on canvas signed lower left "Chauncey F. Ryder" 45 1⁄4 x 57 1⁄2 inches PROVENANCE Elizabeth Bingham Blossom, Cleveland, Ohio; Private Collection, Florida. ESTIMATE $15,000—$25,00034

35 IRVING RAMSEY WILES American (1861-1948) THE PATH, 1888 oil on panel signed and dated lower left "Irving R. Wiles 1888" 17 x 21 inches PROVENANCE Private Collection. ESTIMATE $25,000—$35,00038The 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 was 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 Académie 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 École 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 commissioned illustrator for Century Magazine, Harper’s and Scribner’s. By the mid-1890s he was able to give up his illustration work and focus exclusively on his paintings. He was receiving many commissions from prominent Americans, including Theodore Roosevelt, 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 In 1886 Wiles was elected as a member of the Society of American Artists and in 1897 elected to the National Academy of Design. In the winter time, he taught at the Art Students League and the Chase School in New York. During the summers, he would travel with his family to Peconic in Long Island across the bay from Chase’s studio in the Sinnecock Hills. In his landscapes, including the present example, the persistent influence of his esteemed mentor Chase is apparent. 1 Reynolds, Wiles, 12. 2 Theodore Dreisser [sic], “Art Work of Irving R. Wiles,” Metropolitan Magazine 7, no. 4 (April 1898), 357-61.

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36 EDWARD HENRY POTTHAST American (1857-1927) BEACH SCENE oil on board signed lower left "E. Potthast" 12 x 16 inches PROVENANCE Mr. and Mrs. Merrill J. Gross, Wyoming, Ohio; Hirschl & Adler Galleries, New York, New York, 1962; Private Collection, New York, 1963; William Dean, New York, 1975; Private Collection, Massachusetts; Private Collection, Connecticut. EXHIBITED New York, New York, Hirschl & Adler Galleries, "Edward Henry Potthast, 1857–1927", December 11 - 29, 1962, p. 7, no. 14, (illustrated). ESTIMATE $20,000—$30,00040Edward Henry Potthast was born in Cincinnati in 1857, the son of a German cabinetmaker. Potthast became a charter student at the age of 12 at the McMicken School of Design in Cincinnati. He studied there on and off for the next decade while supporting himself as a lithographer and illustrator. In the fall of 1882, he traveled to Antwerp and after a brief period of instruction in the studio of Charles Veriat, he went on to Munich where he studied for the next three years. Other notable Cinncintait artists who preceded his studies in Munich include Robert Blum, Frank Duvenek and John Henry Twachtman. Potthast made the decision to leave Cincinnati in 1895 and establish himself in New York City. It was there that he became renowned for his scenes of people enjoying leisurely days at the beach and rocky harbor views became his specialty. He learned to combine the bright colors of Impressionism with the strong brushwork of the Munich School. Among his favorite sites were Coney Island and Rockaway Beach, both readily accessible from New York City. He spent summer months in any one of a number of seaside art colonies, including Rockport, Gloucester, and Cape Cod in Massachusetts, and Ogunquit and Monhegan Island, Maine. The current work, Beach Scene, is a charming rendition of a day at the beach with children playing in the sand and families socializing and enjoying the ocean. Works by Edward Henry Potthast are represented in public collections across the United States, including the Museum of Fine Arts, Boston; Brooklyn Museum of Art, New York; Butler Institute of American Art, Youngstown, Ohio; Art Institute of Chicago; Cincinnati Art Museum; Georgia Museum of Art, Athens; Metropolitan Museum of Art, New York; and Pennsylvania Academy of the Fine Arts, Philadelphia.

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423737 WILLIAM S. HORTON American (1865-1936) PUNCH AND JUDY SHOW, ROME, CA. 1918 oil on canvas unsigned 28 x 32 inches PROVENANCE Phillips, New York, New York, February 5, 1980, lot 74; Steven Straw Company, Newburyport, Massachusetts; Vose Galleries, Boston, Massachusetts; Private Collection, Massachusetts. NOTES There are labels on the stretcher from Galerie Charpentier, Paris, France and Arthur Lenars & Cie, Paris, France. ESTIMATE $10,000—$15,000

38 LEON KROLL American (1884-1974) "SPRING" oil on canvas signed lower right "Leon Kroll", numbered, signed and titled on the reverse "#394" 26 1⁄4 x 32 1⁄4 inches PROVENANCE Carone Gallery, Fort Lauderdale, 1981, Florida; Private Collection, Florida. ESTIMATE $15,000—$25,0003843

44394039 OGDEN MINTON PLEISSNER American (1905-1983) CASTING FOR SALMON watercolor on paper signed lower right "Pleissner" 6 5⁄8 x9 3⁄8 inches (sheet) PROVENANCE Lapham & Dibble Gallery, Inc., Shoreham, Vermont; Private Collection, Connecticut. ESTIMATE $5,000—$7,00040 ANDREW WINTER American (1892-1958) THE DUCK HUNTER oil on canvas signed lower right "A. Winter" 24 x 36 inches PROVENANCE The artist; Estate of the artist; Mary Taylor, wife of the artist; Christie’s, New York, New York, September 25, 2012, lot 81; Private Collection, Florida. ESTIMATE $6,000—$8,000

41 EDMUND HENRY OSTHAUS American (1858-1928) AT THE RENDEZVOUS oil on canvas signed lower right "Edm. H. Osthaus" 20 1⁄4 x 50 inches PROVENANCE George H. Barbour and James D. Hawkes; gifted to a Midwestern Private Club in 1896; Sotheby's, New York, New York, December 5, 1991, lot 35; Private Collection, Massachusetts. ESTIMATE $30,000—$50,0004145

42 EDWARD LAMSON HENRY American (1841-1919) HOME AGAIN, 1908 oil on canvas signed and dated lower right "E.L. Henry 1908" 15 1⁄4 x 24 1⁄4 inches PROVENANCE From the Collection of a New York State Museum. EXHIBITED New York, New York, National Academy of Design, 1908 (probably); Stony Brook, New York, Long Island Museum, "Two Centuries of American Art", August 19 - October 15, 2000; "The Brush is My Pen, Art that Tells Stories", February 26 - July 31, 2016. NOTES This work was the cover illustration for the Spring 1986 issue of "The Carriage Journal" (a copy of the cover accompanies this lot). The jour-nal notes, "For many years the Henrys had a summer home at Cragsmoor in the Shawangunk mountains of New York and it is likely that the coach in this picture is the stage that ran from nearby Ellenville to Newburg". ESTIMATE $15,000—$25,0004246

43 EDWARD LAMSON HENRY American (1841-1919) "THE FLOATING BRIDGE", 1917 (SCHUYLKILL RIVER, PHILADELPHIA) oil on canvas signed and dated lower left "E.L. Henry 1917" 22 3⁄4 x 39 3⁄4 inches PROVENANCE Knoedler Galleries, New York, New York; Hirschl and Adler Galleries, Inc., New York, New York; From the Collection of a New York State Museum. ESTIMATE $8,000—$12,0004347

44 MAURICE PRENDERGAST American (1858-1924) "BEACH SCENE, BOSTON", CA. 1907-1910 oil on panel unsigned 10 3⁄8 x 13 3⁄4 inches PROVENANCE The artist; to Charles Prendergast, 1924; to Mrs. Charles Prendergast, 1948; to (Larry Shar), 1980; ACA Galleries, New York, New York; Collection of Mrs. Alice Mason, 1983; Coe Kerr Gallery, Inc., New York, New York; Adelson Galleries, Inc., New York, New York, 1995; Private Collection, Maryland. LITERATURE Carol Clark, Nancy Mowll Matthews, and Gwendolyn Owens, "Maurice Brazil Prendergast / Charles Prendergast: A Catalogue Raisonne", (New York: Prestel Pub., 1990), p. 258, cat. no. 228 (illus.). NOTES This work was originally the verso of "Springtime, New England", (cat. no. 181) until separated ca. 1980. ESTIMATE $175,000—$275,00048Prendergast’s work in both watercolor and oil bridges the styles of the 19th and 20th centuries. He pushed through a late American Impressionism and an Ashcan-influenced urbanism to a highly modern view. His late work incorporated elements of the fantastical, but the heart of his career, from the early 1900s to the teens, was marked by his unique surface patterning of patches of brilliant color. Although he exhibited among The Eight in 1908, Prendergast was distinctly more cosmopolitan than his cohort, advancing a modernist aesthetic that would wash aside the gritty urbanism exhibited at the Armory Show. Along with his brother, Charles, Maurice also made a significant contribution to the world of fine art framing, becoming highly esteemed in their day. Prendergast was highly sought after by major collectors of the first half of the 20th century, and his work formed part of the core collections of the Museum of Modern Art in New York and the Barnes Foundation in Philadelphia. Prendergast’s representations of daily life are bold and modern interpretations of themes that have attracted artists for generations. His work is characterized by elaborately choreographed, multi-figured panoramas developed throughout his career. Whereas other members of The Eight painted mainly New York City scenes, Prendergast often painted the bathers at public beaches around his native Boston. In the present lot, Beach Scene, Boston, beachgoers are gathered around a bench picnicking and socializing. In the water, there are sailboats visible in the distance. Beach Scene, Boston reveals the influence of modern European masters such as Paul Cézanne and Henri Matisse on Prendergast’s style. Prendergast traveled extensively throughout Europe in the late 19th and early 20th centuries and adapted the innovations of these artists to develop his characteristic and unique style. Of his works from the same decade, Prendergast scholar Richard J. Wattenmaker notes “are the culmination of more than thirty years of patient and determined exploration, trial and error, wholly personal variations on subjects that have captivated the most subtle and sophisticated minds of the Western tradition since the dawn of the Renaissance. Prendergast’s comprehensive experiments within this humanistic tradition bring to bear his unique adaptations of ideas from both East and West. If modern painting is primarily about extending the boundaries of color and color relations, Maurice Prendergast has a stature that guarantees him an important place in the pantheon with the masters he so admired and whose ideas he so richly repaid.”1 1 Maurice Prendergast, (New York, New York: Abrams, 1994), p. 143-5.

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45 ROBERT HENRI American (1865-1929) "FAITH", 1928 oil on canvas signed and numbered on the reverse "Robert Henri / 155N" 22 x 18 inches PROVENANCE ACA Galleries, New York, New York, 1993; Private Collection, Maryland. ESTIMATE $100,000—$150,00050In addition to his role as a leader of the Ashcan school and an influential teacher, Robert Henri is perhaps best remembered as an artist for his spirited portraits of children. In Faith, Henri depicts a young Irish girl in the artist’s classic style–a portrait of a single child shown three-quarter length and painted in dashing strokes of color. Henri sailed for Ireland for the first time in June 1913 with his wife, Marjorie Organ, staying until the end of September near the fishing villages of Keel and Dooagh on the island of Achill. After painting the magnificent landscape of the island, the artist reverted back to portraiture. Between 1913 and 1928, Henri returned to the island spending every spring or summer concentrating on capturing the children of Dooagh. Faith is from his final trip to the island and is a masterful example of his later works in Ireland. Disparate from his earlier portraits in which the artist portrayed the playful personality of his subjects, his portraits in Ireland were more formal works investigating color and form. “Henri explored formal and abstract ideas of color and compositional harmonies in a virtual shorthand vocabulary. In these paintings, he used a more limited tonal range, with one or two foundation colors to build the composition.”1 Part of this remarkable group, Faith exemplifies the hallmarks that make Henri’s portraits some of his most coveted work. 1 V.A. Leeds, “The Portraits of Robert Henri,” in My People: The Portraits of Robert Henri, Seattle, Washington, 1994, p. 40.

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46 JOHN SLOAN American (1871-1951) "LANDSCAPE, CROQUET", CA. 1908 oil on canvas signed lower left "John Sloan" 9 1⁄4 x 11 inches PROVENANCE ACA Galleries, New York, New York, 1988; Private Collection, Maryland. NOTES John Sloan Archives no. 569; No. 19 check-list of 1906-11 early landscapes by John Sloan compiled by Grant Holcomb. ESTIMATE $25,000—$35,00052Born in Lock Haven, Pennsylvania in 1871, John Sloan moved with his family to Philadelphia in 1884 where he attended Central High School alongside classmates William Glackens and Albert Coombs Barnes. In 1888, Sloan worked for a bookseller and print dealer and taught himself how to make etchings. In 1891, he enrolled in drawing classes at the Spring Garden Institute and started working as a freelance commercial artist. He joined the art department at the Philadelphia Inquirer in 1892 and started art classes at the Pennsylvania Academy of Fine Arts. Inspired by Robert Henri, Sloan started painting with oils in the late 1890s. He first painted portraits and later Philadelphia city scenes, exhibiting for the first time at the Pennsylvania Academy in 1900. In 1904, together with his wife, Dolly, the couple moved to New York City. There, Sloan continued to paint scenes of city life in Greenwich Village and the Tenderloin district. In 1908, he participated in the historic exhibition of paintings by “The Eight” at Macbeth Gallery alongside other Ashcan artists, Robert Henri, William Glackens, Ernest Lawson, George Luks, Arthur B. Davies, Maurice Prendergast and Everett Shinn. Sloan came to be regarded as a central figure in the Ashcan school. In 1910, he helped organize the exhibition of Independent Artists. From 1914-1918, Sloan would summer in Gloucester, Massachusetts along with other artists including Stuart Davis, Paul Cornoyer, Agnes M. Richmond and Charles and Alice Winter. Inspired by European trends seen at the 1913 Armory Show in New York City, Sloan would begin to paint with a brighter color palette. The present lot dates to around 1908 and depicts a coastal summer scene. The two young women in the foreground are dressed in bright summer white and pink. Sloan masterfully uses quick, bold brush strokes to capture the wind in the air and the movement of the two girls. In his published diaries Sloan records evenings spent with his friends playing rounds of croquet after dinner and watching their children play in the yard. Sloan taught painting at the Art Students League in New York City beginning in 1914. His students included Alexander Calder, David Smith, Reginald Marsh, Barnett Newman among many others. After 1919, he would travel to Santa Fe to spend his summers and there he met Diego Rivera and Jose Clemente Orozco. In the 1920s he returned to portraits and painted nudes. He died in 1951 in Hanover, New Hampshire.

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47 ALICE L. MATTERN American (1909-1945) "ABANDON" oil on canvas signed and initialed lower right "Alice Mattern, ALM", initialed on the reverse "ALM" 40 x 40 inches PROVENANCE The artist; descended in the family to Private Collection, Illinois; Private Collection. EXHIBITED New York, New York, Museum on Non-Objective Painting, "Alice Mattern Memorial", 1945, cat. no. 7. NOTES A copy of the exhibition catalog from the "Alice Mattern Memorial" accompanies this lot. ESTIMATE $25,000—$35,00054Alice Mattern is associated with the group of Non-Objective artists, a group whose focus was geometric forms, cosmic, musical and metaphysical motifs and conceptual art for the future. Mattern was born in New York City and grew up in LaSalle, Illinois. She studied art at Bradley College in Peoria, Illinois and returned to New York City in 1938. There she studied with Rudolf Bauer, a master of Non-Objective painting. Mattern painted exclusively in a Non-Objective style after 1939. She regularly submitted paintings on loan to the Museum of Non-Objective Painting, a precursor to the Guggenheim. These were exhibited throughout the early 1940s at the Solomon R. Guggenheim Foundation building on East 54th Street in Manhattan. Mattern’s paintings were shown alongside those of Harry Bertoia, Werner Drewes, Hilla Rebay, Rolph Scarlett, John Sennhauser and Jean Xceron. Abandon is a newly rediscovered treasure by Mattern. Her unfortunately short career as a Non-Objective artist, spanning only six years, yielded very few known works. Following her death in 1944, fifty-nine of her works, including the present lot, were displayed at The Museum of Non-Objective Painting in 1945 as part of a memorial exhibition. Mattern’s contemporaries and fellow Non-Objective artists Rolph Scarlett, Hilla Rebay and Jean Xceron all contributed to the exhibition pamphlet celebrating her work. In the exhibition brochure Hilla Rebay wrote, “Alice Mattern was a great artist; she developed in her work increasing simplicity in the rhythmic space organization, as well as in the form problems of modern development. This wonderful balance represents a rare achievement in the aesthetic development and expression of Art.”

