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Fine Art AuctionPaintings, Drawings, Prints and SculptureMilford, Connecticut • October 24, 2019

49 Research Drive, Milford, CT 06460www.shannons.com|info@shannons.com(203) 877-1711|Fax (203) 877-1719 Front cover illustration #90 (detail)Back cover illustration #74FINE ART AUCTIONPAINTINGS, DRAWINGS,PRINTS AND SCULPTURE PREVIEW DATES & TIMES:October 14 - October 23 Weekdays 11 AM – 6 PMOctober 19 Saturday 10 AM – 3 PM Closed Sundays October 24 Thursday 12 PM – 5:30 PMThe sale will begin at 6:00 PM EDT on Thursday, October 24, 2019.AUCTION INFORMATIONThursday, October 24, 2019 | 6:00 PMTABLE OF CONTENTSArtist Index 172Invitation to Consign 174Bid Form 175Conditions of Sale 176Sandra GermainOwnersandra@shannons.comAli DankerSpecialistali@shannons.comGene ShannonOwnergene@shannons.comSpecialist ContactsGeneral Sale Inquiriesinfo@shannons.com

1 CLARENCE KERR CHATTERTONAmerican (1880-1973)THE BEACH AT OGUNQUIToil on board, signed "C.K. Chatterton" lower right8 x 10 inchesPROVENANCEA Connecticut estate.NotesA label from Mongerson Wunderlich Galleries,Chicago, Illinois is on the reverse.Estimate $4,000—$6,0002 CLARENCE KERR CHATTERTONAmerican (1880-1973)THE BEACH AT OGUNQUIToil on board, signed "C.K. Chatterton" lower left8 x 10 inchesPROVENANCEA Connecticut estate.NotesA label from Mongerson Wunderlich Galleries,Chicago, Illinois is on the reverse.Estimate $4,000—$6,000122

3 RICHARD HAYLEY LEVERAmerican (1876-1958)SAILBOATS AND LIGHTHOUSEoil on board, signed "Hayley Lever" lower right10 1⁄2 x 14 1⁄2 inchesPROVENANCEGalleries Maurice Sternberg, Chicago, Illinois.Estimate $6,000—$8,0004 RICHARD HAYLEY LEVERAmerican (1876-1958)RACING SAILBOATS AT MARBLEHEAD MASS., 1932oil on canvas, signed "Hayley Lever" lower right11 x 14 inchesPROVENANCEPrivate Collection, New York.Estimate $6,000—$8,000343

5 MAX KUEHNEAmerican (1880-1968)PIER, ROCKPORT, MASSACHUSETTSoil on board, signed "Kuehne" lower left8 1⁄2 x 11 3⁄4 inchesPROVENANCEDavid Findlay Jr., Inc, New York, New York;Hirschl & Adler Galleries, Inc., New York,New York.Estimate $3,000—$5,0006 MAX KUEHNEAmerican (1880-1968)VIEW OF ROCKPORT, MASSACHUSETTSoil on board, signed "Kuehne" lower left8 1⁄4 x 11 3⁄4 inchesPROVENANCEDavid Findlay Jr. Inc., New York, New York;Hirschl & Adler Galleries, Inc., New York,New York.Estimate $3,000—$5,00057647 RICHARD HAYLEY LEVERAmerican (1876-1958)DRY DOCK CORNWALL, ENGLAND, 1908oil on canvas, signed "Hayley Lever" lowerright, titled on the reverse10 1⁄4 x 13 inchesPROVENANCEClayton-Liberatore, New York, New York; ACAGalleries, New York, New York; PrivateCollection, New York.Estimate $3,000—$5,000

8958 WILLIAM HARTAmerican (1823-1894)ROCKY BEACHoil on canvas, signed "W. Hart" lower right9 3⁄8 x 19 inchesPROVENANCEQuestroyal Fine Art, New York, New York; Private Collection, New York.Estimate $6,000—$8,0009 ARTHUR QUARTLEYAmerican (1839-1886)"COMING INTO HARBOR, LONG ISLAND"oil on canvas, signed "Arthur Quartley" lower left,signed, titled and inscribed "New York" on the reverse26 1⁄4 x 50 3⁄4 inchesPROVENANCEPrivate Collection, New Jersey.Estimate $5,000—$7,000

10 WILLIAM FREDERICK HENDRICK DE HAASAmerican/Dutch (1832-1895)SHIPS AT SUNSEToil on canvas, signed faintly lower left8 x 14 inchesPROVENANCEAlexander Gallery, New York, New York; Private Collection, New York.Estimate $8,000—$12,000106

11 EDWARD MORANAmerican (1829-1901)CLAM DIGGERSoil on canvas, signed "Edward Moran"and dated "1871" lower left15 3⁄4 x 31 3⁄4 inchesPROVENANCEA Connecticut estate.Estimate $15,000—$25,000117

12 ERNEST ALBERTAmerican (1857-1946)WINTER BROOKoil on canvas, signed "Ernest Albert A.N.A."and dated "1932" lower right25 x 30 inchesPROVENANCEShannon’s, Greenwich, Connecticut,October 20, 2005, lot 51; Private Collection, Illinois.Estimate $6,000—$8,0001213813 ERNEST ALBERTAmerican (1857-1946)GOLDEN DAYoil on canvas, signed "Ernest Albert A.N.A."lower right25 x 30 inchesPROVENANCEGreenwich Gallery, Greenwich,Connecticut; Private Collection,Connecticut.Estimate $4,000—$6,000

14 FREDERICK J. MULHAUPTAmerican (1871-1938)FEBRUARY MORNING IN NEW HAMPSHIREoil on canvas, signed "Mulhaupt" lower left25 x 30 inchesPROVENANCEA Gloucester, Massachusetts estate; Vose Galleries, Boston, Massachusetts;Private Collection, Boston, Massachusetts.Estimate $20,000—$30,000149

16 PHILIP PEARLSTEINAmerican (b. 1924)"VIEW OVER SOHO, LOWER MANHATTAN 1977-1978"watercolor on paper, signed "Pearlstein 77"and dated lower right29 1⁄2 x 41 inchesPROVENANCEPrivate Collection, New York.NotesThis composition was also made as an etching and aquatint print. The EskenaziMuseum of Art notes in their cataloging of aprint of this view "Although best known for hisnudes in studio interiors, Pearlstein began aseries of large-scale landscapes in 1974 during a visit to the Canyon de Chelly. Whilehe envisioned this body of work as a meditation on ruins, it included this contemporary view of Manhattan. Pearlsteinexplained that it was inspired by JosephPennell’s sepia-colored WWI poster showingan apocalyptic bombing of New York City. Toproduce his image, Pearlstein taped a grid onthe window of his friends’ Soho apartmentand spent every Sunday for several monthspainstakingly recording the vista. The scene—which he described as a “pre-ruin”—is eerilyprophetic with the shadowy World TradeCenter towers visible in the background."Alabel from Allan Frumkin Gallery is on thereverse. A Brooklyn Museum loan label is onthe reverse.Estimate $3,000—$5,00015 LUIGI ROCCAItalian (b. 1952)"NYSE" (NEW YORK STOCK EXCHANGE)oil on canvas, signed "L. Rocca" lowerright, titled, signed and dated "2001" onthe reverse35 1⁄4 x 51 inchesPROVENANCEPrivate Collection, New York.Estimate $4,000—$6,000151610

171117 JOHANN BERTHELSENAmerican (1883-1972)VIEW OF LOWER MANHATTAN AND THE BROOKLYN BRIDGEoil on canvas, signed "Johann Berthelsen" lower right20 x 24 inchesPROVENANCEPrivate Collection, Connecticut.NotesOn the right side of the painting you can see the Brooklyn Bridge, a special subject for the artist because his mother and father walkedacross the bridge on opening day in May 1883. His mother was pregnantwith him and he was born two months later in Denmark, July 1883. Heloved the scene of the foot of Manhattan island at night with all the lightsand 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 oilcould better feed his children, a fellow artist told him" if you can do in oilwhat you have done in pastel you will be a great success." Our thanks forLee Berthelsen, son of the artist and head of The Johann BerthelsenConservancy, LLC for his comments on this work.Estimate $10,000—$15,000

18 ROBERT KNIGHT RYLANDAmerican (1873-1951)MORNING WITH SNOWoil on canvas, signed "R.K. Ryland" and dated "1939" lower left25 x 20 inchesPROVENANCEPrivate Collection, New York, New York.EXHIBITEDBethel Inn Exhibition, 1945.NotesRyland exhibited in the 1939 World's Fair in New York City.Estimate $10,000—$15,0001812

19 ROBERT KNIGHT RYLANDAmerican (1873-1951)BROWNSTONES IN THE EVENINGoil on canvas, signed "R.K. Ryland" and dated "1939" lower right25 x 20 inchesPROVENANCEPrivate Collection, New York, New York.NotesRyland exhibited in the 1939 World's Fair in New York City.Estimate $5,000—$7,0001913

14202120 STEVAN DOHANOSAmerican (1907-1995)AT THE FAIRoil on masonite, signed "Stevan Dohanos" lower left8 x 10 inchesPROVENANCEPrivate Collection, Connecticut.Estimate $3,000—$5,00021 JOHN FORD CLYMERAmerican (1907-1989)KEEPING APPOINTMENTS WITH CONVOYS,PENNSYLVANIA RAILROAD, 1943mixed media on paper laid down on board,signed "J. Clymer" lower left36 x 36 inchesPROVENANCEPrivate Collection, Connecticut.NotesThis illustration was used in a 1943 advertise-ment for the Pennsylvania Railroad. It is prob-ably one of the piers in Manhattan's lowerwest side.Estimate $4,000—$6,000

22 EDMUND D. LEWANDOWSKIAmerican (1914-1998)CHARLESTON MARINAwatercolor on paper, signed "Edmund D. Lewandowski" and dated "1988" lower right16 3⁄4 x 24 3⁄4 inchesPROVENANCEH.V. Allison Galleries, Inc.; New York, New York; Private Collection, Bedford, New York.EXHIBITEDFlint Institute of Arts, Michigan (and traveling), "EdmundLewandowski: Precisionism and Beyond," September 2010-December 2011 (catalogue, 24, no. 45 [illustrated]). LittleRock, Arkansas, "50th Collectors Show and Sale," ArkansasArts Center, November 16, 2018 - January 6, 2019.Estimate $12,000—$18,0002215

