Fine Art Auction
Paintings, Drawings, Prints and Sculpture
Milford, Connecticut • October 24, 2019
49 Research Drive, Milford, CT 06460
www.shannons.com
|
info@shannons.com
(203) 877-1711
|
Fax (203) 877-1719
Front cover illustration #90 (detail)
Back cover illustration #74
FINE ART AUCTION
PAINTINGS, DRAWINGS,
PRINTS
AND SCULPTURE
PREVIEW DATES & TIMES:
October 14 - October 23 Weekdays 11 AM 6 PM
October 19 Saturday 10 AM 3 PM
Closed Sundays
October 24 Thursday 12 PM 5:30 PM
The sale will begin at 6:00 PM EDT on Thursday, October 24, 2019.
AUCTION INFORMATION
Thursday, October 24, 2019 | 6:00 PM
TABLE OF CONTENTS
Artist Index 172
Invitation to Consign 174
Bid Form 175
Conditions of Sale 176
Sandra Germain
Owner
sandra@shannons.com
Ali Danker
Specialist
ali@shannons.com
Gene Shannon
Owner
gene@shannons.com
Specialist Contacts
General Sale Inquiries
info@shannons.com
1
CLARENCE KERR CHATTERTON
American (1880-1973)
THE BEACH AT OGUNQUIT
oil on board, signed "C.K. Chatterton" lower right
8 x 10 inches
PROVENANCE
A Connecticut estate.
Notes
A label from Mongerson Wunderlich Galleries,
Chicago, Illinois is on the reverse.
Estimate $4,000—$6,000
2
CLARENCE KERR CHATTERTON
American (1880-1973)
THE BEACH AT OGUNQUIT
oil on board, signed "C.K. Chatterton" lower left
8 x 10 inches
PROVENANCE
A Connecticut estate.
Notes
A label from Mongerson Wunderlich Galleries,
Chicago, Illinois is on the reverse.
Estimate $4,000—$6,000
1
2
2
3
RICHARD HAYLEY LEVER
American (1876-1958)
SAILBOATS AND LIGHTHOUSE
oil on board, signed "Hayley Lever" lower right
10
1
2 x 14
1
2 inches
PROVENANCE
Galleries Maurice Sternberg, Chicago, Illinois.
Estimate $6,000—$8,000
4
RICHARD HAYLEY LEVER
American (1876-1958)
RACING SAILBOATS AT MARBLEHEAD MASS., 1932
oil on canvas, signed "Hayley Lever" lower right
11 x 14 inches
PROVENANCE
Private Collection, New York.
Estimate $6,000—$8,000
3
4
3
5
MAX KUEHNE
American (1880-1968)
PIER, ROCKPORT, MASSACHUSETTS
oil on board, signed "Kuehne" lower left
8
1
2 x 11
3
4 inches
PROVENANCE
David Findlay Jr., Inc, New York, New York;
Hirschl & Adler Galleries, Inc., New York,
New York.
Estimate $3,000—$5,000
6
MAX KUEHNE
American (1880-1968)
VIEW OF ROCKPORT, MASSACHUSETTS
oil on board, signed "Kuehne" lower left
8
1
4 x 11
3
4 inches
PROVENANCE
David Findlay Jr. Inc., New York, New York;
Hirschl & Adler Galleries, Inc., New York,
New York.
Estimate $3,000—$5,000
5
7
6
4
7
RICHARD HAYLEY LEVER
American (1876-1958)
DRY DOCK CORNWALL, ENGLAND, 1908
oil on canvas, signed "Hayley Lever" lower
right, titled on the reverse
10
1
4 x 13 inches
PROVENANCE
Clayton-Liberatore, New York, New York; ACA
Galleries, New York, New York; Private
Collection, New York.
Estimate $3,000—$5,000
8
9
5
8
WILLIAM HART
American (1823-1894)
ROCKY BEACH
oil on canvas, signed "W. Hart" lower right
9
3
8 x 19 inches
PROVENANCE
Questroyal Fine Art, New York, New York;
Private Collection, New York.
Estimate $6,000—$8,000
9
ARTHUR QUARTLEY
American (1839-1886)
"COMING INTO HARBOR, LONG ISLAND"
oil on canvas, signed "Arthur Quartley" lower left,
signed, titled and inscribed "New York" on the reverse
26
1
4 x 50
3
4 inches
PROVENANCE
Private Collection, New Jersey.
Estimate $5,000—$7,000
10
WILLIAM FREDERICK HENDRICK DE HAAS
American/Dutch (1832-1895)
SHIPS AT SUNSET
oil on canvas, signed faintly lower left
8 x 14 inches
PROVENANCE
Alexander Gallery, New York, New York;
Private Collection, New York.
Estimate $8,000—$12,000
10
6
11
EDWARD MORAN
American (1829-1901)
CLAM DIGGERS
oil on canvas, signed "Edward Moran"
and dated "1871" lower left
15
3
4 x 31
3
4 inches
PROVENANCE
A Connecticut estate.
Estimate $15,000—$25,000
11
7
12
ERNEST ALBERT
American (1857-1946)
WINTER BROOK
oil on canvas, signed "Ernest Albert A.N.A."
and dated "1932" lower right
25 x 30 inches
PROVENANCE
Shannon’s, Greenwich, Connecticut,
October 20, 2005, lot 51;
Private Collection, Illinois.
Estimate $6,000—$8,000
12
13
8
13
ERNEST ALBERT
American (1857-1946)
GOLDEN DAY
oil on canvas, signed "Ernest Albert A.N.A."
lower right
25 x 30 inches
PROVENANCE
Greenwich Gallery, Greenwich,
Connecticut; Private Collection,
Connecticut.
Estimate $4,000—$6,000
14
FREDERICK J. MULHAUPT
American (1871-1938)
FEBRUARY MORNING IN NEW HAMPSHIRE
oil on canvas, signed "Mulhaupt" lower left
25 x 30 inches
PROVENANCE
A Gloucester, Massachusetts estate;
Vose Galleries, Boston, Massachusetts;
Private Collection, Boston, Massachusetts.
Estimate $20,000—$30,000
14
9
16
PHILIP PEARLSTEIN
American (b. 1924)
"VIEW OVER SOHO,
LOWER MANHATTAN 1977-1978"
watercolor on paper, signed "Pearlstein 77"
and dated lower right
29
1
2 x 41 inches
PROVENANCE
Private Collection, New York.
Notes
This composition was also made as an
etching and aquatint print. The Eskenazi
Museum of Art notes in their cataloging of a
print of this view "Although best known for his
nudes in studio interiors, Pearlstein began a
series of large-scale landscapes in 1974
during a visit to the Canyon de Chelly. While
he envisioned this body of work as a
meditation on ruins, it included this
contemporary view of Manhattan. Pearlstein
explained that it was inspired by Joseph
Pennell’s sepia-colored WWI poster showing
an apocalyptic bombing of New York City. To
produce his image, Pearlstein taped a grid on
the window of his friends’ Soho apartment
and spent every Sunday for several months
painstakingly recording the vista. The scene—
which he described as a “pre-ruin”—is eerily
prophetic with the shadowy World Trade
Center towers visible in the background."A
label from Allan Frumkin Gallery is on the
reverse. A Brooklyn Museum loan label is on
the reverse.
Estimate $3,000—$5,000
15
LUIGI ROCCA
Italian (b. 1952)
"NYSE" (NEW YORK STOCK EXCHANGE)
oil on canvas, signed "L. Rocca" lower
right, titled, signed and dated "2001" on
the reverse
35
1
4 x 51 inches
PROVENANCE
Private Collection, New York.
Estimate $4,000—$6,000
15
16
10
17
11
17
JOHANN BERTHELSEN
American (1883-1972)
VIEW OF LOWER MANHATTAN AND THE BROOKLYN BRIDGE
oil on canvas, signed "Johann Berthelsen" lower right
20 x 24 inches
PROVENANCE
Private Collection, Connecticut.
Notes
On the right side of the painting you can see the Brooklyn Bridge, a
special subject for the artist because his mother and father walked
across the bridge on opening day in May 1883. His mother was pregnant
with him and he was born two months later in Denmark, July 1883. He
loved the scene of the foot of Manhattan island at night with all the lights
and initially did the scene in pastel in the early 1920s. When the
depression took such a heavy toll on him he wondered if painting in oil
could better feed his children, a fellow artist told him" if you can do in oil
what you have done in pastel you will be a great success." Our thanks for
Lee Berthelsen, son of the artist and head of The Johann Berthelsen
Conservancy, LLC for his comments on this work.
Estimate $10,000—$15,000
18
ROBERT KNIGHT RYLAND
American (1873-1951)
MORNING WITH SNOW
oil on canvas, signed "R.K. Ryland" and dated "1939" lower left
25 x 20 inches
PROVENANCE
Private Collection, New York, New York.
EXHIBITED
Bethel Inn Exhibition, 1945.
Notes
Ryland exhibited in the 1939 World's Fair in New York City.
Estimate $10,000—$15,000
18
12
19
ROBERT KNIGHT RYLAND
American (1873-1951)
BROWNSTONES IN THE EVENING
oil on canvas, signed "R.K. Ryland" and dated "1939" lower right
25 x 20 inches
PROVENANCE
Private Collection, New York, New York.
Notes
Ryland exhibited in the 1939 World's Fair in New York City.
Estimate $5,000—$7,000
19
13
14
20
21
20
STEVAN DOHANOS
American (1907-1995)
AT THE FAIR
oil on masonite, signed "Stevan Dohanos" lower left
8 x 10 inches
PROVENANCE
Private Collection, Connecticut.
Estimate $3,000—$5,000
21
JOHN FORD CLYMER
American (1907-1989)
KEEPING APPOINTMENTS WITH CONVOYS,
PENNSYLVANIA RAILROAD, 1943
mixed media on paper laid down on board,
signed "J. Clymer" lower left
36 x 36 inches
PROVENANCE
Private Collection, Connecticut.
Notes
This illustration was used in a 1943 advertise-
ment for the Pennsylvania Railroad. It is prob-
ably one of the piers in Manhattan's lower
west side.
Estimate $4,000—$6,000
22
EDMUND D. LEWANDOWSKI
American (1914-1998)
CHARLESTON MARINA
watercolor on paper, signed "Edmund D. Lewandowski"
and dated "1988" lower right
16
3
4 x 24
3
4 inches
PROVENANCE
H.V. Allison Galleries, Inc.; New York, New York;
Private Collection, Bedford, New York.
EXHIBITED
Flint Institute of Arts, Michigan (and traveling), "Edmund
Lewandowski: Precisionism and Beyond," September 2010-
December 2011 (catalogue, 24, no. 45 [illustrated]). Little
Rock, Arkansas, "50th Collectors Show and Sale," Arkansas
Arts Center, November 16, 2018 - January 6, 2019.
Estimate $12,000—$18,000
22
15
16
Montague Dawson internationally recognized as the leading Marine artist of the Twentieth Century. He was the
grandson of painter Henry Dawson (1811-1878). He spent much of his childhood with his father, an avid sailor, on the
waters of Southampton where he learned about sailing and ships.
Dawson studied under the renowned artist Charles Napier Hemy (1841–1917) at the Royal Academy. He met Hemy
in Falmouth during the first World War when he was a member of the Royal Navy. It was during this time that he
became skilled in painting naval ships. After the war, Dawson exhibited frequently at the Royal Academy and
began his exclusive relationship with Frost & Reed Gallery in London. He was appointed as an official war artist dur-
ing World War II, which can be seen in the following grisaille works offered.
After the War, Montague Dawson established himself as a professional marine artist. He concentrated on historical
subjects and on painting sailing ships, masterfully capturing the movement of the ocean waves and wind in the sails.
The Needles, the subject of this current painting, is a row of threestacks ofchalk that rise about 30 meters out of
the sea off the western extremity of the Isle of Wight, United Kingdom, close to Alum Bay. The Needles
Lighthouse stands at the outer, western end of the formation. Built in 1859, it has been automated since 1994.
1
The formation takes its name from a fourth needle-shaped pillar calledLot’s Wife, which collapsed in a storm in
1764.
2
The remaining rocks are not at all needle-like, but the name has stuck.
The Needles were the site of a long-standingartillery battery, from the 1860s to 1954, which was eventually decom-
missioned. Tourists from around the world are still drawn to The Needles today as scenic boat trips that operate from
Alum Bay offer close-up views of the Needles. The rocks and lighthouse have become icons of theIsle of Wight. The
site is an internationally well-known sailing destination.
“Shortly before his death in 1973,” writes Ron Ranson in his 1993 monograph, “a remarkable tribute was made to
Montague Dawson. He looked out of his window one day to see two fully rigged training ships, theRoyalistand
theSir Winston Churchill, apparently sailing straight towards his house on the shore. At what appeared to be the very
last moment, they turned about, and both ships dipped their ensigns in salute to the man who had probably done
more than any other to capture the magic and majesty of sail.”
3
().
Dawson was an associate of the Royal Society of Artists and a member of the Royal Society of Marine Artists. His
works can be viewed in museums around the world.
1
"Needles Lighthouse". Trinity House. n.d. Archived fromthe original on 2 May 2010. Retrieved25 May2010.
2
"The History of The Needles at Alum Bay".The Needles Park.
3
Ron Ranson, The Maritime Paintings of Montague Dawson, Newton Abbot, Devon, 1993, p. 15
23
MONTAGUE DAWSON
British (1890-1973)
THE NEEDLES (PASSING THE LIGHTHOUSE)
oil on canvas,
signed "Montague Dawson" lower left
24 x 36 inches
PROVENANCE
Frost and Reed, London (acquired directly
from the artist); A Connecticut estate.
Notes
A label from Galleries Maurice Sternberg,
Chicago, Illinois. A Frost and Reed
registration label is on the reverse.
Estimate $80,000—$120,000
23
17
25
MONTAGUE DAWSON
British (1890-1973)
DESTROYER IN BATTLE - THE BIG
ASSAULT ON DIEPPE
oil on board, signed
"Montague Dawson" lower left
8
5
8 x 21
1
2 inches
PROVENANCE
Tolford Galleries, Chicago, Illinois;
A Connecticut estate.
Notes
A Frost and Reed registration label
is on the reverse. See our website
www.shannons.com for additional
information.
Estimate $4,000—$6,000
24
MONTAGUE DAWSON
British (1890-1973)
H.M.S. FORESTER NO. 1 IN HEAVY SEAS
oil on board, signed
"Montague Dawson" lower left
6
1
2 x 11 inches
PROVENANCE
Tolford Galleries, Chicago, Illinois; A
Connecticut estate.
Notes
A Frost and Reed registration label is
on the reverse. See our website
www.shannons.com for additional
information.
Estimate $3,000—$5,000
24
25
26
18
26
MONTAGUE DAWSON
British (1890–1973)
A U BOAT IN HOME WATERS
oil on board,
signed "Montague Dawson" lower left
10
1
4 x 19 inches
PROVENANCE
Tolford Galleries, Chicago, Illinois; A
Connecticut estate.
Notes
A Frost and Reed registration label is
on the reverse.
Estimate $4,000—$6,000
27
28
19
27
MONTAGUE DAWSON
British (1890-1973)
BRITISH SUBMARINE IN ACTION NEAR THE ISLAND OF
MONTE CRISTO
oil on board, signed "Montague Dawson" lower left
9
1
2 x 22 inches
PROVENANCE
Tolford Galleries, Chicago, Illinois; A Connecticut
estate.
Notes
A Frost and Reed registration label is on the reverse.
See our website www.shannons.com for additional
information.
Estimate $5,000—$7,000
28
WILLIAM FREDERICK HENDRICK DE HAAS
American/Dutch (1832-1895)
ROWING TO THE SHIP
oil on board, signed "W.F.H. de Haas" lower right
7
1
4 x 10 inches
PROVENANCE
Private Collection, New York.
Estimate $4,000—$6,000
30
NAHUM GILBOA
Israeli / Bulgarian (1917-1976)
"JERUSALEM (FANTASTICO)"
mixed media on canvas, signed "Nahum Gilboa"
lower right signed on a label on the reverse
24 x 20 inches
PROVENANCE
Private Collection, New York.
Notes
The artist’s copyright label is on the reverse.
Estimate $7,000—$10,000
29
30
31
20
29
NAHUM GILBOA
Israeli / Bulgarian (1917-1976)
"JERUSALEM, THE OLD CITY"
mixed media on canvas, signed "Nahum Gilboa"
lower right, signed on a label on the reverse
18 x 24 inches
PROVENANCE
Private Collection, New York.
Notes
The artist’s copyright label is on the reverse.
Estimate $8,000—$12,000
31
NAHUM GILBOA
Israeli / Bulgarian (1917-1976)
"ROOFS IN JERUSALEM"
mixed media on panel, signed
"Nahum Gilboa" lower right
signed on a label on the reverse
8
1
4 x 9
1
2 inches
PROVENANCE
Private Collection, New York.
Notes
The artist’s copyright label is on
the reverse.
Estimate $3,000—$5,000
32
21
32
EDOUARD LEON CORTES
French (1882-1969)
NEAR NOTRE DAME
oil on canvas, signed "Edouard Cortes" lower left
13 x 18 inches
PROVENANCE
A Connecticut estate.
Notes
A Marshall Field & Co. label is on the reverse.
Estimate $12,000—$18,000
34 
ARNOLD FRIEDMAN
American (1874-1946)
THE VEGETABLE STAND
oil on canvas, signed "Friedman" lower left
30 x 36 inches
PROVENANCE
The artist; By descent; Salander-O'Reilly
Galleries, Inc., New York, New York;
Sotheby's New York, March 23, 2005, lot 122;
Christie's New York, March 8, 2008, lot 207;
Private Collection, New York, New York.
EXHIBITED
Marquie Gallery, New York, 1945.
Notes
A exhibition label from the California
Palace of the Legion of Honor is on
the reverse.
Estimate $10,000—$15,000
33 
AMERICAN SCHOOL (WPA PERIOD)
END OF THE PARTY
oil on canvas, unsigned
35
1
2 x 39 
1
2 inches
PROVENANCE
Private Collection, Connecticut.
Estimate $5,000—$7,000
33
34
22

THERESA FERBER BERNSTEIN
American (1890-2002)
Theresa Bernstein’s artistic career lasted over 90 years and spanned the twentieth century. She was a painter,
printmaker, teacher, poet, storyteller and art activist. Loosely associated with the Ashcan School, Bernstein’s subjects
included modern scenes of urban life and popular culture. She painted in an expressive colorful style in New York
City and during the summers in Gloucester, Massachusetts.
Bernstein was born in Krakow, Poland in 1890. She and her parents emigrated to the United States, settling first in
Philadelphia. She attended the Philadelphia School of Design for Women (now the Moore College of Art and
Design) where her teachers included Harriet Sartain, Elliott Daingerfield, Henry Snell, Daniel Garber and Samuel
Murray. In 1912, she moved to New York City to attend the Art Students League. There she studied under and
befriended William Merritt Chase, Robert Henri and later John Sloan, Stuart Davis and Edward Hopper.
Bernstein arrived in New York City at a time when there were competing definitions of
Modernism, the New York Realists and the Abstractionists. Bernstein was primarily a Realist
painter, embracing the alternative definition of Modernism. Although her works were
figurative, they were highly expressive and filled with color. Bernstein was exposed to all of
the Modern art movements going on around her. She visited the 1913 Armory Show,
although she famously claims to have seen neither nude nor staircase in Duchamp’s
infamous painting. In 1912 and again in 1923 she travelled to Europe where she saw works
by Kandinsky, Marc and Munch.
In 1913, she made a breakthrough when one of her paintings was chosen for the annual
exhibition at the National Academy of Design. In 1919, she had a major show at the
Milch Gallery.
The first few decades of the 1900s were Bernstein’s most realist period. She painted street scenes, tenement houses
and, as in the present example, a kindergarten class. Her works from the teens and twenties are considered among
her best and were the subject of a 1991 exhibition Echoes of New York: The Paintings of Theresa Bernstein. The
Kindergarten was included in the exhibition because it shows her sensitivity in capturing her subject matter. She
often painted women and children, and as is apparent in her study drawings (figs. 1 and 2), she was adept at
capturing the moment through expression and gesture.