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48 LYNNE MAPP DREXLER American (1928-1999) UNTITLED, 1963 oil on canvas unsigned 33 1⁄2 x 29 inches PROVENANCE The artist; John G. Powers (purchased 1963); John G. and Kimiko Powers Collection; property of a Non-Profit Organization, received as a gift from the above. NOTES Special thanks to the Estate of Lynne Drexler for their assistance in cataloging this lot. ESTIMATE $50,000—$75,00056“I’ve always felt deeply within myself I was a damn good artist, though the world didn’t recognize me as such. I wasn’t about to play their game.” — Lynne Mapp Drexler Lynne Mapp Drexler was born in Newport News, Virginia in 1928, she was educated at the Richmond Professional Institute and the College of William and Mary. She studied painting with Hans Hofmann in New York and Provincetown, and with Robert Motherwell at Hunter College Graduate School. She was part of the second-generation of Abstract Expressionists—including Grace Hartigan, Joan Mitchell, and Larry Rivers. Drexler incorporated aspects of Impressionism and Post-Impressionism into her vivid, innovative paintings. Drexler lived for many years in New York City, where she painted and cultivated her love of the performing arts. She lived for a period of time in the Chelsea Hotel in its Bohemian heyday. She met her husband, painter John Hultberg at the 8th Street Artists Club in New York and they were married in 1962. Hultberg was represented by the art dealer Martha Jackson, who bought a house for him on Monhegan Island, a tiny, rockbound island off the coast of Maine, long loved by many artists, in 1963. Drexler’s inspiration derived primarily from Monhegan, where she and her husband spent their summers until moving to the island permanently in 1983. Many of her paintings created after 1962 are clearly inspired by the landscape of Monhegan and her affinity with nature and music became deeply intertwined in her work. This vision is apparent in the current work, Untitled,1963 offered here. Lynne Mapp Drexler died at her home on Monhegan Island on December 30, 1999 following a long illness. Her work is part of the permanent collections of the Museum of Modern Art, Monhegan Museum, Farnsworth Museum, Brooklyn Museum, Queens Museum, Greenville County Museum of Art, and the Portland Museum of Art, among others. Despite her talent and dedication, Drexler is just now beginning to receive well-deserved scholarly and market attention. There will be a major exhibition of her works at Mnuchin Gallery and Berry Campbell Gallery in New York City from October 27-December 17, 2022, the first showing of her work in New York City in 38 years.

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49 RANDOLPH ROGERS American (1825-1892) "RUTH GLEANING", CA. 1850 marble on marble pedestal unsigned height: 34 3⁄4 inches (base height 35 inches) PROVENANCE Lida Fleitmann Bloodgood; From the Collection of a New York State Museum. NOTES The subject for "Ruth Gleaning", comes from the Old Testament Book of Ruth (2:1-13). The Moabite heroine, Ruth, is gathering the remnants of a harvest in the field of Boaz when, attracted by her beauty, Boaz approaches. Rogers depicts the moment when Ruth looks up and becomes aware of the presence of her future husband.Received with critical acclaim, Rogers made around 50 replicas in the nineteenth century in two sizes, a life-size model (h. 45 3/4 inch) and a reduction, as the present example. Other examples of "Ruth Gleaning" are included in the collections of the Metropolitan Museum of Art, The Detroit Institute of Art, The Albany Institute of History and Art, Chrysler Museum of Art in Norfolk, Virginia, and the Toledo Museum of Art among numerous others. (Source: Thayer Tolles, ed., "American Sculpture in the Metropolitan Museum of Art", Vol. I, A Catalogue of Works by Artists born before 1865, (New York, New York: The Metropolitan Museum of Art), p. 115-117.) ESTIMATE $8,000—$12,0004958

59BESSIE POTTER VONNOH American (1872-1955)

50 BESSIE POTTER VONNOH American (1872-1955) "LIFE AND LOVE SPRINGS FROM THE SEA", 1935 bronze fountain inscribed "Bessie Potter Vonnoh", cast by Roman Bronze Works 113 x 68 inches PROVENANCE Mr. and Mrs. Walter Teagle, Port Chester, New York (commissioned in 1935 for their now demolished pool house). LITERATURE Julie Aronson, "Bessie Potter Vonnoh (1872-1955) and Small Bronze Sculpture in America", Volume I, PhD dissertation, (Newark, DE: University of Delaware, 1995), pp. 402-404, illustrated figs. 135, 136; Julie Aronson, "Bessie Potter Vonnoh: Sculptor of Women", (Athens, Ohio: Cincinnati Art Museum, Ohio University Press, 2008), pp. 212-213, illustrated fig. 85. ESTIMATE $180,000—$220,00060Born in St. Louis, Bessie Potter Vonnoh became one of the leading female sculptors of the 20th century. Her bronzes often depicted domestic and feminine subjects such as childhood and motherhood. Born in 1872, she left St. Louis in 1886 to study drawing and painting at the Art Institute of Chicago. She took modeling classes with Larado Taft and assisted him with sculpture for the World’s Columbian Exposition of 1893. In 1894, Vonnoh had set up her own studio in Chicago. She told an interviewer in 1925 that her artistic goal was to “look for beauty in the everyday world , to catch the joy and swing of modern American life.” Her “Potterines”, plaster portraits of society ladies brought her recognition early on. She traveled to Paris in 1895 to visit the studio of Rodin and a year later created A Young Mother, still considered one of her best works. She continued to explore the psychological expression of motherhood through her work as well as modern women reading and dancing. Her bronzes were exhibited at the National Academy of Design, the Society of American Artists, the National Sculpture Society and the Pennsylvania Academy of the Fine Arts. Roman Bronze Works, the preeminent American Foundry at the beginning of the twentieth century, began casting large editions of her works. Vonnoh moved to New York in 1897 after an eight-month trip to Europe. In 1899, after completing several major commissions, she married the landscape painter Robert W. Vonnoh, who she had met in Taft’s studio. Both artists frequently exhibited together in New York and at their summer home in Lyme, Connecticut. In 1921, Vonnoh was elected a full academician at the National Academy. In the 1920s, following in the footsteps of Janet Scudder, she turned her attention to lifesize fountain pieces. She created the Theodore Roosevelt Memorial Bird Fountain from 1923-1927 at the Theodore Roosevelt Memorial Sanctuary in Oyster Bay, New York and the Frances Hodgson Burnett Memorial Fountain 1926-1936 in the Conservatory Garden of Central Park. It was during this stage in her career that Mr. and Mrs. Walter C. Teagle of Port Chester, New York commissioned Vonnoh to create a sculpture fountain for a wall niche near their indoor swimming pool. Life and Love Spring From the Sea is a nautical sculpture that depicts a boy riding on the prow of a ship. Biographer Julie Aronson in her monograph on the artist notes the following: “Within the sculpture are several different levels of relief and varying degrees of naturalism. The boy’s figure and his flying drapery are fully three dimensional and the boat is in very high relief, creating the illusion of sailing out into the pool. The boy’s grinning countenance, framed by tight ringlets, has the character of a portrait. In marked contrast, the water and dolphins have been flattened and converted into a multi-level decorative pattern. This stylization is unlike anything else the artist has ever designed; one wonders if it might have devolved from her friendship with Beatrice Hoffman, who was weaving tapestries based on her husband’s paintings of undersea views. The niche is surrounded by a frame ornamented with grapes and vines. Scallop shells punctuate the corners. Viewed obliquely from across the pool, the whole comes together remarkably well and harmonizes with the wall treatment. Vonnoh clearly took pains with the relation of the boy’s head to the band of decoration at the top of the tile. The amount of thought, planning and effort that must have gone into producing such a complicated sculpture exceeded anything the sixty-three-year-old sculptor had attempted for years. The degree of complexity is reflected in the cost of the casting-fourteen hundred dollars more than for any other sculpture the artist had produced. She was presumably paid well for her efforts, a welcome relief to her financial woes.”1 Throughout her long career it became evident that Vonnoh would be a significant figure in the history of American sculpture. In 1903 a reviewer noted, “It would be useless and unprofitable to compare Mrs. Vonnoh with other American sculptors, because her work occupies its own special and well-defined place, just as the works of Patridge, Saint-Gaudens, French, Barnard and MacMonnies have their own respective characteristics sharply drawn and accentuated. In her own field — the field of the statuette—Mrs. Vonnoh has no superiors in this country.”2 Life and Love Springs from the Sea is one of Bessie Vonnoh’s last commissions. At Mrs. Teagle’s death in 1968, the property was sold and subdivided. Although the great house (Lee Shore) was demolished at that time, the swimming pool wing remained intact until 2008. A photograph of the sculpture in situ is included here for reference. 1 Julie Alane Aronson, Bessie Potter Vonnoh (1872-1955) and Small Bronze Sculpture in America, Volume I, PhD dissertation, Newark, DE: University of Delaware, 1995, pp. 402-404. 2 “A Sculptor of Statuettes,” in Current Literature 34 (June 1903): 701.

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51 THOMAS SULLY American (1783-1872) THE MODEL oil on panel initialed lower left "TS" 18 x 14 1⁄2 inches PROVENANCE Private Collection, New York, New York; descended in the family to the current owner, Private Collection, Connecticut. ESTIMATE $5,000—$7,00052 DANIEL RIDGWAY KNIGHT American (1839-1924) THE NEW KITTEN oil on canvas signed lower left "Ridgway Knight" 16 x 10 inches PROVENANCE The Ralph Dickman Family, Tacoma Washington; Ralph & Elinor Dickman Tacoma, Washington (by inheritance); Descended in the Dickman family to present owners; Private Collection, Washington. ESTIMATE $6,000—$8,000625152

53546353 EDWARD CHALMERS LEAVITT American (1842-1904) ROSES IN A BASKET, 1884 oil on canvas signed and dated lower left "E.C. Leavitt 1884" 20 x 30 inches PROVENANCE Private Collection. EXHIBITED Chadds Ford, Pennsylvania, Brandywine River Museum, "Flower Painting, An American Tradition", June 2 - September 9, 1984. ESTIMATE $5,000—$7,00054 AUGUST LAUX American (1847-1921) STRAWBERRIES AND DAISIES, CA. 1880 oil on canvas signed lower right "A. Laux" 12 x 16 inches PROVENANCE Private Collection. ESTIMATE $5,000—$7,000

55 THOMAS MORAN American (1837-1926) VENICE, 1903 oil on canvas signed and dated lower left "T. Moran 1903" 20 x 30 inches PROVENANCE Sotheby's, New York, New York, December 3, 1987, lot 85; Private Collection. NOTES This painting will be included in the Thomas Moran Catalogue Raisonné Project under the direction of Stephen L. Good, Phyllis Braff, and Melissa Webster Speidel. ESTIMATE $150,000—$250,00064Thomas Moran immigrated with his family from England to Philadelphia in 1844. He attended public school and in 1853 apprenticed to a wood engraver. The four Moran brothers all became artists and Thomas worked in his older brother, Edward’s, studio. Edward had already begun to establish himself as a marine painter. Of the four, Thomas Moran became the most successful and is today recognized as one of the preeminent painters of the American Landscape. In 1861, captivated by the work of J.M.W. Turner that they had seen in prints, the two brothers, Edward and Thomas, traveled to London where they spent several months studying and copying Turner’s works on view at the National Gallery. This trip and Turner’s influence would be evident in much of Thomas Moran’s subsequent work. In 1871, Scribner’s Magazine hired him to rework some sketches of Yellowstone made by another artist. Moran decided to visit Yellowstone himself and the trip generated numerous paintings and commissions. Inspired by the landscape he completed a 7 x 12 foot painting, Grand Canyon of the Yellowstone, that later sold to Congress shortly after the land was designated as a National Park. Following this success, he created another canvas, Chasm of the Colorado, also sold to Congress and matching the impressive scale of the previous painting. Moran returned to Europe, following in the footsteps of Turner and visiting places where his idol had painted. Captivated by Venice, Moran first visited in 1886 and returned again in 1890 and 1911. The paintings he created of the picturesque Italian city are sublime, luminous views reminiscent of his Turner. In the paintings, Moran masterfully switches between tightly painted areas to broader brush strokes, capturing the changing atmosphere. In 1883 Moran visited Mexico and traveled throughout the American Southwest and the Grand Canyon. He moved to Santa Barbara, California in 1916 and died there a decade later. At the age of 87 he made his last trip to Yellowstone, two years before his death. After his death he was memorialized as the “Dean of American Landscape Painters.”

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56 EDWARD MORAN (attr.) American (1829-1901) 
NEW YORK HARBOR, CA. 1875 oil on canvas 
unsigned
211⁄2 x 36 inches PROVENANCE Private Collection, Massachusetts; Shannon's, Milford, Connecticut, April 26, 2012, lot 32; Private Collection, Tennessee. ESTIMATE $40,000—$60,00066Edward Moran (1829-1901) was born in Bolton, Lancashire, England in 1829. At the age of fifteen, Moran immigrated with his family to the United States. He first studied landscape and marine painting in Philadelphia and later returned to England to study at the Royal Academy in London. In 1871 he moved to New York City, which would, except for a brief move to France in the late 1870s, thenceforth be his primary city of residence. Throughout the 1860s Moran exhibited at venues in New York, Boston, and Philadelphia. Moran settled in New York City and for nearly thirty years painted the city’s harbor. Then, New York City’s harbor was the busiest in the United States, providing Moran with inspiration for many paintings, with the port seen at different times of day and in a variety of weather conditions.  With his brother, Thomas, Edward Moran opened a studio in 1857, and in 1860 he was made an academician of the Pennsylvania Academy. He resigned in 1869 over the poor display of his paintings. In the 1870s he began exhibiting at the National Academy of Design and was elected an associate member in 1874.  Moran’s work in the 1870s became more tonal, atmospheric, and luminous, moving away from his more detailed marine paintings.  The luminist qualities of the present lot reveal the emerging influence of Moran’s contemporaries including John F. Kensett andSanford Gifford.  In 1888 Moran published “Hints for Practical Study of Marine Painting” in the Art Amateur. His most ambitious endeavor was the creation of thirteen works entitled The Edward Moran Series of Historical Paintings Representing Important Epochs in the Maritime History of the United States, which he completed in 1898. At the time of his death in 1901, it was written that “Few artists have painted more charming landscapes or better cattle pieces, and none, perhaps, have surpassed him as a painter of marines. It is as a painter of seascapes, doubtless, that he will live in fame.”1Moran’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. 1Hugh W. Coleman, “Passing of a Famous Artist, Edward Moran,” (Brush and Pencil, vol. 8, no. 4, July 1901), p. 188.

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57 ALFRED THOMPSON BRICHER American (1837-1908) SAILING NEAR A COAST oil on canvas 
signed lower right "AT Bricher" 
9 x 18 inches PROVENANCE Findlay Art Galleries, Kansas City, Missouri; Private Collection; Christie's, New York, New York, March 5, 2009, lot 112; Private Collection, New York. ESTIMATE $8,000—$12,00057586858WILLIAM M. HART American (1823-1894) PICNIC ALONG THE SHORE, 1856 oil on canvas 
signed and dated lower left "Hart 1856" 
121⁄2 x 20 3⁄4 inches PROVENANCE Private Collection, Pennsylvania. 