16Montague Dawson internationally recognized as the leading Marine artist of the Twentieth Century. He was thegrandson of painter Henry Dawson (1811-1878). He spent much of his childhood with his father, an avid sailor, on thewaters 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 Hemyin Falmouth during the first World War when he was a member of the Royal Navy. It was during this time that hebecame skilled in painting naval ships. After the war, Dawson exhibited frequently at the Royal Academy andbegan 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 historicalsubjects 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 ofthe sea off the western extremity of the Isle of Wight, United Kingdom, close to Alum Bay. The NeedlesLighthouse stands at the outer, western end of the formation. Built in 1859, it has been automated since 1994.1The formation takes its name from a fourth needle-shaped pillar calledLot’s Wife, which collapsed in a storm in1764.2The 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 fromAlum Bay offer close-up views of the Needles. The rocks and lighthouse have become icons of theIsle of Wight. Thesite 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 toMontague Dawson. He looked out of his window one day to see two fully rigged training ships, theRoyalistandtheSir Winston Churchill, apparently sailing straight towards his house on the shore. At what appeared to be the verylast moment, they turned about, and both ships dipped their ensigns in salute to the man who had probably donemore 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. Hisworks 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.3Ron Ranson, The Maritime Paintings of Montague Dawson, Newton Abbot, Devon, 1993, p. 15

23 MONTAGUE DAWSONBritish (1890-1973)THE NEEDLES (PASSING THE LIGHTHOUSE)oil on canvas, signed "Montague Dawson" lower left24 x 36 inchesPROVENANCEFrost and Reed, London (acquired directlyfrom the artist); A Connecticut estate.NotesA label from Galleries Maurice Sternberg,Chicago, Illinois. A Frost and Reed registration label is on the reverse.Estimate $80,000—$120,0002317

25 MONTAGUE DAWSONBritish (1890-1973)DESTROYER IN BATTLE - THE BIGASSAULT ON DIEPPEoil on board, signed "Montague Dawson" lower left8 5⁄8 x 21 1⁄2 inchesPROVENANCETolford Galleries, Chicago, Illinois;A Connecticut estate.NotesA Frost and Reed registration labelis on the reverse. See our websitewww.shannons.com for additionalinformation.Estimate $4,000—$6,00024 MONTAGUE DAWSONBritish (1890-1973)H.M.S. FORESTER NO. 1 IN HEAVY SEASoil on board, signed "Montague Dawson" lower left6 1⁄2 x 11 inchesPROVENANCETolford Galleries, Chicago, Illinois; AConnecticut estate.NotesA Frost and Reed registration label ison the reverse. See our websitewww.shannons.com for additionalinformation.Estimate $3,000—$5,0002425261826 MONTAGUE DAWSONBritish (1890–1973)A U BOAT IN HOME WATERSoil on board, signed "Montague Dawson" lower left10 1⁄4 x 19 inchesPROVENANCETolford Galleries, Chicago, Illinois; AConnecticut estate.NotesA Frost and Reed registration label ison the reverse.Estimate $4,000—$6,000

27281927 MONTAGUE DAWSONBritish (1890-1973)BRITISH SUBMARINE IN ACTION NEAR THE ISLAND OFMONTE CRISTOoil on board, signed "Montague Dawson" lower left9 1⁄2 x 22 inchesPROVENANCETolford Galleries, Chicago, Illinois; A Connecticutestate.NotesA Frost and Reed registration label is on the reverse.See our website www.shannons.com for additionalinformation.Estimate $5,000—$7,00028 WILLIAM FREDERICK HENDRICK DE HAASAmerican/Dutch (1832-1895)ROWING TO THE SHIPoil on board, signed "W.F.H. de Haas" lower right7 1⁄4 x 10 inchesPROVENANCEPrivate Collection, New York.Estimate $4,000—$6,000

30 NAHUM GILBOAIsraeli / Bulgarian (1917-1976)"JERUSALEM (FANTASTICO)"mixed media on canvas, signed "Nahum Gilboa"lower right signed on a label on the reverse24 x 20 inchesPROVENANCEPrivate Collection, New York.NotesThe artist’s copyright label is on the reverse.Estimate $7,000—$10,0002930312029 NAHUM GILBOAIsraeli / Bulgarian (1917-1976)"JERUSALEM, THE OLD CITY"mixed media on canvas, signed "Nahum Gilboa"lower right, signed on a label on the reverse18 x 24 inchesPROVENANCEPrivate Collection, New York.NotesThe artist’s copyright label is on the reverse.Estimate $8,000—$12,00031 NAHUM GILBOAIsraeli / Bulgarian (1917-1976)"ROOFS IN JERUSALEM"mixed media on panel, signed"Nahum Gilboa" lower rightsigned on a label on the reverse8 1⁄4 x 9 1⁄2 inchesPROVENANCEPrivate Collection, New York.NotesThe artist’s copyright label is onthe reverse.Estimate $3,000—$5,000

322132 EDOUARD LEON CORTESFrench (1882-1969)NEAR NOTRE DAMEoil on canvas, signed "Edouard Cortes" lower left13 x 18 inchesPROVENANCEA Connecticut estate.NotesA Marshall Field & Co. label is on the reverse.Estimate $12,000—$18,000

34 ARNOLD FRIEDMANAmerican (1874-1946)THE VEGETABLE STANDoil on canvas, signed "Friedman" lower left30 x 36 inchesPROVENANCEThe artist; By descent; Salander-O'ReillyGalleries, 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.EXHIBITEDMarquie Gallery, New York, 1945.NotesA exhibition label from the CaliforniaPalace of the Legion of Honor is onthe reverse.Estimate $10,000—$15,00033 AMERICAN SCHOOL (WPA PERIOD)END OF THE PARTYoil on canvas, unsigned351⁄2 x 39 1⁄2 inchesPROVENANCEPrivate Collection, Connecticut.Estimate $5,000—$7,000333422

THERESA FERBER BERNSTEINAmerican (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 subjectsincluded modern scenes of urban life and popular culture. She painted in an expressive colorful style in New YorkCity 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 inPhiladelphia. She attended the Philadelphia School of Design for Women (now the Moore College of Art andDesign) where her teachers included Harriet Sartain, Elliott Daingerfield, Henry Snell, Daniel Garber and SamuelMurray. In 1912, she moved to New York City to attend the Art Students League. There she studied under andbefriended 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 ofModernism, the New York Realists and the Abstractionists. Bernstein was primarily a Realistpainter, embracing the alternative definition of Modernism. Although her works were figurative, they were highly expressive and filled with color. Bernstein was exposed to all ofthe 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 worksby Kandinsky, Marc and Munch. In 1913, she made a breakthrough when one of her paintings was chosen for the annualexhibition 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 housesand, as in the present example, a kindergarten class. Her works from the teens and twenties are considered amongher best and were the subject of a 1991 exhibition Echoes of New York: The Paintings of Theresa Bernstein. TheKindergarten was included in the exhibition because it shows her sensitivity in capturing her subject matter. Sheoften 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 CentralPark, placing Bernstein in the heart of city life. She painted parades, parks, trolleys and concerts. She would ventureto Coney Island and in the summers, the couple would spend their time in Gloucester, Massachusetts. There shepainted 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 Islandat first, Gloucester later. True to her temperament, she was attracted to human activity atthe sea shore than to the sea itself.”1Her 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 itbecame 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 oneof the notable painters who kept the style alive. She died in 2002, a few weeks shy of her112thbirthday. 1Patricia 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

352535 THERESA FERBER BERNSTEINAmerican (1890-2002)"THE KINDERGARTEN," 1915oil on canvas, signed "T. Bernstein" and dated "15" upper right40 x 50 inchesPROVENANCEPurchased directly from the Artist; Private Collection, Connecticut.EXHIBITEDNew York, New York; Museum of the City of New York, "Echoes ofNew York: Paintings by Theresa Bernstein," November 11, 1990 -April 21, 1991.Estimate $60,000—$80,000

36 THERESA FERBER BERNSTEINAmerican (1890-2002)A DAY AT THE BEACH, CONEY ISLANDoil on board, signed "Bernstein" lower left14 3⁄4 x 19 3⁄4 inchesPROVENANCEPurchased directly from the Artist; PrivateCollection, Connecticut.Estimate $20,000—$30,0003626

37 CLARENCE KERR CHATTERTONAmerican (1880-1973)CIRCUS SCENEoil on canvas, signed "C.K. Chatterton" lower left16 x 20 1⁄4 inchesPROVENANCEClayton-Liberatore, New York, New York; PrivateCollection, New York.Estimate $15,000—$25,0003727

2839 ANTONIO JACOBSENAmerican (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 center22 x 35 3⁄4 inchesPROVENANCEPrivate Collection, New York.Estimate $6,000—$8,00038 ANTONIO JACOBSENAmerican (1850-1921)"CREOLE"oil on canvas, signed "A. Jacobsen" and dated "1897"lower right, titled left center22 x 36 1⁄4 inchesPROVENANCEPrivate Collection, New York.Estimate $7,000—$10,0003839

294040 MONTAGUE DAWSONBritish (1890-1973)THE GOLDEN HINDoil on canvas, signed "Montague Dawson" lower left24 x 36 inchesPROVENANCEFrost and Reed, London (acquired directly from the artist);A Connecticut estate.NotesA Frost and Reed registration label is on the reverse.Estimate $20,000—$30,000

41 HENRI HAYDENFrench (1883-1970)VILLAGE SCENEoil on canvas, signed "Hayden" lower left25 1⁄2 x 32 1⁄4 inchesPROVENANCEPrivate Collection, New York.Estimate $10,000—$15,0004130

423142 ABEL GEORGE WARSHAWSKYAmerican (1883-1962)"FISHING BOATS, CONCARNEAU"oil on canvas, signed "A.G. Warshawsky" lower left and titled on the stretcher21 1⁄2 x 25 1⁄2 inchesPROVENANCEThe artist; Private Collection, California; descended in the family to the current owner, Private Collection, California.NotesA copy of a letter from the artist detailing the provenance accompanies thelot. A partial exhibition label is on the reverse.Estimate $10,000—$15,000

43 MAX GAISSERGerman (1857-1922)"A DIFFICULT PROBLEM"oil on panel, signed "M. Gaisser" and dated "88" lower right28 x 40 inchesPROVENANCEThe estate of Anne W. Penfield, Philadelphia,Pennsylvania; Private Collection, New Jersey;Private Collection, New York.Estimate $6,000—$8,00043443244 TONY FRANCOIS DE BERGUEFrench (1820-1893)EL GENERAL CORDO ENBARCA SU DIVISIONEN BARCELONA EL 22 DE MAYO DE 1849(GENERAL CORDO EMBARKS HIS DIVISION INBARCELONA ON MAY 22, 1849)oil on canvas, signed "Tony de Bergue,"dated "1850," and inscribed "Barcelona"lower right34 x 51 inchesPROVENANCEPrivate Collection, New York.Estimate $5,000—$7,000