In 1919, she married Russian émigré artist William Meyerowitz. The couple moved near Times Square and Central
Park, placing Bernstein in the heart of city life. She painted parades, parks, trolleys and concerts. She would venture
to Coney Island and in the summers, the couple would spend their time in Gloucester, Massachusetts. There she
painted beaches and harbor scenes.
Of her Gloucester paintings, Patricia M. Burnham, noted Bernstein scholar writes, “The
subject that seemed to liberate Bernstein’s brush and color was the beach—Coney Island
at first, Gloucester later. True to her temperament, she was attracted to human activity at
the sea shore than to the sea itself.”
1
Her beach scenes, as in lots 36, 246 and 247, are
animated, filled with color bustling with activity.
Although her work in achieved critical success throughout the 1920s, in the 1930s it
became difficult for her to sustain her reputation. As a woman artist, she was often
overlooked or disregarded. She was champion of her husband Meyerowitz, often
promoting his work above her own.
Although the history of art closes the chapter on New York Realism in 1913, Bernstein is one
of the notable painters who kept the style alive. She died in 2002, a few weeks shy of her
112
th
birthday.
1
Patricia M. Burnham, “Theresa Bernstein,” Woman’s Art Journal (Fall 1988 / Winter 1989).
Images on this page: Bernstein, Theresa. The Sketchbook. Rockland, Massachusetts: Theresa Bernstein, 1992, pp. 21, 24.
24
35
25
35
THERESA FERBER BERNSTEIN
American (1890-2002)
"THE KINDERGARTEN," 1915
oil on canvas, signed "T. Bernstein" and dated "15" upper right
40 x 50 inches
PROVENANCE
Purchased directly from the Artist; Private Collection, Connecticut.
EXHIBITED
New York, New York; Museum of the City of New York, "Echoes of
New York: Paintings by Theresa Bernstein," November 11, 1990 -
April 21, 1991.
Estimate $60,000—$80,000
36
THERESA FERBER BERNSTEIN
American (1890-2002)
A DAY AT THE BEACH, CONEY ISLAND
oil on board, signed "Bernstein" lower left
14
3
4 x 19
3
4 inches
PROVENANCE
Purchased directly from the Artist; Private
Collection, Connecticut.
Estimate $20,000—$30,000
36
26
37
CLARENCE KERR CHATTERTON
American (1880-1973)
CIRCUS SCENE
oil on canvas, signed "C.K. Chatterton" lower left
16 x 20
1
4 inches
PROVENANCE
Clayton-Liberatore, New York, New York; Private
Collection, New York.
Estimate $15,000—$25,000
37
27
28
39
ANTONIO JACOBSEN
American (1850-1921)
"HORATIO HALL"
oil on board, signed "Antonio Jacobsen," dated "1908"
and inscribed "31 Palisade Ave. West Hoboken, NJ"
lower right and titled left center
22 x 35
3
4 inches
PROVENANCE
Private Collection, New York.
Estimate $6,000—$8,000
38
ANTONIO JACOBSEN
American (1850-1921)
"CREOLE"
oil on canvas, signed "A. Jacobsen" and dated "1897"
lower right, titled left center
22 x 36
1
4 inches
PROVENANCE
Private Collection, New York.
Estimate $7,000—$10,000
38
39
29
40
40
MONTAGUE DAWSON
British (1890-1973)
THE GOLDEN HIND
oil on canvas, signed "Montague Dawson" lower left
24 x 36 inches
PROVENANCE
Frost and Reed, London (acquired directly from the artist);
A Connecticut estate.
Notes
A Frost and Reed registration label is on the reverse.
Estimate $20,000—$30,000
41
HENRI HAYDEN
French (1883-1970)
VILLAGE SCENE
oil on canvas, signed "Hayden" lower left
25
1
2 x 32
1
4 inches
PROVENANCE
Private Collection, New York.
Estimate $10,000—$15,000
41
30
42
31
42
ABEL GEORGE WARSHAWSKY
American (1883-1962)
"FISHING BOATS, CONCARNEAU"
oil on canvas, signed "A.G. Warshawsky" lower left and titled on the stretcher
21
1
2 x 25
1
2 inches
PROVENANCE
The artist; Private Collection, California; descended in the family to the
current owner, Private Collection, California.
Notes
A copy of a letter from the artist detailing the provenance accompanies the
lot. A partial exhibition label is on the reverse.
Estimate $10,000—$15,000
43
MAX GAISSER
German (1857-1922)
"A DIFFICULT PROBLEM"
oil on panel, signed "M. Gaisser" and dated
"88" lower right
28 x 40 inches
PROVENANCE
The estate of Anne W. Penfield, Philadelphia,
Pennsylvania; Private Collection, New Jersey;
Private Collection, New York.
Estimate $6,000—$8,000
43
44
32
44
TONY FRANCOIS DE BERGUE
French (1820-1893)
EL GENERAL CORDO ENBARCA SU DIVISION
EN BARCELONA EL 22 DE MAYO DE 1849
(GENERAL CORDO EMBARKS HIS DIVISION IN
BARCELONA ON MAY 22, 1849)
oil on canvas, signed "Tony de Bergue,"
dated "1850," and inscribed "Barcelona"
lower right
34 x 51 inches
PROVENANCE
Private Collection, New York.
Estimate $5,000—$7,000
45
33
45
SIMON HOLLOSY
Hungarian (1857-1918)
TAVERN SCENE
oil on canvas laid down on masonite, signed "Hollosy"
and inscribed "Munchen" lower right
24 x33
1
4 inches
PROVENANCE
Private Collection, Connecticut.
Estimate $40,000—$60,000
34
Daniel Ridgway Knight (1839-1924) was a prominent American expatriate artist working in 19th
century France. He was born in Pennsylvania and attended the Pennsylvania Academy of Fine
Arts along with Mary Cassatt and Thomas Eakins. In 1861, Knight went to Paris for two years to
study at the Ecole des Beaux-Arts. He apprenticed under Charles-Gabriel Gleyere (1806-1874)
and worked briefly under Jean-Louis-Ernest Meissonier (1815-1891).
In 1863 Knight returned to Philadelphia to serve in the Union Army. He founded the Pennsylvania
Sketch Club where he exhibited portraits and battle scenes sketched during the war. He married
in 1871, and in 1872 Knight and his new wife moved to France and settled in Poissy, a village just
north of Paris.
Knight’s work exhibits the influences of his French Impressionist friends Pierre-Auguste Renoir and
Alfred Sisley, also pupils in Gleyere’s atelier. The influences of other contemporaries including
Jean-Francois Millet, Jules Bastien-Lepage and Jules Breton can also be identified. In contrast to
these proponents of realism, Knight’s work depicts the “peasant-picturesque.” Young, pretty
maidens stroll through scenic landscapes and bountiful gardens, there is nothing to indicate the
economic hardships of the peasant class.
Knight often used local peasant women as models, dressing them up costume and placing them
in idyllic settings. In Summer Afternoon, Seine Valley the maiden stands in a picking garden in full
summer bloom. Knight showcases his skills as a flower painter. Here in a field of poppies, lupine,
sunflowers and dahlias the young maiden selects the best bloom to pick. The artist successfully
captures the tender way in which the maiden holds the flower and her gaze as she admires it.
Universally appealing, Knight’s works are widely collected by museums and individuals alike.
During his lifetime Knight earned a multitude of ribbons and prizes, exhibiting in both Europe and
America. The Pennsylvania Academy of Fine Arts, the Milwaukee Museum and the Brooklyn
Museum were among the first public institutions to collect his work.
46
35
46
DANIEL RIDGWAY KNIGHT
American (1839-1924)
SUMMER AFTERNOON, SEINE VALLEY
oil on canvas, signed "Ridgway Knight" and inscribed "Paris" lower right
32
3
4 x 25
3
4 inches
PROVENANCE
John Levy Galleries, Inc., New York, New York; Private Collection, Nebraska;
descended in the family to the current owner, Private Collection, Dallas, Texas.
Estimate $60,000—$80,000
36
47
48
47
SIGMUND JOSEPH MENKES
Ukrainian (1896-1986)
STILL LIFE WITH FLOWERS
oil on canvas, signed "Menkes" lower right
31 x 20 inches
PROVENANCE
Vern Stein Art, Williamsville, New York;
Private Collection, New York.
Estimate $7,000—$10,000
48
DAVID BURLIUK
American/Russian (1882-1967)
SUNFLOWERS AND LILIES
oil on canvas,
signed "Burliuk" lower left
16 x 12 inches
PROVENANCE
ACA Galleries, New York, New
York; Private Collection, New
York; By descent, Private
Collection, New York.
Estimate $5,000—$7,000
49
DAVID BURLIUK
American/Russian (1882-1967)
UNTITLED
oil on canvas, signed "Burliuk" lower right
30
1
4 x 13 inches
PROVENANCE
Private Collection, Connecticut.
Estimate $12,000—$18,000
49
37
50
LUIGI CHIALIVA
Swiss (1842-1914)
SHEPHERDESS AND HER HERD
oil on canvas, signed "L. Chialiva" lower right
22
1
4 x 39
1
4 inches
PROVENANCE
Private Collection, New York; Private Collection,
Connecticut.
Estimate $10,000—$12,000
50
38
51
FRITS THAULOW
Norwegian (1847-1906)
A SNOWY HARBOR VIEW
pastel on canvas, signed "Frits Thaulow" lower left
28
3
8 x 35
3
4 inches (sight)
PROVENANCE
Private Collection, New York; descended in the family
to the current owner; Private Collection, Connecticut.
Estimate $15,000—$25,000
51
39
52
40
52
ANGELOS PANAYOTOU
Greek (b. 1943)
BOY WITH DOVES
oil on canvas, signed and
dated "1984" lower left
51
1
2 x 51
1
2 inches
PROVENANCE
Private Collection, New York.
Estimate $8,000—$12,000
53
ANGELOS PANAYOTOU
Greek (b. 1943)
LOOKING UPWARD
oil on canvas, signed and
dated "1983" lower right
27
3
4 x 31
5
8 inches
PROVENANCE
Private Collection, New York.
Estimate $6,000—$8,000
53
41
54
55
42
54
GEORGE LOFTUS NOYES
American (1864-1954)
"II REDENTORE ON THE GUIDECCA, VENICE"
oil on canvas, signed "G.L. Noyes"
lower right and titled on the reverse
16
1
2 x 24 inches
PROVENANCE
Private Collection, New York, New York.
Notes
A label from McColl Fine Art is on the reverse.
Estimate $4,000—$6,000
55
WALTER LAUNT PALMER
American (1854-1932)
VIEW OF ST. MARK'S, VENICE
pastel on paper, signed "W.L. Palmer"
and dated "1886" lower left
24
5
8 x 34
1
4 inches (sight)
PROVENANCE
Private Collection, Connecticut.
Estimate $6,000—$8,000
56
JANE PETERSON
American (1876 - 1965)
VENICE
watercolor and gouache on paper,
signed "Jane Peterson" lower left
17
1
2 x 17
1
2 inches
PROVENANCE
Private collection, Georgia; Finer Things
Gallery of American Art, Cambridge,
Massachusetts; Shannon's, Milford,
Connecticut, October 20, 2005, lot 47;
Private Collection, Illinois.
Estimate $20,000—$30,000
56
43
44
57
58
57
ROBERT HENRI
American (1865 - 1929)
PARIS STREET SCENE
oil on panel, unsigned
6
3
8 x 4
7
8 inches
PROVENANCE
A Connecticut estate.
Notes
There is a painting on the reverse.
Estimate $5,000—$7,000
58
ROBERT HENRI
American (1865 - 1929)
PARIS CAFE
oil on panel, signed "Robert Henri" lower left
3
1
2 x 5
1
2 inches (sight)
PROVENANCE
A Connecticut estate.
Estimate $6,000—$8,000
59
ÉMILE BERNARD
French (1868-1941)
MAISON DE L'ARTISTE A L'AUDE
oil on board, signed "Emile Bernard" lower right
29
1
4 x 40
3
4 inches
PROVENANCE
The Artist; Estate of the Artist: Galerie Barbizon,
Paris; Private Collection, Illinois; An Illinois estate;
Private Collection, New York; descended in the
family to Private Collection, Philadelphia,
Pennsylvania; Private Collection, New York.
Notes
Another painting of the artist's home is illustrated
in the Catalog Raisonné, no. 1311. "Maison
Villageoise Dans l'Midi," ca. 1927. A photocopy of
the relevant page from the catalog will be pro-
vided with the lot.
Estimate $7,000—$10,000
59
45
46
Paul Cornoyer was born in St. Louis, Missouri, and attended the city’s school of fine arts before
traveling to Paris in 1889 to study with Jules Lefebvre, Benjamin Constant, and Louis Blanc. Upon
returning to St. Louis in 1894, he established himself as a painter of urban subjects.
His work attracted the attention of William Merritt Chase, who bought one of his paintings and
advised Cornoyer to visit New York. Following Chase’s advice, he moved to New York City in 1899,
and found success as a painter of the city’s streets and parks. Cornoyer was at the vanguard of
artists who made the city their subject; William H. Gerdts wrote that he “contributed significantly
to this relatively new genre.”
1
Like Chase, Cornoyer was especially interested in the city’s parks and their juxtaposition with the
surrounding architecture. He also took note of the parks’ value as urban oases, and his thoughts
on their social significance are worth quoting in part:
It is in the parks that the spirit of metropolitan life most truly reveals itself. The call of
nature is vibrant within us all, either consciously or subconsciously. There it finds its
outlet. The bustle, the work, the tension—all that is an inevitable accompaniment
of city life…. There you will find all classes. The children of the rich romp on the
green side by side with the worn, haggard men for whom all hope has ceased;
there shop-girls and working men pause for comfort on their way from toil; there
all the people who go to make up New York’s diverse population at one time or
another find their way. Under the soothing influence of nature’s green their trou-
bles and worries seem lessened….
2
In the current example of the artist’s work “Washington Square” Cornoyer depicts the mood and
ambience of the park. The arch, designed by renowned architect Stanford White, glows is the
center of the painting. Washington Square Park, abundant in its history, still provides a space for
local residents, students, visitors from around the world.
1
William H. Gerdts, et al, East Coast/West Coast and beyond: Colin Campbell Cooper, America
Impressionist (Hudson Hills, 2006), 34.
2
Louis Baury, “The Message of Manhattan”, The Bookman: An Illustrated Magazine of Literature and Life,
Volume XXXIII (New York: Dodd, Mead and Company, 1911), 596.
60
PAUL CORNOYER
American (1864-1923)
"WASHINGTON SQUARE"
oil on canvas, signed "Paul Cornoyer," titled,
and dated "1900" on the reverse
18 x 24
1
4 inches
PROVENANCE
The Artist; Mr. & Mrs. Goetz, Greenwich,
Connecticut, descended in the family to her
daughter Harriett Holly, Boca Raton, Florida;
Private Collection, Darien, Connecticut.
Estimate $60,000—$80,000
60
47
48
61
61
EDMUND C. COATES
American (1816-1871)
VIEW ALONG THE HUDSON
oil on canvas, signed "E.C. Coates," dated "1857," and inscribed "9th President St
Brooklyn, LI SNY US at N.A." lower center
30 x 40 inches
PROVENANCE
Henry Harding, Harding Farm, Clinton, New York, 1860; (probably) Elihu Root (Senator,
Secretary of State, Secretary of War under President Theodore Roosevelt) upon
purchase of Harding Farm, 1905; Henry Harding, Harding Farm (re-purchased from
Root), Clinton, New York, 1912; By descent, Harding Farm, Clinton, New York, 1938; By
descent, Michigan; By descent, Fountain Hills, Arizona.
Notes
Harding Farm is a historic site in the village of Clinton, New York. It was built by Samuel
Kirkland in 1793. Kirkland was the founder of Hamilton College and a missionary and
friend to the native Oneida people. Kirkland, Harding and Oneida Chief Skenandoa
are all buried on the grounds of Hamilton College.
Estimate $7,000—$10,000
62
SAMUEL COLMAN
American (1832-1920)
SUNSET OFF THE COAST OF AFRICA
oil on canvas panel backed, signed "Samuel Colman" lower left
15 x 24 inches
PROVENANCE
Private Collection, Darien, Connecticut.
Estimate $20,000—$30,000
62
49
Samuel Colman travelled extensively, painting the
unique landscapes of the places he visited. In 1860
he travelled to Europe to study the romantic
architecture and scenery of Italy and Spain. In 1870
he visited the treacherous landscape of the Rocky
Mountains. From 1871-1875 he embarked on an
extended tour of Europe and North Africa visiting
Egypt, Morocco and Algeria. The painting presented
here is likely from this period, as it illustrates the moun-
tainous coastline of North Africa.
63
JOHN W. CASILEAR
American (1811-1893)
"ROGER'S SLIDE, LAKE GEORGE"
oil on board, signed and titled on the reverse
12
1
4 x 20
1
2 inches
PROVENANCE
Private Collection, Connecticut.
Notes
Capt. Robert Rogers, of Rogers' Rangers, while
scouting in March of 1758 during the French and
Indian Wars, was pursued by Native Americans.
Halting at the crest, he threw his pack down the
precipitous slide in the snow, making it appear he
had fallen. Backtracking to the ice below, he was
seen by the Native Americans. Thinking him under
the Great Spirit's protection, they abandoned the
chase.
Estimate $7,000—$10,000
63
50
64
51
64
JASPER FRANCIS CROPSEY
American (1823-1900)
VIEW OF THE HUDSON
oil on panel, signed "J.F.C." and dated
"1856" lower center
7 x 10
1
2 inches
PROVENANCE
The Newington Collection,
Greenwich, Connecticut; Private
Collection, Darien, Connecticut.
LITERATURE
This painting is pictured in the Jasper
F. Cropsey Catalogue Raisonnè,
Vol. 1, 1842 - 1863, p. 234, no. 413.
Estimate $12,000—$18,000
65
WILLIAM BARNET
American (1911-2012)
STUDY FOR "UPSTAIRS"
pastel on paper, signed "Will Barnet" and dated "80" lower right
27
1
2 x 12
3
4 inches (sight)
PROVENANCE
The Artist; The Benjaman Gallery, Buffalo, New York; Private
Collection, New York, New York.
Notes
A label from Hirschl & Adler Galleries Inc., New York, New York is
on the reverse.
Estimate $15,000—$25,000
52
65
66
53
66
FREDERICK CARL FRIESEKE
American (1874-1939)
PORTRAIT OF FRANCES AS A YOUNG GIRL
oil on canvas, signed
"F.C. Frieseke" lower right
24 x 20 inches
PROVENANCE
Descended in the artist's family;
Shannon's, Greenwich, Connecticut,
October 20, 2005, lot 44; Private
Collection, Illinois.
Estimate $30,000—$50,000
67
MARTHA WALTER
American (1875-1976)
UNDER THE PARASOL
oil on canvas, signed "Martha Walter" lower left
26 x 21 inches
PROVENANCE
Private Collection, Allentown, Pennsylvania.
Estimate $20,000—$30,000
67
54
68
55
68
EDMUND WILLIAM GREACEN
American (1873-1951)
A DAY AT THE BEACH
oil on canvas, signed "Edmund Greacen"
and dated "1922" lower right
16 x 24 inches
PROVENANCE
Goldfield Galleries, Los Angeles, California;
Private Collection, Arizona.
Estimate $15,000—$25,000
69
EMILE ALBERT GRUPPE
American (1896-1978)
"WINTER, MEREDITH, NEW HAMPSHIRE"
oil on canvas, signed "Emile A. Gruppe" lower left
30 x 36 inches
PROVENANCE
A Connecticut estate.
Estimate $20,000—$30,000
69
56
70
WALTER LAUNT PALMER
American (1854-1932)
"SUN AND SHADOW"
oil on canvas, signed "W.L. Palmer" lower left
30 x 25 inches
PROVENANCE
Private Collection, Florida.
EXHIBITED
Philadelphia, Pennsylvania, Pennsylvania
Academy of the Fine Arts, "118th Annual
Exhibition," 1923, label on reverse.
Estimate $30,000—$50,000
70
57
72
JOHN F. CARLSON
American (1893-1967)
STREAM REFLECTIONS
oil on canvasboard, signed
"John F. Carlson" lower right
12 x 16 inches
PROVENANCE
Private Collection, New England; By
descent, Private Collection, Ohio.