ESTIMATE $4,000—$6,000

596959 JOHN WILLIAMSON American (1826-1885) "LAKE CHAMPLAIN FROM CAMEL'S HUMP", VERMONT oil on canvas initialed lower left "J.W.", titled and initialed on the reverse 15 1⁄2 x 27 1⁄4 inches PROVENANCE D. Wigmore Fine Art, Inc., New York, New York; Questroyal Fine Art, Inc., New York, New York; Private Collection, Connecticut. ESTIMATE $12,000—$18,000

7060 WILLIAM M. HART American (1823-1894) "SUN SETTING OVER MOUNTAIN STREAM", 1864 oil on canvas signed and dated lower left "Wm. Hart 64" 16 1⁄2 x 26 1⁄4 inches PROVENANCE Christie's East, New York, New York, April 9, 1998, lot 16; Private Collection, Georgia. LITERATURE Gary L. Stiles, "William Hart: Catalogue Raisonné and Artistic Biography", (Hart Editions, 2020), 181, no. 333. ESTIMATE $20,000—$30,000William Hart lived for nine years at his birthplace of Paisley, Scotland, before his family immigrated to the United States in 1831 and settled in Albany, New York. He began his artistic career humbly, painting carriages and window shades, but by the age of 18 he had become an itinerant portrait painter, traveling as far afield as Virginia and Michigan. This journeyman’s lifestyle ultimately disagreed with Hart; he fell ill in 1849 and left for Scotland to recuperate. In 1852 he returned to the United States committed to landscape painting and soon made a name for himself, becoming an associate of the National Academy of Design upon opening a studio in New York in 1854. William and his brother James M. Hart painted in a Hudson River School style winning praise from critics and patronage from important collectors. From the 1850s into the 1870s Hart was a prominent personality in the New York art world. He was elected a National Academician in 1858 and was a founding member and president of both the Brooklyn Academy of Design and the American Watercolor Society. In addition to his enduring presence at National Academy exhibitions from 1848 until his death in 1894, Hart exhibited at the American Art-Union from 1847 to 1849, the Boston Athenaeum from 1855 to 1864, the Pennsylvania Academy of the Fine Arts from 1854 to 1867, and the Brooklyn Art Association from 1861 to 1883. The present lot, Sun Setting Over Mountain Stream, is one of a group of at least six autumn scenes painted by Hart in the mid-1960s, likely in the northeast region of New Hampshire. In this painting, there is no evidence of human intervention or the development of civilization. The sun, peeking through the clouds, hints towards Luminist painting.1 Major museums that house Hart’s work include The Metropolitan Museum of Art, New-York Historical Society, and National Academy of Design, New York; Cleveland Museum of Art; National Museum of American Art, Washington, D.C.; High Museum of Art, Atlanta; Yale University Art Gallery, New Haven; and the Museum of Fine Arts, Houston. 1 Gary L. Stiles, “William Hart: Catalogue Raisonné and Artistic Biography”, (Hart Editions, 2020), 181, no. 333.

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7261 WILLIAM TROST RICHARDS American (1833-1905) SEASCAPE - COAST OF MAINE, 1887 oil on canvas signed and dated lower right "Wm. T. Richards 1887" 19 x 32 inches PROVENANCE Private Collection. ESTIMATE $40,000—$60,000William Trost Richards’ paintings of the New England coastline have set the standard for excellence in American seascape painting. His luminist views from Rhode Island, New Jersey, Maine and Massachusetts dramatically capture waves crashing against rocks or calm rolling seas. He often visited his favorite beaches, painting in Cape Ann, Newport, New Jersey, Maine and Conanicut Island on numerous visits. 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 Hiram Powers, Emanuel Leutze, Frederick Church, John Kensett and Albert Bierstadt had traveled. By the 1850s, Richards was an established landscape artist exhibiting at Knoedler galleries and supported mainly by private commissions from his friend and patron, Asa Whitney. In 1882, Richards built a summer cottage on the southernmost heights of Conanicut Island, which looks across Rhode Island’s Narragansett Bay towards Newport. He called his cottage “Gray Cliff”, reflecting both the spectacular geological formations of the sea-washed coast and the predominant hue of summer fog and haze. For the next twenty years, Conanicut, with its alternating views of rocky cliffs and gentle harbors, became Richards’ favored in both oil and watercolor. In the later part of his career, Richards became a devoted seascape painter. His best paintings, as in the present lot, capture the light and atmosphere of the scene. He accomplished this by making numerous watercolor studies painted on-site en plein air. In the present lot, Richards captures the mix of sunlight and gray clouds. The birds and the distant boats indicate the precise moment when the winds have picked up in advance of a coming storm. 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.

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7462 GEORGE INNESS American (1825-1894) "SUNSET OVER THE HUDSON", CA. 1880 oil on board signed and dated lower left "G. Inness 1880", signed and dated lower right "188?" 22 x 34 inches PROVENANCE Estate of the artist; (sale, Fifth Avenue Art Galleries, New York [George Inness Executor’s sale] February 12-14, 1895, no. 41, as Sunset over the River); F. L. Leland, purchased at auction, 1895; With Newman E. Montross, New York; (sale, American Art Association, New York, February 8, 1923, no. 67, as Sunset, repro.); With R. C. and N. M. Vose, 1923-24, recorded first as Sunset, then as In the Gloaming; Gage Galleries, Cleveland, Ohio, 1924; Elizabeth Bingham Blossom, Cleveland, Ohio; Private collection by descent to 2022. LITERATURE Leroy Ireland, "The Works of George Inness", (1965), no. 939, listed and illus. p. 233. “Great Examples of American Painting in the N. E. Montross Sale”, American Art News 21, no. 6 (January 27, 1923): 5, mentioned. NOTES A letter of authenticity from Michael Quick accom-panies the lot. In a Carrig-Rohane frame. ESTIMATE $30,000—$50,000George Inness was a highly prolific artist during his long career. For fifty years, from 1844-1894, he exhibited at the National Academy of Design. Although associated with the Hudson River School and the group of Tonalists, Inness changed his styles throughout his career, keeping up with leading artistic trends. He said of himself, “I have changed from the time I commenced because I had never completed my art and as I do not care about being cake, I shall remain dough subject to any impression which I am satisfied comes from the region of truth.”1 He readily experimented with new styles and embraced new trends, visible in each era of his work. Throughout, he infused his paintings with a sense of philosophical and spiritual qualities that set him apart. During the 1880s, Inness attempted to capture nature exactly the way it looked even if that meant diverging from the leading painting trends. In his letter evaluating the present lot, Inness expert Michael Quick notes, “Even though this is a studio painting, every part of it is about the action or absence of light. The upper right section which portrays the river, far shore and sunset, was broadly and freely painted, in contrast to the wooded area at center and left, which was worked up in an indirect process of warm glazes and varied scumbled highlights within the shadowed woods. Always his objective was to record the action of light and its effect on the appearance of things—which fits squarely into the works of 1880.” Inness was born near Newburgh, New York in 1825. He spent most of his childhood in Newark, New Jersey. After an apprenticeship working for an engraver, Inness studied at the National Academy of Design from 1843-1847 with Regis Francois Gignoux (see lot 48). In 1851, he made a fifteen month trip to Italy, and then a shorter visit in France. He returned to America moving to New York from 1854-1859. He then moved briefly to Massachusetts and back to New Jersey before finally returning to New York in 1867. In 1868, Inness was elected a full member of the National Academy. He returned to Italy for another sojourn from 1871-1875 and continued to travel up until his death in Scotland in 1894. A public funeral was held in New York at the National Academy as was an exhibition of his paintings. 1 Michael Quick, “George Inness: A Catalogue Raisonne,” (New Jersey: Rutgers University, 2007), p. 1.

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63 GEORGE HENRY DURRIE American (1820-1863) AUTUMN LANDSCAPE oil on canvas initialed lower left "GHD" 18 1⁄2 x 24 inches PROVENANCE Sotheby's, New York, New York, December 1, 1999, lot 156A; Private Collection, Georgia. ESTIMATE $20,000—$30,00076George Henry Durrie created some of the most popular and enduring images of mid-nineteenth century rural American life. While he painted all of the seasons, he is best known for his winter scenes, which combine views of New England farmhouses with genre elements such as oxen, horses, logging carts, and sleighs. In 1861 and 1867, Currier & Ives popularized his paintings by doing a series of ten lithographs. The disruption of the Civil War and the increased urbanization and industrialization of the late 1860s gave new meaning to these scenes of homey comforts and family gatherings. Durrie was born in New Haven, Connecticut in 1820. He studied with the local portraitist Nathaniel Jocelyn, and from 1836 to 1841 worked as an itinerant portrait painter in Connecticut, New Jersey, New York and Virginia. After his marriage to Sarah A. Perkins of Bethany, Connecticut, in 1841, he returned to New Haven, where he remained for the rest of his life, except for 1857, which he spent in New York City. He sold his works from his studio in New Haven and exhibited at the National Academy of Design, Pennsylvania Academy of the Fine Arts, Boston Athenaeum, and the American Art-Union. Before Durrie, only Thomas Doughty and Thomas Birch had shown a serious interest in painting winter landscapes. Most nineteenth-century artists preferred to work in the comfort of their warm studios during the cold months, and winter, which, at the time, was not considered suitable subject matter for the uplifting didactic role of landscape painting. George Durrie had a deep appreciation for the beauty of the American winter landscape, and his idealized views of neat, cozy New England farms have a timeless quality. Durrie’s untimely death at age forty-three is one of the reasons why his paintings are relatively rare and thus coveted by collectors. His work can be found in many major museums, including The Metropolitan Museum of Art, New York; Museum of Fine Arts, Boston; and the Wadsworth Atheneum, Hartford, Connecticut.

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64 PRESTON DICKINSON American (1891-1930) STILL LIFE WITH CANDLE, 1930 pastel and pencil on paper signed and dated lower left "Dickinson 30" 24 1⁄4 x 18 3⁄8 inches (sight) PROVENANCE Daniel Gallery, New York, New York; Elmer Rice, New York, New York; M. Knoedler & Co., Inc., New York, New York; Parke-Bernet Galleries, New York, New York, March 14, 1968, lot 138; Harry Spiro, New York, New York; Coe Kerr Gallery, New York, New York; Richard York Gallery, New York, New York; Kennedy Galleries, New York, New York; Zabriskie Gallery, New York, New York; Cline Fine Art, Santa Fe, New Mexico; Shannon’s, Milford, Connecticut, April 25, 2013, lot 45; Private Collection, Alabama. EXHIBITED New York, New York, Downtown Gallery, “Seven Masters of Watercolor”, 1931, no. 5; The Cleveland Museum of Art, “Ninth Exhibition of Watercolors and Pastels”, 1932, no. 5; New York, New York, Museum of Modern Art (MoMA), “American Painting and Sculpture: 1862-1932”, 1932 - 1933, no. 27; New York, New York, Whitney Museum of American Art, “The Theatre Collects American Art” (as Still Life with Fruit and Pitcher), 1961, no. 25. LITERATURE “New York Times”, March 29, 1931, sec. VIII, p. 12, illustrated; “Chicago Post”, July 21, 1931, illustrated; “London Studio”, February, 1933, p. 85, illustrated; Richard Lee Rubenfeld, “Preston Dickinson: An American Modernist with a Catalogue of Selected Works”, (Columbus, Ohio: Ohio State, 1985), fig. 145, p. 305, illustrated. ESTIMATE $8,000—$12,00065 ANDREW MICHAEL DASBURG American (1887-1979) ADOBES - TALPA RIDGE, 1966 pastel on paper signed and dated lower right "Dasburg '66" 18 1⁄4 x 23 3⁄4 inches (sight) PROVENANCE Robert Parsons Fine Art, Taos, New Mexico; Private Collection, Alabama. ESTIMATE $6,000—$8,000646578

66 ALFRED HENRY MAURER American (1868-1932) STILL LIFE WITH WHITE PITCHER AND FLOWERS, CA. 1912 oil on board signed lower right "A.H. Maurer" 21 3⁄4 x 18 inches PROVENANCE Bertha Schaefer Gallery, New York, New York; Sotheby's, New York, New York, May 28, 1987, lot 304; Private Collection; Sotheby's, New York, New York, April 7, 2017, lot 19; Private Collection, Alabama. ESTIMATE $10,000—$15,0006679

8067 MICHAEL GOLDBERG American (1924-2007) UNTITLED oil on paper signed lower right "Goldberg" 10 7⁄8 x 13 7⁄8 inches PROVENANCE Mrs. Vera List, philanthropist and supporter of contemporary art, Greenwich, Connecticut; descended in the family to Private Collection, Connecticut; Shannon's, Milford, Connecticut, October 24, 2013, lot 74; Private Collection, California. ESTIMATE $25,000—$35,000Michael Goldberg was born in the Bronx in 1924 and began taking classes at the Art Students League at the age of 14. Known as a second generation Abstract Expressionist, he studied under Hans Hofmann from 1940-1942. His studies were interrupted by World War II, when he enlisted in the US Army as a paratrooper and served in North Africa, Burma and India. In 1946 he returned to New York, resuming his studies at Hofmann’s school and the Art Students League. Goldberg frequented the legendary Cedar Bar, a popular watering hole for many avant-garde artists living in lower Manhattan. It was there he became friendly with many of the New York School painters, including Franz Kline, Jackson Pollock, and Mark Rothko. Goldberg participated in the landmark 951 Ninth Street Art Exhibition of Paintings and Sculpture, now known simply as the Ninth Street Show, alongside de Kooning, Joan Mitchell, Helen Frankenthaler, Franz Kline and others. In the mid-1950s, Goldberg took over Rothko’s studio in the Bowery, where he continued working until his death in 2007. Goldberg was also influenced by Roberto Matta and Arshile Gorky, but it was de Kooning, and his use of fiery brush-work and explosive color, who proved to be Goldberg’s greatest influence. You can sense the influence of de Kooning in the present lot, Untitled, particularly in the compelling gestural brushwork and vivid colors along with the texture of the impasto. Goldberg received his first of ninety-nine solo exhibitions at Tibor de Nagy Gallery in 1953. His works can now be viewed in public collections across the United States, including the Albright-Knox Art Gallery, Buffalo, New York; the Art Institute of Chicago; the Hirshhorn Museum, Smithsonian Institution, Washington, D.C.; The Museum of Modern Art, New York; the Philadelphia Museum of Art; the Solomon R. Guggenheim Museum, New York; and the Whitney Museum of American Art, New York.

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68 SCOTT KAHN American (b. 1946) "THE WOODS", 2017 oil on linen signed and dated lower right "Scott Kahn, '17", titled, signed and inscribed on the stretcher "2016-2017, © 2017 by Scott Kahn all rights reserved" 20 x 22 inches PROVENANCE The artist, Brooklyn, New York; Private Collection, New Canaan, Connecticut. ESTIMATE $80,000—$120,00082Drawing from his imagination and memories, Scott Kahn creates surrealist, dreamlike landscapes of people and places from his life. He considers his work a “visual diary of the world around him.”1 Born in Springfield, Massachusetts in 1946, Kahn has maintained a studio in Brooklyn for most of his career. Although he describes himself as a self-taught artist, Kahn earned his BFA from the University of Pennsylvania and his MFA from Rutgers University. He studied at the Art Students League in New York with Theodoros Stamos and met many of the first generation Abstract Expressionists, including Mark Rothko. In a recent review published in the New York Sun, critic Dana Gordon draws parallels between Kahn’s work and historical American Art. “Traditions of American art are also brought to mind my Mr. Kahn’s work: The compressed (if not repressed) expressionist realism and personal space of Ammi Phillips, Edward Hicks, Grant Wood, John Steuart Curry, and Thomas Hart Benton, as well as the colored light of the Luminists like Martin Johnson Heade.” Gordon continues, “In contrast to all those traditions, the narrative in Mr. Kahn’s paintings is buried. For good reason: The content of your unconscious is at its most powerful when you don’t know what it is. He says, ‘The inspiration can come from something I see repeatedly in my daily life, or can be something I see in a flash.’”2 In 2015, Kahn connected with Canadian artist Matthew Wong through social media. The two formed a friendship inspiring one another and admiring each other’s work. Before his untimely death at 35 years old, Wong visited Kahn’s Brooklyn studio and helped to promote Kahn’s work among his dealers and patrons. After Wong’s death his prices have skyrocketed and collectors have clamored for his work. Similarly, dealers and collectors have turned their attention to Scott Kahn who has benefited from renewed attention and a meteoric market rise. Kahn has been the subject of sold out shows at Almine Rech in Paris and Harper Levine in New York. Two museums in China purchased paintings by Kahn from his recent show at Almine Rech and The Long Museum has offered the artist a retrospective in 2024.3 In the United States, his work is in a growing number of public collections including the University of Pennsylvania and the ICA Miami. Kahn was the recipient of an award from the Pollock-Krasner Foundation and the Edward Albee Foundation. 1 Katya Kazakina, “How Septuagenarian Artist Scott Kahn Went From Living in His Cousin’s Attic to Selling Out Solo Shows in Just Three Years” in artnet news, May 3, 2022, https://news.artnet.com/market/scott-kahn-2108145 2 “Scott Kahn,” Almine Rech, New York, New York 3 Dana Gordon, “Scott Kahn’s Intensely ‘Unique Voice’ Haunts Manhattan,” from The New York Sun (May 2, 2022)