453345 SIMON HOLLOSYHungarian (1857-1918)TAVERN SCENEoil on canvas laid down on masonite, signed "Hollosy" and inscribed "Munchen" lower right24 x33 1⁄4 inchesPROVENANCEPrivate Collection, Connecticut.Estimate $40,000—$60,000

34Daniel Ridgway Knight (1839-1924) was a prominent American expatriate artist working in 19thcentury France. He was born in Pennsylvania and attended the Pennsylvania Academy of FineArts along with Mary Cassatt and Thomas Eakins. In 1861, Knight went to Paris for two years tostudy 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 PennsylvaniaSketch Club where he exhibited portraits and battle scenes sketched during the war. He marriedin 1871, and in 1872 Knight and his new wife moved to France and settled in Poissy, a village justnorth of Paris. Knight’s work exhibits the influences of his French Impressionist friends Pierre-Auguste Renoir andAlfred Sisley, also pupils in Gleyere’s atelier. The influences of other contemporaries includingJean-Francois Millet, Jules Bastien-Lepage and Jules Breton can also be identified. In contrast tothese proponents of realism, Knight’s work depicts the “peasant-picturesque.” Young, prettymaidens stroll through scenic landscapes and bountiful gardens, there is nothing to indicate theeconomic hardships of the peasant class.Knight often used local peasant women as models, dressing them up costume and placing themin idyllic settings. In Summer Afternoon, Seine Valley the maiden stands in a picking garden in fullsummer 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 successfullycaptures 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 andAmerica. The Pennsylvania Academy of Fine Arts, the Milwaukee Museum and the BrooklynMuseum were among the first public institutions to collect his work.

463546 DANIEL RIDGWAY KNIGHTAmerican (1839-1924)SUMMER AFTERNOON, SEINE VALLEYoil on canvas, signed "Ridgway Knight" and inscribed "Paris" lower right32 3⁄4 x 25 3⁄4 inchesPROVENANCEJohn 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

36474847 SIGMUND JOSEPH MENKESUkrainian (1896-1986)STILL LIFE WITH FLOWERSoil on canvas, signed "Menkes" lower right31 x 20 inchesPROVENANCEVern Stein Art, Williamsville, New York; Private Collection, New York.Estimate $7,000—$10,00048 DAVID BURLIUKAmerican/Russian (1882-1967)SUNFLOWERS AND LILIESoil on canvas, signed "Burliuk" lower left16 x 12 inchesPROVENANCEACA Galleries, New York, NewYork; Private Collection, NewYork; By descent, PrivateCollection, New York.Estimate $5,000—$7,000

49 DAVID BURLIUKAmerican/Russian (1882-1967)UNTITLEDoil on canvas, signed "Burliuk" lower right30 1⁄4 x 13 inchesPROVENANCEPrivate Collection, Connecticut.Estimate $12,000—$18,0004937

50 LUIGI CHIALIVASwiss (1842-1914)SHEPHERDESS AND HER HERDoil on canvas, signed "L. Chialiva" lower right22 1⁄4 x 39 1⁄4 inchesPROVENANCEPrivate Collection, New York; Private Collection,Connecticut.Estimate $10,000—$12,0005038

51 FRITS THAULOWNorwegian (1847-1906)A SNOWY HARBOR VIEWpastel on canvas, signed "Frits Thaulow" lower left28 3⁄8 x 35 3⁄4 inches (sight)PROVENANCEPrivate Collection, New York; descended in the familyto the current owner; Private Collection, Connecticut.Estimate $15,000—$25,0005139

524052 ANGELOS PANAYOTOUGreek (b. 1943)BOY WITH DOVESoil on canvas, signed and dated "1984" lower left51 1⁄2 x 51 1⁄2 inchesPROVENANCEPrivate Collection, New York.Estimate $8,000—$12,000

53 ANGELOS PANAYOTOUGreek (b. 1943)LOOKING UPWARDoil on canvas, signed anddated "1983" lower right27 3⁄4 x 31 5⁄8 inchesPROVENANCEPrivate Collection, New York.Estimate $6,000—$8,0005341

54554254 GEORGE LOFTUS NOYESAmerican (1864-1954)"II REDENTORE ON THE GUIDECCA, VENICE"oil on canvas, signed "G.L. Noyes" lower right and titled on the reverse16 1⁄2 x 24 inchesPROVENANCEPrivate Collection, New York, New York.NotesA label from McColl Fine Art is on the reverse.Estimate $4,000—$6,00055 WALTER LAUNT PALMERAmerican (1854-1932)VIEW OF ST. MARK'S, VENICEpastel on paper, signed "W.L. Palmer" and dated "1886" lower left24 5⁄8 x 34 1⁄4 inches (sight)PROVENANCEPrivate Collection, Connecticut.Estimate $6,000—$8,000

56 JANE PETERSONAmerican (1876 - 1965)VENICEwatercolor and gouache on paper,signed "Jane Peterson" lower left17 1⁄2 x 17 1⁄2 inchesPROVENANCEPrivate collection, Georgia; Finer ThingsGallery of American Art, Cambridge,Massachusetts; Shannon's, Milford,Connecticut, October 20, 2005, lot 47;Private Collection, Illinois.Estimate $20,000—$30,0005643

44575857 ROBERT HENRIAmerican (1865 - 1929)PARIS STREET SCENEoil on panel, unsigned6 3⁄8 x 4 7⁄8 inchesPROVENANCEA Connecticut estate.NotesThere is a painting on the reverse.Estimate $5,000—$7,00058 ROBERT HENRIAmerican (1865 - 1929)PARIS CAFEoil on panel, signed "Robert Henri" lower left3 1⁄2 x 5 1⁄2 inches (sight)PROVENANCEA Connecticut estate.Estimate $6,000—$8,000

59 ÉMILE BERNARDFrench (1868-1941)MAISON DE L'ARTISTE A L'AUDEoil on board, signed "Emile Bernard" lower right29 1⁄4 x 40 3⁄4 inchesPROVENANCEThe Artist; Estate of the Artist: Galerie Barbizon,Paris; Private Collection, Illinois; An Illinois estate;Private Collection, New York; descended in thefamily to Private Collection, Philadelphia,Pennsylvania; Private Collection, New York.NotesAnother painting of the artist's home is illustratedin the Catalog Raisonné, no. 1311. "MaisonVillageoise Dans l'Midi," ca. 1927. A photocopy ofthe relevant page from the catalog will be pro-vided with the lot.Estimate $7,000—$10,0005945

46Paul Cornoyer was born in St. Louis, Missouri, and attended the city’s school of fine arts beforetraveling to Paris in 1889 to study with Jules Lefebvre, Benjamin Constant, and Louis Blanc. Uponreturning 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 andadvised 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 ofartists who made the city their subject; William H. Gerdts wrote that he “contributed significantlyto this relatively new genre.”1Like Chase, Cornoyer was especially interested in the city’s parks and their juxtaposition with thesurrounding architecture. He also took note of the parks’ value as urban oases, and his thoughtson 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 ofnature is vibrant within us all, either consciously or subconsciously. There it finds itsoutlet. The bustle, the work, the tension—all that is an inevitable accompanimentof city life…. There you will find all classes. The children of the rich romp on thegreen 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; thereall the people who go to make up New York’s diverse population at one time oranother find their way. Under the soothing influence of nature’s green their trou-bles and worries seem lessened…. 2In the current example of the artist’s work “Washington Square” Cornoyer depicts the mood andambience of the park. The arch, designed by renowned architect Stanford White, glows is thecenter of the painting. Washington Square Park, abundant in its history, still provides a space forlocal residents, students, visitors from around the world.1William H. Gerdts, et al, East Coast/West Coast and beyond: Colin Campbell Cooper, AmericaImpressionist (Hudson Hills, 2006), 34.2Louis 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 CORNOYERAmerican (1864-1923)"WASHINGTON SQUARE"oil on canvas, signed "Paul Cornoyer," titled,and dated "1900" on the reverse18 x 24 1⁄4 inchesPROVENANCEThe Artist; Mr. & Mrs. Goetz, Greenwich,Connecticut, descended in the family to herdaughter Harriett Holly, Boca Raton, Florida;Private Collection, Darien, Connecticut.Estimate $60,000—$80,0006047

486161 EDMUND C. COATESAmerican (1816-1871)VIEW ALONG THE HUDSONoil on canvas, signed "E.C. Coates," dated "1857," and inscribed "9th President StBrooklyn, LI SNY US at N.A." lower center30 x 40 inchesPROVENANCEHenry 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 fromRoot), Clinton, New York, 1912; By descent, Harding Farm, Clinton, New York, 1938; Bydescent, Michigan; By descent, Fountain Hills, Arizona.NotesHarding Farm is a historic site in the village of Clinton, New York. It was built by SamuelKirkland in 1793. Kirkland was the founder of Hamilton College and a missionary andfriend to the native Oneida people. Kirkland, Harding and Oneida Chief Skenandoaare all buried on the grounds of Hamilton College.Estimate $7,000—$10,000

62 SAMUEL COLMANAmerican (1832-1920)SUNSET OFF THE COAST OF AFRICAoil on canvas panel backed, signed "Samuel Colman" lower left15 x 24 inchesPROVENANCEPrivate Collection, Darien, Connecticut.Estimate $20,000—$30,0006249Samuel Colman travelled extensively, painting theunique landscapes of the places he visited. In 1860he travelled to Europe to study the romantic architecture and scenery of Italy and Spain. In 1870he visited the treacherous landscape of the RockyMountains. From 1871-1875 he embarked on anextended tour of Europe and North Africa visitingEgypt, Morocco and Algeria. The painting presentedhere is likely from this period, as it illustrates the moun-tainous coastline of North Africa.