Estimate $4,000—$6,000
71
JOHN F. CARLSON
American (1893-1967)
"DEEPENING SHADOWS"
oil on canvas, signed "John F. Carlson"
lower right, signed and titled on the
stretcher, signed on the frame
16 x 20 inches
PROVENANCE
Private Collection, New England; By
descent, Private Collection, Ohio.
Estimate $4,000—$6,000
71
72
58
73
59
73
WALTER ELMER SCHOFIELD
American (1867-1944)
ALONG A ROCKY COASTLINE
oil on canvas, signed "Schofield" lower left
26 x 30 inches
PROVENANCE
Private Collection, New Jersey.
Estimate $10,000—$15,000
60
In 1972, Brevoort was the subject of a retrospective exhibition and accompanying catalogue raisonne of his works
published by the Hudson River Museum. In the introduction to the catalogue, scholar Sutherland McColley notes:
Brevoort came of artistic age just as the High Tide of Hudson River Faith in the grandeur of American
landscape was ebbing out. In the 1860s and the 1870s a new generation of nature painters emerged
to trace a gentler, more reticent vision of the land for forty years to come, and Brevoort was among
them. Of his generation, almost all who painted the American landscape shared, in their work, the
quality which a contemporary called ‘a certain noble simplicity, quietude, and sobriety, that one
feels grateful for in an age of gilded-eagleism…’”
1
Brevoort was born in 1832 in Yonkers, New York. He spent most of his childhood on his father’s farm in Williamsbridge
and Fordham. He began drawing at an early age and in the 1850s studied architecture with his cousin, noted archi-
tect, James Renwick, designer of the Smithsonian in Washington D.C., St. Patrick’s Cathedral and Grace Church in
New York City. In 1854 he received a certificate of architecture from New York University.
During this period, he also began attending the National Academy of Design. He took courses with miniature por-
trait artist Thomas Cummings who taught drawing and perspective. From 1856 on, Brevoort exhibited regularly at
the Academy. In 1861, he was elected as an Associate Academician and painted landscapes in nearby
Connecticut, in the Catskills and on Long Island.
In 1873, newly married after the death of his first wife, Brevoort emptied his studio. He sold 150 of his landscapes and
paintings by other artists he had collected including works by Alexander Wyant, William Hart, Jervis McEntee and
George Inness. He and his wife departed for Europe later that year, returning to the states in the early 1880s.
His works in the 1860s and early 1870s showed an increased interest in the effects of atmosphere and perspective.
In the 1870s, the second-generation of Hudson River School artists were changing their approach to the American
landscape. Artists like Brevoort were focusing on atmosphere, haze, reflections and the times of the day, twilight and
dawn. Landscapes from this period were restrained and simple, without a narrative or a theme. As Brevoort’s biog-
rapher McColley notes; “Brevoort’s work in the 1860s already showed a predisposition for the fleeting forms of land-
scape. After the 1870s his work turned progressively towards expressing the mood and transparency of nature.”
Brevoort and his contemporaries, John Frederick Kensett, George Inness, Sanford Gifford, Alexander Wyant and
later R. Swain Gifford and J. Alden Weir were interested in the religious and mystical aspects of nature, captured in
the new Luminist style of painting.
The present example, a view of Gloucester Bay, exemplifies Brevoort’s skill at capturing fleeting atmospheric effects.
He skillfully renders the reflections on the water, the hazy ocean air, the crisp rocks and the bright blue sky. The influ-
ence of John F. Kensett is apparent in this fine example of the artist’s work.
In 1873 he painted Gloucester Bay over a dozen times. A large 30 x 48-inch canvas titled Inside Eastern Point,
Gloucester Bay, 1871 is currently in the collection of the Los Angeles County Museum of Art (LACMA). A favorite sub-
ject for the artist, the present canvas is the only view of Gloucester by Brevoort that has come up for auction.
1
Sutherland McColley, The Works of James Renwick Brevoort, 1832-1918, American Landscape Painter, Yonkers, New York: The
Hudson River Museum, 1972, p. ix.
74
JAMES RENWICK BREVOORT
American (1832-1918)
HALF MOON COVE AT GLOUCESTER BAY
oil on canvas, signed "J. R. Brevoort" lower left
18
1
4 x 30 inches
PROVENANCE
Steppingstone Gallery, Great Neck, New York;
Private Collection, 1986-2007.
EXHIBITED
Sacramento, California, Crocker Art Museum,
"Raymond Dabb Yelland: California
Landscape Painter," October 28, 2018 –
January 27, 2019. (Yelland studied under
Brevoort at the National Academy.)
Notes
A label from Marshall Henis, Great Neck, New
York is on the reverse.
Estimate $50,000—$75,000
74
61
75
FERDINAND (JOACHIM) RICHARDT
American (1819-1895)
AMERICAN FALLS AT NIAGARA
oil on canvas, signed "F. Richardt" and dated "1874"
lower right
15
3
4 x 23
1
4 inches
PROVENANCE
Private Collection, Paradise Valley, Arizona;
descended in the family, Private Collection, Arizona.
Estimate $12,000—$18,000
75
62
76
63
76
FERDINAND (JOACHIM) RICHARDT
American (1819-1895)
"CAVE OF THE WINDS NIAGARA FALLS"
oil on canvas, unsigned, titled and dated
"Oct 16th 1857" lower right
24 x 20 inches
PROVENANCE
Private Collection, Williamsport,
Pennsylvania.
Estimate $20,000—$30,000
"Danish-born artist Ferdinand Richardt traveled
to the United States in 1855 upon receiving
a commission from William H. Vanderbilt to
paint Niagara Falls. During the ensuing four
years, he painted over one hundred views of
the falls and other famous American
landmarks and landscapes...Richardt had
plans to offer the European and American
public a new look at favorite vacation grounds
and scenic sites." (M.Y. Stuart, N.P. Stilling,
Danske Herregårde og Amerika/Views of
Danish Manorhouses and America: Ferdinand
Richardt--a Danish-American Artist, exhibition
catalogue, Holte, Denmark, 2003, p. 88)
64
77
78D
78C
78B
78A
77
WILLIAM TROST RICHARDS
American (1833-1905)
CEDARHURST, LONG ISLAND (POSSIBLY)
watercolor on paper, signed "Wm. T.
Richards" and dated "1890" lower left
18 x 32 inches
PROVENANCE
Private Collection, Cedarhurst, Long
Island; descended in the family to the
current owner, Private Collection,
Connecticut.
Estimate $7,000—$10,000
78
ALFRED THOMPSON BRICHER
American (1837-1908)
LOW TIDE AT GRAND (MANAN, MAINE 1889)
SAILBOATS AT SEA
ALONG THE ROCKY SHORE
ROCKY COASTLINE (GROUP OF FOUR)
watercolor en grisaille with Chinese white on paper,
all signed with monogram lower right
(a) 2
3
4 x 6
3
4 (b) 4
1
8 x 6
3
4 (c) 2
3
4 x 6
7
8 (d) 2
3
4 x 5
3
4 inches
PROVENANCE
These drawings were purchased as an intact sketchbook
from the artist's niece by Clayton Liberatore Gallery of
New York City and Bridgehampton, Long Island; Private
Collection, Connecticut.
Estimate $2,000—$3,000
79
ALFRED THOMPSON BRICHER
American (1837-1908)
GRAND MANAN, MAINE
oil on canvas, signed "A.T. Bricher" lower right
15 x 32 inches
PROVENANCE
The Greenwich Gallery, Greenwich, Connecticut;
Taylor Graham, New York, New York; Private
Collection, New Jersey.
Estimate $30,000—$50,000
79
65
66
80
80
DESMOND FOUNTAIN
Bermudian (b. 1946)
"EMILY"
bronze, signed "© Desmond Fountain" and
numbered "8/9"
height: 45
1
2 inches
PROVENANCE
Windjammer Gallery Ltd., Hamilton, Bermuda;
Private Collection, Connecticut.
Notes
A copy of a certificate of originality from the
artist, dated March 3, 1989 accompanies the lot.
Estimate $10,000—$15,000
Abastenia Eberle created this sculpture at her cottage in Woodstock, New York in 1910, using a local woman as a
model. “I remember thinking about the idea [of sweeping] continually when walking about New York and later I
modeled it in Woodstock. Every farmer’s wife I knew was arguing about how to sweep properly.” In time she came
to understand that this statue “was the expression of a subjective reality—though I myself was not aware of it at the
time. Later I realized why the idea of ‘sweeping something out’ had been so insistent.”
By 1910 Eberle was well along in a personal transition that in some ways mirrored the large forces moving in the art
community and in the world beyond it. She had come to New York in 1899, alone, with few funds, and twenty years
old. She had very little art background; she was in training to be a professional musician. Until she was in her teens
the only sculptures, she had seen were cemetery monuments that “didn’t fill the bill.” Until she came to New York
her only formal work had been two years at the Canton, Ohio, YWCA, where she had personally rounded up the
requisite ten students to there could be a sculpture class. During the Spanish-American War, when her father was
stationed as a physician to the military in Puerto Rico, she modeled portraits of the life she saw around her. She
moved eventually moved to New York and enrolled at the Art Students League.
With Anna Vaughn Hyatt (later Huntington) she collaborated on at least three major pieces, Eberle doing the
people and Huntington the animals. Gutzon Borglum, Huntington’s teacher, urged them to submit their Men and Bull
for the 1904 Society of American Artists exhibit, where it was greeted with enthusiasm by the jury, including Augustus
Saint-Gaudens. Within two years, echoing the divisions in the art world, their two careers went different ways.
Huntington went to Paris to study. Eberle remained in New York.
The breakthrough came as she began to find interest for her small figures of the life of the streets in lower Manhattan.
Roller Skating (1906) was acquired by the Metropolitan Museum of Art. In 1906 Eberle was elected to the National
Sculpture Society, only one of seven women since its founding. In 1907 and again in 1908 she went to Naples, where
she could cast her work more inexpensively. The Italian foundry, never having handled the work of a woman artist
before, had to be convinced that the work was hers and that she knew what she was doing.
She became active in the suffrage movement, organizing a show at the Macbeth Gallery to raise funds, and
leading a contingent of women sculptors in the women’s suffrage parade.
The role of the artist, Eberle told The Survey, is to be “the specialized eye of society, just as the artisan is the hand,
and the thinker the brain…the artist must see for the people—reveal them to themselves.” According to the New
York Evening Sun, “This is her way of helping combat the injustices and evils of our system. She does not preach; she
makes us see.”
In 1909 Eberle built a small studio in the burgeoning artist colony in Woodstock, New York. There in 1910 she modeled
Windy Doorstep, the woman sweeping with the wind, so all the accumulated
debris is blown far away. It became one of her most successful pieces. At
the National Academy of Design exhibition in 1910 it won the Helen
Foster Barnett Prize for the best sculpture by an artist under thirty-five.
It was purchased by four museums, the Carnegie Institute, the
Newark Museum, Peabody Institute and the Worcester Art Museum.
By April 1917, fifteen copies of the edition of twenty had been sold.
During the ten years following the success of Windy Doorstep,
Eberle’s career flourished. She had two pieces in the groundbreak-
ing Armory Show (1913). In 1920 she was elected to the National
Academy of Design and year later the Macbeth Gallery gave her a
one-artist show. By this time, the bad health that had begun to
plague her in 1915 took hold and her heart was too weak to continue.
At forty-three, she was forced to retire, working only when she had the
strength and the means to hire help for the heavy work sculpture demands.
She died in 1942.
Windy Doorstep is marked “S. Klaber & Co. / Founders NY” as is the example
at the Memorial Art Gallery, University of Rochester. According to Joel
Rosenkranz, of Connor Rosenkranz, New York, New York, this
indicates an early casting of this piece.
Adapted from: Pamela W. Blanpied, “Abastenia St. Leger Eberle, Windy
Doorstep (1910)” in Marjorie Searl, ed. Seeing America: Painting and
Sculpture from the Collection of the Memorial Art Gallery of the University of
Rochester. Rochester, New York: University of Rochester Pres, 2006.
67
ABASTENIA ST. LEGER EBERLE
American (1878-1942)
See lots 81 and 82
81
ABASTENIA ST. LEGER EBERLE
American (1878-1942)
"WINDY DOORSTEP," 1910
bronze, signed "A.S.L. Eberle" and dated "1910," inscribed with foundry mark "S. Klaber and Co. Founders, NY"
Height: 14
1
2 inches
PROVENANCE
Private Collection, New York.
ILLUSTRATED
A.S.L. Eberle, "The East Side in Sculpture," The Macbeth Gallery, New York, 1921, n.p., another example
illustrated J. Conner and J. Rosenkranz, "Rediscoveries in American Sculpture: Studio Works 1893-1939,"
Houston, Texas, 1989, pp. 29-30, another example illustrated. Searl, Marjorie. "Seeing America: Painting and
Sculpture from the Collection of the Memorial Art Gallery of the University of Rochester." Rochester, NY: Univ.
of Rochester Press, 2006, another example discussed; L.R. Noun, "Abastenia St. Leger Eberle, Sculptor," Des
Moines, Iowa, 1980, pp. 8, 9, 11, fig. 13, another example illustrated. G.B. Opitz, ed., "Dictionary of American
Sculptors," Poughkeepsie, New York, 1984, p. 112. B. G. Proske, "Brookgreen Gardens Sculpture," Brookgreen
Gardens, Murrell's Inlet, South Carolina, 1968, pp. 153-154, another example illustrated. C.S. Rubinstein,
"American Women Sculptors: A History of Women Working in Three Dimensions," Boston, Massachusetts, 1990,
pp. 215-216, another example illustrated. A.A. Weinman, "The National Sculpture Society in Cooperation with
the Trustees of the California Palace of the Legion of Honor, Contemporary American Sculpture," New York,
1929, pp. 94-95, another example illustrated.
Estimate $50,000—$75,000
81
68
82
69
82
IVAN OLINSKY
American/Russian (1878-1962)
PORTRAIT OF A YOUNG LADY
oil on canvas, signed "Ivan Olinsky" lower right
36 x 32 inches
PROVENANCE
Private Collection, New York.
Estimate $10,000—$15,000
83
HELEN MARIA TURNER
American (1858-1958)
PORTRAIT OF A NEWCOMB COLLEGE ARTIST
oil on canvas, signed "Helen M. Turner" lower right
23
7
8 x 18
1
8 inches
PROVENANCE
The Artist; descended in the family of the Artist;
Neal Auction Company, New Orleans, Louisiana,
February 6, 1998, lot 769; Private Collection,
New York.
Estimate $25,000—$35,000
83
70
84
RICHARD EDWARD MILLER
American (1875-1943)
RECLINING NUDE
tempera on panel, signed "Miller" lower right, inscribed
"To Rosenthal Miller / tempera glaze" on the reverse
10
3
4 x 14 inches
PROVENANCE
Private Collection, Great Neck, New York.
Notes
There is an unfinished painting on the reverse. A letter
of authenticity from Marie Louise Kane, author of "A
Bright Oasis: The Paintings of Richard E. Miller," dis-
cussing the work accompanies the lot.
Estimate $10,000—$15,000
84
71
72
Anna Mary Robertson Moses, affectionately known as Grandma Moses, has become an American icon. Her
charming depictions of children and country life have been exhibited internationally and countlessly reproduced
on prints, greeting cards and dinnerware.
Moses, a self-taught artist, started painting in her seventies and lived to be 101. She painted from her memory,
“old-timey things,” recollections from her life on a farm in Upstate New York and in the Shenandoah valley. She was
born in Washington County, New York in 1860. Her parents were farmers and she was the third of ten children. From
an early age, she was expected to work and complete tasks on the farm attending school only sporadically.
At the age of twelve, she worked as a “hired girl” as staff help in the wealthier homes. She worked on various farms
for the next fifteen years when she married Thomas Salmon Moses and moved to a farm in Virginia. The Moses family
rented farms in Virginia until they were finally able to afford their own. The family grew to ten children, although only
five survived passed infancy. Moses’ neighbors referred to her as “Mother Moses.”
In 1905, the family returned to New York where they purchased a farm in Eagle Bridge. As she entered her 60s, Moses
had more free time to sew, embroider and paint. In 1927 her husband died suddenly and in 1932 she moved to
Bennington to care for her sick daughter. A year later, she moved back to her farm in Eagle Bridge after the death
of her daughter. Around this time her arthritis forced her to abandon embroidery and the “worsted pictures” she
had been designing.
Moses first started to copy postcards and Currier and Ives prints, before beginning to recreate scenes from her
childhood and piecing together imagined stories. Her favorite subjects were landscapes filled with happy scenes of
farm life and rural activity.
She would sell her oil paintings at county fairs alongside her prize-winning pickles. In 1938 a New York City collector
purchased a group of paintings from a pharmacy window in Hoosick Falls, New York. The collector then took the
paintings to gallerist Otto Kallir, proprietor of Galerie St. Etienne in Manhattan.
Kallir immediately recognized her talent and in 1940 launched Moses’ career with an exhibition titled “What a Farm
Woman Painted.” Five years later, Hallmark purchased the rights to reproduce her paintings on Christmas cards
selling 6 million copies the first year.
In 1949, President Truman awarded Moses the Women’s National Press Club Award and in 1950 a documentary of
her life was nominated for an Academy Award.
At times, her commercial success overshadowed her recognition as an important, serious artist by the museum
world. In 2001, Jane Kallir (daughter of Otto Kallir) led an effort to reevaluate Moses’ work in retrospective titled
“Grandma Moses in the 21
st
Century.” The exhibition was accompanied by a 263-page catalog with critical essays.
It was held at the National Museum of Women in the Arts and reviews indicate it garnered the critical acclaim Moses
patrons had sought.
In a review of the exhibition critic Peter Schjeldahl wrote "Moses fell victim to the sterile categories of ‘naïve’ and
‘outsider’ and ‘self-taught’ . . . The truth is that every genuine artist—and, preeminently, every great one, like
Pollock—retains childlike and alienated qualities and remains self-taught where it counts. Moses belongs smack
inside the canon of twentieth-century art."
85
GRANDMA (ANNA ROBERTSON) MOSES
American (1860-1961)
OVER THE BRIDGE
oil on masonite, signed "Moses" lower right, dated "Oct. 1960" and numbered
"1968" on an original artist's label affixed to the backing with copyright
reserved to Grandma Moses Properties, New York
16 x 24 inches
PROVENANCE
By descent in the family of the artist; Mr. Carl Moses, the artist's son; Hammer
Galleries, New York; Sotheby’s, New York, December 2, 1993, lot 159;
Sotheby's, New York, October 2, 2015 lot 77; Private Collection, Palm Beach,
Florida.
ILLUSTRATED
Otto Kallir, "Grandma Moses," New York, 1973, no. 1479, p. 323, illustrated.
Notes
A label on the reverse is inscribed "On loan by Mr. & Mrs. Carl Moses."
Estimate $90,000—$120,000
85
73
74
Otto Henry Bacher was born in Cleveland, Ohio, to a family of German descent. He first studied art at the age of
sixteen with local genre trompe l’oeil still-life artist, DeScott Evans. After a short period in Philadelphia, where he
studied at the Pennsylvania Academy of Fine Arts (PAFA), Bacher returned to Cleveland and met Willis Seaver
Adams, an artist from Springfield, Massachusetts, who had recently arrived on the Cleveland art scene. Adams was
instrumental in the founding of the Cleveland Art Club, as well as the establishment of the Cleveland Academy of
the Fine Arts. During this time, Bacher began to learn the process of etching from local etcher and landscape
painter Sion Longley Wenban.
In 1878, Bacher and Adams left for Europe. After stopping briefly in Scotland, Bacher went on to Munich, where he
enrolled at the Royal Academy. He quickly tired of the rigors of the academy, and soon he was studying with
Cincinnati artist Frank Duveneck as one of the celebrated “Duveneck Boys.” Early in the following year, the group
proceeded to Venice, where Bacher and several other artists established studios in the Casa Jankovitz. By this time
an avid printmaker, Bacher had his etching press sent from Munich, and it was in his Venice studio that he taught
Duveneck the rudiments of etching.
It was also in Venice that Bacher met American expatriate artist, James McNeill Whistler. On learning of Bacher’s
press, Whistler made himself a regular visitor to Bacher’s studio, eventually taking his own room at Casa Jankovitz.