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69 DAN RICE American (1926-2003) UNTITLED oil on canvas signed and dated on the reverse "Dan Rice / 1962" 43 1⁄2 x 50 1⁄4 inches PROVENANCE Private Collection. ESTIMATE $15,000—$25,00084 “Painting, or any other art form, is not about self-expression. This idea, which has spread somehow, is simply not true. And Abstract Expressionism itself is often thought of as some wild expression of the self, of emotion. This, again, is completely untrue. The last thing a painter thinks of is himself. Painting is truly a means of expressing the ineffable.” -Dan Rice Dan Rice was a younger member of the New York School. He is considered a lyrical abstract expressionist and a key figure in the 1940s and 1950s at Black Mountain College. In 2014, Black Mountain College Museum hosted a retrospective of his work placing Rice’s works in the context of his friends and contemporaries including Willem deKooning, Franz Kline, Mark Rothko, Jackson Pollock, Robert Rauschenberg and many others. From 1943-1945, at just 17 years old, Rice served in the Navy on experimental battleships. After the war, he studied at University of California, Berkeley. He then went to Black Mountain College where he studied and later taught alongside artists including Josef Albers, Cy Twombly, Willem de Kooning, Robert Rauschenberg and Robert Motherwell. After a decade of teaching at Black Mountain College, Rice became a key figure in the New York School of Abstract Expressionists. From 1956-1973, he exhibited his work in New York City at solo exhibitions hosted by Poindexter Gallery, Stable Gallery and Catherine Viviano Gallery. In addition to painting, Rice stretched canvases and mixed paints for his colleagues. His role as assistant to Mark Rothko, who was also a close friend, is famously depicted in John Logan’s play “Red”. In 1962 he became an advisor to the estate of Franz Kline and in 1969 an advisor to Rothko’s estate. Rice was also an accomplished trumpet player and earned a Master’s degree in Architecture from M.I.T. in 1953. He used his broad skill set in his artistic practice and worked with Merce Cunningham and John Cage in staging mixed media events. After leaving New York, Rice settled in Madison, Connecticut. There, he founded and led a group called the Friday Night Painters and taught painting classes at the New Haven Creative Arts Workshop, the Guilford Handcraft Center and University of Connecticut, Storrs. Today, Rice’s paintings can be found in numerous private collections and at the Museum of Modern Art in New York City (MoMA), Yale University Art Gallery in New Haven, Connecticut, Princeton University Art Museum in New Jersey and at the Wadsworth Atheneum in Hartford, Connecticut.

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8670 LARRY BELL American (b.1939) "FRACTIONS" (GROUP OF 33) aluminum and silicon monoxide collage on paper signed and dated in pencil lower center 10 x 10 inches (sheet, each) PROVENANCE Property of a Non-Profit Organization. ESTIMATE $20,000—$30,000

87The "Fractions" are a large body of small works on paper that Larry Bell made using collaged pieces of discarded "Mirage" works. Each "Fraction" is composed of one or more 3x3-inch shards of the larger compositions fused to a 10x10-inch substrate. The process involves a laminate press; heat and pressure loosen deposits of paint and thin-film coating, resulting in unpredictable wispy gestural lines and flowing forms. Bell began the series in 1996, setting out to make ten thousand "Fractions." In five years he had completed 12,000. (Source: larrybell.com)

71 LARRY BELL American (b. 1939) "DIGITIZED FRACTION 2618", 1997 ink scan on canvas signed and dated on the reverse "LA Bell '97", titled on the reverse 42 x 42 inches PROVENANCE Property of a Non-Profit Organization. ESTIMATE $8,000—$12,0007188

72 HANS HOFMANN American/German (1880-1966) MAQUETTE FOR MURAL AT THE NEW YORK SCHOOL OF PRINTING, 1957 mosaic tile set in concrete with bronze mitered frame unsigned 28 3⁄4 x 7 3⁄4 inches PROVENANCE The artist; Kelly and Gruzen, New York, New York; Lloyd Fleischman, Southbury, Connecticut by descent to the current owner; Private Collection, Connecticut. NOTES This mosaic, designed by Hans Hofmann for the New York School of Printing (now called the High School of Graphic Communication Arts) at 439 West 49th Street, New York, New York, was commissioned by the architecture firm Kelly and Gruzen, working with Hans Hofmann's dealer, Sam Kootz. Two maquettes for the mosaic are known to exist. The maque-tte currently for sale was given to Sumner Gruzen. A copy of a letter from the Hans Hofmann catalogue raisonné committee discussing this work accompanies the lot. ESTIMATE $10,000—$15,0007289

9073 WOLF KAHN American (1927-2020) "HAMILTON SAW MILL", 1984 oil on canvas signed lower right "W. Kahn", numbered, dated and signed on the stretcher "93, 1984", numbered and dated on the reverse 16 x 30 inches PROVENANCE Carone Gallery, Fort Lauderdale, Florida, 1985; Private Collection, Florida. ESTIMATE $20,000—$30,000Wolf Kahn was born in Stuttgart, Germany in 1927. He immigrated to the United States in 1940 where he attended the High School of Music and Art in New York and the University of Chicago. Kahn spent time in the Navy and, under the GI Bill, studied with Abstract Expressionist artist Hans Hofmann. He later became Hofmann’s studio assistant and together with other former Hofmann students established Hansa Gallery. In 1968, Kahn and his wife, Emily Mason, purchased a farm in Vermont. Many of Kahn’s paintings depict the Vermont and New England landscape where the couple would spend their summers and part of the fall. The rest of the year Kahn maintained a gallery in New York City on Broadway and later in Chelsea. Kahn and his contemporaries embraced the spontaneity and painterly qualities of Abstract Expressionism but applied them to representational compositions. Kahn depicted landscapes, fields, houses and barns from the New England area. He used bold colors and painterly brush strokes, working with oils and pastels. Although the paintings are representational, the main theme is atmosphere, color and light. This technique can be seen in the current example “Hamilton Saw Mill” from 1984. The mill is located in Brattleboro Vermont, where Kahn and his wife Emily Mason enjoyed their second home. In Kahn’s paintings, there is a unique blend of Realism and Color Field theory. He successfully combines modernist Abstract Expressionism with the atmospheric qualities of Impressionism. He has said of his paintings, “I like to paint artificial colors that look like they’re out of nature, I don’t care whether they could be or not, I like the feeling that you have a sense that you’ve been there.”1 In 1956, Kahn joined the Grace Borgenicht Gallery where he exhibited regularly until 1995. In 2014, Ameringer McEnery Yohe Gallery held a retrospective exhibition of the past six-decades of Kahn’s career. Kahn is currently represented by the Miles McEnery Gallery and his work is in many major museums including the Metropolitan Museum of Art, the Whitney Museum of American Art, The Museum of Modern Art, New York, the Museum of Fine Arts, Boston, the Hirshhorn Museum and the National Museum of American Art, and the Los Angeles County Museum of Art. 1 http://www.wolfkahn.com/writing/wolf-kahn-and-six-decades-of-color

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74 RALPH EUGENE CAHOON JR. American (1910-1982) KINGS GRANT RACQUET CLUB oil on board signed lower right "R. Cahoon" 18 x 22 inches PROVENANCE Private Collection, Connecticut. ESTIMATE $40,000—$60,00092Ralph Eugene Cahoon, Jr. is one of Cape Cod’s most famous artists. His whimsical depictions of mermaids and sailors have charmed collectors from the start. Cahoon was essentially self-taught, studying for only two years at the School of Practical Art in Boston. In 1932, he married Martha Farham whose father was a furniture painter in the Swedish tradition. Martha learned to paint furniture in this style, Rosemaling, and subsequently taught it to Ralph. Both artists worked alongside each other for the remainder of their working years. The couple settled in Osterville and established a business decorating furniture and selling antiques. In 1945 they moved to Cotuit. Shortly after, a customer Joan Whitney Payson convinced the couple to create easel paintings of some of their furniture designs and exhibit them at her Long Island Country Art Gallery. This set the stage for rapid success in the 1960s and 1970s where Cahoon’s folky paintings of mermaids, lighthouses and clipper ships regularly sold out at exhibitions in Nantucket and Florida. After a 1960 exhibition at Vose Galleries in Boston, a reviewer noted, “The Cahoons’ paintings represent a fresh breath of life in the contemporary art world. The gay, cheerful colors, crisp technique and humorously fanciful subject matter are [a] refreshingly welcome oasis.” Cahoon’s work was collected by prominent patrons including Jacqueline Kennedy Onassis, Paul Mellon and the DuPont family. Josiah K. Lilly III, heir to a pharmaceutical fortune, acquired more than three dozen paintings by Cahoon. In 1984, the Cahoon Museum of American Art was established in the family home. Martha continued to live there until her death in 1999.

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9475 WILLIAM R. DAVIS American (b. 1952) "SUMMER SUNRISE OFF NANTUCKET HARBOR", 1999 oil on canvas signed lower right "William R. Davis", signed, titled and dated on the backing board "Nov 1999" 24 x 36 inches PROVENANCE Private Collection, Washington. ESTIMATE $15,000—$25,0007576 WILLIAM R. DAVIS American (b. 1952) "YACHTING OFF VINEYARD SOUND - LIGHTSHIP" oil on board signed lower right "William R. Davis", signed, titled and numbered on the reverse "#41" 21 x 29 inches PROVENANCE The Christina Gallery, Inc., Edgartown, Massachusetts; Private Collection, Washington. ESTIMATE $8,000—$12,00076

957777 JONAS LIE American (1880-1940) "THE EMERALD SEA AT DAWN" oil on canvas signed lower left "Jonas Lie" 50 1⁄2 x 60 inches PROVENANCE Private Collection, New York; Shannon's, Milford, Connecticut, October 27, 2011, lot 11; Private Collection, Tennessee. EXHIBITED Pittsburgh, Pennsylvania, Carnegie Institute; Philadelphia, Pennsylvania, The Pennsylvania Academy of the Fine Art, "One Hundred Twentieth Annual Exhibition", 1925, n. 375. ESTIMATE $20,000—$30,000

9678 THOMAS HART BENTON American (1889-1975) STUDY FOR "OVER THE MOUNTAINS", CA. 1922-1923 oil on artist board signed lower right "Benton" 12 3⁄4 x 16 1⁄4 inches PROVENANCE The artist (ca. 1930); Private Collection, New York. NOTES A letter from Robert Graham, James Graham and Sons, Inc., New York, New York, dated September 29, 1964, discussing the authenticity accompanies the lot. A photograph of the painting, with a note signed by the artist on the reverse reads "Sketch for "Over the Mountains", a section of a mural project under taken between 1919-1925. This sketch made in the winter of '22 / '23 if my memory is correct. In any case early Twenties. / Thomas H. Benton". This work will be included in the forthcoming Thomas Hart Benton Catalogue Raisonné being prepared by the Thomas Hart Benton Catalogue Raisonné Foundation. Committee Members: Dr. Henry Adams, Jessie Benton, Anthony Benton Gude, Andrew Thompson and Michael Owen. ESTIMATE $40,000—$60,000My original purpose was to present a peoples’ history in contrast to the conventional histories which generally spotlighted great men, political and military events, and successions of ideas. I wanted to show that the peoples’ behaviors, their action on the opening land, was the primary reality of American life.1 While serving in the Navy during WWI, Thomas Hart Benton conceived the idea for his American Historical Epic. He began painting shortly after the war, aspiring to create over 50 panels depicting the history of America from the arrival of the Europeans to the time he was working. He envisioned the mural panels as all being life-sized and linked stylistically and thematically with bright colors. By the winter of 1926, he had tired of the historical subject but had completed 18 panels. He bequeathed ten to the Nelson Atkins Museum in 1975. Although he ultimately abandoned the project, the American Historical Epic was a major turning point for Benton. It was at this time that he turned away from formalism and abstraction and began defining his own style and ultimately shaping modern American Art and, specifically, American Regionalism. Throughout his career, Benton admired the works of Italian Renaissance artists, Giotto, Masaccio, Michelangelo, Tintoretto and El Greco. He emulated their technique using tempera and creating mural projects. He took their influence and combined it with American popular culture to create works that were didactic but also relatable and engaging. He felt compelled to change public art and use it as a means of changing humanity for the better. Benton had met Robert Henri as both were on the faculty of the Art Students League in the late 1920s. Henri had espoused the idea of creating art that was distinctly American to improve life and humanity. Henri did this through depicting everyday American Scenes and in his own style Benton imagined everyday scenes of the American past in the American Historical Epic. Benton worked on the panels through the 1920s and exhibited the various “chapters” at annual exhibitions in New York at the Architectural League. The present lot is a study for Over the Mountains from the second “chapter” titled Colonial Expansion. In this scene, Benton depicts the conquest of the mountainous interior region of the United States. The other panels from this “chapter” The Pathfinder, Jesuit Missionaries, Struggle for the Wilderness, and Lost Hunting Ground depict many scenes of racial and economic conflict towards the goal of westward expansion. His own pessimism about the unceasing historical pattern of American racial conflict may have led Benton to abandon the mural project. In later murals, he focused on the collectivity of the American spirit rather than the conflicts but his initial exhibitions from this series established his reputation as a muralist. By 1929 his attention shifted to work on the America Today mural for the New School for Social Research and other projects.2 The American Historical Epic was Benton’s first foray into Regionalism and firmly established him as a muralist. Thus, setting the tone for the remainder of his highly successful and prolific career as one of America’s most iconic and recognizable artists. 1 Thomas Hart Benton, “American Regionalism: A Personal History of the Movement,” in An American in Art: A Professional and Technical Autobiography (Lawrence: University Press of Kansas, 1969), p. 149. 2 The Nelson Atkins Museum, Thomas Hart Benton, AmericanHistorical Epic, 1920, object F75-21/1, Gallery Label text, https://art.nelson-atkins.org/objects/6229/discovery

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9879 DALE NICHOLS American (1904-1995) "GOING TO THE BARN" oil on canvas signed lower left "Dale Nichols", titled on the stretcher 30 x 40 inches PROVENANCE Private Collection. ESTIMATE $30,000—$50,000“Farm life was all I knew for the first 20 years of my life. In painting these canvases, I felt again the vastness of endless skies, experienced again the penetrating cold of Nebraska winters, lived again as farmers live …in spirit, I am very much a farmer,” Dale Nichols. Dale Nichols was born in rural David City, Nebraska in 1904. His early life had a profound influence on his paintings which centered on recreations of farm life. As a child, he worked on his family farm and walked to school. At the time, the search for a defined American Art was growing and the public was interested in scenes of American life. American collectors in the 1930s looked to buy Rural Regionalist art to capture the disappearing idyllic agricultural lifestyle. Nichols emerged as an artist when Regionalism and Rural Regionalism were growing as a collecting genre. His paintings are classified as a succession from Regionalist masters Grant Wood, Thomas Hart Benton and John Steuart Curry. Nichols studied in Chicago at the Academy of Fine Arts and the Art Institute with Carl Wentz. He became a successful illustrator, watercolorist, designer, writer, lecturer, block-printer and painter. In the 1930s and 40s he created artwork for direct-mail industrial advertising. From 1942-1948 he succeeded Grant Wood as art editor of the Encyclopedia Britannica. Aside from his commercial success, around 1933, Nichols set out to become a painter. He found ample inspiration from his childhood and repeatedly painted scenes of farm life and barns. As an artist, he was well recognized and enjoyed critical acclaim. In 1934, his painting End of the Hunt received an award from the Art Institute of Chicago and in 1939 it was purchased by the Metropolitan Museum of Art in 1939 where it still hangs today. The taste for Regionalism waned in the subsequent decade and Nichols moved to Arizona in 1940. He briefly started an art school and then moved to various locations throughout the United States including living on a small yacht. In 1960, he moved to Guatemala for some time. He painted his surroundings but continued to paint barn scenes even after he left Nebraska. Many of these are indistinguishable from his earlier paintings. A reexamination of Regionalist art in recent decades has fortunately renewed interest in Nichols’ paintings. In 2012, the Bone Creek Museum of Art organized a traveling retrospective exhibition, Dale Nichols: Transcending Regionalism. This exhibition cemented Nichols as the fourth American Regionalist alongside Wood, Benton and Curry. Nichols’ work has been avidly collected in numerous public and private collections throughout the country as well as the Metropolitan Museum of Art in New York.