63 JOHN W. CASILEARAmerican (1811-1893)"ROGER'S SLIDE, LAKE GEORGE"oil on board, signed and titled on the reverse12 1⁄4 x 20 1⁄2 inchesPROVENANCEPrivate Collection, Connecticut.NotesCapt. Robert Rogers, of Rogers' Rangers, whilescouting in March of 1758 during the French andIndian Wars, was pursued by Native Americans.Halting at the crest, he threw his pack down theprecipitous slide in the snow, making it appear hehad fallen. Backtracking to the ice below, he wasseen by the Native Americans. Thinking him underthe Great Spirit's protection, they abandoned thechase.Estimate $7,000—$10,0006350

645164 JASPER FRANCIS CROPSEYAmerican (1823-1900)VIEW OF THE HUDSONoil on panel, signed "J.F.C." and dated"1856" lower center7 x 10 1⁄2 inchesPROVENANCEThe Newington Collection,Greenwich, Connecticut; PrivateCollection, Darien, Connecticut.LITERATUREThis painting is pictured in the JasperF. Cropsey Catalogue Raisonnè, Vol. 1, 1842 - 1863, p. 234, no. 413. Estimate $12,000—$18,000

65 WILLIAM BARNETAmerican (1911-2012)STUDY FOR "UPSTAIRS"pastel on paper, signed "Will Barnet" and dated "80" lower right27 1⁄2 x 12 3⁄4 inches (sight)PROVENANCEThe Artist; The Benjaman Gallery, Buffalo, New York; PrivateCollection, New York, New York.NotesA label from Hirschl & Adler Galleries Inc., New York, New York ison the reverse.Estimate $15,000—$25,0005265

665366 FREDERICK CARL FRIESEKEAmerican (1874-1939)PORTRAIT OF FRANCES AS A YOUNG GIRLoil on canvas, signed "F.C. Frieseke" lower right24 x 20 inchesPROVENANCEDescended in the artist's family;Shannon's, Greenwich, Connecticut,October 20, 2005, lot 44; PrivateCollection, Illinois.Estimate $30,000—$50,000

67 MARTHA WALTERAmerican (1875-1976)UNDER THE PARASOLoil on canvas, signed "Martha Walter" lower left26 x 21 inchesPROVENANCEPrivate Collection, Allentown, Pennsylvania.Estimate $20,000—$30,0006754

685568 EDMUND WILLIAM GREACENAmerican (1873-1951)A DAY AT THE BEACHoil on canvas, signed "Edmund Greacen" and dated "1922" lower right16 x 24 inchesPROVENANCEGoldfield Galleries, Los Angeles, California;Private Collection, Arizona.Estimate $15,000—$25,000

69 EMILE ALBERT GRUPPEAmerican (1896-1978)"WINTER, MEREDITH, NEW HAMPSHIRE"oil on canvas, signed "Emile A. Gruppe" lower left30 x 36 inchesPROVENANCEA Connecticut estate.Estimate $20,000—$30,0006956

70 WALTER LAUNT PALMERAmerican (1854-1932)"SUN AND SHADOW"oil on canvas, signed "W.L. Palmer" lower left30 x 25 inchesPROVENANCEPrivate Collection, Florida.EXHIBITEDPhiladelphia, Pennsylvania, PennsylvaniaAcademy of the Fine Arts, "118th AnnualExhibition," 1923, label on reverse.Estimate $30,000—$50,0007057

72 JOHN F. CARLSONAmerican (1893-1967)STREAM REFLECTIONSoil on canvasboard, signed "John F. Carlson" lower right12 x 16 inchesPROVENANCEPrivate Collection, New England; Bydescent, Private Collection, Ohio.Estimate $4,000—$6,00071 JOHN F. CARLSONAmerican (1893-1967)"DEEPENING SHADOWS"oil on canvas, signed "John F. Carlson"lower right, signed and titled on thestretcher, signed on the frame16 x 20 inchesPROVENANCEPrivate Collection, New England; Bydescent, Private Collection, Ohio.Estimate $4,000—$6,000717258

735973 WALTER ELMER SCHOFIELDAmerican (1867-1944)ALONG A ROCKY COASTLINEoil on canvas, signed "Schofield" lower left26 x 30 inchesPROVENANCEPrivate Collection, New Jersey.Estimate $10,000—$15,000

60In 1972, Brevoort was the subject of a retrospective exhibition and accompanying catalogue raisonne of his workspublished 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 Americanlandscape was ebbing out. In the 1860s and the 1870s a new generation of nature painters emergedto trace a gentler, more reticent vision of the land for forty years to come, and Brevoort was amongthem. Of his generation, almost all who painted the American landscape shared, in their work, thequality which a contemporary called ‘a certain noble simplicity, quietude, and sobriety, that onefeels grateful for in an age of gilded-eagleism…’”1Brevoort was born in 1832 in Yonkers, New York. He spent most of his childhood on his father’s farm in Williamsbridgeand 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 inNew 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 atthe Academy. In 1861, he was elected as an Associate Academician and painted landscapes in nearbyConnecticut, 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 andpaintings by other artists he had collected including works by Alexander Wyant, William Hart, Jervis McEntee andGeorge 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 Americanlandscape. Artists like Brevoort were focusing on atmosphere, haze, reflections and the times of the day, twilight anddawn. 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 andlater R. Swain Gifford and J. Alden Weir were interested in the religious and mystical aspects of nature, captured inthe 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. 1Sutherland McColley, The Works of James Renwick Brevoort, 1832-1918, American Landscape Painter, Yonkers, New York: TheHudson River Museum, 1972, p. ix.

74 JAMES RENWICK BREVOORTAmerican (1832-1918)HALF MOON COVE AT GLOUCESTER BAYoil on canvas, signed "J. R. Brevoort" lower left18 1⁄4 x 30 inchesPROVENANCESteppingstone Gallery, Great Neck, New York;Private Collection, 1986-2007.EXHIBITEDSacramento, California, Crocker Art Museum,"Raymond Dabb Yelland: CaliforniaLandscape Painter," October 28, 2018 –January 27, 2019. (Yelland studied underBrevoort at the National Academy.)NotesA label from Marshall Henis, Great Neck, NewYork is on the reverse.Estimate $50,000—$75,0007461

75 FERDINAND (JOACHIM) RICHARDTAmerican (1819-1895)AMERICAN FALLS AT NIAGARAoil on canvas, signed "F. Richardt" and dated "1874"lower right15 3⁄4 x 23 1⁄4 inchesPROVENANCEPrivate Collection, Paradise Valley, Arizona;descended in the family, Private Collection, Arizona.Estimate $12,000—$18,0007562

766376 FERDINAND (JOACHIM) RICHARDTAmerican (1819-1895)"CAVE OF THE WINDS NIAGARA FALLS"oil on canvas, unsigned, titled and dated"Oct 16th 1857" lower right24 x 20 inchesPROVENANCEPrivate Collection, Williamsport,Pennsylvania.Estimate $20,000—$30,000"Danish-born artist Ferdinand Richardt traveledto the United States in 1855 upon receiving a commission from William H. Vanderbilt topaint Niagara Falls. During the ensuing fouryears, he painted over one hundred views ofthe falls and other famous American landmarks and landscapes...Richardt hadplans to offer the European and Americanpublic a new look at favorite vacation groundsand scenic sites." (M.Y. Stuart, N.P. Stilling,Danske Herregårde og Amerika/Views ofDanish Manorhouses and America: FerdinandRichardt--a Danish-American Artist, exhibitioncatalogue, Holte, Denmark, 2003, p. 88)

647778D78C78B78A77 WILLIAM TROST RICHARDSAmerican (1833-1905)CEDARHURST, LONG ISLAND (POSSIBLY)watercolor on paper, signed "Wm. T.Richards" and dated "1890" lower left18 x 32 inchesPROVENANCEPrivate Collection, Cedarhurst, LongIsland; descended in the family to thecurrent owner, Private Collection,Connecticut.Estimate $7,000—$10,00078 ALFRED THOMPSON BRICHERAmerican (1837-1908)LOW TIDE AT GRAND (MANAN, MAINE 1889)SAILBOATS AT SEA ALONG THE ROCKY SHOREROCKY 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 inchesPROVENANCEThese drawings were purchased as an intact sketchbookfrom the artist's niece by Clayton Liberatore Gallery ofNew York City and Bridgehampton, Long Island; PrivateCollection, Connecticut.Estimate $2,000—$3,000

79 ALFRED THOMPSON BRICHERAmerican (1837-1908)GRAND MANAN, MAINEoil on canvas, signed "A.T. Bricher" lower right15 x 32 inchesPROVENANCEThe Greenwich Gallery, Greenwich, Connecticut;Taylor Graham, New York, New York; PrivateCollection, New Jersey.Estimate $30,000—$50,0007965

668080 DESMOND FOUNTAINBermudian (b. 1946)"EMILY"bronze, signed "© Desmond Fountain" and numbered "8/9"height: 45 1⁄2 inchesPROVENANCEWindjammer Gallery Ltd., Hamilton, Bermuda;Private Collection, Connecticut.NotesA copy of a certificate of originality from theartist, 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 amodel. “I remember thinking about the idea [of sweeping] continually when walking about New York and later Imodeled it in Woodstock. Every farmer’s wife I knew was arguing about how to sweep properly.” In time she cameto understand that this statue “was the expression of a subjective reality—though I myself was not aware of it at thetime. 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 artcommunity and in the world beyond it. She had come to New York in 1899, alone, with few funds, and twenty yearsold. She had very little art background; she was in training to be a professional musician. Until she was in her teensthe only sculptures, she had seen were cemetery monuments that “didn’t fill the bill.” Until she came to New Yorkher only formal work had been two years at the Canton, Ohio, YWCA, where she had personally rounded up therequisite ten students to there could be a sculpture class. During the Spanish-American War, when her father wasstationed as a physician to the military in Puerto Rico, she modeled portraits of the life she saw around her. Shemoved 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 Bullfor the 1904 Society of American Artists exhibit, where it was greeted with enthusiasm by the jury, including AugustusSaint-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 NationalSculpture Society, only one of seven women since its founding. In 1907 and again in 1908 she went to Naples, whereshe could cast her work more inexpensively. The Italian foundry, never having handled the work of a woman artistbefore, 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 NewYork Evening Sun, “This is her way of helping combat the injustices and evils of our system. She does not preach; shemakes us see.”In 1909 Eberle built a small studio in the burgeoning artist colony in Woodstock, New York. There in 1910 she modeledWindy Doorstep, the woman sweeping with the wind, so all the accumulateddebris is blown far away. It became one of her most successful pieces. Atthe National Academy of Design exhibition in 1910 it won the HelenFoster Barnett Prize for the best sculpture by an artist under thirty-five.It was purchased by four museums, the Carnegie Institute, theNewark 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 NationalAcademy of Design and year later the Macbeth Gallery gave her aone-artist show. By this time, the bad health that had begun toplague 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 thestrength 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 exampleat the Memorial Art Gallery, University of Rochester. According to JoelRosenkranz, of Connor Rosenkranz, New York, New York, this indicates an early casting of this piece. Adapted from: Pamela W. Blanpied, “Abastenia St. Leger Eberle, WindyDoorstep (1910)” in Marjorie Searl, ed. Seeing America: Painting andSculpture from the Collection of the Memorial Art Gallery of the University ofRochester. Rochester, New York: University of Rochester Pres, 2006.67ABASTENIA ST. LEGER EBERLEAmerican (1878-1942)See lots 81 and 82