Bacher spent much of the rest of 1880 sharing etching techniques with Whistler. Bacher visited Whistler occasionally
in the years that followed, and in 1908 he published With Whistler in Venice, his famous recollections of his time with
the great artist. Bacher spent the next two years traveling extensively throughout Italy, with Venice as the center of
his operations, and he produced several important etchings of Italian subjects.
Bacher returned to Cleveland in January 1883 as a fully cosmopolitan artist. He set up a lavish studio furnished with
exotic items and objets d’art he had collected on his travels and began to hold art classes a means to supplement
his income. He soon joined with Joseph DeCamp in forming a summer sketch class in Richfield, Ohio. Bacher and
De Camp also planned the Cleveland Room for a major loan exhibition in Detroit that year. During this period,
Bacher began increasingly to paint in oil, and he began to produce sun-dappled canvases in an impressionistic
mode. Unable to sell any paintings from this early period, however, Bacher left Cleveland for Paris in 1885, where he
planned to undertake further studies. Stopping first in London to visit Whistler, Bacher stayed only briefly in Paris
before heading to Venice, where he spent the remainder of the year. Bacher, Robert Blum, and Charles Ulrich lived
in the Palazzo Contarni degli Scrigni on the Grand Canal. At the end of the year, Bacher returned to New York, and
settled there permanently after marrying in 1888.
Bacher received his greatest recognition in 1904, when he won a Silver Medal for his etchings at the St. Louis
Exposition. In addition to his work in printmaking, Bacher also produced and sold several oil paintings and pastels
throughout the 1890s and early 1900, many of which he exhibited in New York at the Society of American Artists and
the National Academy of Design. These works demonstrate Bacher’s assimilation of Impressionism, both in his
treatment of genteel interior scenes as well as the landscape. Bacher spent the last years of his life in Lawrence Park,
Bronxville, New York. Along with all the members of the Society of American Artists, Bacher was elected as associate
of the National Academy of Design in 1906.
Interior of a Fifth Avenue Bank, New York is a canvas very much in line with Bacher’s mature style. The color scheme
and broken brushwork are strongly related to Impressionism, but Bacher’s academic training is clear in the firmly
realistic rendering of the figures and the crisp outline given to the objects in the painting. In this highly decorative
work, Bacher seems to have delighted in depicting the details of the various patterns that define the interior setting,
as seen in the wallpaper, the floor rug, and the fabric of the furniture. Bacher has placed a small table with a large,
closed book upon it directly in the foreground, a compositional device that distances the viewer from the intimate
action of the two figures. Directly behind the table in the distance is a mirror, which is seen head-on. Interestingly, in
addition to the reflection of the table and the back of the chair in which the figure on the right is sitting, on sees in
this mirror a third female figure sitting in the very position of the viewer. These interest in compositional tricks and
challenges in the depiction of interior space share some sympathies with the work of Edmund Tarbell and the other
artists of the Boston School, who in the late nineteenth century took a renewed interest in the works of Vermeer and
the seventeenth-century Dutch masters. Bacher’s work is different, however, in that it doesn’t incorporate the
subdued palette or the dramatic raking light of the Dutch school and is instead a quintessentially American amal-
gam of several European styles.
Later research reveals this painting is likely the Fifth Avenue Bank, a bank specializing in serving wealthy society
women. In 1893, the bank had a so-called “Ladies’ Room,” similarly appointed to the room in Bacher’s composition.
(Adapted from information accompanying the lot provided on the original documentation by Hirschl & Adler
Galleries, Inc., New York, New York, dated Jan. 13, 2005.)
86
75
86
OTTO HENRY BACHER
American (1856-1909)
INTERIOR OF FIFTH AVENUE BANK, NEW YORK
oil on canvas, signed "Otto H. Bacher" and dated "90" upper right
18
1
2 x 21
1
2 inches
PROVENANCE
Adams Davidson Galleries, Inc., Washington D.C.; to Dr. and Mrs.
John Hashim, Maryland, 1974-2000; Hirschl & Adler Galleries, Inc.,
New York, New York; Private Collection, New York, New York.
EXHIBITED
New York, Walpole Galleries, "Exhibition and Sale of Paintings by
the Late Otto H. Bacher," 1917, no. 14; Roanoke, Virginia, Art
Museum of Western Virginia, "The Age of Innocence: American
Paintings, 1870-1920," 2003.
Estimate $30,000—$50,000
88
DOROTHEA SHARP
British (1874-1955)
AT THE BEACH
oil on canvas laid down on
board, signed "Dorothea Sharp"
lower right
17
1
2 x 14 inches
PROVENANCE
Richard Norton Gallery,
Chicago, Illinois.
Estimate $6,000—$8,000
87
GEORGE W. LAWLOR
American (1878-1932)
EVENING TEA
oil on canvas, signed "G.W. Lawlor",
inscribed "Paris," and dated "12"
upper left
25 x 21 inches
PROVENANCE
Private Collection, Maryland.
Notes
An identical composition by
Hovsep Pushman (Armenian, 1877-
1966) was offered for sale by Hollis
Taggart Fine Art, New York, New
York ca. 1997. See advertisement
illustrated online at
www.shannons.com.
Estimate $5,000—$7,000
87
88
76
89
77
89
JAMES BRADE SWORD
American (1839-1915)
SEWING BY THE WINDOW
oil on canvas, signed "J.B. Sword"
lower right
14 x18 inches
PROVENANCE
The William and Frances Haussner
Collection; Private Collection,
New York.
Estimate $8,000—$12,000
78
John George Brown enjoyed a highly successful career during his lifetime as the richest and most
celebrated genre painter in turn-of-the-century America. Brown is best known for his depictions
of children, particularly street urchins, shoe-shine boys, flower sellers and newspaper boys. He
romanticized the poverty and depicted the children playing, laughing or in a comedic narrative.
The young girl in the present lot is a masterpiece by the artist. J.G. Brown was born into a poor
family in Durham, England. His father, a lawyer, insisted that Brown learn a trade despite his early
predilection for drawing. Brown apprenticed for seven years with a glass cutter and worked at
this trade in Edinburgh, Scotland where he attended the School of the Royal Scottish Academy.
When he was 22 years old, he went to London and earned money painting portraits. While in
London, he heard a music hall performer singing about American life. He decided to move to
Brooklyn and took a job as a glass cutter at the Flint Glass Works in Brooklyn. His employer was so
impressed with Brown’s designs that he helped Brown study with miniature painter Thomas
Cummings. Brown later married Cummings’ daughter.
Brown continued to study painting taking night classes at the National Academy of Design. In
May of 1856 he rented his own studio in Brooklyn. By 1863, he was elected a member of National
Academy of Design and begin teaching classes at the Academy. From this point forward, Brown
became known as “the boot-black Raphael.” He sold original paintings for $500-700 earning
around $40,000 annually and making royalties from lithographs of his paintings that were distrib-
uted with packaged tea. A vast sum in the 1860s.
Although many of his paintings feature the same subjects, occasionally Brown would paint truly
artistic pieces that showcase his true abilities as an artist. The Flower Girl is one such example,
showing off Brown’s talent as both a portrait artist and a flower painter. Probably the daughter of
a wealthy family dressed up like a flower vendor. She wears a beautifully detailed lace collar, a
silk skirt and carries two baskets with abundant flowers. The black hat on her head is covered with
red poppies and daisies, in her hands she carries a tray of pink roses and a basket of roses, pansies
and lilacs. Brown paid meticulous attention to detail in the flowers and in her lace blouse. The
young girl with her rosy cheeks looks directly forward, engaging the viewer.
J.G. Brown was tremendously successful within his lifetime, and his works continue to be collected
by several prominent museum and private collectors. His works can be seen in the collections
of the Metropolitan Museum of Art in New York City and the Museum of Fine Arts, Boston
among others.
90
JOHN GEORGE BROWN
American (1831-1913)
THE FLOWER GIRL
oil on canvas, signed "J.G. Brown N.A." and dated
"1878" lower right
30 x 22 inches
PROVENANCE
Private Collection, New York, acquired ca. 1910;
Private Collection, New York, acquired ca. 1980;
Sotheby's, May 24, 2001, lot 139; Private Collection,
New York, New York.
Estimate $70,000—$100,000
90
79
80
Frederick Mulhaupt arrived in Cape Ann around 1907 and would continue to paint there until his
death in 1938. He became a year-round resident of Gloucester in 1922. Following the legacy of
numerous notable American artists including Fritz Hugh Lane, Winslow Homer, William Morris Hunt,
John H. Twachtman and Childe Hassam, Mulhaupt summered in Gloucester painting in the abun-
dant light and studying the fishermen locals.
Mulhaupt was born in Rockport, Missouri in 1871 of German descent. He grew up on the southern
border of Kansas in a region largely unsettled and still Native American territory. He moved away
from the area to Kansas City, Missouri where he apprenticed with a local sign painter. Soon he
attended the Kansas City School of Design.
Although the specific dates are unknown, Mulhaupt attended the Art Institute of Chicago in the
early 1890s and became one of the founding members of the Palette and Chisel Club in 1895. In
1904 he left Chicago and took up residence at New York City’s famed Salmagundi Club. He trav-
elled frequently to Europe to further hone his skills as an artist visiting France and England.
In Paris, he joined the American Art Association, an expatriate group formed in 1890. Although
not expressly an Impressionist group, many American artists were influenced by the works of the
Impressionists that they encountered while in Paris. Mulhaupt incorporated the Impressionist
approach to painting in his Gloucester scenes that successfully depict the fleeting effects of light
and air.
Mulhaupt returned to States and again his address was listed at the Salmagundi Club indicating
his success as an artist. He spent his summers visiting and painting in Gloucester. There, he truly hit
his stride as an artist. He exhibited at the Gallery-on-the-Moors in five of the seven summer exhi-
bitions. He was a founding member of the North Shore Arts Association, formed in 1922 and exhib-
ited there from 1923 until his death in 1938.
Although he kept his connections to the New York City art world, Mulhaupt spent increasing
amounts of time in Gloucester. He married Agnes Leone Kinglsley in 1921 and the couple had a
son in 1922. That same year, he became a permanent resident of Gloucester buying a house on
Main Street in the center of the community.
In 1926, Mulhaupt was elected as an Associate member of the National Academy of Design. He
received numerous other awards and recognitions and was a highly accomplished artist during
his lifetime.
There were painters in Gloucester in the old days who were more exact than he was—more
“authentic” in that they got the shape of each boat exactly right. But many of these painters, as
you looked at their work, might just as well have been painting a scene in England or Norway.
Mulhaupt got the smell of Gloucester on canvas. He captured the mood of the place—and
that’s worth all the good drawing of a hundred lesser painters.
—Emile Gruppe
91
FREDERICK J. MULHAUPT
American (1871-1938)
EVENING GLOW - GLOUCESTER HARBOR
oil on canvas, signed "Mulhaupt" lower left
25 x 30 inches
PROVENANCE
Skinner, Boston, Massachusetts, February 1,
2013, lot 484; Private Collection, Boston,
Massachusetts.
Notes
A Vose Galleries, Boston, Massachusetts
label is on the reverse.
Estimate $30,000—$50,000
91
81
92
CHARLES HAROLD DAVIS
American (1856-1933)
TWILIGHT, C. 1902
oil on canvas, signed "C.H. Davis" lower left
30 x 40 inches
PROVENANCE
The Artist; Gifford Beal, New York and Massachusetts; By descent in
the family.
EXHIBITED
New York, New York, Gerald Peters Gallery, "The Intimate Landscape
of Charles Harold Davis," October 11 - November 10, 2007, p. 21, pl.
8, illus; New York, Spanierman Gallery, "In the Tonalist Mood:
Paintings from 1860 to the Present," January 6-February 11, 2011;
Greenwich, Connecticut, Bruce Museum, "Charles Harold Davis
(1856-1933): Mystic Impressionist," September 26, 2015- January 3,
2016, p. 53, no. 25, illus.
Notes
Also titled "Deserted Farm" and "Clouds Gathering at Twilight."
Estimate $10,000—$15,000
92
82
93
HUGH BOLTON JONES
American (1848-1927)
EARLY SPRING, NEAR SHEFFIELD, MASSACHUSETTS
oil on canvas, signed "H. Bolton Jones" lower left
24 x 36 inches
PROVENANCE
Private Collection, Baltimore, Maryland; Private
Collection, Baltimore, Maryland; Private Collection,
Allentown, Pennsylvania; Christie's, New York,
December 4, 1996, lot 161; Private Collection, New
York; Private Collection, New Jersey.
Notes
Labels from Abby Taylor Fine Art, Greenwich,
Connecticut and Taylor Graham, New York, New
York are on the reverse.
Estimate $8,000—$12,000
93
83
94
JOHN FREDERICK KENSETT
American (1816-1872)
WOODLAND STREAM
oil on canvas, initialed "J.F.K." lower right
14 x 12 inches
PROVENANCE
Private Collection, Connecticut.
Estimate $8,000—$12,000
95
DAVID JOHNSON
American (1827-1908)
"A SCENE IN CONNECTICUT"
oil on board, signed "David Johnson," titled, and
inscribed "Fairfield Co." on the reverse
21
1
8 x 16
1
2 inches
PROVENANCE
Doyle, New York, January 21, 2017, lot 14; Private
Collection, Connecticut.
Estimate $8,000—$12,000
94
95
84
96
WORTHINGTON WHITTREDGE
American (1820-1910)
EVENING GLOW
oil on canvas, unsigned
14
1
2 x 20
1
2 inches
PROVENANCE
Private Collection, Grosse Pointe, Michigan.
Estimate $15,000—$25,000
96
85
86
Percival Rosseau was born in Pointe Coupee Parish, Louisiana in 1859. His father and two older brothers were killed
during the Civil War (1861-1865). During the Mississippi Campaign, the Union army led by General W.T. Sherman
destroyed the family plantation. Rosseau and his sister were rescued by a slave and raised by a family friend in
Kentucky. In Kentucky, Rosseau’s guardian taught him to fish and shoot.
As a businessman and entrepreneur, he was worked in several professions including a cowboy and a failed venture
in lumber. He later owned a lucrative import business that allowed him to retire at age 35. It was at this stage that
his professional career as an artist began. He left the import business to his partner and made the journey to Paris to
study at the Académie Julian.
Rosseau trained in the Paris ateliers of Jules Lefevre, Tony Robert-Fleury and Charles Herman-Leon. Mainly, these
artists were known for their portraits and figure studies of classical subjects. Following in the footsteps of his teachers,
in 1900 and in 1901 Rosseau exhibited “Ariadne” and “Antiope” at the Paris Salon. In 1903, however, frustrated with
the trials of working with figure models, Rosseau submitted a painting of “Diana.” He introduced two Irish wolfhounds
to the composition running alongside the huntress. He received such high praise for the wolfhounds, that he
decided to submit a painting of just two dogs for the 1904 Salon. This was met with critical acclaim and the painting
sold within one day of exhibition, launching Rosseau’s career as a painter of dogs.
This launched Rosseau’s career as a sporting artist and a painter of dogs. He remained in France until 1915 but made
frequent trips back to the United States to fulfill commissions and participate in exhibitions. His paintings were, and
continue to be, in high demand. At the onset of World War I, he moved back to the States where he settled in Lyme,
Connecticut. In October 1922 the International Studio called Percival Leonard Rosseau “…the greatest painter of
dogs in America.”
1
During this time, one of his most prominent patrons was Percy Rockefeller. In the early 1920s the Rockefeller family
was building a residence at Overhills, an exclusive hunting club in North Carolina. In 1927, receipts for contractor
payments at Overhills detail payments made to construct a cottage for Rosseau on the property. Rockefeller
encouraged Rosseau to use his dogs as models.
The present lot is a rare example of a painting by Rosseau depicting four pointers. The size and complexity of the
canvas indicate that this work was intended for exhibition or for an important private commission. The landscape is
difficult to identify with certainty but based on the artist’s biography this work was likely painted in Connecticut or
at Overhills.
Rosseau was a member of the Pennsylvania Academy of the Fine Arts in Philadelphia, the Lotos Club in New York
City, and the Lyme Art Association. He exhibited at the Paris Salon, the Lyme Art Association, and prominent galleries
in New York City and elsewhere. His works are included in numerous notable private and public collections including
The Orlando Museum of Art, The Columbus Museum of Art, and the Pennsylvania Academy of the Fine Arts. Rosseau
died in Fayetteville, North Carolina on November 29, 1937.
1
International Studio, “Rosseau – Painter of Dogs,” October 1922, pp. 32-36
97
87
97
PERCIVAL ROSSEAU
American (1859-1937)
POINTERS ON THE HUNT
oil on canvas, signed "Rosseau" and dated "1927" lower left
23 x 32
1
4 inches
PROVENANCE
Private Collection (since 1930), Portville, New York.
Estimate $80,000—$120,000
98
WALTER LAUNT PALMER
American (1854-1932)
CABINS IN THE WOODS
mixed media on paper, signed
"W.L. Palmer" lower right
19
1
2 x 23
1
2 inches (sight)
PROVENANCE
Private Collection, Maryland.
Estimate $10,000—$15,000
98
88
99
GEORGE GARDNER SYMONS
American (1863-1930)
VALLEY STREAM IN WINTER
oil on canvas, signed "Gardner Symons" lower right
20 x 25 inches
PROVENANCE
The artist; descended in the family to the artist's
granddaughter; James Snidle Fine Arts; Chicago,
Illinois; Private Collection, California.
Estimate $15,000—$25,000
89
99
90
Fern I. Coppedge is one of the leading Pennsylvania Impressionists and one of the most important female artists of
the Pennsylvania Impressionist movement. Her best works are snowy landscapes of New Hope, Pennsylvania a
subject she would revisit on numerous occasions after her first visit in 1917. Her landscapes are recognizable for their
bright, contrasting colors and she is often compared to the European Fauve and Post-Impressionist painters.
Coppedge was born in Decatur, Illinois and grew up on her family’s farm with four other siblings. At age 13, she
moved to California with her sister and first took an interest in art. When she returned to the Midwest, she studied at
McPherson College and then the University of Kansas. From 1908-1910, she focused on pursuing an art education at
the Art Institute of Chicago.
She married, and after a brief stint in Kansas, Coppedge moved to New York City. In New York, she studied at the
Art Students League under William Merritt Chase and Frank Vincent Dumond, she would also visit the Woodstock
colony and study with John F. Carlson.
In 1917, she was invited to exhibit at the annual exhibition of the Pennsylvania Academy of the Fine Arts (PAFA). For
the following two years, 1918-1919, Coppedge took courses at the Pennsylvania Academy of Fine Arts under Daniel
Garber and at the Philadelphia School of Design for Women with Henry B. Snell. In 1920, Coppedge moved to Bucks
County purchasing a studio in Lumberville, near New Hope. Other artists living in Lumberville at the time included
Daniel Garber, Clarence Johnson and William Francis Taylor.
In 1922, Coppedge joined “The Philadelphia Ten,” a group of female artists who exhibited together from 1917-1945
(founding members of this group included Theresa Bernstein and Arrah Lee Gaul). Coppedge would exhibit with
them until 1935. In 1929, she purchased a home and studio on Main Street in the center of New Hope. She styled
her home after an old Bucks County farmhouse and modeled the studio after a 19
th
century carriage house.
During these years as an established artist, Coppedge would travel between New Hope and her exhibition studio
in Philadelphia. She would often spend her summers painting in Gloucester and Rockport, Massachusetts.
In New Hope, she was a well-known member of the community. In 1933 and art critic in The New Hope magazine
wrote, “We remember seeing Mrs. Coppedge trudging through the deep snow wrapped in a bearskin coat, her
sketching materials slung over her shoulder, her blue eyes sparkling with the joy of life.” She often painted outdoors,
en plein air, and from the rear of her car which had the back seat removed.
Coppedge left a legacy for future female artists to follow. She died in her home in New Hope in 1951 a successful,
independent and prolific female artist. She continues to be recognized as one of the leading Pennsylvania
Impressionists. Her works are collected in many notable museums and private collections including the Philadelphia
Museum of Art and the Michener Art Museum.
100
FERN ISABEL COPPEDGE
American (1883-1951)
WINTER IN BUCKS COUNTY
oil on canvas, signed "Fern I. Coppedge" lower left
25 x 30 inches
PROVENANCE
Pedersen Gallery, Lambertville, New Jersey;
Private Collection, New Jersey.