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10080 GUY CARLETON WIGGINS American (1883-1962) "WINTER AT MADISON SQUARE" oil on canvas signed lower left "Guy Wiggins N.A.", signed and titled on the reverse 25 x 30 inches PROVENANCE Private Collection, Iowa, ca. 1945; Private Sale, Christie's, New York, New York, 2011; Sotheby's, New York, New York, October 2, 2015, lot 47; John Surovek Gallery, Palm Beach, Florida; Private Collection, Connecticut. ESTIMATE $60,000—$80,000Guy C. Wiggins was born in Brooklyn, New York in 1883. His father, Carleton Wiggins, was an accomplished landscape artist who enjoyed a successful career as an artist. According to an article on the Wiggins family written in 2011, “He [Carleton Wiggins] pressed a palette and paints into his young son’s hands. By age 4, Guy Carleton Wiggins was churning out watercolors that foreshadowed a talent greater than his father’s.” (Ann Farmer, “A Family of Painters is Having Its Moment,” New York Times, June 6, 2011) Wiggins first studied architecture at Brooklyn Polytechnic Institute then left to pursue fine arts training at the National Academy of Design. The architecture of New York City became his muse and he started painting famous buildings in an impressionistic style. He once said, “If you want to sell paintings, it helps if it’s recognizable to many people.” He became highly successful in the 1920s and 30s selling views of New York City architecture, particularly in the snow. In 1912, he became the youngest artist represented in the Metropolitan Museum’s collection with a painting titled “Metropolitan Tower.” He painted the Executive Mansion from the White House Lawn, a painting that hung in President Eisenhower’s Office. The Great Depression took a toll on sales and Wiggins struggled in the years following the war. He moved with his family permanently to Essex, Connecticut and started the Guy Wiggins Art School. He became an active member of the Old Lyme Art Academy. He started to paint landscapes, however, he continued to paint New York City as a preferred subject, particularly on snowy days. In the current example, Winter at Madison Square, the city taxis and pedestrians move undeterred by the falling snow. The colorful flags wave over the scene and the light from the apartment windows indicates warm interiors at home. Wiggins’ legacy was preserved in the history of American Art and his works are included in numerous public and private collections including the Wadsworth Atheneum in Hartford, Connecticut, the Metropolitan Museum of Art in New York, the Brooklyn Museum, the National Gallery in Washington D.C., and the Art Institute of Chicago.

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10281 ROBERT VONNOH American (1858-1933) BESIDE THE RIVER (GREZ), 1890 oil on canvas signed, dated and inscribed lower right "Vonnoh Grez 1890 ~" 18 x 22 inches PROVENANCE Private Collection. EXHIBITED New York, New York, Berry-Hill Galleries, Inc., "Grez Days: Robert Vonnoh in France", May 6 - June 19, 1987, cat. no. 14; Huntington, New York, The Heckscher Museum of Art, "The Golden Age of American Impressionism", November 22, 2003 - February 1, 2004. LITERATURE May Brawley Hill, "Grez Days: Robert Vonnoh in France", (New York: Berry-Hill Galleries, Inc., 1987), pl. IX, p. 25 (illustrated in color), cat. no. 14. ESTIMATE $25,000—$30,000Robert Vonnoh was considered one of the most important American Impressionists. He was born in Hartford, Connecticut and raised in the Boston area. At the age of fifteen, he worked for a lithography company and attended night classes at the Boston Free Evening Drawing Schools. In 1875, he was accepted into the Massachusetts Normal Art School to train as a teacher. In 1881, Vonnoh traveled to Paris and enrolled in the Académie Julian under Boulanger and Lefebvre. He returned to Boston in 1883, and established himself as a portrait painter and an instructor of painting at the Boston Museum School. After his marriage in 1886, he spent his honeymoon in Grèz-sur-Loing, his first documented trip to the charming French village located south of the Fontainebleau forest. Grèz was a popular artists’ colony during the 1870s and 1880s for British, Scandinavian, and a large group of American painters, including John Singer Sargent, Theodore Robinson, Willard Metcalf, Walter Launt Palmer, and Vonnoh. The “Grèz School” was greatly influenced by two of the only French artists working there at the time, Jean Charles Cazin and Jules Bastien-Lepage. In 1887, Vonnoh returned to Grèz and maintained a studio there until 1891. Around 1888, his palette brightened considerably, likely influenced by the works of Claude Monet and Camille Pissarro. The present lot dates to this period when Vonnoh’s palette became brighter. The influence of French Impressionism is apparent in the reflections on the water and the soft color palette. When he returned to the United States in 1891, Vonnoh accepted a position teaching portrait and figure painting at the Pennsylvania Academy of the Fine Arts. He was responsible for introducing the “new” French painting style to his students, including Robert Henri, William Glackens, Maxfield Parrish, and Edward Redfield. In 1892, two galleries of the Academy’s annual exhibition were devoted to forty-two works by Vonnoh, the only American Impressionist to receive an honor of this scale by the institution. Today Vonnoh’s work is housed in renowned public collections, including The Metropolitan Museum of Art, Pennsylvania Academy of the Fine Arts, Brooklyn Museum, Los Angeles County Museum of Art, Cleveland Museum of Art, Fort Worth Museum, Art Institute of Chicago, Museum of Fine Arts, Boston; and the White House. In 1899, he married Bessie Potter Vonnoh, one of the most important female sculptors of her time.

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10482 WALT KUHN American (1877-1949) "GIRL IN GREEN" oil on canvas unsigned 30 x 25 inches PROVENANCE Estate of the artist; Salander-O'Reilly Galleries, Inc., New York, New York; Barridoff Galleries, Portland, Maine; Private Collection, New York, New York; Private Collection, Minnesota. EXHIBITED New York, New York, Salander-O'Reilly Galleries, Inc., "Walt Kuhn", May 1 - June 30, 1984, Portland, Maine, Barridoff Galleries, July 21, August 31, 1984 and Flint, Michigan, Flint Institute of Arts, September 30 - November 11, 1984, cat. no. 40 (illustrated in color); St. Paul, Minnesota, The Catherine G. Murphy Gallery, The College of St. Catherine, "American Scene Painting", February 4 - March 3, 1995. NOTES Copies of the relevant pages from the exhibition catalog "Walt Kuhn" accompany this lot. ESTIMATE $80,000—$120,000Together with Robert Henri and John Sloan, Walt Kuhn assisted in the organization of the “Exhibition of Independent Artists” in April of 1910. The following year, with a group of like-minded artists he founded the Association of American Painters and Sculptors (AAPS), with the aim of promoting contemporary artists through non-juried exhibitions. Led by Arthur Bowen Davies as president, the AAPS organized the famed 1913 Armory Show introducing Cubism, Fauvism, Expressionism and other forms of European modernism to an American audience. Kuhn traveled abroad in 1912 as AAPS secretary to assist with the selection of artists ahead of the Armory Show. In the decade following the Armory Show, Kuhn experimented with various styles and media. In 1925, after a near-death experience, he devoted himself to developing his own unique style. He returned to Europe to study Old Master paintings and ancient art. A lover of the circus and the stage, his subjects included burlesque and vaudeville performers, circus acrobats and clowns. By 1935, Kuhn succeeded in developing his own style depicting boldly colored figures against stark backdrops. Despite their colorful costumes and staged poses, his portraits are psychologically probing. In the current example, the posture and expression of the sitter defy her bouncy curls, excess makeup and jovial costume. She looks dignified and serious, indicating that there is more than meets the eye.

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10683 WILLIAM MERRITT CHASE American (1849-1916) "MAN HOLDING A CIGAR" oil on canvas signed lower right "W.M. Chase" 30 1/4 x 20 inches PROVENANCE Private Collection, Texas; Shannon's, Milford, Connecticut, April 29, 2010, lot 57; Private Collection, New York. LITERATURE Ronald G. Pisano, "William Merritt Chase - Portraits in Oil", (New Haven, Connecticut: Yale University Press, 2006), p. 93 (illustrated), cat. no. OP.179. NOTES A copy of "William Merritt Chase - Portraits in Oil" by Ronald G. Pisano accompanies the lot. ESTIMATE $25,000—$35,000“The most prominent characteristic of his style in portraiture is force. Vividness of conception, strength and rapidity of hand—these are its most striking qualities.”1 William Merritt Chase is one of the most celebrated American Impressionists. He was an influential teacher of plein-air painting and a tremendously successful artist working in a progressive style that included elements of Tonalism, Impressionism and Realism. Chase was born in Franklin, Indiana where he began his artistic training under Benjamin Hayes. He spent a brief period in St. Louis, Missouri studying under Munich-trained artist John Mulvaney. His talent was apparent early on and patrons from St. Louis sponsored a trip for Chase to go to Munich and study bravura painting at the Royal Academy. (Bravura is a type of brushstroke used by John Singer Sargent, Anders Zorn, Velazquez and others. To accomplish this style, painters used what appears to be a quick brushstroke but is actually a deliberate, purposeful paint application.) From 1872-1878 Chase studied in Munich with friends J. Frank Currier, Frank Duveneck and John Twachtman. In 1878, Chase returned to New York where he became a teacher at the Art Students League and rented a studio in Greenwich Village. Chase quickly outgrew his original space and took over the large gallery originally intended for all of the Tenth Street Studio Building tenants to exhibit their work. He made several trips to Europe absorbing the styles of the Old Masters but also increasingly of contemporary European artists like Edouard Manet and Giuseppe de Nittis. Early in his career, Chase concluded that painting portraits would help him achieve success both artistically and financially. In the first exhibition of the Society of American Arts held in 1878, Chase exhibited four portraits, including Apprentice, a painting of a young man he completed in Munich during his time there from 1872-1877. His skills as a portraitist attracted high profile sitters – presidents, businessmen, actresses and celebrities– sat for their portraits at Chase’s Tenth Street Studio. He painted his friends, relatives and fellow artists. In London, he met J.A.M. Whistler and the artists painted one another. In the present lot, Chase’s mastery of European painting techniques is evident. The rich brushstrokes provide texture and depth to the clothing. The sitter’s calm expression, directly at the viewer, is inviting. Although the subject is not identified, he was likely a friend of the artist’s or a New York socialite. 1“William Merritt Chase,” American Art Review, 2 (January, 1881): 97.

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10884 JOHN SINGER SARGENT American (1856-1925) PORTRAIT OF MONTGOMERY SEARS BRADLEY, CA. 1924 pencil on paper inscribed and signed lower center "To Mrs. Bradley / John S. Sargent" 10 x 14 inches PROVENANCE The artist; Helen Sears Bradley, Boston, Massachusetts; Private Collection, Connecticut. NOTES This work has been reviewed and accepted by the John Singer Sargent Catalogue Raisonné vetting committee as a genuine work of the artist. This work is listed in the Catalog of American Portraits, a research archive of the National Portrait Gallery, Smithsonian Institution, under object number MA990068. ESTIMATE $30,000—$50,000John Singer Sargent has become synonymous with American Impressionism. His legacy of gilded age portraits captured both American and European clients at the turn of the century. Born in Florence in 1856, Sargent grew up internationally with deep New England roots. Sargent’s parents left Philadelphia for Europe in 1854 to visit and stayed, becoming expatriates and wintering in Florence, Rome or Nice and spending their summers in the Alps or other cooler regions. As a result of their itinerant lifestyle, Sargent received little regular schooling. He learned Italian, French and German and studied under his father’s tutelage. He also became an accomplished pianist and his mother, an amateur artist, encouraged him to draw. In the winter of 1873-74, he enrolled in his first formal art training at the Accademia di Belle Arti in Florence. In 1874, Sargent traveled to Paris to study in the atelier of Carolus-Duran. There, Sargent became Durand’s protege studying painterly Old Master works by artists like Frans Hals, Rembrandt, Sir Anthony van Dyck and, especially, Diego Velazquez. In May of 1876, accompanied by his mother and sister, Sargent made his first trip to the United States to visit the Centennial Exposition in Philadelphia and Niagara Falls. Back in Europe, Sargent traveled extensively visiting Spain, Holland and Venice. He painted genre scenes and portraits with similarities to the works of Claude Monet whose paintings he may have seen at the 1876 second Impressionist exhibition. By 1882, there was an increasing demand for his commission portraits and it became evident that these would come to define his reputation. In 1884, he stunned the Salon with his portrait Madame X. Breaking from the conventions of pose, modeling and treatment of space, Sargent embraced the painterly influences of Valezquez, Titian and Manet–shocking audiences twenty years after Manet’s Le Déjeuner sur L’Herbe. In 1886, Sargent moved permanently to London. Patrons there were initially reluctant to grant him commissions fearful of his “French Style.” Sargent spent this time working on his own projects and regularly visiting Monet in Giverny and spending the summers in the Cotswolds painting en plein air. He visited the United States on trips between 1887 and 1889 painting portraits of prominent americans. By the 1890s his portraits had become so conspicuous that the British aristocracy began to grant him commissions. At the turn of the century, tired of commission portraits, he benefited from large commissions for the murals at the Boston Public Library, the Museum of Fine Arts in Boston and the Harry Elkins Widener Memorial Library at Harvard University. By 1907, he was able to focus on travel and watercolors and retire from portraiture. In 1895, during his visit to Boston to install the first murals at the Boston Public Library, Sargent visited his dear friend Sarah Choate Sears. He painted her daughter Helen Sears at six years old in a famous portrait now at the Museum of Fine Arts Boston. The present drawing, a portrait of Montgomery Sears Bradley, captures the likeness of Helen Sears’ son–a testament to the enduring friendship between Sargent and Sarah Choate Sears.