81 ABASTENIA ST. LEGER EBERLEAmerican (1878-1942)"WINDY DOORSTEP," 1910bronze, signed "A.S.L. Eberle" and dated "1910," inscribed with foundry mark "S. Klaber and Co. Founders, NY"Height: 14 1⁄2 inchesPROVENANCEPrivate Collection, New York.ILLUSTRATEDA.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 andSculpture 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," DesMoines, Iowa, 1980, pp. 8, 9, 11, fig. 13, another example illustrated. G.B. Opitz, ed., "Dictionary of AmericanSculptors," Poughkeepsie, New York, 1984, p. 112. B. G. Proske, "Brookgreen Gardens Sculpture," BrookgreenGardens, 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 withthe 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—$75,0008168

826982 IVAN OLINSKYAmerican/Russian (1878-1962)PORTRAIT OF A YOUNG LADYoil on canvas, signed "Ivan Olinsky" lower right36 x 32 inchesPROVENANCEPrivate Collection, New York.Estimate $10,000—$15,000

83 HELEN MARIA TURNERAmerican (1858-1958)PORTRAIT OF A NEWCOMB COLLEGE ARTISToil on canvas, signed "Helen M. Turner" lower right23 7⁄8 x 18 1⁄8 inchesPROVENANCEThe 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—$35,0008370

84 RICHARD EDWARD MILLERAmerican (1875-1943)RECLINING NUDEtempera on panel, signed "Miller" lower right, inscribed"To Rosenthal Miller / tempera glaze" on the reverse10 3⁄4 x 14 inchesPROVENANCEPrivate Collection, Great Neck, New York.NotesThere is an unfinished painting on the reverse. A letterof authenticity from Marie Louise Kane, author of "ABright Oasis: The Paintings of Richard E. Miller," dis-cussing the work accompanies the lot.Estimate $10,000—$15,0008471

72Anna 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 reproducedon 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 wasborn in Washington County, New York in 1860. Her parents were farmers and she was the third of ten children. Froman 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 farmsfor the next fifteen years when she married Thomas Salmon Moses and moved to a farm in Virginia. The Moses familyrented farms in Virginia until they were finally able to afford their own. The family grew to ten children, although onlyfive 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, Moseshad more free time to sew, embroider and paint. In 1927 her husband died suddenly and in 1932 she moved toBennington to care for her sick daughter. A year later, she moved back to her farm in Eagle Bridge after the deathof her daughter. Around this time her arthritis forced her to abandon embroidery and the “worsted pictures” shehad been designing. Moses first started to copy postcards and Currier and Ives prints, before beginning to recreate scenes from herchildhood and piecing together imagined stories. Her favorite subjects were landscapes filled with happy scenes offarm life and rural activity. She would sell her oil paintings at county fairs alongside her prize-winning pickles. In 1938 a New York City collectorpurchased a group of paintings from a pharmacy window in Hoosick Falls, New York. The collector then took thepaintings 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 FarmWoman 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 ofher life was nominated for an Academy Award. At times, her commercial success overshadowed her recognition as an important, serious artist by the museumworld. In 2001, Jane Kallir (daughter of Otto Kallir) led an effort to reevaluate Moses’ work in retrospective titled“Grandma Moses in the 21stCentury.” 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 Mosespatrons 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, likePollock—retains childlike and alienated qualities and remains self-taught where it counts. Moses belongs smackinside the canon of twentieth-century art."

85 GRANDMA (ANNA ROBERTSON) MOSESAmerican (1860-1961)OVER THE BRIDGEoil on masonite, signed "Moses" lower right, dated "Oct. 1960" and numbered"1968" on an original artist's label affixed to the backing with copyrightreserved to Grandma Moses Properties, New York16 x 24 inchesPROVENANCEBy descent in the family of the artist; Mr. Carl Moses, the artist's son; HammerGalleries, 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.ILLUSTRATEDOtto Kallir, "Grandma Moses," New York, 1973, no. 1479, p. 323, illustrated.NotesA label on the reverse is inscribed "On loan by Mr. & Mrs. Carl Moses."Estimate $90,000—$120,0008573

74Otto Henry Bacher was born in Cleveland, Ohio, to a family of German descent. He first studied art at the age ofsixteen 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 SeaverAdams, an artist from Springfield, Massachusetts, who had recently arrived on the Cleveland art scene. Adams wasinstrumental in the founding of the Cleveland Art Club, as well as the establishment of the Cleveland Academy ofthe Fine Arts. During this time, Bacher began to learn the process of etching from local etcher and landscapepainter Sion Longley Wenban. In 1878, Bacher and Adams left for Europe. After stopping briefly in Scotland, Bacher went on to Munich, where heenrolled at the Royal Academy. He quickly tired of the rigors of the academy, and soon he was studying withCincinnati artist Frank Duveneck as one of the celebrated “Duveneck Boys.” Early in the following year, the groupproceeded to Venice, where Bacher and several other artists established studios in the Casa Jankovitz. By this timean avid printmaker, Bacher had his etching press sent from Munich, and it was in his Venice studio that he taughtDuveneck the rudiments of etching. It was also in Venice that Bacher met American expatriate artist, James McNeill Whistler. On learning of Bacher’spress, 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 occasionallyin the years that followed, and in 1908 he published With Whistler in Venice, his famous recollections of his time withthe great artist. Bacher spent the next two years traveling extensively throughout Italy, with Venice as the center ofhis 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 withexotic items and objets d’art he had collected on his travels and began to hold art classes a means to supplementhis income. He soon joined with Joseph DeCamp in forming a summer sketch class in Richfield, Ohio. Bacher andDe 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 impressionisticmode. Unable to sell any paintings from this early period, however, Bacher left Cleveland for Paris in 1885, where heplanned to undertake further studies. Stopping first in London to visit Whistler, Bacher stayed only briefly in Parisbefore heading to Venice, where he spent the remainder of the year. Bacher, Robert Blum, and Charles Ulrich livedin the Palazzo Contarni degli Scrigni on the Grand Canal. At the end of the year, Bacher returned to New York, andsettled 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. LouisExposition. In addition to his work in printmaking, Bacher also produced and sold several oil paintings and pastelsthroughout the 1890s and early 1900, many of which he exhibited in New York at the Society of American Artists andthe 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 associateof 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 schemeand broken brushwork are strongly related to Impressionism, but Bacher’s academic training is clear in the firmlyrealistic rendering of the figures and the crisp outline given to the objects in the painting. In this highly decorativework, 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 intimateaction of the two figures. Directly behind the table in the distance is a mirror, which is seen head-on. Interestingly, inaddition to the reflection of the table and the back of the chair in which the figure on the right is sitting, on sees inthis 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 otherartists of the Boston School, who in the late nineteenth century took a renewed interest in the works of Vermeer andthe 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 societywomen. 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 & AdlerGalleries, Inc., New York, New York, dated Jan. 13, 2005.)

867586 OTTO HENRY BACHERAmerican (1856-1909)INTERIOR OF FIFTH AVENUE BANK, NEW YORKoil on canvas, signed "Otto H. Bacher" and dated "90" upper right18 1⁄2 x 21 1⁄2 inchesPROVENANCEAdams 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.EXHIBITEDNew York, Walpole Galleries, "Exhibition and Sale of Paintings bythe Late Otto H. Bacher," 1917, no. 14; Roanoke, Virginia, ArtMuseum of Western Virginia, "The Age of Innocence: AmericanPaintings, 1870-1920," 2003.Estimate $30,000—$50,000

88 DOROTHEA SHARPBritish (1874-1955)AT THE BEACHoil on canvas laid down onboard, signed "Dorothea Sharp"lower right17 1⁄2 x 14 inchesPROVENANCERichard Norton Gallery,Chicago, Illinois.Estimate $6,000—$8,00087 GEORGE W. LAWLORAmerican (1878-1932)EVENING TEAoil on canvas, signed "G.W. Lawlor",inscribed "Paris," and dated "12"upper left25 x 21 inchesPROVENANCEPrivate Collection, Maryland.NotesAn identical composition byHovsep Pushman (Armenian, 1877-1966) was offered for sale by HollisTaggart Fine Art, New York, NewYork ca. 1997. See advertisementillustrated online at www.shannons.com.Estimate $5,000—$7,000878876

897789 JAMES BRADE SWORDAmerican (1839-1915)SEWING BY THE WINDOWoil on canvas, signed "J.B. Sword"lower right14 x18 inchesPROVENANCEThe William and Frances HaussnerCollection; Private Collection,New York.Estimate $8,000—$12,000

78John George Brown enjoyed a highly successful career during his lifetime as the richest and mostcelebrated genre painter in turn-of-the-century America. Brown is best known for his depictionsof children, particularly street urchins, shoe-shine boys, flower sellers and newspaper boys. Heromanticized 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 poorfamily in Durham, England. His father, a lawyer, insisted that Brown learn a trade despite his earlypredilection for drawing. Brown apprenticed for seven years with a glass cutter and worked atthis 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 inLondon, he heard a music hall performer singing about American life. He decided to move toBrooklyn and took a job as a glass cutter at the Flint Glass Works in Brooklyn. His employer was soimpressed with Brown’s designs that he helped Brown study with miniature painter ThomasCummings. Brown later married Cummings’ daughter.Brown continued to study painting taking night classes at the National Academy of Design. InMay of 1856 he rented his own studio in Brooklyn. By 1863, he was elected a member of NationalAcademy of Design and begin teaching classes at the Academy. From this point forward, Brownbecame known as “the boot-black Raphael.” He sold original paintings for $500-700 earningaround $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 trulyartistic 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 ofa wealthy family dressed up like a flower vendor. She wears a beautifully detailed lace collar, asilk skirt and carries two baskets with abundant flowers. The black hat on her head is covered withred poppies and daisies, in her hands she carries a tray of pink roses and a basket of roses, pansiesand lilacs. Brown paid meticulous attention to detail in the flowers and in her lace blouse. Theyoung 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 collectedby 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 BROWNAmerican (1831-1913)THE FLOWER GIRLoil on canvas, signed "J.G. Brown N.A." and dated"1878" lower right30 x 22 inchesPROVENANCEPrivate 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—$100,0009079