Estimate $40,000—$60,000
100
91
92
In 1964 Richard Anuszkiewicz was called “the new wizard of Op” by Life magazine. Considered
a leader in the Optical Art, “Op Art,” movement, Anuszkiewicz’ work was exhibited in the seminal
1965 exhibition “The Responsive Eye,” at the Museum of Modern Art (MoMA) in New York City. His
works create a psychological experience through the artist’s use of high-intensity color applied
to a rigid mathematical composition. These explorations of light, color and line create a
hypnotizing effect on the viewer.
Anuszkiewicz was born in Erie, Pennsylvania in 1930. He attended the Cleveland Institute of
Art where he received his B.F.A. In 1953, he went to the National Academy of Design through
a Pulitzer Traveling Fellowship. He continued his studies at Yale University in New Haven,
Connecticut earning his M.F.A. and studying under Josef Albers. Albers, a well-known artist and
master color theorist had an obvious influence on Anuszkiewicz’ work.
After completing his graduate degree, Anuszkiewicz moved to New York where he became a
successful artist with his paintings of a set number of geometric configurations painted with dif-
ferent high-intensity colors. In 1960 following a one-man show at The Contemporaries, MoMA
purchased two of his paintings launching his career.
The present canvas is from 1961 and also exhibited at The Contemporaries gallery in New York
City. Albers influence is apparent in the subtle color changes and repetition of forms. This work
was included in a 2014 exhibition “An Albers Legacy,” at the Francis Frost Gallery in Newport,
Rhode Island. It was also exhibited at the Yale University Art Gallery in 1993 in an exhibition “Yale
Collects Yale.” This painting comes from the collection of prominent art historian and curator
Theodore E. Stebbins, alum and curator of the Yale University Art Gallery from 1968-1977.
In the late 1960s and early 70s, these works helped build the nascent Op Art movement.
Anuszkiewicz, together with Victor Vasarely in France, is considered one of the founders of Op Art.
As an artist, Anuszkiewicz does not consider himself an Op artist as he is more interested in
following the footsteps of his teacher, Albers.
Anuszkiewicz returned to the Midwest to pursue a degree in Education from Kent State University,
where he would later teach. During this time, he dove into color experimentation using the
full-intensity colors he best known for.
In 2000, Anuszkiewicz was the recipient of the famed Lee Krasner award and his works have been
exhibited at the Venice Biennale, the Florence Biennale and Documenta. His works are collected
in numerous private and public institutions including the Corcoran Gallery of Art in Washington
D.C., the Fogg Art Museum of Harvard University in Cambridge, Massachusetts, the Whitney
Museum of Art in New York City and the Museum of Modern Art in New York City.
101
RICHARD ANUSZKIEWICZ
American (b. 1930)
THE WELL AT THE END OF THE WORLD
acrylic on canvas, signed "Richard Anuszkiewicz"
and dated "1961" on the reverse
50 x 45 inches
PROVENANCE
Theodore E. Stebbins, Boston, Massachusetts.
EXHIBITED
Lincoln, Massachusetts, De Cordova Museum, 1961;
New Haven, Connecticut, Yale University Art Gallery,
"Yale Collects Yale," 1993; Newport, Rhode Island,
Frances Frost Gallery, "An Albers Legacy," 2014.
Notes
There is a loan label on the reverse from The
Contemporaries, New York, New York.
Estimate $40,000—$60,000
101
93
102
RICHARD ANUSZKIEWICZ
American (b. 1930)
UNTITLED
acrylic on board, signed "Richard Anuszkiewicz"
and dated "1984" on the reverse
20 x 20 inches
PROVENANCE
Private Collection, New York.
Estimate $15,000—$25,000
102
103
94
103
NICHOLAS KRUSHENICK
American (1929-1999)
UNTITLED
acrylic on canvas, signed "Nicholas Krushenick"
and dated "May 1973" on the reverse
12
3
8 x 16
3
8 inches
PROVENANCE
Private Collection, New York.
Estimate $10,000—$15,000
104
CHARLES GREEN SHAW
American (1892-1974)
UNTITLED
oil on board, signed "Shaw" lower right
10
3
4 x 9 inches
PROVENANCE
The Cooley Gallery, Old Lyme,
Connecticut; Private Collection,
Connecticut.
Notes
A label from Bertha Schaefer Gallery,
New York, New York is on the reverse.
Estimate $8,000—$12,000
105
ROLPH SCARLETT
American (1889-1984)
UNTITLED
oil on canvas, signed "Scarlett" lower right
20 x 24 inches
PROVENANCE
Private Collection, Bal Harbour, Florida.
Estimate $8,000—$12,000
104
105
95
107
ERIC SLOANE
American (1905-1985)
WINTER MORNING
oil on masonite, signed
"Eric Sloane" lower left
27
1
2 x 29
3
4 inches
PROVENANCE
The artist; Private Collection,
Baltimore, Maryland;
descended in the family to
the current owner, Private
Collection, Pennsylvania.
Estimate $7,000—$10,000
106
DAVID BREGA
American (b. 1948)
PUMPKIN
oil on board, signed "David Brega" lower left
16 x 16 inches
PROVENANCE
Alexander Gallery, New York, New York;
Private Collection, Florida.
Estimate $8,000—$12,000
106
96
107
108
109
97
108
MICHAEL THEISE
American (b.1959)
"KEEPING IT SAFE"
oil on board, signed "M. Theise" and titled
on the reverse
41
3
8 x 36 inches
PROVENANCE
The artist; Private Collection, Connecticut.
EXHIBITED
Milford, Connecticut, Shannon's, "The Eye
Deceived - Paintings by Michael Theise,"
April, 2009.
Estimate $7,000—$10,000
109
PETER POSKAS
American (b. 1939)
"EAST LIGHT"
oil on canvas, signed "Poskas" lower right
42
1
2 x 47 inches
PROVENANCE
David Findlay Galleries, New York, New York;
Private Collection, New Jersey.
Estimate $3,000—$5,000
111
RICHARD HAYLEY LEVER
American (1876-1958)
BOATS AT ANCHOR
oil on canvas, unsigned
12
1
4 x 15
1
2 inches
PROVENANCE
Clayton-Liberatore, New York,
New York; ACA Galleries, New
York, New York; Private Collection,
New York.
Estimate $6,000—$8,000
110
RICHARD HAYLEY LEVER
American (1876-1958)
SAILBOATS AT THE HARBOR
oil on board, signed "Hayley Lever"
lower right
8 x 10 inches
PROVENANCE
Christie's East, January 26, 1983;
Private Collection, New York.
Estimate $5,000—$7,000
110
111
98
112
99
112
RICHARD HAYLEY LEVER
American (1876-1958)
"DOUARNENEZ, BRITTANY"
oil on board, signed "Hayley Lever" lower right,
signed and titled on the reverse
16 x 20
1
4 inches
PROVENANCE
Clayton-Liberatore, New York, New York;
Private Collection, New York.
Estimate $12,000—$18,000
113
ANTHONY THIEME
American (1888-1954)
LATE AFTERNOON GOULD COURT, GLOUCESTER
oil on canvas, signed "A. Thieme" lower left
25
1
4 x 30 inches
PROVENANCE
A Gloucester, Massachusetts estate; Private
Collection, Boston, Massachusetts.
Estimate $4,000—$6,000
114
ANTHONY THIEME
American (1888-1954)
"NEW HAMPSHIRE SNOW"
oil on canvas, signed "A. Thieme"
lower left and titled on the reverse
20 x 24 inches
PROVENANCE
A Riverside, California estate.
Estimate $5,000—$7,000
113
114
100
115
ANTHONY THIEME
American (1888-1954)
OTHER SIDE OF TOWN (LEADING TO PIGEON COVE)
oil on canvas, signed "A. Thieme" lower left
30 x 36 inches
PROVENANCE
David H. Hall Fine Art, Dover, Massachusetts; Vose
Galleries, Boston, Massachusetts; Private Collection,
New Jersey.
Notes
A photocopy of a letter from the artist's wife, Lillian
Thieme, describing the painting accompanies the lot.
Estimate $8,000—$12,000
115
101
116
JOHN GEORGE BROWN
American (1831-1913)
"READY FOR BIZ"
oil on board, signed "J. G. Brown"
and dated "1879" lower right
8
3
8 x 6
1
2 inches
PROVENANCE
A Connecticut estate.
Estimate $3,000—$5,000
117
JOHN GEORGE BROWN
American (1831-1913)
CASTANETS - SHOE SHINE BOY
oil on canvas, signed
"J. G. Brown N.A" lower right
24 x 16 inches
PROVENANCE
Private Collection, New York.
Estimate $10,000—$15,000
116
117
102
118
JOHN GEORGE BROWN
American (1831-1913)
THE PICNIC BASKET
oil on canvas, signed "J. G. Brown NA"
and dated "1873" lower center
14
1
2 x 19 inches
PROVENANCE
A Connecticut estate.
Notes
A label from Gerald Peters Gallery, Santa Fe,
New Mexico is on the reverse.
Estimate $20,000—$30,000
118
103
119
THOMAS HILL
American (1829-1908)
BY THE STREAM
oil on canvas, signed "T. Hill" and dated "1854" lower left
24 x 34
1
4 inches
PROVENANCE
McClees Gallery, Philadelphia, Pennsylvania; Butterfield
& Butterfield, San Francisco, California (May 1982);
Trisdonn Galleries, Nyack, New York (1982);
MacDougall’s Auction House, London (July 2011).
Notes
In 1854, Thomas Hill (who was then 25 years old) was
living in Philadelphia, studying painting at the
Pennsylvania Academy of Fine Arts while also earning
his living as a carriage painter. During this period, Hill is
known to have painted some portraits (including one
of his wife) and several still lifes, including one which
won him an important award in 1853. It is believed
that this landscape dated 1854 depicts a scene
near Philadelphia.
Estimate $6,000—$8,000
120
WILLIAM MCGREGOR PAXTON
American (1869-1941)
"STUDY FOR PHRYNE"
oil on canvas, unsigned
28 x 12 inches
PROVENANCE
Vose Galleries, Boston, Massachusetts; Phillips New York,
November 28, 2000, Lot 100; Private Collection, Connecticut.
Notes
In a frame by Foster Brothers, Boston, Massachusetts.
Estimate $7,000—$10,000
119
120
104
121
ALBERT HERTER
American (1871-1950)
JUDGMENT OF PARIS
oil on canvas laid down on board, signed
with artist's device and "Albert Herter" lower left
20 x 14 inches
PROVENANCE
Private Collection, San Francisco, California;
Butterfield's, San Francisco, California,
December 13, 2000, lot 3053; Private
collection, Pasadena, California; Margot
Johnson, New York, acquired directly from the
above, 2005.
Estimate $7,000—$10,000
121
105
123
RICHARD HAYLEY LEVER
American (1876-1958)
ST. IVES, CORNWALL, ENGLAND
oil on canvas, signed "Hayley Lever" lower right
6
1
2 x 9
1
2 inches
PROVENANCE
Private Collection, Palm Beach, Florida.
Estimate $6,000—$8,000
122
ARRAH LEE GAUL
American (1883-1980)
"ALONG THE ST. LAWRENCE RIVER, HARBOR-BAIE, ST. PAUL, CANADA"
oil on canvas, signed lower left "Arrah Lee Gaul," titled and
inscribed on the reverse
25 x 30 inches
PROVENANCE
Private Collection, New York.
Notes
A note from the artist is on the reverse - A Wedding Gift - "So late,
I'm utterly ashamed. However, better late than never, with com-
pound interest, and tons of love, as ever, Arrah."
Estimate $5,000—$7,000
122
123
106
124
107
124
CONRAD WISE CHAPMAN
American (1842-1910)
BEACH SCENE WITH BANNER POLES,
NORMANDY
oil on panel, signed "Chapman" and dated
"1876" lower right
5
1
2 x 8
1
2 inches
PROVENANCE
Hirschl & Adler Galleries, New York, New
York; Questroyal Fine Art, New York, New
York; Private Collection, Atlanta, Georgia.
Estimate $10,000—$15,000
125
CHARLES WARREN EATON
American (1857-1937)
"NOVEMBER"
oil on canvas, signed
"Chas. Warren Eaton" lower left
30 x 36 inches
PROVENANCE
William MacBeth Gallery, New York,
New York; Private Collection, New York;
Shannon's, Milford, Connecticut,
October 24, 2013, lot 94; Private
Collection, North Carolina.
Estimate $10,000—$15,000
125
126
108
126
HERMAN FUECHSEL
American (1833-1915)
HOUSE AT THE LAKE
oil on canvas laid down on masonite,
signed "H. Fuechsel" and dated "88"
lower right
24 x 40 inches
PROVENANCE
Private Collection, New York.
Estimate $6,000—$8,000
127
HENDRICK DIRK KRUSEMAN VAN ELTEN
American/Dutch (1829-1904)
SHEPHERD BY THE STREAM
oil on canvas, signed "K. Van Elten" and
dated "187?" lower right
40 x 67
1
2 inches
PROVENANCE
Private Collection, Bloomfield Hills,
Michigan.
Estimate $10,000—$15,000
127
109
128
WILLIAM MICHAEL HARNETT
American (1848-1892)
TABLETOP STILL LIFE WITH FRUIT AND WINE
oil on canvas, signed "WM Harnett" and dated
"1876" lower right
12 x 10 inches
PROVENANCE
Private Collection; by descent to Private
Collection, 1975 - 2001; Sotheby's New York,
May 24, 2001, lot 131; Private Collection, Mt.
Kisco, NY, until 2008.
Estimate $15,000—$25,000
128
110
129
GEORGE HENRY HALL
American (1825-1913)
BOUQUET OF RASPBERRIES
oil on canvas laid down on masonite, signed
"G.H. Hall" and dated "1865" lower right
20 x 26 inches
PROVENANCE
Private Collection, Westchester, New York.
Estimate $12,000—$18,000
129
111
130
BRUCE CRANE
American (1857-1937)
WINTER SCENE
watercolor and gouache on board, signed
"Bruce Crane" lower left
14
1
2 x 22
3
4 inches (sight)
PROVENANCE
Private Collection, Maryland.
Estimate $4,000—$6,000
131
WILLIAM CHARLES ANTHONY FRERICHS
American (1829-1905)
SPRING TREES AT THE RIVERBANK
oil on canvas, initialed "W.F." left center
9 x 6 inches
PROVENANCE
William Smith Auctions, Plainfield, New Hampshire;
November 28, 2015, lot 89; Private Collection, Connecticut.
Estimate $2,000—$3,000
130
132
131
112
132
HAL ROBINSON
American (1875-1933)
LANDSCAPE OF LAKE AND MOUNTAINS
oil on canvas, signed "Hal Robinson" lower left
25 x 36 inches
PROVENANCE
Lincoln Galleries, South Orange, New Jersey;
Private Collection, Illinois.
Estimate $2,000—$3,000
133
JOHN JOSEPH ENNEKING
American (1841-1916)
SHEEP GRAZING, LATE AFTERNOON
oil on canvas, signed "Enneking" and dated "94" lower right
18 x 24 inches
PROVENANCE
Northeast Auctions, Portsmouth, New Hampshire; August 5, 2006,
lot 1116; The Hainsworth Collection, Nashville, Tennessee.
Estimate $7,000—$10,000
133
113
134
WILL HUTCHINS
American (1878-1945)
EARLY SPRING, CONNECTICUT
oil on canvas, estate stamped on the reverse
18 x 24 inches
PROVENANCE
The estate of the artist; Private Collection,
Connecticut.
EXHIBITED
Greater Washington Independent Art
Exhibition (label on reverse), undated.
Estimate $3,000—$5,000
135
WILL HUTCHINS
American (1878-1945)
LANDSCAPE, MAINE
oil on canvas, signed "Will Hutchins" and
dated "1926" lower right, estate stamped on
the reverse
16 x 13
1
8 inches
PROVENANCE
The estate of the artist; Private Collection,
Connecticut.
Estimate $1,500—$2,500
134
135
114
136
WILL HUTCHINS
American (1878-1945)
EARLY AUTUMN, 1922
oil on board, signed "Will Hutchins" and dated "1922" lower left,
estate stamped on the reverse
18 x 24 inches
PROVENANCE
The estate of the artist; Private Collection, Connecticut.
EXHIBITED
New Haven Paint and Clay Club (label on reverse), undated.
Estimate $3,000—$5,000
136
137
115
137
WILL HUTCHINS
American (1878-1945)
LANDSCAPE AT DEERFIELD
oil on canvas, signed "Will Hutchins" on the
reverse, estate stamped on the reverse,
inscribed "Deerfield" in pencil on the reverse
18 x 24 inches
PROVENANCE
The estate of the artist; Private Collection,
Connecticut.
Estimate $3,000—$5,000
138
ARMANDO MORALES
Nicaraguan (1927-2011)
"MY HOME GARDEN AT 7:00 AM"
oil on canvas, signed "Morales" and
dated "2003" lower right, titled and
dated on the reverse
19
3
4 x 39
1
2 inches
PROVENANCE
Private Collection, New York, New York.
Estimate $12,000—$18,000
138
116
139
117
139
SALIBA DOUAIHY
Lebanese (1915 -1994)
COURTYARD SCENE
oil on canvas, signed "S. Douaihy" lower left
15
3
4 x 20 inches
PROVENANCE
Private Collection, Bal Harbour, Florida.
Notes
This painting has been authenticated by the
Saliba Douaihy Foundation.
Estimate $20,000—$30,000
140
BRUCE BRAITHWAITE
American (b. 1950)
"LIBERTY"
oil on canvas, signed "Bruce Braithwaite" lower left, signed, titled,
dated "2019," and numbered "#343" on the reverse
62 x 62 inches
Estimate $7,000—$10,000
140
118
141
BRUCE BRAITHWAITE
American (b. 1950)
"GRAND CENTRAL - FIVE"
oil on canvas, signed "Bruce Braithwaite" lower
right, signed, titled, dated "2019," numbered "#563,"
and inscribed "Grand Central Terminal NYC" on
the reverse
30 x 40 inches
Estimate $7,000—$10,000
141
119
142
PAUL CADMUS
American (1904-1999)
JIMMY RECLINING ON TIGER RUG, MALE
NUDE #JHB5, 1962
flesh-colored crayons on gray-brown
Fabriano paper, signed "Cadmus" lower
left signed and inscribed "Cadmus JHB5"
lower right
17
3
4 x 23 inches
PROVENANCE
Midtown Galleries, New York, New York;
Private Collection, Quebec, Canada.
EXHIBITED
Syracuse, New York, Tellfair Academy of
Arts and Sciences, "Good Drawing
Traveling Show" 1965-1966;Syracuse, New
York, The Anchorage Gallery, July -
September, 1967;New Orleans, Louisiana,
927 Gallery, September, 1978.
Notes
A note from the artist detailing the work
accompanies the lot. A photocopy of the
original receipt from Midtown Galleries
also accompanies the lot.
Estimate $7,000—$10,000
143
GEORGE PLATT LYNES
America (1907–1955)
"PAUL CADMUS"
photograph, signed and dated "1941" on the reverse,
and inscribed "Collection of Paul Cadmus" by
Paul Cadmus
10 x 8 inches
PROVENANCE
From a distinguished collector.
ILLUSTRATED
Eliasoph, Philip, "Paul Cadmus Yesterday and Today,"
(Oxford, Ohio, Miami University Art Museum 1981)
inside cover.
Notes
Also includes a photo by James Chotas of Paul
Cadmus sketching model Jon Anderson and a third
photo of Cadmus by Philip Eliasoph, signed, titled and
inscribed "Weston, Connecticut / Jan. 1981."A copy of
a letter by James Chotas accompanies the lot.
Estimate $2,500—$3,500
142
143
120
144
121
144
PETER BEARD
American (b. 1938)
"I'LL WRITE WHENEVER I CAN, LAKE RUDOLF," 1965
toned gelatin silver print with applied snake skin, inscribed
"Greetings from Koobi Fora (opposite North Island) / Lake Rudolf 1965
Kenya N.F.D. / Population dynamics survey for the Kenya Game Dept.
/ For Eyelids of Morning / The mingled destinies of crocodylus and
men" lower left, inscribed "Salaams from P.B." left center, signed and
inscribed "I'll write whenever I can! Sincerely, Peter Beard, Box 4191
Narobi" lower center
17 x 23
3
4 inches
PROVENANCE
The Time Is Always Now Gallery, New York City, New York; Private
Collection, Los Angeles, California.