10984

11085 ABBOTT FULLER GRAVES American (1859-1936) A COUNTRY STORE oil on canvas signed and inscribed lower left "Abbott Graves Kennebunkport ME" 30 x 40 inches PROVENANCE Meredith Long & Company, Houston, Texas; Adelson Galleries, New York, New York; Private Collection, Connecticut. ESTIMATE $15,000—$25,00086 JOHN GEORGE BROWN American (1831-1913) GOOD DOGGIE! oil on canvas signed lower left "J.G. Brown N.A." 17 x 14 1⁄4 inches PROVENANCE Roger King Fine Art, Newport, Rhode Island; Private Collection, Maine. ESTIMATE $8,000—$12,0008586

1118787 CHARLES COURTNEY CURRAN American (1861-1942) HEIRLOOMS oil on canvas signed lower right "Charles C. Curran", signed and numbered on the reverse "206-1 / CCC" 22 1⁄4 x 18 1⁄4 inches PROVENANCE M.A. Newhouse & Sons Gallery, St. Louis, Missouri (1922-1923); sold to a Private Collector; descended in the family until 2005; Private Collection, Connecticut; Private Collection, Florida. NOTES A copy of the research report compiled by Kaycee Benton, Charles Courtney Curran scholar, accompanies this lot. ESTIMATE $25,000—$35,000

11288 FIDELIA BRIDGES American (1834-1923) VIEW THROUGH THE DUNE watercolor on paper signed "F. Bridges" and dated illegibly lower right 13 1⁄8 x 9 3⁄8 inches (sight) PROVENANCE Oliver Ingraham Lay, by descent in the family; Private Collection, Connecticut. ESTIMATE $2,000—$3,00089 FIDELIA BRIDGES American (1834-1923) BLOSSOM SKETCH watercolor on paper unsigned 7 3⁄8 x 5 1⁄4 inches (sight) PROVENANCE Oliver Ingraham Lay, by descent in the family; Private Collection, Connecticut. ESTIMATE $1,500—$2,5008889

11390 ABBOTT FULLER GRAVES American (1859-1936) SPRINGTIME IN THE GARDEN oil on canvas signed lower right "Abbott Graves" 18 x 25 1⁄2 inches PROVENANCE Private Collection, New York. ESTIMATE $15,000—$25,00090

91 LOUIS CHARLES VOGT American (1864-1939) THE FOURTH OF JULY, 1912 watercolor, pastel, and graphite on paper laid down on board signed and dated lower left "LC Vogt, 1912" 6 3⁄4 x 9 1⁄4 inches PROVENANCE Skinner, Boston, Massachusetts, March 10, 2000, lot 373; Private Collection, Michigan. ESTIMATE $4,000—$6,0009192 WALTER LAUNT PALMER American (1854-1932) SNOWY RIVER BED mixed media on paper signed lower left "W.L. Palmer" 17 1⁄8 x 23 1⁄2 inches (sight) PROVENANCE Private Collection, Florida; Shannon's, Milford, Connecticut, April 28, 2016, lot 69; Private Collection, New York. ESTIMATE $8,000—$12,00092114

93 WALTER LAUNT PALMER American (1854-1932) SNOWBOUND BROOK oil on canvas signed lower left "W.L. Palmer" 25 1⁄2 x 17 inches PROVENANCE The Jordan-Volpe Gallery, New York, New York; Private Collection, acquired in 1987; Christie's, New York, New York, May 24, 2007, lot 44; Private Collection, New York. ESTIMATE $40,000—$60,00093115

11694 ANTONIO JACOBSEN American/Danish (1850-1921) "AMERICAN SHIP FREDERICK GEBHARD", 1888 oil on canvas signed and dated lower right "A. Jacobsen 1888" 22 x 36 inches PROVENANCE Private Collection, New Jersey. NOTES Frederick Gebhard was a wealthy New York merchant, investor and socialite. One of his business interests involved importing gin from Belgium. This painting depicts one of the ships his father owned, which was engaged in that trade. ESTIMATE $8,000—$12,00094

1179595 JOHN STOBART British (b. 1929) THE CONSTITUTION oil on canvas signed lower right "Stobart" 24 x 36 inches PROVENANCE Private Collection, Massachusetts. ESTIMATE $12,000—$18,000

118969796 EMILE ALBERT GRUPPE American (1896-1978) FOGGY MORNING, GLOUCESTER oil on canvas signed lower left "Emile A. Gruppe" 25 1⁄4 x 30 1⁄4 inches PROVENANCE The artist; Private Collection, Blackburn, England. ESTIMATE $5,000—$7,00097 EMILE ALBERT GRUPPE American (1896-1978) SAILBOAT AT DOCK oil on canvas signed lower left "Emile A. Gruppe" 25 1⁄4 x 30 inches PROVENANCE The artist; Private Collection, Blackburn, England. ESTIMATE $5,000—$7,000

1199898 JAMES E. BUTTERSWORTH American/British (1817-1894) YACHT "PURITAN" oil on board signed faintly lower right 7 1⁄2 x 11 inches PROVENANCE By descent in the Buttersworth family; by descent in a Private Collection, New Jersey. NOTES In 1885 the "Puritan" successfully defended the America’s Cup against the British challenger, “Genesta”. In this painting we see her leading a race in lower New York Bay with the Light Ship “Sandy Hook” and other competitors in the background. ESTIMATE $15,000—$25,000

12099 LEONARD EVERETT FISCHER American (b. 1924) "SEA SONGS II", 2008 acrylic on canvas signed and dated lower right "Leonard Everett Fischer 2008", signed, titled, dated and inscribed on the stretcher "acrylic" 36 x 36 inches PROVENANCE Cavalier Galleries, Greenwich, Connecticut; Private Collection, Connecticut. ESTIMATE $6,000—$8,000100 OGDEN MINTON PLEISSNER American (1905-1983) FISHING BOATS, SESIMBRA, PORTUGAL oil on canvas signed lower left "Pleissner" and inscribed "Costa Caparica" on the stretcher 24 1⁄4 x 42 1⁄4 inches PROVENANCE Private Collection, Connecticut. ESTIMATE $8,000—$12,00099100

121101 EMILE ALBERT GRUPPE American (1896-1978) "THE YANKEE" oil on canvas signed lower right "Emile A. Gruppe", titled, inscribed and dated on the stretcher "To Renee Turner by Emile A. Gruppe 1972" 24 x 20 inches PROVENANCE Private Collection, Arizona. ESTIMATE $3,000—$5,000101102102 EMILE ALBERT GRUPPE American (1896-1978) "IN THE GARDENS" (BANYAN TREES) oil on canvas signed lower right "Emile Gruppe", titled on the stretcher 20 x 24 inches PROVENANCE Private Collection, Pennsylvania. ESTIMATE $6,000—$8,000

122103 BRUCE CRANE American (1857-1937) "WHEN THE SAP RUNS" oil on canvas signed lower left "Bruce Crane N.A." 28 1⁄4 x 36 inches PROVENANCE Private Collection, Massachusetts; Private Collection, Connecticut. ESTIMATE $6,000—$8,000104 OGDEN MINTON PLEISSNER American (1905-1983) GHOST TOWN oil on canvas signed lower right "Pleissner", artist's stamped and numbered on the reverse "26" 30 x 40 inches PROVENANCE Private Collection. EXHIBITED New York, New York, American Academy of Arts and Letters; Pittsburgh, Pennsylvania, Carnegie Institute. ESTIMATE $6,000—$8,000103104

123105 JOHN CARLTON ATHERTON American (1900-1952) "BACK YARD", 1940 oil on canvas signed and dated lower right "Atherton 1940" 24 x 30 inches PROVENANCE Associated American Artists, New York, New York; Julian Levy Gallery, New York, New York; Private Collection. EXHIBITED New York, New York, Museum of Modern Art, "Artists in Advertising"; Rio De Janeiro, Brazil, Museo Nacional De Bellas Artes; Buenos Aires, Argentina, "“Exposición De Pintura, Norte Americana", July 1941. ESTIMATE $8,000—$12,000105

106 ISAAC ISRAELS Dutch (1865-1934) WOMEN AT THE MARKET oil on panel signed lower left "Isaac Israels" 11 3⁄4 x 9 1⁄4 inches PROVENANCE William Doyle Galleries, New York, New York; Private Collection, Maryland. ESTIMATE $10,000—$15,000106124

107 ISABEL BISHOP American (1902-1988) CROWD oil and pencil on canvas signed on the reverse "Isabel Bishop" 34 x 40 inches PROVENANCE William Doyle, New York, New York, March 2, 2005, lot 7; Private Collection, Minnesota. ESTIMATE $12,000—$18,000107125

108 ANDREW MELROSE American (1836-1901) FERRY LANDING AT RHINEBECK, NEW YORK oil on canvas signed lower left "A. Melrose" 22 x 36 inches PROVENANCE Vose Galleries, Boston, Massachusetts; Quinnipiack Club, New Haven, Connecticut; Private Collection, Connecticut. ESTIMATE $3,000—$5,000109 WILL HUTCHINS American (1878-1945) "BLUE HILL, MAINE" oil on canvas signed and estate stamped on the reverse "Will Hutchins", titled on the stretcher 18 x 24 inches PROVENANCE Estate of the artist; Private Collection, Connecticut. ESTIMATE $2,000—$3,000110 LILLA CABOT PERRY American (1848-1933) NEW ENGLAND LANDSCAPE (Possibly New Hampshire) oil on canvas signed lower right "LC Perry" 25 x 30 inches PROVENANCE Eldred's, East Dennis, Massachusetts, August 1-3, 2007, lot 1378; Private Collection, New York. ESTIMATE $4,000—$6,000108110109126

111 ANTONIETTA BRANDEIS Czech/Italian (1848-1926) "LA CASA D'ORO" oil on panel signed lower right "A. Brandeis", titled in pencil on the reverse 8 3⁄8 x 4 3⁄4 inches PROVENANCE Private Collection, Connecticut. ESTIMATE $4,000—$6,000112 VICENTE PALMAROLI Y GONZALES Spanish (1834-1896) WALKING ALONG THE SHORE oil on panel signed lower right "V. Palmaroli" 55 x 25 inches PROVENANCE Private Collection, New Jersey. ESTIMATE $5,000—$7,000113 OGDEN MINTON PLEISSNER American (1905-1983) SAN FREDIANO, FLORENCE watercolor on paper signed lower right "Pleissner" 18 3⁄4 x 29 1⁄4 inches (sight) PROVENANCE Private Collection, Connecticut. NOTES A label from William MacBeth, Inc., New York, New York is on the reverse. ESTIMATE $3,000—$5,000111113112127

114 JOHN CARLETON WIGGINS American (1848-1932) SUNSET ON THE LAKE, 1895 oil on canvas signed and dated lower left "J.C. Wiggins 95" 20 x 36 1⁄4 inches PROVENANCE Sotheby's Arcade, New York, New York, March 17, 1988, lot 126; Private Collection, New York, New York. NOTES This landscape possibly depicts West Rock, New Haven, Connecticut. ESTIMATE $3,000—$5,000115 JAMES MCDOUGAL HART American (1828-1901) COWS GRAZING ALONG A STREAM oil on canvas signed lower right "James M. Hart" 20 x 30 inches PROVENANCE Private Collection, Connecticut. ESTIMATE $3,000—$5,000116 OLIVE PARKER BLACK American (1868-1948) RETURNING HOME oil on canvas signed lower right "Olive P. Black" 30 x 25 inches PROVENANCE Private Collection, Tennessee. ESTIMATE $3,000—$5,000114116115128

117 FRANK VINCENT DUMOND American (1865-1951) SPRING IN BRIARCLIFF, N.Y., 1930 oil on canvas signed lower left "F.V. Dumond", estate stamped on the reverse and on the stretcher 30 x 36 inches PROVENANCE Estate of the artist; Private Collection, Connecticut. ESTIMATE $4,000—$6,000118 CHARLES HAROLD DAVIS American (1856-1933) FALL LANDSCAPE oil on canvas signed lower left "C.H. Davis" 29 x 36 inches PROVENANCE Private Collection, Arizona. ESTIMATE $4,000—$6,000119 CHARLES HAROLD DAVIS American (1856-1933) CLOUDS oil on canvas signed lower left "C.H. Davis" 17 x 21 inches PROVENANCE Private Collection, Arizona. ESTIMATE $3,000—$5,000117119118129

120 ARTHUR BOWEN DAVIES American (1862-1928) SUMMER LUSH oil on canvas unsigned 14 x 28 inches PROVENANCE Owen Gallery, New York, New York; Private Collection, Arizona. ESTIMATE $4,000—$6,000121 THEODORE MORROW CRILEY American (1880-1930) BABSIE PINKERTON, CA. 1926 oil on canvas estate stamped on the reverse and on the stretcher 32 x 26 inches PROVENANCE WIM Fine Art, Oakland, California; Atelier Carmel, Carmel-by-the-Sea, California, 1997; Private Collection, Florida. EXHIBITED Walnut Creek, California, Civic Arts Gallery, "About Faces, a Celebration of the Portrait", September 3 - October 18, 1987. ESTIMATE $2,000—$3,000122 ROBERT PHILIPP American (1895-1981) TEATIME - SUMMER AFTERNOON AT GLOUCESTER, 1974 oil on canvas signed lower right "Philipp", signed and dated on the reverse "Robert Philipp / 1974", artist's stamp on the stretcher 30 x 46 inches PROVENANCE Ross Peacock (the artist's dealer), New York, New York; Anne French Fine Art Gallery, Miami, Florida; Private Collection, Florida. NOTES A monograph of the artist by Mark Meachem and Matt Kendall accompanies the lot. ESTIMATE $4,000—$6,000120122121130

123 DEAN CORNWELL American (1892-1960) "THE INN", 1924 oil on canvas initialed and dated lower left "DC 24" 30 x 40 inches PROVENANCE Family of the artist; Private Collection, New York; descended in the family to the current owner, Private Collection, Connecticut. LITERATURE Patricia Broder, "Dean Cornwell, Dean of Illustrators", (Balance House, 1978), showing the published version, p. 78. NOTES This is the unpublished version of the illustration for "The Inn", a story by Robert Hitchins published in "Cosmopolitan" magazine in 1924. ESTIMATE $10,000—$15,000123131

124 AGNES RICHMOND American (1870-1964) WOMAN IN PINK oil on canvas signed on the stretcher "Agnes Richmond" 42 x 30 inches PROVENANCE Turak Gallery, Nottingham, Pennsylvania; Private Collection, Connecticut. ESTIMATE $2,500—$3,500125 MORSTON CONSTANTINE REAM American (1840-1898) STILL LIFE WITH FRUIT, BIRD AND FISHBOWL oil on canvas signed left center "M.C. Ream" 30 x 25 inches PROVENANCE Private Collection, Virginia. ESTIMATE $7,000—$10,000124125132

126 CHARLES MORGAN MCILHENNEY American (1858-1904) MOMENT OF REFLECTION AT THE SHORE oil on canvas signed lower right "C. Morgan McIlhenney" 18 x 24 inches PROVENANCE Private Collection, Michigan. NOTES A Ressler Art Galleries stamp is on the reverse. ESTIMATE $8,000—$12,000126133

127 FREDERICK JUDD WAUGH American (1861-1940) STILL LIFE, CA. 1920 oil on panel signed lower right "Waugh" 14 1⁄4 x 17 7⁄8 inches PROVENANCE Christie's, Los Angeles, California, October 29, 2003, lot 14; Private Collection, Connecticut. EXHIBITED Waterbury, Connecticut, Mattatuck Museum, "Haven and Inspiration: The Kent Art Colony", June 22 - August 24, 2014. ESTIMATE $3,000—$5,000128 EDWIN BURRAGE CHILD American (1868-1937) TIGER LILIES, 1885 oil on canvas signed and dated lower left "Ed B. Child / Aug 85" 23 3⁄4 x 18 inches PROVENANCE Private Collection, Connecticut. ESTIMATE $3,000—$5,000129 CHARLES COURTNEY CURRAN American (1861-1942) MEMORIES (GRANDFATHER CURRAN AND EMILY), 1911 oil on canvas signed and dated lower right "Charles C. Curran 19 © 11", signed and dated on the reverse 20 x 30 inches PROVENANCE Estate of Edward Galligan, New Jersey. NOTES This painting is listed in the National Collection of Fine Art in the Smithsonian Institution Archives, No. 70930030, and was authenticated by Kaycee Benton in 1973 (a copy of the archive record accompanies this lot). ESTIMATE $3,000—$5,000127129128134

130 CHARLES CARYL COLEMAN American (1840-1928) STILL LIFE WITH PINEAPPLE AND GRAPES, CA. 1865 oil on canvas monogrammed lower left "CCC" 31 x 35 inches PROVENANCE Private Collection, Long Island, New York; Post Road Gallery, Mamaroneck, New York; Private Collection, acquired from the above ca. 1996; Christie's, New York, New York, December 4, 2003, lot 5; Private Collection, New York. ESTIMATE $15,000—$25,000130135

131 FREDERICK WILLIAM MACMONNIES American (1863-1937) YOUNG FAUN WITH HERON bronze signed, dated and inscribed on the base "Frederick MacMonnies, Copyright 1894, Paris 1890 / Jaboeuf & Rouard / Founders / A / Paris / 10 & 12 / R. LE LASALE POPINCOURT" height: 27 inches PROVENANCE Private Collection, New York. ESTIMATE $8,000—$12,000132 ISIDORE KONTI American (1862-1938) KNEELING MEN (A PAIR OF BOOKENDS) bronze signed, dated and inscribed on the base "© 1911 by I. Konti / Roman Bronze Works N.Y.", inscribed on the underside "R 742" height: 6 1⁄4 inches (each) PROVENANCE Christie's, New York, New York, April 1, 2015, lot 53; Private Collection, New York. ESTIMATE $2,000—$3,000133 CLIO HINTON HUNEKER BRACKEN American (1870-1925) UNTITLED (BOWL WITH TWO NUDES) bronze signed "Clio Bracken", with foundry mark "Roman Bronze Works N.Y." diameter: 15 inches, height: 6 3⁄4 inches PROVENANCE Private Collection, Massachusetts. ESTIMATE $3,000—$5,000131133132136