80Frederick Mulhaupt arrived in Cape Ann around 1907 and would continue to paint there until hisdeath in 1938. He became a year-round resident of Gloucester in 1922. Following the legacy ofnumerous 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 southernborder of Kansas in a region largely unsettled and still Native American territory. He moved awayfrom the area to Kansas City, Missouri where he apprenticed with a local sign painter. Soon heattended the Kansas City School of Design. Although the specific dates are unknown, Mulhaupt attended the Art Institute of Chicago in theearly 1890s and became one of the founding members of the Palette and Chisel Club in 1895. In1904 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. Althoughnot expressly an Impressionist group, many American artists were influenced by the works of theImpressionists that they encountered while in Paris. Mulhaupt incorporated the Impressionistapproach to painting in his Gloucester scenes that successfully depict the fleeting effects of lightand air. Mulhaupt returned to States and again his address was listed at the Salmagundi Club indicatinghis success as an artist. He spent his summers visiting and painting in Gloucester. There, he truly hithis 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 increasingamounts of time in Gloucester. He married Agnes Leone Kinglsley in 1921 and the couple had ason in 1922. That same year, he became a permanent resident of Gloucester buying a house onMain Street in the center of the community. In 1926, Mulhaupt was elected as an Associate member of the National Academy of Design. Hereceived numerous other awards and recognitions and was a highly accomplished artist duringhis 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, asyou 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—andthat’s worth all the good drawing of a hundred lesser painters.—Emile Gruppe

91 FREDERICK J. MULHAUPTAmerican (1871-1938)EVENING GLOW - GLOUCESTER HARBORoil on canvas, signed "Mulhaupt" lower left25 x 30 inchesPROVENANCESkinner, Boston, Massachusetts, February 1,2013, lot 484; Private Collection, Boston,Massachusetts.NotesA Vose Galleries, Boston, Massachusettslabel is on the reverse.Estimate $30,000—$50,0009181

92 CHARLES HAROLD DAVISAmerican (1856-1933)TWILIGHT, C. 1902oil on canvas, signed "C.H. Davis" lower left30 x 40 inchesPROVENANCEThe Artist; Gifford Beal, New York and Massachusetts; By descent inthe family.EXHIBITEDNew York, New York, Gerald Peters Gallery, "The Intimate Landscapeof 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.NotesAlso titled "Deserted Farm" and "Clouds Gathering at Twilight."Estimate $10,000—$15,0009282

93 HUGH BOLTON JONESAmerican (1848-1927)EARLY SPRING, NEAR SHEFFIELD, MASSACHUSETTSoil on canvas, signed "H. Bolton Jones" lower left24 x 36 inchesPROVENANCEPrivate Collection, Baltimore, Maryland; PrivateCollection, Baltimore, Maryland; Private Collection,Allentown, Pennsylvania; Christie's, New York,December 4, 1996, lot 161; Private Collection, NewYork; Private Collection, New Jersey.NotesLabels from Abby Taylor Fine Art, Greenwich,Connecticut and Taylor Graham, New York, NewYork are on the reverse.Estimate $8,000—$12,0009383

94 JOHN FREDERICK KENSETTAmerican (1816-1872)WOODLAND STREAMoil on canvas, initialed "J.F.K." lower right14 x 12 inchesPROVENANCEPrivate Collection, Connecticut.Estimate $8,000—$12,00095 DAVID JOHNSONAmerican (1827-1908)"A SCENE IN CONNECTICUT"oil on board, signed "David Johnson," titled, andinscribed "Fairfield Co." on the reverse21 1⁄8 x 16 1⁄2 inchesPROVENANCEDoyle, New York, January 21, 2017, lot 14; PrivateCollection, Connecticut.Estimate $8,000—$12,000949584

96 WORTHINGTON WHITTREDGEAmerican (1820-1910)EVENING GLOWoil on canvas, unsigned14 1⁄2 x 20 1⁄2 inchesPROVENANCEPrivate Collection, Grosse Pointe, Michigan.Estimate $15,000—$25,0009685

86Percival Rosseau was born in Pointe Coupee Parish, Louisiana in 1859. His father and two older brothers were killedduring the Civil War (1861-1865). During the Mississippi Campaign, the Union army led by General W.T. Shermandestroyed the family plantation. Rosseau and his sister were rescued by a slave and raised by a family friend inKentucky. 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 venturein lumber. He later owned a lucrative import business that allowed him to retire at age 35. It was at this stage thathis professional career as an artist began. He left the import business to his partner and made the journey to Paris tostudy at the Académie Julian.Rosseau trained in the Paris ateliers of Jules Lefevre, Tony Robert-Fleury and Charles Herman-Leon. Mainly, theseartists 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 withthe trials of working with figure models, Rosseau submitted a painting of “Diana.” He introduced two Irish wolfhoundsto 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 paintingsold 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 madefrequent trips back to the United States to fulfill commissions and participate in exhibitions. His paintings were, andcontinue 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 ofdogs in America.”1During this time, one of his most prominent patrons was Percy Rockefeller. In the early 1920s the Rockefeller familywas building a residence at Overhills, an exclusive hunting club in North Carolina. In 1927, receipts for contractorpayments at Overhills detail payments made to construct a cottage for Rosseau on the property. Rockefellerencouraged 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 thecanvas indicate that this work was intended for exhibition or for an important private commission. The landscape isdifficult to identify with certainty but based on the artist’s biography this work was likely painted in Connecticut orat Overhills. Rosseau was a member of the Pennsylvania Academy of the Fine Arts in Philadelphia, the Lotos Club in New YorkCity, and the Lyme Art Association. He exhibited at the Paris Salon, the Lyme Art Association, and prominent galleriesin New York City and elsewhere. His works are included in numerous notable private and public collections includingThe Orlando Museum of Art, The Columbus Museum of Art, and the Pennsylvania Academy of the Fine Arts. Rosseaudied in Fayetteville, North Carolina on November 29, 1937.1International Studio, “Rosseau – Painter of Dogs,” October 1922, pp. 32-36

978797 PERCIVAL ROSSEAUAmerican (1859-1937)POINTERS ON THE HUNToil on canvas, signed "Rosseau" and dated "1927" lower left23 x 32 1⁄4 inchesPROVENANCEPrivate Collection (since 1930), Portville, New York.Estimate $80,000—$120,000

98 WALTER LAUNT PALMERAmerican (1854-1932)CABINS IN THE WOODSmixed media on paper, signed"W.L. Palmer" lower right19 1⁄2 x 23 1⁄2 inches (sight)PROVENANCEPrivate Collection, Maryland.Estimate $10,000—$15,0009888

99 GEORGE GARDNER SYMONSAmerican (1863-1930)VALLEY STREAM IN WINTERoil on canvas, signed "Gardner Symons" lower right20 x 25 inchesPROVENANCEThe artist; descended in the family to the artist'sgranddaughter; James Snidle Fine Arts; Chicago,Illinois; Private Collection, California.Estimate $15,000—$25,0008999

90Fern I. Coppedge is one of the leading Pennsylvania Impressionists and one of the most important female artists ofthe 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 theirbright, 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, shemoved to California with her sister and first took an interest in art. When she returned to the Midwest, she studied atMcPherson College and then the University of Kansas. From 1908-1910, she focused on pursuing an art education atthe 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 theArt Students League under William Merritt Chase and Frank Vincent Dumond, she would also visit the Woodstockcolony 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). Forthe following two years, 1918-1919, Coppedge took courses at the Pennsylvania Academy of Fine Arts under DanielGarber and at the Philadelphia School of Design for Women with Henry B. Snell. In 1920, Coppedge moved to BucksCounty purchasing a studio in Lumberville, near New Hope. Other artists living in Lumberville at the time includedDaniel 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 withthem until 1935. In 1929, she purchased a home and studio on Main Street in the center of New Hope. She styledher home after an old Bucks County farmhouse and modeled the studio after a 19thcentury carriage house. During these years as an established artist, Coppedge would travel between New Hope and her exhibition studioin 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 magazinewrote, “We remember seeing Mrs. Coppedge trudging through the deep snow wrapped in a bearskin coat, hersketching 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 PennsylvaniaImpressionists. Her works are collected in many notable museums and private collections including the PhiladelphiaMuseum of Art and the Michener Art Museum.

100FERN ISABEL COPPEDGEAmerican (1883-1951)WINTER IN BUCKS COUNTYoil on canvas, signed "Fern I. Coppedge" lower left25 x 30 inchesPROVENANCEPedersen Gallery, Lambertville, New Jersey; Private Collection, New Jersey.Estimate $40,000—$60,00010091

92In 1964 Richard Anuszkiewicz was called “the new wizard of Op” by Life magazine. Considereda leader in the Optical Art, “Op Art,” movement, Anuszkiewicz’ work was exhibited in the seminal1965 exhibition “The Responsive Eye,” at the Museum of Modern Art (MoMA) in New York City. Hisworks create a psychological experience through the artist’s use of high-intensity color appliedto 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 andmaster color theorist had an obvious influence on Anuszkiewicz’ work.After completing his graduate degree, Anuszkiewicz moved to New York where he became asuccessful 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 YorkCity. Albers influence is apparent in the subtle color changes and repetition of forms. This workwas 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 “YaleCollects Yale.” This painting comes from the collection of prominent art historian and curatorTheodore 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 beenexhibited at the Venice Biennale, the Florence Biennale and Documenta. His works are collectedin numerous private and public institutions including the Corcoran Gallery of Art in WashingtonD.C., the Fogg Art Museum of Harvard University in Cambridge, Massachusetts, the WhitneyMuseum of Art in New York City and the Museum of Modern Art in New York City.