Notes
A copy of the bill of sale and certificate of authenticity from The Time
is Always Now Gallery dated December 2, 1999 accompanies the lot.
Estimate $30,000—$50,000
145
SALVADOR DALI
Spanish (1904-1989)
POUR JEAN BACH, DEDICATION IN "THE SECRET LIFE
OF SALVADOR DALI"
signed "Salvador Dali " and dated "1959" center of
the left-hand page
7
3
8 x 10 inches (each)
PROVENANCE
The Estate of Jean Bach, New York; Private
Collection, New York, New York.
Estimate $2,500—$3,500
146
PABLO PICASSO
Spanish (1881-1973)
UNTITLED
lithograph on paper, signed "Picasso" in pencil
lower left, numbered "12/50" lower right
5
3
4 x 4
1
2 inches (sight)
PROVENANCE
Private Collection, California.
Estimate $2,000—$3,000
145A
145B
146
147
122
147
PAUL KLEE
German (1879-1940)
"PARK"
color lithograph on paper, signed "P. Klee"
in pencil lower right, dated "1914," and
numbered "145" in the plate, titled lower right
6 x 5
1
4 inches (plate, sight)
PROVENANCE
Private Collection, California.
Estimate $4,000—$6,000
148
PABLO PICASSO
Spanish (1881-1973)
TETE
crayon on paper, signed "Picasso," dated "12-5-59" and inscribed
"Pour John Picasso" upper left
6
1
4 x 6
1
4 inches (sight)
PROVENANCE
Private Collection, California; Vincent Price Gallery, Chicago, Illinois;
Private Collection, California.
EXHIBITED
Marseilles, France, Musee Cantini, "Picasso: Cinquante Chefs
d'Oeuvres", May II—July 31, 1959.
Estimate $15,000—$25,000
148
123
149
ARTHUR RACKHAM
British (1867-1939)
"THE SANDMAN WATCHES, SMILING"
watercolor and ink on paper,
signed "A. Rackham" lower right
9
3
4 x 8 inches (sight)
PROVENANCE
Charles E. Lauriat Co., Boston, Massachusetts;
Private Collection, Greenwich, Connecticut;
Shannon's, Milford, Connecticut, April 28, 2011, lot
175; Private Collection, New York; Private
Collection, New York.
Estimate $7,000—$10,000
150
ALFREDO CASTAÑEDA
Mexican (1938-2011)
"EL PANORAMA"
pencil and acrylic on board,
signed "Castañeda" and dated
"'72" lower right
14
1
4 x 14
1
4 inches (sight)
PROVENANCE
Galeria De Arte Mexicano, Mexico
City, Mexico; Private Estate; Private
Collection, Connecticut.
Estimate $4,000—$6,000
151
THEODORE J. ROSZAK
American/Polish (1907-1981)
UNTITLED (STUDY)
ink, pencil and marker on paper,
signed "T. Roszak" and dated "1939" lower
right, dated upper right, artist stamp on the
original matting with artist's initials
8
1
4 x 10
7
8 inches (sheet)
PROVENANCE
Los Angeles Modern Auctions, Los Angeles,
California, December 16, 2012, lot 415;
Private Collection, Connecticut.
Estimate $2,000—$3,000
149
151
150
124
152
EARL HORTER
American (1881-1940)
GLOUCESTER, MASSACHUSETTS
pastel on vellum, signed "E. Horter"
and dated "32" lower right
11
3
4 x 14
3
8 inches (sight)
PROVENANCE
Private Collection, Bryn Mawr,
Pennsylvania; Private Collection,
Connecticut.
EXHIBITED
Little Rock, Arkansas, 48th Collectors
Show and Sale," Arkansas Arts
Center, November 11, 2016 -January
8, 2017.
Estimate $5,000—$7,000
152
153
125
153
EMIL JAMES BISTTRAM
American (1895-1976)
SOUTHWEST LANDSCAPE
watercolor on paper, signed "Bisttram" and
dated "58" lower right
16
1
2 x 23
1
2 inches (sight)
PROVENANCE
Private Collection, Connecticut.
Estimate $6,000—$8,000
155
ESTEBAN CHARTRAND
Cuban (1840-1884)
CUBAN LANDSCAPE
oil on canvas,
signed "E.S. Chartrand" lower center
11
1
4 x 13
1
8 inches
PROVENANCE
Private Collection, New York.
Estimate $5,000—$7,000
154
JERVIS MCENTEE
American (1828-1891)
"TOMKINS COVE"
oil on canvas, monogramed "JME" lower left
6 x 12 inches
PROVENANCE
Eldred's, East Dennis, Massachusetts, August 1,
2014, lot 1317; Private Collection, Connecticut.
Estimate $5,000—$7,000
154
155
126
156
157
127
156
FRANK HENRY SHAPLEIGH
American (1842-1906)
ST. AUGUSTINE COURTYARD
oil on canvas,
signed "F.H. Shapleigh" lower left
10
1
8 x 16 inches
PROVENANCE
Private Collection, New York.
Estimate $8,000—$12,000
157
ARTHUR FITZWILLIAM TAIT
American (1819-1905)
DOG AND SNIPE
oil on board, signed "A.F. Tait," dated
"1866," numbered "No. 464," and inscribed
"Morrisania / Westchester Co. N.Y."on
the reverse
6
1
2 x 9 inches
PROVENANCE
The artist; Henry H. Leed’s Sale, April 5, 1866.
ILLUSTRATED
Cadbury, Warder H, and Henry F. Marsh.
"Arthur Fitzwilliam Tait: Artist in the
Adirondacks." Newark: University of
Delaware Press, pp. 191, no. 66.27.
Estimate $10,000—$15,000
128
158
159
158
CHARLES MARION RUSSELL
American (1864-1926)
SMOKING UP
bronze, inscribed "C.M. Russell" and with
artist device on the base, stamped with
foundry mark "Roman Bronze Works, NY"
height: 11
1
4 inches
PROVENANCE
Private Collection, Connecticut.
Estimate $6,000—$8,000
159
JANET SCUDDER
American (1873-1940)
FROG BABY
bronze, signed "Janet Scudder" and stamped
with foundry mark "Gorham Co. Foundry"
height: 12
1
2 inches
PROVENANCE
Private Collection, Georgia; Shannon's,
Milford, Connecticut, April 29, 2011, lot 199;
Private Collection, New York.
Estimate $5,000—$7,000
160
ROBERT REID
American (1862-1929)
TIGER LILY
oil on canvas laid down on board, unsigned
18
3
4 x 14
1
4 inches
PROVENANCE
The Cooley Gallery, Old Lyme, Connecticut;
Private Collection, Connecticut.
Estimate $4,000—$6,000
160
161
129
161
MARCEL DYF
French (1899-1985)
CLAUDINE
oil on canvas, signed "Dyf" lower right
23
3
4 x 28
3
4 inches
PROVENANCE
Private Collection, New Jersey.
Notes
This painting is registered in the Marcel Dyf
Catalog Raisonné as catalog ID number 1669.
Estimate $7,000—$10,000
162
CHARLES MURRAY PADDAY
British (1868-1954)
PILOT BOAT CREW
oil on canvas, signed "C.M. Padday"
and dated "98" lower left
30
1
2 x 48
1
4 inches
PROVENANCE
A Connecticut estate.
Estimate $5,000—$7,000
163
EMILE A. GRUPPE
American (1896–1978)
BRINGING IN THE NETS
oil on canvas, signed
"Emile A. Gruppe" lower right
24 x 36 inches
PROVENANCE
Private Collection, New York.
Estimate $7,000—$10,000
162
163
130
164
ALDRO THOMPSON HIBBARD
American (1886-1972)
SNOW SCENE WITH GREEN SILOS
oil on canvas, estate stamped on
the reverse
24 x 32 inches
PROVENANCE
Estate of the Artist; Private Collection,
Buffalo, New York; Private Collection,
New York.
Notes
A label from A.T. Hibbard Collection,
Ledgendsea Gallery, Rockport,
Massachusetts is on the reverse.
A copy of a letter of authenticity from
the artist's estate signed by Elaine
Hibbard Clark accompanies the lot.
Estimate $5,000—$7,000
164
165
131
165
ALDRO THOMPSON HIBBARD
American (1886-1972)
VERMONT STREAM
oil on canvasboard, signed
"A.T. Hibbard" lower right
16 x 19
5
8 inches
PROVENANCE
Hanover Square Gallery, New York,
New York; Private Collection, Illinois.
Estimate $4,000—$6,000
166
JAMES KING BONNAR
American (1883-1961)
WINTER LANDSCAPE
oil on canvas,
signed "Jas. K. Bonnar" lower right
22 x 28 inches
PROVENANCE
Private Collection, Connecticut.
Estimate $2,000—$3,000
166
168
167
132
167
ANTHONY THIEME
American (1888-1954)
HARBOR SCENE
oil on canvasboard,
signed "A. Thieme" lower right
19
1
2 x 15
1
2 inches
PROVENANCE
Private Collection, Scotts Valley, California.
Estimate $3,000—$5,000
168
ANTHONY THIEME
American (1888-1954)
WARM LIGHT
oil on canvas,
signed "A. Thieme" lower right
25 x 30 inches
PROVENANCE
Private Collection, Naples, Florida.
Estimate $4,000—$6,000
169
EMILE A. GRUPPE
American (1896–1978)
"SUMMER DAY"
oil on canvas, signed "Emile A. Gruppe"
lower left and titled on the stretcher
24 x 20 inches
PROVENANCE
Private Collection, New York.
Estimate $6,000—$8,000
169
170
133
170
ANTONIO PIETRO MARTINO
American (1902-1989)
GLOUCESTER WHARVES
oil on canvas, signed "A. P. Martino" lower right,
stamped "copyright owned by Harry Eichleavy Art
Co. Pittsburgh, PA" on the stretcher
30 x 32 inches
PROVENANCE
Shannon's, Greenwich, Connecticut, October 25,
2001, lot 51; Private Collection, New Jersey.
Estimate $7,000—$10,000
172
JOHN JOSEPH ENNEKING
American (1841-1916)
SPRING FLOWERS
oil on canvas, signed "Enneking"
and dated "04" lower right
18 x 24 inches
PROVENANCE
Phillips, New York, May 23, 2000, lot 113;
Private Collection, Pennsylvania.
Estimate $4,000—$6,000
171
GUY CARLETON WIGGINS
American (1883-1962)
ROCKS AND TREES
oil on canvasboard, signed "Wiggins" lower left
12 x 16 inches
PROVENANCE
Private Collection, New York; Shannon's, Greenwich,
Connecticut, May 4, 2006, lot 184; Private Collection, Mississippi.
Estimate $4,000—$6,000
171
172
134
173
PAUL DOUGHERTY
American (1877-1947)
"MORNING COAST"
oil on board, signed "Paul Dougherty" lower right,
signed and titled on the reverse
24 x 20 inches
PROVENANCE
Private Collection, Mystic, Connecticut;
Private Collection, New York.
Estimate $4,000—$6,000
174
JOHN FULTON FOLINSBEE
American (1892-1972)
"BACKYARD, NEW HOPE"
oil on canvas, signed "John Folinsbee"
lower right, titled on the stretcher
20 x 24 inches
PROVENANCE
Private Collection, New Jersey.
Estimate $6,000—$8,000
173
174
135
175
ALFRED WORDSWORTH THOMPSON
American (1840-1896)
CROSSING THE RIVER
oil on canvas, signed
"Wordsworth Thompson" lower right
8
3
4 x 17
1
4 inches
PROVENANCE
Private Collection, New York, New York.
Notes
A label from Kennedy Galleries, New York,
New York is on the reverse.
Estimate $3,000—$5,000
176
ALBERT FITCH BELLOWS
American (1911-1988)
LANDSCAPE WITH RIVER
oil on canvas, signed
"A.F. Bellows" lower right
11
1
2 x 19
1
2 inches
PROVENANCE
The Cooley Gallery, Old Lyme, Connecticut;
Private Collection, Connecticut.
Estimate $4,000—$6,000
177
SAMUEL COLMAN
American (1832-1920)
SAW MILL VALLEY, PENNSYLVANIA
oil on board, signed
"Samuel Colman" lower left
8
1
4 x 14
3
4 inches
PROVENANCE
Heritage Auctions, Dallas, Texas,
December 5, 2013, lot 64167;
Private Collection, Connecticut.
Estimate $3,000—$5,000
175
177
176
136
178
JASPER FRANCIS CROPSEY
American (1823-1900)
MOUNTAIN LAKE IN AUTUMN
watercolor on card mounted on masonite,
signed "J.F. Cropsey" and dated "1895" lower right
12
1
4 x 18
1
4 inches
PROVENANCE
George E. Missbach Collection, Atlanta, Georgia.
Notes
A label from Berry-Hill Galleries, Inc., New York, New
York is on the reverse.
Estimate $3,000—$5,000
179
EDWARD HILL
American (1843-1923)
SHEEP GRAZING
oil on canvas, signed "Edward Hill"
and dated "99" lower right
10 x 16 inches
PROVENANCE
The Artist; The Collection of Robert
Goldberg, Conway, New Hampshire;
Private Collection, Colorado.
Estimate $2,000—$3,000
178
179
137
180
RACKSTRAW DOWNES
American/British (b. 1939)
RIVERSIDE DRIVE WITH THE GATES
OF COLUMBIA, 1979
pencil on paper, initialed "RD" lower right
17
5
8 x 32 inches (sheet)
PROVENANCE
Tatistcheff and Company, Inc., New York,
New York; Private Collection,
Connecticut.
EXHIBITED
Oklahoma City, Oklahoma, Oklahoma
Art Center, "A Heritage Renewed," June
26 - August 7, 1983. Catalog No. 22.
Santa Barbara, California, University Art
Museum, "A Heritage Reviewed:
Representational Drawing Today,"
March 1 - April 17, 1983.
Estimate $4,000—$6,000
181
JOHN R. GOOD
American (b. 1930)
MODERNIST CHURCH
pastel on board,
signed "John R. Good" lower right
26 x 12 inches
PROVENANCE
Private Collection, New York.
Notes
John R. Good Gallery, New York,
New York stamp is on the reverse.
Estimate $2,000—$3,000
180
181
182
138
182
GRANT WOOD
American (1891-1942)
MARCH
lithograph, signed
"Grant Wood" in pencil lower right
12
1
8 x 16 inches
PROVENANCE
Debra Force Fine Art, New York, New York;
Private Collection, South Carolina.
Estimate $2,500—$3,500
183
SONIA DELAUNAY
French/Ukrainian (1885-1979)
UNTITLED
watercolor on paper, signed "Sonia Delaunay" in pencil
lower right and numbered "169" lower left
4
3
4 x 5
3
4 inches (sheet)
PROVENANCE
Borghi Fine Art, New York, New York; Private Collection,
Connecticut.
Estimate $4,000—$6,000
184
ELIE BORGRAVE (ELDEREN)
Belgian (1910-1992)
"NEW YORK"
oil on canvas, signed "Elderen" and dated "49"
lower left, signed "Elie Elderen," dated "1949,"
titled, and inscribed "Stonington .3" on the reverse
24 x 28 inches
PROVENANCE
Private Collection, New York, New York.
Estimate $3,000—$5,000
183
184
185
139
185
EDNA TACON
American/Canadian (1913-1980)
UNTITLED
mixed media on paper, signed "Edna Tacon"
and dated "1942" in pencil on the matting
lower right
9
1
4 x 11
7
8 inches (sight)
PROVENANCE
Private Collection, Connecticut.
Estimate $3,000—$5,000
186
PHILIP EVERGOOD
American (1901-1973)
"SEAWEED PICKERS AND CANNERY"
oil on canvas, signed "Philip Evergood"
and dated "48" lower left,
titled on the stretcher
18 x 28
1
4 inches
PROVENANCE
ACA Gallery, New York, New York; Private
Collection, New York, acquired from the
above, 1966; Descended directly in the
family to the present owner.
Estimate $3,000—$5,000
187
PHILIP EVERGOOD
American (1901-1973)
"SEEKING A FUTURE"
oil on masonite, signed "Philip
Evergood" and dated "46" lower right,
signed, titled and inscribed "A.C.A.
GALLERY/63 EAST 57" on the reverse
22
1
4
x 18 inches
PROVENANCE
ACA Gallery, New York, New York; Private
Collection, New York, acquired from the
above, 1966; Descended directly in the
family to the present owner.
Estimate $4,000—$6,000
188
PHILIP EVERGOOD
American (1901-1973)
"EPISODE AT FIRE ISLAND"
oil on canvas, signed "Philip Evergood" lower left,
dated "LXVII" lower right, and titled on the stretcher
14 x 18 inches
PROVENANCE
ACA Gallery, New York, New York; Private
Collection, New York, acquired from the above,
1969; Descended directly in the family to the
present owner.
Notes
A label from Hammer Galleries, New York, New
York is on the reverse.
Estimate $2,500—$3,500
186
188
187
140
189
DAVID BURLIUK
American/Russian (1882-1967)
TWO PEASANT WOMEN
oil on canvasboard, signed "Burliuk" and dated "1947"
lower left, signed and inscribed "Painted Nov 18-19 /
(12 hours)" on the reverse
9
3
4 x 7
3
4 inches
PROVENANCE
Private Collection, New York; descended in the
family to the present owner, Private Collection, New York.
Estimate $3,000—$5,000
190
DAVID BURLIUK
American/Russian (1882-1967)
SEATED PEASANT IN A RED DRESS
oil on canvasboard, signed "Burliuk" lower left
9 x 12 inches
PROVENANCE
ACA Galleries, New York, New York; Private
Collection, New York; By descent, Private
Collection, New York.
Estimate $3,000—$5,000
189
190
191
141
191
DAVID BURLIUK
American/Russian (1882-1967)
PEASANT IN A YELLOW SKIRT
oil on panel, signed "Burliuk" lower left and
dated "1964" lower right
12 x 11 inches
PROVENANCE
ACA Galleries, New York, New York; Private
Collection, New York; By descent, Private
Collection, New York.
Estimate $3,000—$5,000
192
ROBERT WILLIAM VONNOH
American (1858-1933)
MISTY MORN
oil on canvas, signed "Vonnoh" lower right
14 x 18 inches
PROVENANCE
Berry Hill Galleries, Inc., New York, New York;
Private Collection, New York, New York.
Estimate $4,000—$6,000
193
AMERICAN SCHOOL
20th Century
VENICE SCENE
oil on canvasboard, signed lower right
16 x 15
1
4 inches
PROVENANCE
A Connecticut estate; Private Collection, Connecticut.
Estimate $2,000—$3,000
194
ROBERT WILLIAM VONNOH
American (1858-1933)-
AFTERNOON SHADOWS, GREZ, FRANCE
oil on panel, unsigned
10
1
8 x 13
1
4 inches
PROVENANCE
Private Collection, Hingham, Massachusetts.
Notes
A Paris exhibition label is on the reverse.
Estimate $4,000—$6,000
192
194
193
142
195
RALPH ALBERT BLAKELOCK
American (1847-1919)
LANDSCAPE
oil on canvas, signed "Ralph Blakelock" lower left
8 x 12 inches
PROVENANCE
A Connecticut estate.
Notes
A label from the University of Nebraska, no. 914,
category II is on the reverse.
Estimate $2,500—$3,500
196
WILLIAM BLISS BAKER
American (1859-1887)
SHADOWS IN A POOL
oil on canvas, signed "Bliss Baker" lower left
10
1
2 x 12
1
4 inches
PROVENANCE
A Connecticut estate.
Estimate $5,000—$7,000
195
196
143
197
FRANKLIN D. BRISCOE
American (1844-1903)
"BREEZY DAY NEW YORK BAY"
oil on canvas, signed "F.D. Briscoe" and
dated "1878"lower right, signed, dated and
titled on the reverse
10 x 20 inches
PROVENANCE
A Connecticut estate.
Estimate $2,500—$3,500
198
HERMAN FUECHSEL
American (1833-1915)
FALL AT THE LAKE
oil on board, signed "H. Fuechsel" lower left
8 x 14 inches
PROVENANCE
Private Collection, New York.