134 WOUTERUS VERSCHUUR I Dutch (1812-1874) HORSE IN A STABLE oil on canvas signed lower right "Verschuur" 20 x 26 inches PROVENANCE Private Collection, New York; Shannon's, Milford, Connecticut, April 30, 2009, lot 102; Private Collection, New York. ESTIMATE $7,000—$9,000135 HENRY MOSLER American (1841-1920) "THE HUSKING BEE" oil on canvas signed, inscribed and dated lower right "New York, 1890" 72 1⁄2 x 121 inches PROVENANCE Charles B. Tyler, Los Angeles, California; Private Collection, 1987; Sotheby's, December 3, 2008, Lot 152; Corporate Collection; Shannon's, Milford, Connecticut, October 27, 2016, lot 111; Private Collection, Tennessee. EXHIBITED Los Angeles, California, The Hebrew Union College Skirball Museum, "Henry Mosler Rediscovered: A 19th Century American Jewish Artist", September - December, 1996. ESTIMATE $5,000—$7,000134135137

136 ALSON SKINNER CLARK American (1876-1949) ARCHES, SAN JUAN CAPISTRANO, CA. 1919 oil on board signed lower right "Alson Clark" 15 x 18 inches PROVENANCE Joan Irvine Smith Fine Arts, Irvine, California, 1998; Private Collection, Florida. NOTES A copy of a monograph of the artist by Jean Stern accompanies the lot. ESTIMATE $12,000—$18,000137 GRANVILLE S. REDMOND American (1871-1935) CATALINA ISLAND, 1905 oil on board signed and dated lower left "Granville Redmond 05" 6 3⁄4 x 9 3⁄4 inches PROVENANCE Joan Irvine Smith Fine Arts, Irvine, California, 1998; Private Collection, Florida. ESTIMATE $5,000—$7,000136137138

138 MARION KAVANAUGH WACHTEL American (1876-1954) MORNING LIGHT (OJAI VALLEY), CA. 1904 watercolor on paper signed and artist monogram lower right "Marion Kavanaugh" 8 1⁄2 x 11 1⁄2 inches (sight) PROVENANCE LaPorte's Fine Art, Pacific Grove, California; Private Collection, Florida. ESTIMATE $3,000—$5,000139 JEAN MANNHEIM American/German (1863-1945) (FISHIN') MORRO BAY, CA. 1920S oil on canvas signed lower left "J. Mannheim" 20 x 24 inches PROVENANCE Estate of the artist; Bowater Gallery, Los Angeles, California; Blue Bird Gallery, Laguna Beach, California; Private Collection, Florida. ESTIMATE $2,000—$3,000140 ALFRED RICHARD MITCHELL American (1888-1972) SAN DIEGO, BACK COUNTRY, CA. 1920S oil on board signed lower right "Alfred R. Mitchell", inscribed, num-bered and initialed on the reverse "Unfinished Sketch #189 / A.R.M." 16 x 20 inches PROVENANCE William Karges Fine Art, Carmel, California; Private Collection, Florida. NOTES In a hand carved frame (by the artist). ESTIMATE $4,000—$6,000138140139139

141 BRUCE CRANE American (1857-1937) FALL LANDSCAPE oil on canvas signed lower right "Bruce Crane", signed on a label on the reverse 14 x 20 inches PROVENANCE Private Collection, New York. ESTIMATE $3,000—$5,000142 GEORGE HENRY SMILLIE American (1840-1921) LANDSCAPE (Possibly Newburyport, Massachusetts) oil on masonite signed and dated lower left "Geo. H. Smillie 1889" 20 x 30 1⁄4 inches PROVENANCE Private Collection, California; descended in the family to the current owner, Private Collection, Washington. ESTIMATE $2,000—$3,000143 AARON HENRY GORSON (ATTRIBUTED) American (1872-1933) BILLOWING SMOKE oil on canvas unsigned 19 x 27 inches PROVENANCE Private Collection, New York. ESTIMATE $3,000—$5,000141143142140

144 DAVID JOHNSON American (1827-1908) "SCENE NEAR CHAPINVILLE, CONN.", 1886 oil on board initialed lower right "DJ", signed, titled, dated and inscribed on the reverse "David Johnson / Feb 24 1886 / with compliments of the artist" 5 3⁄4 x 7 3⁄4 inches PROVENANCE From the Collection of a New York State Museum. EXHIBITED Stony Brook, New York, Long Island Museum, "American Horizons, East to West: Landscape Painting and Photography", February 27, 2015 - August 2, 2015. ESTIMATE $3,000—$5,000145 JOHN WILLIAM CASILEAR American (1811–1893) LANDSCAPE, 1843 oil on canvas initialed and dated lower left "JWC 43" 14 1⁄2 x 22 7⁄8 inches PROVENANCE Private Collection, Connecticut. ESTIMATE $4,000—$6,000146 AARON DRAPER SHATTUCK American (1832-1928) PICNIC ALONG THE RIVER'S EDGE oil on canvas signed lower left "A.D. Shattuck" 12 x 18 inches PROVENANCE Private Collection, Arizona. ESTIMATE $3,000—$5,000144146145141

147 ROBERT VICKREY American (1926-2011) "LATE AFTERNOON, MIKONOS", 1987 egg tempera on panel signed lower right "Robert Vickrey" 7 7⁄8 x 12 inches PROVENANCE Kennedy Galleries, Inc., New York, New York; A Houston, Texas estate; Private Collection, Houston, Texas. ESTIMATE $2,500—$3,500148 RALPH EUGENE CAHOON JR. American (1910-1982) SAILING SHIP oil on board signed lower right "R. Cahoon" 8 inches in diameter PROVENANCE Private Collection, Connecticut. ESTIMATE $5,000—$7,000149 RALPH EUGENE CAHOON JR. American (1910-1982) SAILING SHIP oil on board signed lower right "R. Cahoon" 8 inches in diameter PROVENANCE Private Collection, Connecticut. ESTIMATE $5,000—$7,000147149148142

150 THOMAS BIRCH American (1779-1851) NEW YORK HARBOR, 1832 oil on canvas signed and dated lower right "Tho. Birch 1832", signed, dated and numbered on the reverse "No. 3" 19 3⁄4 x 29 3⁄4 inches PROVENANCE H.C. Randolph, Sr., Philadelphia, Pennsylvania; Schwarz Gallery, Philadelphia, Pennsylvania; Private Collection, Pennsylvania. EXHIBITED Philadelphia, Pennsylvania, Frank S. Schwarz & Son, "In Celebration of 50 Years 1930 -1980, A Collection of Philadelphia Related Paintings & Decorative Arts", 1980, cat. no. 20. ESTIMATE $4,000—$6,000151 ROBERT SALMON (SCHOOL OF) American (19th century) ENTERING THE HARBOR oil on canvas unsigned 18 x 24 inches PROVENANCE Alexander Gallery, New York, New York; Private Collection, Connecticut. ESTIMATE $3,000—$5,000152 EUGENE GABRIEL LOUIS ISABEY French (1803-1886) BOATS ON THE SHORE, 1866 oil on canvas signed and dated lower left "E. Isabey 66" 16 3⁄4 x 24 3⁄4 inches PROVENANCE Christie's, New York, New York, October 27, 2004, lot 193; Private Collection, New York. ESTIMATE $8,000—$12,000150152151143

153 ROBERT MANGOLD American (b. 1937) A BOOK OF SILK SCREEN PRINTS— MULTIPLE PANEL PAINTINGS silkscreen in colors on paper one signed and numbered in pencil lower right "R. Mangold 295" This complete portfolio of nine works is number 295 from the edition of 300. Printed by Domberger K G, Filderstadt, Germany and co-published by Edition Domberger, Stuttgart, and Parasol Press, Ltd., New York. 11 3⁄4 x 26 3⁄4 inches (sight each) PROVENANCE Property of a Non-Profit Organization. LITERATURE Senior and Shopmaker 1977.02; Parasol RM12 ESTIMATE $4,000—$6,000153144

154 HAYWOOD (BILL) RIVERS American (1922-2001) "COMPOSITION WITH MOVEMENT - INTERIORS, 1953" oil on canvas unsigned 35 1⁄2 x 31 1⁄2 inches PROVENANCE Mrs. Merle Haas, 1980; Property of a Non-Profit Organization. ESTIMATE $3,000—$5,000155 MARK TOBEY American (1890-1976) UNTITLED, 1972 gouache and watercolor on paper signed and dated lower right "M. Tobey 1972" 6 1⁄8 x 4 1⁄8 inches PROVENANCE Private Collection, Connecticut. NOTES A copy of the letter of authenticity from the Mark Tobey Project accompanies the lot. Identification number MT [319-01-20-21]. ESTIMATE $4,000—$6,000156 ESTEBAN VICENTE American/Spanish (1903-2001) UNTITLED mixed media on paper laid down on card stock signed lower right "Esteban Vicente" 4 3⁄4 x 6 3⁄8 inches PROVENANCE Private Collection, Connecticut. ESTIMATE $6,000—$8,000154156155145

157 ETHEL MAGAFAN American (1916-1993) "THE RIVER THAT GOES DOWN TO THE SEA" oil on masonite signed lower right "Ethel Magafan", signed and titled on the reverse 28 1⁄2 x 45 1⁄2 inches PROVENANCE Midtown Gallery, New York, New York; Private Collection, New Jersey. ESTIMATE $3,000—$5,000158 EMILY MASON American (1932-2019) UNTITLED, 1959 mixed media on paper signed and dated lower right "Emily Mason '59" 19 x 26 1⁄4 inches sheet PROVENANCE Private Collection, Connecticut. ESTIMATE $4,000—$6,000159 EMIL BISTTRAM American (1895-1976) UNTITLED, 1956 oil on masonite signed and dated lower right "Bisttram '56" 36 x 32 inches PROVENANCE First Bank, Minneapolis, Minnesota; U.S. Bancorp Art Collection, Minneapolis, Minnesota, 2006; Private Collection, Minnesota. ESTIMATE $4,000—$6,000157159158146

160 AGNES WEINRICH American (1873-1946) ABSTRACT BLUE, 1944 oil on canvas signed and dated lower right "A. Weinrich 1944" 28 1⁄8 x 22 1⁄8 inches PROVENANCE Private Collection, New Hope, Pennsylvania; Private Collection, Philadelphia, Pennsylvania. ESTIMATE $3,000—$5,000161 CHARLES GREEN SHAW American (1892–1974) "MOVEMENT IN SPACE" oil on canvasboard signed lower right "Shaw", title on the artist's label on the reverse 16 x 12 inches PROVENANCE Bertha Schaefer Gallery, New York, New York; Private Collection, Connecticut. ESTIMATE $2,000—$3,000162 CHARLES GREEN SHAW American (1892–1974) "OVERFLOW", 1959 oil on canvasboard signed and dated on the reverse "Charles Shaw / 1959", titled on the artist's label on the reverse 5 3⁄4 x 9 inches PROVENANCE Private Collection, Connecticut. ESTIMATE $1,500—$2,500160162161147

163 CHARLES HINMAN American (b. 1932) MAGENTA acrylic emulsion on shaped canvas unsigned 22 x 29 x 6 inches PROVENANCE Property of a Non-Profit Organization. ESTIMATE $3,000—$5,000164 CHARLES HINMAN American (b. 1932) "OCHRE SUNSPOT", 1965 acyclic emulsion on shaped canvas signed and dated on the reverse "Hinman '65" 25 1⁄4 x 30 x 5 inches PROVENANCE Richard Feigen Gallery, New York, New York; Property of a Non-Profit Organization. ESTIMATE $3,000—$5,000163164148

165 THEODOROS STAMOS American/Greek (1922-1997) "INFINITY FIELD IV" hand wovenwool woven signature lower left "Stamos" 42 x 84 inches PROVENANCE Property of a Non-Profit Organization. ESTIMATE $2,500—$3,500166 THEODOROS STAMOS American/Greek (1922-1997) "INFINITY FIELD II" handwoven wool woven signature lower left "Stamos" 59 x 59 inches PROVENANCE John G. Powers; John G. and Kimiko Powers Collection; property of a Non-Profit Organization, received as a gift from the above. ESTIMATE $2,500—$3,500165166149

167 JOHN WILLENBECHER American (b. 1936) "ORRERY", 1965 construction signed, titled and dated on the reverse "John Willenbecher" 41 1⁄2 x 41 1⁄2 x 6 1⁄4 inches PROVENANCE Richard Feigen Gallery, New York, New York; Property of a Non-Profit Organization. ESTIMATE $3,000—$5,000168 JOHN WILLENBECHER American (b. 1936) "SILVER AND BLUE", 1964 mixed media construction signed, titled and dated on the reverse "John Willenbecher 1964" 37 x 31 x 6 1⁄4 inches PROVENANCE Richard Feigen Gallery, New York, New York; Property of a Non-Profit Organization. ESTIMATE $2,000—$3,000167168150

169 ROBERT RAUSCHENBERG American (1925-2008) "PUBLICON - STATION VI", 1978 wood and aluminum multiple with collaged fabrics, bottle caps and lacquer signed, numbered and dated on the base "Rauschenberg, 13/30, 78", published by Gemini G.E.L. 24 x 36 x 11 3⁄4 inches PROVENANCE Property of a Non-Profit Organization. LITERATURE Gemini, 819 ESTIMATE $6,000—$8,000170 ROBERT RAUSCHENBERG American (1925-2008) "PUBLICON-STATION IV", 1978 wood and aluminum multiple with baked epoxy enamel, collaged fabrics, bicycle wheel, plexiglass, fluorescent light bulb and lacquer signed, numbered and dated on a plaque on the reverse "Rauschenberg,13/30, '78", published by Gemini G.E.L. 28 1⁄4 x 36 x 13 inches PROVENANCE Property of a Non-Profit Organization. ESTIMATE $5,000—$7,000170169151

171 EDWARD AVEDISIAN American (1936-2007) UNTITLED, 1964 acrylic on canvas unsigned 55 x 55 inches PROVENANCE John G. and Kimiko Powers Collection, 1979; property of a Non-Profit Organization, received as a gift from the above. ESTIMATE $2,500—$3,500172 GEORGE BIRELINE American (1923-2002) "SAND", 1964 acrylic polymer on canvas unsigned 71 1⁄2 x 58 inches PROVENANCE Andre Emmerich Gallery, New York, New York; John G. Powers; John G. and Kimiko Powers Collection; property of a Non-Profit Organization, received as a gift from the above. ESTIMATE $4,000—$6,000173 JOSEF ALBERS American/German (1888-1976) "WHITE LINE SQUARE - X" (FROM WHITE LINE SQUARES (SERIES II)), 1966 lithograph on paper signed and dated in pencil lower right with artist mono-gram "'66", titled and numbered in pencil lower left "WLS - X 95 - 125". This work is number 95 from the edition of 125 printed and published by Gemini G.E.L., Los Angeles. 16 1⁄2 x 16 1⁄2 inches (sight) PROVENANCE John G. Powers, 1988; John G. and Kimiko Powers Collection; property of a Non-Profit Organization, received as a gift from the above. LITERATURE Gemini 11; Danilowitz 172.2 ESTIMATE $2,500—$3,500171173172152

174 JOSEF ALBERS American/German (1888-1976) "INTAGLIO DUO H", 1958 embossed paper signed and dated in pencil lower left "Albers 58", titled and numbered lower left "proof 6/7" 14 7⁄8 x 22 1⁄8 inches sheet PROVENANCE The estate of Barbara Effron, New York, New York; Private Collection, Connecticut. NOTES A label from the Art Lending Service of the Museum of Modern Art, New York, New York "on loan from Tanglewood Gallery", is on the reverse. ESTIMATE $2,500—$3,500175 PABLO PICASSO (AFTER) Spanish (1881-1973) "VOLLARD ET SON CHAT", CA. 1960 etching and color aquatint on paper signed in pencil lower right "Picasso", numbered in pencil lower left "173/200" 23 5⁄8 x 17 3⁄4 inches (plate) PROVENANCE Swann Galleries, Inc., New York, New York, December 1, 1994, lot 267; Private Collection, New York, New York; descended in the family to the current owner, Private Collection, Connecticut. ESTIMATE $4,000—$6,000176 ALEX KATZ American (b. 1927) GOOD AFTERNOON II (GRAY BOAT), 1975 lithograph signed and numbered in pencil lower left "Alex Katz 15/100" 27 1⁄2 x 36 inches PROVENANCE John Warren Bookseller, Philadelphia, Pennsylvania; Clark Point Gallery, Southwest Harbor, Maine; Private Collection, Pennsylvania. ESTIMATE $4,000—$6,000174176175153