101RICHARD ANUSZKIEWICZAmerican (b. 1930)THE WELL AT THE END OF THE WORLDacrylic on canvas, signed "Richard Anuszkiewicz"and dated "1961" on the reverse50 x 45 inchesPROVENANCETheodore E. Stebbins, Boston, Massachusetts.EXHIBITEDLincoln, 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.NotesThere is a loan label on the reverse from TheContemporaries, New York, New York.Estimate $40,000—$60,00010193

102RICHARD ANUSZKIEWICZAmerican (b. 1930)UNTITLEDacrylic on board, signed "Richard Anuszkiewicz"and dated "1984" on the reverse20 x 20 inchesPROVENANCEPrivate Collection, New York.Estimate $15,000—$25,00010210394103NICHOLAS KRUSHENICKAmerican (1929-1999)UNTITLEDacrylic on canvas, signed "Nicholas Krushenick"and dated "May 1973" on the reverse12 3⁄8 x 16 3⁄8 inchesPROVENANCEPrivate Collection, New York.Estimate $10,000—$15,000

104CHARLES GREEN SHAWAmerican (1892-1974)UNTITLEDoil on board, signed "Shaw" lower right10 3⁄4 x 9 inchesPROVENANCEThe Cooley Gallery, Old Lyme,Connecticut; Private Collection,Connecticut.NotesA label from Bertha Schaefer Gallery,New York, New York is on the reverse.Estimate $8,000—$12,000105ROLPH SCARLETTAmerican (1889-1984)UNTITLEDoil on canvas, signed "Scarlett" lower right20 x 24 inchesPROVENANCEPrivate Collection, Bal Harbour, Florida.Estimate $8,000—$12,00010410595

107ERIC SLOANEAmerican (1905-1985)WINTER MORNINGoil on masonite, signed "Eric Sloane" lower left27 1⁄2 x 29 3⁄4 inchesPROVENANCEThe artist; Private Collection,Baltimore, Maryland;descended in the family tothe current owner, PrivateCollection, Pennsylvania.Estimate $7,000—$10,000106DAVID BREGAAmerican (b. 1948)PUMPKINoil on board, signed "David Brega" lower left16 x 16 inchesPROVENANCEAlexander Gallery, New York, New York;Private Collection, Florida.Estimate $8,000—$12,00010696107

10810997108MICHAEL THEISEAmerican (b.1959)"KEEPING IT SAFE"oil on board, signed "M. Theise" and titledon the reverse41 3⁄8 x 36 inchesPROVENANCEThe artist; Private Collection, Connecticut.EXHIBITEDMilford, Connecticut, Shannon's, "The EyeDeceived - Paintings by Michael Theise,"April, 2009.Estimate $7,000—$10,000109PETER POSKASAmerican (b. 1939)"EAST LIGHT"oil on canvas, signed "Poskas" lower right42 1⁄2 x 47 inchesPROVENANCEDavid Findlay Galleries, New York, New York;Private Collection, New Jersey.Estimate $3,000—$5,000

111RICHARD HAYLEY LEVERAmerican (1876-1958)BOATS AT ANCHORoil on canvas, unsigned12 1⁄4 x 15 1⁄2 inchesPROVENANCEClayton-Liberatore, New York,New York; ACA Galleries, NewYork, New York; Private Collection,New York.Estimate $6,000—$8,000110RICHARD HAYLEY LEVERAmerican (1876-1958)SAILBOATS AT THE HARBORoil on board, signed "Hayley Lever"lower right8 x 10 inchesPROVENANCEChristie's East, January 26, 1983;Private Collection, New York.Estimate $5,000—$7,00011011198

11299112RICHARD HAYLEY LEVERAmerican (1876-1958)"DOUARNENEZ, BRITTANY"oil on board, signed "Hayley Lever" lower right, signed and titled on the reverse16 x 20 1⁄4 inchesPROVENANCEClayton-Liberatore, New York, New York; Private Collection, New York.Estimate $12,000—$18,000

113ANTHONY THIEMEAmerican (1888-1954)LATE AFTERNOON GOULD COURT, GLOUCESTERoil on canvas, signed "A. Thieme" lower left25 1⁄4 x 30 inchesPROVENANCEA Gloucester, Massachusetts estate; PrivateCollection, Boston, Massachusetts.Estimate $4,000—$6,000114ANTHONY THIEMEAmerican (1888-1954)"NEW HAMPSHIRE SNOW"oil on canvas, signed "A. Thieme" lower left and titled on the reverse20 x 24 inchesPROVENANCEA Riverside, California estate.Estimate $5,000—$7,000113114100

115ANTHONY THIEMEAmerican (1888-1954)OTHER SIDE OF TOWN (LEADING TO PIGEON COVE)oil on canvas, signed "A. Thieme" lower left30 x 36 inchesPROVENANCEDavid H. Hall Fine Art, Dover, Massachusetts; VoseGalleries, Boston, Massachusetts; Private Collection,New Jersey.NotesA photocopy of a letter from the artist's wife, LillianThieme, describing the painting accompanies the lot.Estimate $8,000—$12,000115101

116JOHN GEORGE BROWNAmerican (1831-1913)"READY FOR BIZ"oil on board, signed "J. G. Brown" and dated "1879" lower right8 3⁄8 x 6 1⁄2 inchesPROVENANCEA Connecticut estate.Estimate $3,000—$5,000117JOHN GEORGE BROWNAmerican (1831-1913)CASTANETS - SHOE SHINE BOYoil on canvas, signed "J. G. Brown N.A" lower right24 x 16 inchesPROVENANCEPrivate Collection, New York.Estimate $10,000—$15,000116117102

118JOHN GEORGE BROWNAmerican (1831-1913)THE PICNIC BASKEToil on canvas, signed "J. G. Brown NA" and dated "1873" lower center14 1⁄2 x 19 inchesPROVENANCEA Connecticut estate.NotesA label from Gerald Peters Gallery, Santa Fe,New Mexico is on the reverse.Estimate $20,000—$30,000118103

119THOMAS HILLAmerican (1829-1908)BY THE STREAMoil on canvas, signed "T. Hill" and dated "1854" lower left24 x 34 1⁄4 inchesPROVENANCEMcClees Gallery, Philadelphia, Pennsylvania; Butterfield& Butterfield, San Francisco, California (May 1982);Trisdonn Galleries, Nyack, New York (1982);MacDougall’s Auction House, London (July 2011).NotesIn 1854, Thomas Hill (who was then 25 years old) was living in Philadelphia, studying painting at thePennsylvania Academy of Fine Arts while also earninghis living as a carriage painter. During this period, Hill isknown to have painted some portraits (including one of his wife) and several still lifes, including one whichwon him an important award in 1853. It is believed that this landscape dated 1854 depicts a scene near Philadelphia.Estimate $6,000—$8,000120WILLIAM MCGREGOR PAXTONAmerican (1869-1941)"STUDY FOR PHRYNE"oil on canvas, unsigned28 x 12 inchesPROVENANCEVose Galleries, Boston, Massachusetts; Phillips New York,November 28, 2000, Lot 100; Private Collection, Connecticut.NotesIn a frame by Foster Brothers, Boston, Massachusetts.Estimate $7,000—$10,000119120104

121ALBERT HERTERAmerican (1871-1950)JUDGMENT OF PARISoil on canvas laid down on board, signedwith artist's device and "Albert Herter" lower left20 x 14 inchesPROVENANCEPrivate Collection, San Francisco, California;Butterfield's, San Francisco, California,December 13, 2000, lot 3053; Private collection, Pasadena, California; MargotJohnson, New York, acquired directly from theabove, 2005.Estimate $7,000—$10,000121105

123RICHARD HAYLEY LEVERAmerican (1876-1958)ST. IVES, CORNWALL, ENGLANDoil on canvas, signed "Hayley Lever" lower right6 1⁄2 x 9 1⁄2 inchesPROVENANCEPrivate Collection, Palm Beach, Florida.Estimate $6,000—$8,000122ARRAH LEE GAULAmerican (1883-1980)"ALONG THE ST. LAWRENCE RIVER, HARBOR-BAIE, ST. PAUL, CANADA"oil on canvas, signed lower left "Arrah Lee Gaul," titled andinscribed on the reverse25 x 30 inchesPROVENANCEPrivate Collection, New York.NotesA 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—$7,000122123106

124107124CONRAD WISE CHAPMANAmerican (1842-1910)BEACH SCENE WITH BANNER POLES,NORMANDYoil on panel, signed "Chapman" and dated"1876" lower right5 1⁄2 x 8 1⁄2 inchesPROVENANCEHirschl & Adler Galleries, New York, NewYork; Questroyal Fine Art, New York, NewYork; Private Collection, Atlanta, Georgia.Estimate $10,000—$15,000

125CHARLES WARREN EATONAmerican (1857-1937)"NOVEMBER"oil on canvas, signed "Chas. Warren Eaton" lower left30 x 36 inchesPROVENANCEWilliam MacBeth Gallery, New York,New York; Private Collection, New York;Shannon's, Milford, Connecticut,October 24, 2013, lot 94; PrivateCollection, North Carolina.Estimate $10,000—$15,000125126108126HERMAN FUECHSELAmerican (1833-1915)HOUSE AT THE LAKEoil on canvas laid down on masonite,signed "H. Fuechsel" and dated "88"lower right24 x 40 inchesPROVENANCEPrivate Collection, New York.Estimate $6,000—$8,000

127HENDRICK DIRK KRUSEMAN VAN ELTENAmerican/Dutch (1829-1904)SHEPHERD BY THE STREAMoil on canvas, signed "K. Van Elten" anddated "187?" lower right40 x 67 1⁄2 inchesPROVENANCEPrivate Collection, Bloomfield Hills,Michigan.Estimate $10,000—$15,000127109

128WILLIAM MICHAEL HARNETTAmerican (1848-1892)TABLETOP STILL LIFE WITH FRUIT AND WINEoil on canvas, signed "WM Harnett" and dated"1876" lower right12 x 10 inchesPROVENANCEPrivate Collection; by descent to PrivateCollection, 1975 - 2001; Sotheby's New York,May 24, 2001, lot 131; Private Collection, Mt.Kisco, NY, until 2008.Estimate $15,000—$25,000128110

129GEORGE HENRY HALLAmerican (1825-1913)BOUQUET OF RASPBERRIESoil on canvas laid down on masonite, signed"G.H. Hall" and dated "1865" lower right20 x 26 inchesPROVENANCEPrivate Collection, Westchester, New York.Estimate $12,000—$18,000129111