Estimate $2,500—$3,500
199
AMERICAN SCHOOL
19th Century
SAILING OFFSHORE
oil on panel, unsigned
7
1
4 x 10 inches
PROVENANCE
Private Collection, Chatham,
Massachusetts.
Estimate $3,000—$5,000
197
199
198
144
200
WILLARD LEROY METCALF
American (1858-1925)
BLACK MOUNTAIN FROM LITTLE CAMPTON VILLAGE,
NEW HAMPSHIRE
oil on wood panel, signed "Willard L. Metcalf" and
dated "Sept. 1875" on the reverse
11
1
2 x 19
1
2 inches
PROVENANCE
The artist; Dr. W F Clerk, (Abbie and Inbroe), 1875; (Bow)
New Hampshire auction, ca 1950; Private Collection,
Massachusetts; Descended in the
family to the current owner, Private Collection,
Massachusetts.
ILLUSTRATED
The painting is recorded as Control Number: IAP 71771445
in the inventories of American Painting and Sculpture,
Smithsonian American Art Museum, Washington, D.C.
Notes
This work will be included in the forthcoming Willard Leroy
Metcalf Catalogue Raisonnè Project Inc., under the
direction of Betty Krulik.
Estimate $8,000—$12,000
201
JERVIS MCENTEE
American (1828-1891)
EVENING LIGHT, WINTER
oil on canvas, estate stamp on the reverse
8
1
4 x 14
1
4 inches
PROVENANCE
Estate of the artist; Sotheby's, New York, September
23, 1993, lot 55; Barridoff Galleries, Portland, Maine,
July 31, 2002, lot 190; Debra Force Fine Art, New
York, New York; Private Collection, Baltimore,
Maryland.
EXHIBITED
Stockholm, Sweden, The American Embassy, June
1989-October 1992. New Paltz, New York, Samuel
Dorsky Museum of Art, "Jervis McEntee: A Painter-
Poet of the Hudson River School," August 26-
December 13, 2015.
Estimate $5,000—$7,000
201
200
145
202
WILLIAM GUY WALL (ATTRIBUTED)
American/Irish (1792-1864)
FARM IN THE VALLEY, TROY, NEW YORK
oil on canvas, unsigned, inscribed
"Troy, NY" on the stretcher
14 x 20 inches
PROVENANCE
Sacred Heart Convent, Albany, New York;
Private Collection, Connecticut.
Estimate $3,000—$5,000
203
ARTHUR PARTON
American (1842-1914)
PADDLING ALONG THE RIVER
oil on canvas, signed "Arthur Parton" lower left
18 x 24 inches
PROVENANCE
A New York, New York estate; Private
Collection, New York.
Estimate $2,500—$3,500
204
SAMUEL L. GERRY
American (1813-1891)
MOUNTAINOUS LANDSCAPE
oil on canvas, unsigned
8 x 12 inches
PROVENANCE
Private Collection, New York.
Estimate $1,500—$2,500
202
204
203
146
205
RICHARD WHATELY WEST
British (1848-1905)
"FALLS OF CLYDE"
oil on canvas, signed "R.W. West" lower
left, signed and titled on the reverse
40 x 72 inches
PROVENANCE
Private Collection, Massachusetts.
Estimate $4,000—$6,000
206
DAVID JOHNSON
American (1827-1908)
DEER IN A FOREST CLEARING
oil on canvas, initialed "DJ" lower right
10
1
2 x 8 inches
PROVENANCE
Private Collection, Connecticut.
Estimate $2,000—$3,000
205
206
207
147
207
THOMAS HILL
American (1829-1908)
LAKE AT YOSEMITE, CALIFORNIA
oil on board, signed "T. Hill" lower right
14 x 21 inches
PROVENANCE
Private Collection, Connecticut.
Notes
Inscribed on the reverse: "Presented to Mrs.
Jane B. Robinson, of Detroit Michigan, with
my compliments as a small evidence of
appreciation on behalf of myself and the rel-
atives of Thomas Hill in return for her courtesy
in placing Mr. Hill's great canvas "The Grand
Cannon of the Yellowstone" in the Detroit
Museum of Art where it will receive the care
and appreciation due such a masterpiece.
J.E. Williamson, Administrator Estate of
Thomas Hill, deceased. 1010 Broadway,
Oakland, California."
A note on the reverse indicates the work
depicts a lake at Yosemite, California.
Estimate $4,000—$6,000
208
CHARLES P. ADAMS
American (1858-1942)
"THE END OF THE DAY VICINITY OF GOLDEN,
COLORADO"
oil on canvas, signed "Charles P. Adams" lower
right and titled on the reverse
10 x 14 inches
PROVENANCE
Duncan Vail Co., Los Angeles, California.
Estimate $3,000—$5,000
209
HUGH BOLTON JONES
American (1848-1927)
LANDSCAPE WITH STREAM
oil on canvas, signed "H. Bolton Jones" lower right
14 x 20 inches
PROVENANCE
Shannon's, Greenwich, Connecticut, October 20,
2005, lot 147; Private Collection, Illinois.
Estimate $3,000—$5,000
208
209
148
210
ARTHUR BOWEN DAVIES
American (b. 1925)
"[?] BOATS, RACING AT MARBLEHEAD"
oil on panel, signed "A.B. Davies"
lower left, signed and titled illegibly on
the reverse
4 x 10 inches
PROVENANCE
Private Collection, New York.
Estimate $2,000—$3,000
211
RICHARD HAYLEY LEVER
American (1876-1958)
BRIDGE OVER THE THAMES RIVER, LONDON, 1908
oil on canvas, signed "Hayley Lever" lower left
6
1
4 x 9
1
4 inches
PROVENANCE
Private Collection, New York.
Estimate $2,000—$3,000
212
210
211
149
212
MORRIS HALL PANCOAST
American (1877-1963)
HARBOR SCENE
oil on canvas,
signed "Morris Hall Pancoast" on the stretcher
28 x 32 inches
PROVENANCE
Private Collection, Connecticut.
Estimate $2,500—$3,500
150
213
214
215
213
GEORGE LOFTUS NOYES
American (1864-1954)
"OLD FARMHOUSE NEAR FIESOLE," ITALY
oil on canvasboard,
signed "G. L. Noyes" lower right
13
1
2 x 15 inches
PROVENANCE
The artist's wife; Private Collection, Connecticut;
Shannon's, Greenwich, Connecticut, October 21,
2004, lot 12; Private Collection, Illinois.
Estimate $3,000—$5,000
214
GEORGE LOFTUS NOYES
American (1864-1954)
"LES LAVOIRS PARIS"
oil on canvas laid down on panel,
signed "G. L. Noyes" lower right and
titled on the reverse
14
1
4 x 16 inches
PROVENANCE
Descended in the artist's family; Private
Collection, New England; Shannon's,
Greenwich, Connecticut, May 6, 2004,
lot 30; Private Collection, Illinois.
Estimate $3,000—$5,000
215
GEORGE LOFTUS NOYES
American (1864-1954)
"NEWBURYPORT"
oil on canvas, signed "G. L. Noyes" lower right,
signed and titled on the stretcher
20 x 24 inches
PROVENANCE
Private Collection, New Jersey.
Estimate $3,000—$5,000
216
ATTILIO PRATELLA
Italian (1856-1949)
A WALK ALONG THE PROMENADE
oil on panel, signed "A. Pratella"
lower left
11
3
4 x 7
5
8 inches
PROVENANCE
Private Collection, Palm Coast,
Florida.
Estimate $2,000—$3,000
217
COLIN CAMPBELL COOPER
American (1856-1937)
WESTMINSTER
watercolor and gouache on
board, signed "Colin
Campbell Cooper" and
dated "1902" lower left
23 x 29
3
4 inches
PROVENANCE
Private Collection, Virginia.
Estimate $4,000—$6,000
151
216
217
218
218
JEAN FRANCOIS RAFFAELLI
French (1850-1924)
"COMMUNION DAY"
oil on board, signed "J.F. Raffaelli" lower left
16 x 13 inches
PROVENANCE
Private Collection, New York.
Estimate $3,000—$5,000
219
GUSTAVE CIMIOTTI
American (1875-1969)
VERMONT IN SPRINGTIME
oil on canvas, signed "Cimiotti" lower left and right
15 x 18 inches
PROVENANCE
Hanover Square Gallery, New York, New York;
Private Collection, Illinois.
Estimate $2,000—$3,000
220
PINCKNEY MARCIUS SIMONS
American (1867-1909)
THE CITY OF DREAMS
oil on canvas, signed "Marcius Simons"
lower left
31 x 44 inches
PROVENANCE
Private Collection, Maryland.
Estimate $2,000—$3,000
221
FREDERICK F. FURSMAN
American (1874-1943)
WINTER TREES
oil on canvas, signed "Frederick Fursman" and
inscribed "Saugatuck, Michigan" on the reverse
24 x 24 inches
PROVENANCE
Private Collection, New York, New York.
Estimate $2,000—$3,000
219
221
220
152
222
GUSTAVE WEIGAND
American (1872-1957)
BIRCH TREES
oil on canvas,
signed "Gustave Weigand" lower right
26
1
4 x 21inches
PROVENANCE
Private Collection, Connecticut.
Estimate $1,500—$2,500
223
ROBERT HOGG NISBET
American (1879-1961)
THE WILLOWS AT BILBY HOUSE
oil on canvas, signed "Robert Nisbet N.A." lower right
16 x 20 inches
PROVENANCE
Dryads Green Gallery, New York, New York; A New Haven,
Connecticut estate.
EXHIBITED
National Arts Club 2018.
Notes
This painting hung in the Bilby House during Nisbet's life.
Thanks to Amy Kurtz Lansing of the Florence Griswold
Museum for her assistance in the cataloging of this lot.
Visit www.shannons.com for additional information.
Estimate $2,000—$3,000
222
223
224
153
224
WILLIAM STARBUCK MACY
American (1853-1945)
WINTER LANDSCAPE
oil on canvas, signed "W.S. Macy," dated
"79," and inscribed "New York" lower left
25
3
4 x 20
1
2 inches
PROVENANCE
Private Collection, San Diego, California.
Estimate $3,000—$5,000
225
CHAUNCEY FOSTER RYDER
American (1868-1949)
"MINE HEAD"
oil on canvas, signed "Chauncey F. Ryder"
lower right, titled on the stretcher, signed on
a label on the reverse
28 x 36 inches
PROVENANCE
Grand Central Art Gallery, New York, New
York; Fine Art Gallery, T. Eaton Co., Canada;
Private Collection, Connecticut.
Estimate $5,000—$7,000
226
CHAUNCEY FOSTER RYDER
American (1868-1949)
SEASCAPE
oil on canvas,
signed "Chauncey F. Ryder" lower right
32
1
2 x 40
1
2 inches
PROVENANCE
A Houston, Texas estate.
Estimate $4,000—$6,000
154
225
226
227
GEORGE HENRY HALL
American (1825-1913)
STILL LIFE WITH GRAPES AND A PEACH
oil on board, unsigned
7
1
2 x 9 inches
PROVENANCE
Private Collection, Ohio; Shannon's,
Milford, Connecticut, October 21, 2005,
lot 127; Private Collection, Connecticut.
EXHIBITED
A remnant exhibition label is on the
reverse.
Estimate $3,000—$5,000
228
PAUL DUBOIS
French (1829-1905)
"CHARITY"
bronze, signed "P. Dubois" and stamped with
foundry mark "F. Barbdienne Fondeur, Paris"
height: 23 inches
PROVENANCE
Private Collection, New York.
Estimate $4,000—$6,000
155
227
228
229
229
WILLIAM MASON BROWN
American (1828-1898)
STILL LIFE WITH PEARS AND GRAPES
oil on canvas, signed "W.M. Brown" lower left
8 x 10 inches
PROVENANCE
Private Collection, New York.
Estimate $2,500—$3,500
230
FERNANDO CUETO AMORSOLO
Filipino (1892-1972)
BATHING, 1957
oil on canvas, signed "F. Amorsolo," inscribed "Manila,"
and dated "1957" lower right
28 x 22
1
4 inches
PROVENANCE
Bonhams, San Francisco, California, May 22, 2007, lot 30;
Private Collection, Virginia.
Estimate $40,000—$60,000
156
230
231
FERNANDO CUETO AMORSOLO
Filipino (1892-1972)
BATHING IN THE RIVER, 1951
oil on canvas, signed "F. Amorsolo" and dated
"1951" lower left
20 x 16 inches
PROVENANCE
Bonhams, San Francisco, California, May 22, 2007, lot 31;
Private Collection, Virginia.
Estimate $30,000—$50,000
157
231
232
ROGELIO DE EGUSQUIZA
Spanish (1845-1915)
AT THE WINDOW
oil on canvas, signed "Egusquiza 73" lower left
25
1
8 x 17
1
2 inches
PROVENANCE
Private Collection, New York.
Estimate $3,000—$5,000
233
AMERICAN SCHOOL
19th Century
BLOWING BUBBLES
oil on canvas, unsigned
15
1
2 x 19
3
8 inches
PROVENANCE
Heritage Auction, Dallas, Texas, September 12,
2012, lot 87668; Private Collection, New
Mexico.
Estimate $3,000—$5,000
158
234
HENRY JOHN STOCK
British (1853-1930)
DEPARTURE OF THE SOUL
watercolor on paper, signed "H.J. Stock" and dated "1881" lower left
28
5
8 x 16
1
2 inches
PROVENANCE
Private Collection, Arizona.
Notes
A label from the Harry Hershfield estate is on the reverse.
Estimate $3,000—$5,000
232
233
234
159
235
236
237
235
EDWARD E. SIMMONS (ATTRIBUTED)
American (1852–1931)
YOUNG PEASANT BOY IN FRANCE
oil on canvas, unsigned
18 x 13 inches
PROVENANCE
Private Collection, Massachusetts.
Estimate $4,000—$6,000
236
ABBOTT HANDERSON THAYER
American (1849-1921)
"PORTRAIT OF ELSIE BIRCH"
oil on panel, unsigned
20 x 16 inches
PROVENANCE
Private Collection, Massachusetts.
EXHIBITED
Cornish, New Hampshire, Cornish Colony Gallery
and Museum, May - October 2001.
Estimate $3,000—$5,000
237
DANIEL GARBER
American (1880-1958)
"DR. ROY LYNDE"
oil on canvas, unsigned, inscribed
"Property of K.K. Leiby / New Hope PA" on the stretcher
30 x 25 inches
PROVENANCE
Freeman's, Philadelphia, Pennsylvania, December 8,
2002, lot 145; Private Collection, New Jersey.
Estimate $3,000—$5,000
160
238
239
238
KAREL APPEL
Dutch (1921-2006)
UNTITLED
watercolor and gouache on
paper, signed "K. Appel" and
dated "58" lower left
19
3
4 x 25
3
4 inches
PROVENANCE
Private Collection, New York,
New York.
Estimate $8,000—$12,000
239
GINO SEVERINI
Italian (1883-1966)
UNTITLED
watercolor, gouache and
marker on paper, signed
"G. Severini VIII" lower right
15
1
2 x 19
1
2 inches (sight)
PROVENANCE
Private Collection,
Connecticut.
Estimate $3,000—$5,000
161
240
241
242
240
VARDA CAIVANO
Argentine/Italian (b. 1971)
UNTITLED
oil on canvas, signed "Varda Caivano"
and dated "2008" on the reverse
18 x 24 inches
PROVENANCE
Victoria Miro Gallery, London;
Private Collection, New York.
Estimate $2,500—$3,500
241
BYRON BROWNE
American (1907-1961)
UNTITLED
mixed media on paper, signed "Byron Browne"
and dated "July 9, 1957" lower left
19
1
4 x 25 inches (sight)
PROVENANCE
Private Collection, Pennsylvania.
Estimate $3,000—$5,000
242
SHIRLEY GOLDFARB
American (1925-1980)
UNTITLED
oil on masonite, signed "Shirley Goldfarb"
and dated illegibly lower right
29
3
4 x 39
3
4 inches
PROVENANCE
Private Collection, Connecticut.
Estimate $2,500—$3,500
162
243
244
245
243
DAVID BURLIUK
American/Russian (1882-1967)
SAILBOAT
oil on canvasboard, signed "Burliuk"
and dated "1949" lower left
10 x 12 inches
PROVENANCE
ACA Galleries, New York, New York;
Private Collection, New York; By descent,
Private Collection, New York.
Estimate $3,000—$5,000
244
RICHARD HAYLEY LEVER
American (1876-1958)
BATEAU SUR LA SEINE, PARIS
oil on board, signed "Hayley Lever" lower right
9
5
8 x 13 inches
PROVENANCE
Barridoff Galleries, Portland, Maine, April 30, 2015,
lot 139; Private Collection, Connecticut.
Estimate $2,500—$3,500
245
REYNOLDS BEAL
American (1866-1951)
CIRCUS
watercolor on paper, unsigned
13
1
8 x 15
1
4 inches (sight)
PROVENANCE
Kraushaar Galleries, New York, New York;
Private Collection, New York.
Estimate $2,000—$3,000
163
246
247
246
THERESA FERBER BERNSTEIN
American (1890-2002)
BATHERS AT FOLEY'S COVE
oil on canvas,
signed "Bernstein" lower right
23 x 27 inches
PROVENANCE
Private Collection, Florida.
Estimate $7,000—$10,000
247
THERESA FERBER BERNSTEIN
American (1890-2002)
BATHERS AT CONEY ISLAND, 1925
oil on board,
signed "Bernstein" lower left
12 x 16 inches
PROVENANCE
Private Collection, Florida.
Estimate $5,000—$7,000
164
248
249
250
248
AARON J. GOODELMAN
American (1890-1978)
TIGHTROPE WALKER
bronze, signed "A.J. Goodelman" on the base
height: 32 inches
PROVENANCE
The artist; Private Collection, New York;
Descended directly in the family to the
present owner.
Estimate $2,500—$3,500
249
REGINALD MARSH
American (1898-1954)
COUPLE ON A BENCH
oil on masonite,
signed "Marsh" lower right
5 x 4 inches
PROVENANCE
Friends of Olana Art Auction,
September, 1997, lot 67;
Private Collection, New York.
Estimate $3,000—$5,000
250
ERNEST FIENE
American (1894-1965)
"EVENING RAIN, NYC"
oil on canvas,
signed "E. Fiene" and titled on the reverse
20 x 16 inches
PROVENANCE
A New York, New York estate; Private
Collection, New York.
Estimate $3,000—$5,000

165
251
252
253
251
HENRY KOERNER
Austrian (1915-1991)
THE PUB
pencil and gouache on illustration board,
signed "Koerner" lower right
14 x 8
3
4 inches (sight)
PROVENANCE
Midtown Galleries, New York, New York;
Private Collection, New York.
Estimate $2,000—$3,000
252
MOSES SOYER
American (1899-1974)
COUPLE READING
oil on canvas, signed "M. Soyer" lower right
10 x 20 inches
PROVENANCE
Private Collection, New York.
Estimate $2,000—$3,000
253
MOSES SOYER
American (1899-1974)
WOMAN IN RED
oil on canvas, signed "M. Soyer" upper right
30 x 25 inches
PROVENANCE
Private Collection, New York.
Estimate $2,000—$3,000
166
254
255
256
254
THEO TOBIASSE
French (1927-2012)
SHABBAT SCENE
oil on canvas, signed "Theo Tobiasse" upper left,
inscribed "Ta Main Me Touche, et c'est"
inscribed in Hebrew "Shabbat," dated "65" lower
right and stamped "45" on the reverse
28
3
4 x 36
1
4 inches
PROVENANCE
Private Collection, Tennessee.
Estimate $3,000—$5,000
255
DAVID BURLIUK
American/Russian (1882-1967)
PORTRAIT OF A LADY
oil on panel, signed "Burliuk" lower right
12 x 16 inches
PROVENANCE
Private Collection, Florida.
Estimate $2,000—$3,000
256
EUGENEIUSZ EIBISCH
Polish (1896-1987)
STILL LIFE WITH FISH
oil on canvas, signed "Eibisch" upper right
23
3
4 x 28
3
4 inches
PROVENANCE
Dalzell Hatfield Galleries, Los Angeles,
California; Private Collection, Tennessee.
Estimate $3,000—$5,000
167
257
258
259
257
RAFAL OLBINSKI
Polish/American (b. 1943)
UNTITLED
acrylic on canvas, signed "Olbinski" lower left
30 x 22 inches
PROVENANCE
The artist; Private Collection, New York.