177 CHARLES COBELLE French (1902-1998) STREET SCENE oil on canvas signed lower right "Cobelle" 24 x 30 inches PROVENANCE Private Collection, New York. ESTIMATE $2,000—$3,000178 HANS WEINGAERTNER American (1896-1970) PORTRAIT WITH MULTIPLE LENS, 1966 oil on canvas signed and dated upper right "Hans Weingaertner 1966" 20 x 18 1⁄4 inches PROVENANCE The artist; Private Collection, Colorado; Private Collection, New Jersey. ESTIMATE $2,500—$3,500179 ROGER SHIMOMURA American (b. 1939) UNTITLED, CA. 1972-1975 acrylic on canvas unsigned 59 3⁄4 x 59 3⁄4 inches PROVENANCE Property of a Non-Profit Organization. NOTES We are grateful to the artist and Greg Kucera Gallery for confirming the authenticity of this work. ESTIMATE $4,000—$6,000177179178154

180 GARY KUEHN American (b. 1939) "BOLT PIECE" painted plywood with bolts unsigned 24 x 48 x 24 inches PROVENANCE Aldrich Museum, Ridgefield, Connecticut, 1984; John G. and Kimiko Powers Collection; property of a Non-Profit Organization, received as a gift from the above. NOTES We are grateful to the Gary Kuehn Studio for confirming the authenticity of this lot. ESTIMATE $3,000—$5,000181 SHINGO KUSUDA Japanese (b. 1935) "PING PONG", 1964 acrylic and collage on canvas unsigned 68 x 70 inches PROVENANCE John G. Powers; John G. and Kimiko Powers Collection; property of a Non-Profit Organization, received as a gift from the above. ESTIMATE $2,500—$3,500182 ALLAN D'ARCANGELO American (1930-1998) SKETCH FOR MURAL T+T BUILDING AT THE WORLD'S FAIR gouache and pencil on paper signed and dated lower right "D'Arcangelo, 1964" 9 1⁄2 x 50 1⁄2 inches (sight) PROVENANCE Fischbach Gallery, New York, New York; John and Kimiko Powers Collection; Property of a Non-Profit Organization, received as a gift from the above. ESTIMATE $2,000—$3,000180182181155— END OF SALE —

156INDEXA Albers, Josef 173, 174 Atherton, John Carlton 105 Avedisian, Edward 171 B Bell, Larry 70, 71 Benton, Thomas Hart 78 Berthelsen, Johann 1, 2 Birch, Thomas 150 Bireline, George 172 Bishop, Isabel 107 Bisttram, Emil 159 Black, Olive Parker 116 Bracken, Clio H. H. 133 Brandeis, Antonietta 111 Bricher, Alfred T. 57 Bridges, Fidelia 88, 89 Brown, John George 86 Burliuk, David 14 Buttersworth, James E. 98 C Cahoon Jr., Ralph E. 74, 148, 149 Campigli, Massimo 12 Carlson, John Fabian 30, 33 Casilear, John William 145 Chase, William Merritt 83 Child, Edwin Burrage 128 Clark, Alson Skinner 136 Cobelle, Charles 177 Coleman, Charles Caryl 130 Cornwell, Dean 123 Crane, Bruce 103, 141 Criley, Theodore Morrow 121 Curran, Charles Courtney 87, 129 D D’arcangelo, Allan 182 Dabo, Leon 10 Dasburg, Andrew Michael 65 Davies, Arthur Bowen 120 Davis, William R. 75, 76 Davis, Charles Harold 118, 119 Dickinson, Preston 64 Drexler, Lynne Mapp 48 Dumond, Frank Vincent 117 Durrie, George Henry 63 F Fischer, Leonard Everett 99 Folinsbee, John Fulton 28, 29 G Garber, Daniel 26 Goldberg, Michael 67 Gorson, A. H. (Attributed) 143 Graves, Abbott Fuller 85, 90 Gray, Jack Lorimer 8 Gruppe, Emile Albert 96, 97, 101, 102 H Hart, William M. 58, 60 Hart, James Mcdougal 115 Henri, Robert 45 Henry, Edward Lamson 42, 43 Hinman, Charles 163, 164 Hofmann, Hans 72 Horton, William S. 37 Howell, Felicie Waldo 5 Hutchins, Will 109 I Inness, George 62 Isabey, Eugene G. L. 152 Israels, Isaac 106 J Jacobsen, Antonio 94 Johnson, David 144 K Kahn, Scott 68 Kahn, Wolf 73 Katz, Alex 176 Knight, Dame Laura 11 Knight, Daniel Ridgway 52 Konti, Isidore 132 Kroll, Leon 38 Kuehn, Gary 180 Kuhn, Walt 82 Kusuda, Shingo 181 L Laing, Gerald 17, 18 Laux, August 54 Leavitt, Edward Chalmers 53 Lever, Richard Hayley 9

157Lichtenstein, Roy 19 Lie, Jonas 77 M Macmonnies, F. W. 131 Magafan, Ethel 157 Mangold, Robert 153 Mannheim, Jean 139 Mason, Emily 158 Mattern, Alice L. 47 Maurer, Alfred Henry 66 McIlhenney, Charles M. 126 Melrose, Andrew 108 Mitchell, Alfred Richard 140 Moran, Thomas 55 Moran, Edward 56 Mosler, Henry 135 N Nichols, Dale 79 O Olbinski, Rafal 13 Osthaus, Edmund Henry 41 P Pages, Jules Eugene 4 Palmaroli y Gonzales, V. 112 Palmer, Walter Launt 92, 93 Pasche, John 16 Perry, Lilla Cabot 110 Philipp, Robert 122 Picasso (After), Pablo 175 Pleissner, Ogden Minton 39, 100, 104, 113 Potthast, Edward Henry 36 Prendergast, Maurice 44 R Rauschenberg, Robert 169, 170 Ream, Morston C. 125 Redfield, Edward Willis 27 Redmond, Granville S. 137 Rembert, Winfred 22, 23 Rembert, Mitchell 24 Rice, Dan 69 Richards, William Trost 61 Richmond, Agnes 124 Rivers, Haywood (Bill) 154 Rogers, Randolph 49 Ryder, Chauncey Foster 34 S Salmon, Robert (School Of) 151 Sargent, John Singer 84 Schofield, Walter Elmer 31, 32 Shattuck, Aaron Draper 146 Shaw, Charles Green 161, 162 Shimomura, Roger 179 Sloan, John 46 Sloane, Eric 6, 7 Smillie, George Henry 142 Stamos, Theodoros 165, 166 Stevens, William Lester 25 Stobart, John 95 Sully, Thomas 51 T Thompson, Bob 21 Tobey, Mark 155 V Vereschagin, Vasily P. 15 Verschuur I, Wouterus 134 Vicente, Esteban 156 Vickrey, Robert 147 Vogt, Louis Charles 91 Vonnoh, Bessie Potter 50 Vonnoh, Robert 81 W Wachtel, Marion K. 138 Warner, Everett Longley 3 Waugh, Frederick Judd 127 Weingaertner, Hans 178 Weinrich, Agnes 160 Wesley, John 20 Wiggins, Guy Carleton 80 Wiggins, John Carleton 114 Wiles, Irving Ramsey 35 Willenbecher, John 167, 168 Williamson, John 59 Winter, Andrew 40

Personalized Service • Competitive Rates • Proven Results2525EXCELLENCE25Contact Sandra Germain info@shannons.com 203 877 1711 shannons.comApril 2023 | 6:00 PM ET Online Fine Art Auction Consignments accepted now through March 15, 2023. October 2023 | 6:00 PM ET Important Paintings, Drawings, Prints & Sculpture Consignments accepted now through September 15, 2023. YOU ARE INVITED...Charles Burchfield Sold: $587,500 Walter Launt Palmer Sold: $137,500 T homas Hart Benton Sold: $275,000 Consignments accepted year-round

159BIDS MUST BE RECEIVED AT LEAST 24 HOURS PRIOR TO DAY OF SALE. Lot # Artist’s Name Maximum Bid (Excluding buyers premium) $ $ $ $ $ $ $ $ $Bidding Increments $1,000 – $2,000 . . . . . . . . . .$100 $2,000 – $5,000 . . . . . . . . . .$250 $5,000 – $10,000 . . . . . . . .$500 $10,000 – $20,000 . . . . . .$1,000 $20,000 – $50,000 . . . . .$2,000 Over $50,000 . . . . . . . . . .$5,000 Over $100,000 . . . . . . . .$10,000 The Auctioneer has the discretion to accept bids not commensurate with this pattern.EMAIL OR FAX BIDS TO: 49 Research Drive, Milford, CT 06460 P: (203) 877-1711 | F: (203) 877-1719 Email: info@shannons.com CHECK ONE: ABSENTEE BID PHONE BID I understand that Shannon's will execute my bids as a convenience, and will not be held responsible for errors, or the inadvertent failure to execute bids. On my behalf, Shannon's will try to purchase these lots for the lowest possible price. If identical absentee bids are left, Shannon's will give precedence to the first one received. I have read and agree to the Conditions of Sale on page 2. Payment for successful bids must be made within two weeks of the sale. A premium of 25% of the successful bid will be applied to the individual hammer price of all lots sold, to be paid by the buyer as part of the purchase price. Purchases made through Invaluable will be subject to an additional 5% charge (30% total buyer’s premium) and purchases made online through shannons.com will be subject to an additional 2% charge (27% buyer’s premium). Name Date Address City State Zip Country Phone # Alternate# EmailSignature (required) DateWe will have a limited phone bidding staff for this sale. We ask that if you request a phone line, you be prepared to bid the low estimate. If you are not willing to bid the low estimate, we kindly ask that you leave an absentee bid instead.

160Shannon’s LLC Fine Art Auctioneers acts solely as an agent for various owners and consignors. It exercises care in describing all items listed and uses judgment in attributing authorship, but offers no guarantee regarding authenticity, condition, or description. The items described in this catalog, which description may be amended by notice or announcement at sale time, are offered for sale by Shannon’s LLC as agent for various owners or others authorized to sell the items. Hereinafter, Shannon’s LLC is referred to as the Sellers agent. The owners or others authorized to sell theitems are hereinafter referred to as Sellers. The person or persons acknowledged by the auctioneer to be the highest bidder on an item shall be hereinafter referred to as the Buyer or Buyers. Shannon’s LLC reserves the right to change the terms of sale by oral announcement. Any such change shall become part of the Conditions of Sale. By placing of a bid, whether present at the sale in person or by agent, by written or oral bid, by telephone or other means, the Buyer agrees to be bound by these conditions of sale. 1. The highest bidder acknowledged by the auctioneer shall be the Buyer. In the event of any dispute between bidders, the auctioneer has the absolute discretion to determine which bidder is the successful Buyer or to re-offer the item in dispute and resell it. 2. In the event of any dispute after the sale, Shannon’s LLC’s record of the final sale price and of the successful buyer shall be conclusive, Shannon’s LLC reserves the right to withdraw any item before or during the sale. 3. Shannon’s LLC reserves the right to sell items which are not listed in the catalog. 4. Items in the auction are sold subject to a reserve. Such reserve is confidential, but in no case will the reserve exceed the low estimate. The auctioneer may reject any bid or increment not commensurate with the value of the lot. 5. Order bids are accepted. A deposit may be required. Absent parties may place bids by mail, email, fax or in person prior to the sale. Order bids must be placed 24 hours prior to the day of sale. Shannon’s LLC will execute such bids up to the maximum amount specified. Phones must be reserved 24 hours prior to the day of sale. Phone bidders are encouraged to leave a cover bid in case of technical failure. Shannon’s is not responsible for errors or omissions in the execution of these bids. 6. A premium of 25% of the successful bid will be applied to the individual hammer price of all lots sold, to be paid by the buyer as part of the purchase price. Purchases made through Invaluable will be subject to an additional 5% charge (30% total buyer’s premium) and purchases made online through shannons.com will be subject to an additional 2% charge (27% buyer’s premium). Payment may be made by, check, ACH or wire transfer. Visa, MasterCard and Amex may be used up to the amount of $5,000 per auction. We currently collect sales tax in CT, DC, FL, GA, IN, KS, MA, MD, MI, NC, NE, NJ, NY, OH, OK, PA, RI, VA and WI and remit the appropriate sales tax. If we do not collect sales tax in your state, it is still your responsibility to pay the proper tax on your purchases. ALL ITEMS MUST BE PAID FOR WITHIN 7 DAYS OF THE SALE, AT WHICH POINT THEY WILL BE RELEASED FOR SHIPMENT OR DELIVERY. 7. Limited Warrantee: Although Shannon’s LLC exercises due care in describing the items listed and use good judgment in attributing authorship; it does not make any express or implied warrantee as to such authorship. Notwithstanding, Shannon’s LLC may, but shall have no obligation to, consider any reasonable request for refund on the grounds of authenticity of authorship only and only under the following conditions: A. Notification must be made to Shannon’s in writing within 7 days of receipt of the item. B. The items must be returned within 28 days of the sale, accompanied by written testimony from a recognized authority that the lot in question is a forgery. C. The limited warrantee does not extend to the lots identified as attributions, school, circle, manner, or after. D. The limited warrantee is applicable only to the original Buyer. 8. All property is sold "as is". 9. As a convenience to the Buyer, Shannon’s LLC will make a referral for packing and shipping. This is at the request, expense, and risk of the Buyer, and Shannon’s assumes no responsibility for the items or the timing of delivery. Insurance for in transit items is the responsibility of the buyer. All items must be removed within 30 days post sale or a fee of up to $20 per day will be charged for storage. Items not collected within twelve months of a sale will become the property of Shannon’s. 10. Shannon's has retained the Art Loss Register to check all uniquely identifiable items offered for sale in the catalog that are estimated for $5,000 or more against the computerized database of stolen or lost artwork maintained by the Art Loss Register. A search certificate can be provided by the Art Loss Register for an additional fee. The Art Loss Register does not guarantee the provenance or title of any catalogued item against which they search, and will not be liable for any direct or consequential losses of any nature howsoever arising. The statement is not to affect, detract from, or override Shannon's Conditions of Sale, and in the event of any conflict, Shannon's Conditions of Sale will take priority to the terms of this statement. BIDDING AT THIS AUCTION, WHETHER IN PERSON, BY AGENT, ORDER BID, TELEPHONE, INTERNET OR OTHER MEANS, CONSTITUTES YOUR ACKNOWLEDGEMENT AND ACCEPTANCE OF THESE "CONDITIONS OF SALE". CONDITIONS OF SALEAfter: A work of art or object made in the style of an artist or maker, but not by the artist. Sometimes refers multiples that may have used an artist’s mold or plate, but were reproduced by someone other than the artist, including posthumous works. Can also be used to describe a direct reproduction after an original work of art. Attributed (attr.): In our opinion, probably or possibly a work of art by the artist. The work is either unsigned, and/or lacks adequate provenance or authentication by experts in the field. Bears Signature: The work is signed, but the work and signature may not be by the hand of the artist. Manner of: Made in the likeness or style of an artist, with a slight possibility that it was made by the artist or by a follower or student of the artist. Also see “After” and “Attributed”. Possibly: Being something that may or may not be true or actual without guarantee. Probably: Supported by evidence strong enough to establish presumption but not proof. We do not guarantee it to be true. School: Usually relates to a particular artistic or aesthetic movement. It can also relate to an actual school or to followers of a particular artist or maker. Also see: “Manner of”, “Style”, “Attributed to” and “After”. Style: After the time period in which the style originated, or a more recent reproduction (ie: Style of Pablo Picasso or Cubist Style), used to refer to the style of a particular artist or artistic movement, generally made long after that time period.GLOSSARY OF  TERMS

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