Estimate $3,000—$5,000
258
RAFAL OLBINSKI
Polish/American (b. 1943)
UNTITLED
acrylic on canvas, signed "Olbinski" lower right
20
1
2 x 36 inches
PROVENANCE
The artist; Private Collection, New York.
Estimate $3,000—$5,000
259
RAFAL OLBINSKI
Polish/American (b. 1943)
UNTITLED
acrylic on canvas, signed "Olbinski" lower left
30 x 20 inches
PROVENANCE
The artist; Private Collection, New York.
Estimate $3,000—$5,000
168
260
261
262
260
WILLIAM GROPPER
American (1897-1977)
"TOM SAWYER"
oil on canvas, signed "Gropper" lower left,
titled and stamped "WILLIAM GROPPER/
CROTON-ON-HUDSON N.Y." on the stretcher
18 x 9 inches
PROVENANCE
ACA Gallery, New York, New York; Private
Collection, New York, acquired from the
above, 1964; Descended directly in the family
to the present owner.
Estimate $2,000—$3,000
261
WALDO PEIRCE
American (1884-1970)
CHILD IN A ROCKER
oil on canvas, inscribed "For Anna from
Pepper "and dated "Nov 35" lower left,
signed "W. Peirce," dated and inscribed /
Bangor, ME / Anna Galy on the reverse
26 x 21
1
4
inches
PROVENANCE
Barridoff Galleries, Portland, Maine, July
31, 2002, lot 269; Private Collection,
New York.
Estimate $2,500—$3,500
262
SIGMUND JOSEPH MENKES
Ukrainian (1896-1986)
GIRL WITH HAT
mixed media on paper, signed "Menkes" upper right
14
3
8 x 9
1
2 inches (sight)
PROVENANCE
Private Collection, New York, New York.
Notes
A sketch is on the reverse.
Estimate $2,500—$3,500
169
263
264
265
263
ANNA S. FISHER
American (1873-1942)
FLORAL STILL LIFE
oil on canvas, signed "Anna Fisher" upper right
30 x 25
3
8 inches
PROVENANCE
A Connecticut estate.
Notes
An inscription discussing the provenance is on the reverse.
Estimate $2,500—$3,500
264
LAURA COOMBS HILLS
American (1859-1952)
GARDEN WITH VASE
pastel on paper, signed "Laura Hills" upper left
21 x 17
1
4 inches
PROVENANCE
Susan Powell Fine Art, Madison, Connecticut;
Private Collection, Illinois.
Estimate $3,000—$5,000
265
EDNA MULLER
American (20th century)
NANTUCKET MARKET
oil on canvas, signed "Edna Muller" lower right
20 x 24 inches
PROVENANCE
A Connecticut estate.
Estimate $2,500—$3,500
170
266
267
268
266
FREDERICK TRAP FRIIS
American (1865-1909)
VIEW OF A CHURCH COURTYARD, FLORENCE
oil on canvas, unsigned, estate stamped on the reverse
25
3
4 x 23
3
4 inches
PROVENANCE
Christie's, New York, September 23, 1992, lot 154;
Private Collection, Illinois.
Estimate $2,000—$3,000
267
LAWRENCE MAZZANOVICH
American (1872-1959)
LANDSCAPE OF VILLAGE
oil on canvas, signed "Mazzanovich" lower left
21
1
2 x 25
1
2 inches
PROVENANCE
Susan Powell Fine Arts, Madison, Connecticut;
Private Collection, Illinois.
Estimate $4,000—$6,000
268
EDWARD CHARLES VOLKERT
American (1871-1935)
"SPRING WORK"
oil on board, signed "Edw. Volkert" lower right
12 x 16 inches
PROVENANCE
Private Collection, Connecticut.
EXHIBITED
Lyme Art Association
Notes
A label from the Lyme Art Association is on
the reverse.
Estimate $4,000—$6,000
171
END OF SALE
269
270
271
269
OSCAR EDMUND BERNINGHAUS
American (1874-1952)
A RIDE IN THE MOUNTAINS
oil on board,
signed "O.E. Berninghaus" lower left
3
1
2 x 5 inches
PROVENANCE
Private Collection, Chicago; Private
Collection, New York.
Estimate $3,000—$5,000
270
FRED DARGE
American (1900-1979)
REACHING THE SUMMIT
oil on canvasboard, signed "F. Darge" lower right
18 x 24 inches
PROVENANCE
A New York, New York estate; Private Collection,
New York.
Estimate $3,000—$5,000
271
JOHN WHORF
American (1903-1959)
POLING QUIET WATERS
watercolor on paper,
signed "John Whorf" lower right
14
3
8 x 21
3
8 inches (sight)
PROVENANCE
Vose Galleries, Boston, Massachusetts;
Private Collection, Boston, Massachusetts.
Estimate $3,000—$5,000
172
INDEX
A
Adams, Charles P. 208
Albert, Ernest 12, 13
American School 33, 193,
199, 233
Amorsolo, Fernando Cueto 230, 231
Anuszkiewicz, Richard 101, 102
Appel, Karel 238
B
Bacher, Otto Henry 86
Baker, William Bliss 196
Barnet, William 65
Beal, Reynolds 245
Beard, Peter 144
Bellows, Albert Fitch 176
Bernard, Mile 59
Berninghaus, Oscar E. 269
Bernstein, Theresa Ferber 35, 36, 246,
247
Berthelsen, Johann 17
Bisttram, Emil James 153
Blakelock, Ralph Albert 195
Bonnar, James King 166
Borgrave, Elie 184
Braithwaite, Bruce 140, 141
Brega, David 106
Brevoort, James Renwick 74
Bricher, Alfred Thompson 78, 79
Briscoe, Franklin D. 197
Brown, John George 90, 116,
117, 118
Brown, William Mason 229
Browne, Byron 241
Burliuk, David 48, 49, 189,
190, 191,
243, 255
C
Cadmus, Paul 142
Caivano, Varda 240
Carlson, John F. 71, 72
Casilear, John W. 63
Castañeda, A. 150
Chapman, Conrad Wise 124
Chartrand, Esteban 155
Chatterton, Clarence Kerr 1, 2, 37
Chialiva, Luigi 50
Cimiotti, Gustave 219
Clymer, John Ford 21
Coates, Edmund C. 61
Colman, Samuel 62, 177
Cooper, Colin Campbell 217
Coppedge, Fern Isabel 100
Cornoyer, Paul 60
Cortes, Edouard Leon 32
Crane, Bruce 130
Cropsey, Jasper Francis 64, 178
D
Dali, Salvador 145
Darge, Fred 270
Davies, Arthur Bowen 210
Davis, Charles Harold 92
Dawson, Montague 23, 24, 25,
26, 27, 40
De Bergue, Tony Francois 44
De Egusquiza, Rogelio 232
De Haas, William F. H. 10, 28
Delaunay, Sonia 183
Dohanos, Stevan 20
Douaihy, Saliba 139
Dougherty, Paul 173
Downes, Rackstraw 180
Dubois, Paul 228
Dyf, Marcel 161
E
Eaton, Charles Warren 125
Eibisch, Eugeneiusz 256
Elderen, Elie 184
Enneking, John Joseph 133, 172
Evergood, Philip 186, 187,
188
F
Fiene, Ernest 250
Fisher, Anna S. 263
Folinsbee, John Fulton 174
Fountain, Desmond 80
Frerichs, William Charles A. 131
Friedman, Arnold 34
Frieseke, Frederick Carl 66
Friis, Frederick Trap 266
Fuechsel, Herman 126, 198
Fursman, Frederick F. 221
G
Gaisser, Max 43
Garber, Daniel 237
Gaul, Arrah Lee 122
Gerry, Samuel L. 204
Gilboa, Nahum 29, 30, 31
Goldfarb, Shirley 242
Good, John R. 181
Goodelman, Aaron J. 248
Greacen, Edmund William 68
Gropper, William 260
Gruppe, Emile Albert 69
Gruppe, Emile A. 163, 169
H
Hall, George Henry 129, 227
Harnett, William Michael 128
Hart, William 8
Hayden, Henri 41
Henri, Robert 57, 58
Herter, Albert 121
Hibbard, Aldro Thompson 164, 165
173
Hill, Thomas 119, 207
Hill, Edward 179
Hills, Laura Coombs 264
Hollosy, Simon 45
Horter, Earl 152
Hutchins, Will 134, 135,
136, 137
J
Jacobsen, Antonio 38, 39
Johnson, David 95, 206
Jones, Hugh Bolton 93, 209
K
Kensett, John Frederick 94
Klee, Paul 147
Knight, Daniel Ridgway 46
Koerner, Henry 251
Kruseman Van Elten, H. D. 127
Krushenick, Nicholas 103
Kuehne, Max 5, 6
L
Lawlor, George W. 87
Lever, Richard Hayley 3, 4, 7, 110,
111, 112,
123, 211,
244
Lewandowski, Edmund D. 22
Lynes, Goerge Platt 143
M
Macy, William Starbuck 224
Marsh, Reginald 249
Martino, Antonio Pietro 170
Mazzanovich, Lawrence 267
Mcentee, Jervis 154, 201
Menkes, Sigmund Joseph 47, 262
Metcalf, Willard Leroy 200
Miller, Richard Edward 84
Morales, Armando 138
Moran, Edward 11
Moses, Grandma 85
Mulhaupt, Frederick J. 14, 91
Muller, Edna 265
N
Nisbet, Robert Hogg 223
Noyes, George Loftus 54, 213,
214, 215
O
Olbinski, Rafal 257, 258,
259
Olinsky, Ivan 82
P
Padday, Charles Murray 162
Palmer, Walter Launt 55, 70, 98
Panayotou, Angelos 52, 53
Pancoast, Morris Hall 212
Parton, Arthur 203
Paxton, William Mcgregor 120
Pearlstein, Philip 16
Peirce, Waldo 261
Peterson, Jane 56
Picasso, Pablo 146, 148
Poskas, Peter 109
Pratella, Attilio 216
Q
Quartley, Arthur 9, 149
R
Raffaelli, Jean Francois 218
Reid, Robert 160
Richards, William Trost 77
Richardt, Ferdinand 75, 76
Robinson, Hal 132
Rocca, Luigi 15
Rosseau, Percival 97
Roszak, Theodore J. 151
Russell, Charles Marion 158
Ryder, Chauncey Foster 225, 226
Ryland, Robert Knight 18, 19
S
Scarlett, Rolph 105
Schofield, Walter Elmer 73
Scudder, Janet 159
Severini, Gino 239
Shapleigh, Frank Henry 156
Sharp, Dorothea 88
Shaw, Charles Green 104
Simmons, Edward E. 235
Simons, Pinckney Marcius 220
Sloane, Eric 107
Soyer, Moses 252, 253
St. Leger Eberle, Abastenia 81
Stock, Henry John 234
Sword, James Brade 89
Symons, George Gardner 99
T
Tacon, Edna 185
Tait, Arthur Fitzwilliam 157
Thaulow, Frits 51
Thayer, Abbott Handerson 236
Theise, Michael 108
Thieme, Anthony 113, 114,
115, 167,
168
Thompson, Alfred W. 175
Tobiasse, Theo 254
Turner, Helen Maria 83
V
Volkert, Edward Charles 268
Vonnoh, Robert William 192, 194
W
Wall (Attributed), William G. 202
Walter, Martha 67
Warshawsky, Abel George 42
Weigand, Gustave 222
West, Richard Whately 205
Whittredge, Worthington 96
Whorf, John 271
Wiggins, Guy Carleton 171
Wood, Grant 182
174
CONSIGNMENTS INVITED
TESTIMONIALS
On behalf of my mother and sister, I’d like to express to you our appreciation for the way you conducted the sale of
my mother’s oil painting by M.J. Heade. Being complete novices with a valuable oil painting on our hands, we could
have made any number of wrong decisions. Thanks to the guidance and the hard work of your firm we were able
to realize what was probably the maximum price for the painting. Our experience working with Shannon’s was
completely enjoyable and satisfying from start to finish.
-Bill, New Jersey
Approximately three months ago, I walked into your gallery with a somewhat damaged, soiled painting. Since that
time, I’ve experienced a once in a lifetime journey. Your expertise, honesty, and candor were evident throughout
this time. I thank you for your guidance and professionalism.
-John, Connecticut
Thank you for your succinct handling of my five offerings in your April auction. I was more than pleased with the final
financial transactions but even more so with the personal warmth (not condescending professional aloofness as
evidenced by many auction houses and galleries) and willingness to inform the uninitiated to further appreciation
of a genuine treasure. Your enthusiasm is evident and infectious.
-Luther, California
To submit artwork for consideration please email photos to
info@shannons.com or visit www.shannons.com
January 23, 2020
On-Line Fine Art Auction.
Consignment deadline - December 15, 2019.
Spring 2020
Fine Art Auction: Paintings, Drawings, Prints & Sculpture.
Consignment deadline - March 1, 2020.
At SHANNON’S we offer personalized service and competitive
commission rates to ensure you have the most profitable
auction experience. For over 20 years clients have trusted us
with their Fine Art, relying on our expertise, reputation and
history of record prices. Since 1997 Shannon’s has sold over
$100,000,000 in Fine Paintings, Drawings, Prints and Sculpture.
Contact us today to see what we can do for your collection.
175
BIDS MUST BE RECEIVED AT LEAST 24 HOURS PRIOR TO DAY OF SALE.
Lot # Artist’s Name Maximum Bid
(Excluding buyers premium)
$
$
$
$
$
$
$
$
$
Bidding Increments
$1,000 $2,000 . . . . . . . . . .$100
$2,000 $5,000 . . . . . . . . . .$250
$5,000 $10,000 . . . . . . . . .$500
$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 printed in this catalog. Payment for successful bids must be made within two weeks of the sale.
A premium of 25% of the successful bid up to and including $200,000, and 20% on any amount exceeding $200,000 will
be applied to the hammer price of all lots sold, to be paid by the buyer as part of the purchase price.
Name Date
Address
City State Zip Country
Phone # Alternate#
Fax# Email
Signature (required) Date
176
Shannon’s LLC Fine Art Auctioneers acts solely as an agent for vari-
ous owners and consignors. It exercises care in describing all items
listed and uses judgment in attributing authorship, but offers no
guarantee regarding authenticity, condition, or description. The
items described in this catalog, which description may be amend-
ed by notice or announcement at sale time, are offered for sale by
Shannon’s LLC as agent for various owners or others authorized to
sell the items. Hereinafter, Shannon’s LLC is referred to as the Sellers
agent. The owners or others authorized to sell the items are here-
inafter referred to as Sellers. The person or persons acknowledged
by the auctioneer to be the highest bidder on an item shall be
hereinafter referred to as the Buyer or Buyers.
Shannon’s LLC reserves the right to change the terms of sale by oral
announcement. Any such change shall become part of the
Conditions of Sale. By placing of a bid, whether present at the sale
in person or by agent, by written or oral bid, by telephone or other
means, the Buyer agrees to be bound by these conditions of sale.
1. The highest bidder acknowledged by the auctioneer shall be the
Buyer. In the event of any dispute between bidders, the auction-
eer has the absolute discretion to determine which bidder is the
successful Buyer or to re-offer the item in dispute and resell it.
2. In the event of any dispute after the sale, Shannon’s LLC’s record
of the final sale price and of the successful buyer shall be con-
clusive, Shannon’s LLC reserves the right to withdraw any item
before or during the sale.
3. Shannon’s LLC reserves the right to sell items which are not listed
in the catalogue.
4. Items in the auction are sold subject to a reserve. Such reserve is
confidential, but in no case will the reserve exceed the low esti-
mate. The auctioneer may reject any bid or increment not com-
mensurate with the value of the lot.
5. Order bids are accepted. A deposit may be required. Absent
parties may place bids by mail, email, fax or in person prior to the
sale. Order bids must be placed 24 hours prior to the day of sale.
Shannon’s LLC will execute such bids up to the maximum
amount specified. Phones must be reserved 24 hours prior to the
day of sale. Phone bidders are encouraged to leave a cover bid
in case of technical failure. Shannon’s is not responsible for errors
or omissions in the execution of these bids.
6. A premium of 25% of the successful bid up to and including
$200,000, and 20% on any amount exceeding $200,000 per lot,
will be applied to the individual hammer price of all lots sold, to
be paid by the buyer as part of the purchase price. Payment
may be made by cash, check or wire transfer. Visa, MasterCard
and Amex may be used up to the amount of $5,000 per auction.
We currently collect sales tax in CA, CT, KS, MA, NJ, PA, OK and
VA and remit the appropriate sales tax. If we do not collect sales
tax in your state, it is still your responsibility to pay the proper use
tax on your purchases.
ALL ITEMS MUST BE PAID FOR WITHIN 14 DAYS OF THE SALE, AT
WHICH POINT THEY WILL BE RELEASED FOR SHIPMENT OR DELIVERY.
7. Limited Warrantee: Although Shannon’s LLC exercises due care
in describing the items listed and use good judgment in attribut-
ing authorship; it does not make any express or implied warran-
tee as to such authorship. Notwithstanding, Shannon’s LLC may,
but shall have no obligation to, consider any reasonable request
for refund on the grounds of authenticity of authorship only and
only under the following conditions:
A. Notification must be made to Shannon’s in writing within 7
days of receipt of the item.
B. The items must be returned within 28 days of the sale,
accompanied by written testimony from a recognized
authority that the lot in question is a forgery.
C. The limited warrantee does not extend to the lots identified
as attributions, school, circle, manner, or after.
D. The limited warrantee is applicable only to the original Buyer.
8. All property is sold "as is".
9. As a convenience to the Buyer, Shannon’s LLC will make a refer-
ral for packing and shipping. This is at the request, expense, and
risk of the Buyer, and Shannon’s assumes no responsibility for the
items or the timing of delivery. Insurance for in transit items is the
responsibility of the buyer. All items must be removed within 30
days post sale or a fee of up to $20 per day will be charged for
storage. Items not collected within twelve months of a sale will
become the property of Shannon’s.
10. Shannon's has retained the Art Loss Register to check all
uniquely identifiable items offered for sale in the catalog that
are estimated for $5,000 or more against the computerized
database of stolen or lost artwork maintained by the Art Loss
Register. A search certificate can be provided by the Art Loss
Register for an additional fee. The Art Loss Register does not
guarantee the provenance or title of any catalogued item
against which they search, and will not be liable for any direct
or consequential losses of any nature howsoever arising. The
statement is not to affect, detract from, or override Shannon's
Conditions of Sale, and in the event of any conflict, Shannon's
Conditions of Sale will take priority to the terms of this statement.
BIDDING AT THIS AUCTION, WHETHER IN PERSON, BY AGENT, ORDER
BID, TELEPHONE, INTERNET OR OTHER MEANS, CONSTITUTES YOUR
ACKNOWLEDGEMENT AND ACCEPTANCE OF THESE "CONDITIONS
OF SALE".
CONDITIONS OF SALE
After: A work of art or object made in the style of an artist or maker, but not by the artist. Sometimes refers multiples that may have used an
artist’s mold or plate, but were reproduced by someone other than the artist, including posthumous works. Can also be used to describe a
direct reproduction after an original work of art.
Attributed (attr.): In our opinion, probably or possibly a work of art by the artist. The work is either unsigned, and/or lacks adequate prove-
nance or authentication by experts in the field.
Bears Signature: The work is signed, but the work and signature may not be by the hand of the artist.
Manner of: Made in the likeness or style of an artist, with a slight possibility that it was made by the artist or by a follower or student of the
artist. Also see “After” and “Attributed”.
Possibly: Being something that may or may not be true or actual without guarantee.
Probably: Supported by evidence strong enough to establish presumption but not proof. We do not guarantee it to be true.
School: Usually relates to a particular artistic or aesthetic movement. It can also relate to an actual school or to followers of a particular artist
or maker. Also see: “Manner of”, “Style”, “Attributed to” and “After”.
Style: After the time period in which the style originated, or a more recent reproduction (ie: Style of Pablo Picasso or Cubist Style), used to
refer to the style of a particular artist or artistic movement, generally made long after that time period.
GLOSSARY OF TERMS
49 Research Drive, Milford, CT 06460 • (203) 877-1711 • Fax (203) 877-1719 • info@shannons.com