130BRUCE CRANEAmerican (1857-1937)WINTER SCENEwatercolor and gouache on board, signed"Bruce Crane" lower left14 1⁄2 x 22 3⁄4 inches (sight)PROVENANCEPrivate Collection, Maryland.Estimate $4,000—$6,000131WILLIAM CHARLES ANTHONY FRERICHSAmerican (1829-1905)SPRING TREES AT THE RIVERBANKoil on canvas, initialed "W.F." left center9 x 6 inchesPROVENANCEWilliam Smith Auctions, Plainfield, New Hampshire; November 28, 2015, lot 89; Private Collection, Connecticut.Estimate $2,000—$3,000130132131112132HAL ROBINSONAmerican (1875-1933)LANDSCAPE OF LAKE AND MOUNTAINSoil on canvas, signed "Hal Robinson" lower left25 x 36 inchesPROVENANCELincoln Galleries, South Orange, New Jersey;Private Collection, Illinois.Estimate $2,000—$3,000

133JOHN JOSEPH ENNEKINGAmerican (1841-1916)SHEEP GRAZING, LATE AFTERNOONoil on canvas, signed "Enneking" and dated "94" lower right18 x 24 inchesPROVENANCENortheast Auctions, Portsmouth, New Hampshire; August 5, 2006,lot 1116; The Hainsworth Collection, Nashville, Tennessee.Estimate $7,000—$10,000133113

134WILL HUTCHINSAmerican (1878-1945)EARLY SPRING, CONNECTICUToil on canvas, estate stamped on the reverse18 x 24 inchesPROVENANCEThe estate of the artist; Private Collection,Connecticut.EXHIBITEDGreater Washington Independent ArtExhibition (label on reverse), undated.Estimate $3,000—$5,000135WILL HUTCHINSAmerican (1878-1945)LANDSCAPE, MAINEoil on canvas, signed "Will Hutchins" anddated "1926" lower right, estate stamped onthe reverse16 x 13 1⁄8 inchesPROVENANCEThe estate of the artist; Private Collection,Connecticut.Estimate $1,500—$2,500134135114

136WILL HUTCHINSAmerican (1878-1945)EARLY AUTUMN, 1922oil on board, signed "Will Hutchins" and dated "1922" lower left,estate stamped on the reverse18 x 24 inchesPROVENANCEThe estate of the artist; Private Collection, Connecticut.EXHIBITEDNew Haven Paint and Clay Club (label on reverse), undated.Estimate $3,000—$5,000136137115137WILL HUTCHINSAmerican (1878-1945)LANDSCAPE AT DEERFIELDoil on canvas, signed "Will Hutchins" on thereverse, estate stamped on the reverse,inscribed "Deerfield" in pencil on the reverse18 x 24 inchesPROVENANCEThe estate of the artist; Private Collection,Connecticut.Estimate $3,000—$5,000

138ARMANDO MORALESNicaraguan (1927-2011)"MY HOME GARDEN AT 7:00 AM"oil on canvas, signed "Morales" anddated "2003" lower right, titled anddated on the reverse19 3⁄4 x 39 1⁄2 inchesPROVENANCEPrivate Collection, New York, New York.Estimate $12,000—$18,000138116

139117139SALIBA DOUAIHYLebanese (1915 -1994)COURTYARD SCENEoil on canvas, signed "S. Douaihy" lower left15 3⁄4 x 20 inchesPROVENANCEPrivate Collection, Bal Harbour, Florida.NotesThis painting has been authenticated by theSaliba Douaihy Foundation.Estimate $20,000—$30,000

140BRUCE BRAITHWAITEAmerican (b. 1950)"LIBERTY"oil on canvas, signed "Bruce Braithwaite" lower left, signed, titled,dated "2019," and numbered "#343" on the reverse62 x 62 inchesEstimate $7,000—$10,000140118

141BRUCE BRAITHWAITEAmerican (b. 1950)"GRAND CENTRAL - FIVE"oil on canvas, signed "Bruce Braithwaite" lowerright, signed, titled, dated "2019," numbered "#563,"and inscribed "Grand Central Terminal NYC" on the reverse30 x 40 inchesEstimate $7,000—$10,000141119

142PAUL CADMUSAmerican (1904-1999)JIMMY RECLINING ON TIGER RUG, MALENUDE #JHB5, 1962flesh-colored crayons on gray-brownFabriano paper, signed "Cadmus" lowerleft signed and inscribed "Cadmus JHB5"lower right17 3⁄4 x 23 inchesPROVENANCEMidtown Galleries, New York, New York;Private Collection, Quebec, Canada.EXHIBITEDSyracuse, New York, Tellfair Academy ofArts and Sciences, "Good DrawingTraveling Show" 1965-1966;Syracuse, NewYork, The Anchorage Gallery, July -September, 1967;New Orleans, Louisiana,927 Gallery, September, 1978.NotesA note from the artist detailing the workaccompanies the lot. A photocopy of theoriginal receipt from Midtown Galleriesalso accompanies the lot.Estimate $7,000—$10,000143GEORGE PLATT LYNESAmerica (1907–1955)"PAUL CADMUS"photograph, signed and dated "1941" on the reverse,and inscribed "Collection of Paul Cadmus" by Paul Cadmus10 x 8 inchesPROVENANCEFrom a distinguished collector.ILLUSTRATEDEliasoph, Philip, "Paul Cadmus Yesterday and Today,"(Oxford, Ohio, Miami University Art Museum 1981)inside cover.NotesAlso includes a photo by James Chotas of PaulCadmus sketching model Jon Anderson and a thirdphoto of Cadmus by Philip Eliasoph, signed, titled andinscribed "Weston, Connecticut / Jan. 1981."A copy ofa letter by James Chotas accompanies the lot.Estimate $2,500—$3,500142143120

144121144PETER BEARDAmerican (b. 1938)"I'LL WRITE WHENEVER I CAN, LAKE RUDOLF," 1965toned gelatin silver print with applied snake skin, inscribed "Greetings from Koobi Fora (opposite North Island) / Lake Rudolf 1965Kenya N.F.D. / Population dynamics survey for the Kenya Game Dept./ For Eyelids of Morning / The mingled destinies of crocodylus andmen" lower left, inscribed "Salaams from P.B." left center, signed andinscribed "I'll write whenever I can! Sincerely, Peter Beard, Box 4191Narobi" lower center17 x 23 3⁄4 inchesPROVENANCEThe Time Is Always Now Gallery, New York City, New York; PrivateCollection, Los Angeles, California.NotesA copy of the bill of sale and certificate of authenticity from The Timeis Always Now Gallery dated December 2, 1999 accompanies the lot.Estimate $30,000—$50,000

145SALVADOR DALISpanish (1904-1989)POUR JEAN BACH, DEDICATION IN "THE SECRET LIFEOF SALVADOR DALI"signed "Salvador Dali " and dated "1959" center ofthe left-hand page7 3⁄8 x 10 inches (each)PROVENANCEThe Estate of Jean Bach, New York; PrivateCollection, New York, New York.Estimate $2,500—$3,500146PABLO PICASSOSpanish (1881-1973)UNTITLEDlithograph on paper, signed "Picasso" in pencillower left, numbered "12/50" lower right5 3⁄4 x 4 1⁄2 inches (sight)PROVENANCEPrivate Collection, California.Estimate $2,000—$3,000145A145B146147122147PAUL KLEEGerman (1879-1940)"PARK"color lithograph on paper, signed "P. Klee" in pencil lower right, dated "1914," and numbered "145" in the plate, titled lower right6 x 5 1⁄4 inches (plate, sight)PROVENANCEPrivate Collection, California.Estimate $4,000—$6,000

148PABLO PICASSOSpanish (1881-1973)TETEcrayon on paper, signed "Picasso," dated "12-5-59" and inscribed "Pour John Picasso" upper left6 1⁄4 x 6 1⁄4 inches (sight)PROVENANCEPrivate Collection, California; Vincent Price Gallery, Chicago, Illinois;Private Collection, California.EXHIBITEDMarseilles, France, Musee Cantini, "Picasso: Cinquante Chefsd'Oeuvres", May II—July 31, 1959.Estimate $15,000—$25,000148123

149ARTHUR RACKHAMBritish (1867-1939)"THE SANDMAN WATCHES, SMILING"watercolor and ink on paper, signed "A. Rackham" lower right9 3⁄4 x 8 inches (sight)PROVENANCECharles E. Lauriat Co., Boston, Massachusetts;Private Collection, Greenwich, Connecticut;Shannon's, Milford, Connecticut, April 28, 2011, lot175; Private Collection, New York; PrivateCollection, New York.Estimate $7,000—$10,000150ALFREDO CASTAÑEDAMexican (1938-2011)"EL PANORAMA"pencil and acrylic on board,signed "Castañeda" and dated"'72" lower right14 1⁄4 x 14 1⁄4 inches (sight)PROVENANCEGaleria De Arte Mexicano, MexicoCity, Mexico; Private Estate; PrivateCollection, Connecticut.Estimate $4,000—$6,000151THEODORE J. ROSZAKAmerican/Polish (1907-1981)UNTITLED (STUDY)ink, pencil and marker on paper, signed "T. Roszak" and dated "1939" lowerright, dated upper right, artist stamp on theoriginal matting with artist's initials8 1⁄4 x 10 7⁄8 inches (sheet)PROVENANCELos Angeles Modern Auctions, Los Angeles,California, December 16, 2012, lot 415;Private Collection, Connecticut.Estimate $2,000—$3,000149151150124

152EARL HORTERAmerican (1881-1940)GLOUCESTER, MASSACHUSETTSpastel on vellum, signed "E. Horter"and dated "32" lower right11 3⁄4 x 14 3⁄8 inches (sight)PROVENANCEPrivate Collection, Bryn Mawr,Pennsylvania; Private Collection,Connecticut.EXHIBITEDLittle Rock, Arkansas, 48th CollectorsShow and Sale," Arkansas ArtsCenter, November 11, 2016 -January8, 2017.Estimate $5,000—$7,000152153125153EMIL JAMES BISTTRAMAmerican (1895-1976)SOUTHWEST LANDSCAPEwatercolor on paper, signed "Bisttram" anddated "58" lower right16 1⁄2 x 23 1⁄2 inches (sight)PROVENANCEPrivate Collection, Connecticut.Estimate $6,000—$8,000

155ESTEBAN CHARTRANDCuban (1840-1884)CUBAN LANDSCAPEoil on canvas, signed "E.S. Chartrand" lower center11 1⁄4 x 13 1⁄8 inchesPROVENANCEPrivate Collection, New York.Estimate $5,000—$7,000154JERVIS MCENTEEAmerican (1828-1891)"TOMKINS COVE"oil on canvas, monogramed "JME" lower left6 x 12 inchesPROVENANCEEldred's, East Dennis, Massachusetts, August 1,2014, lot 1317; Private Collection, Connecticut.Estimate $5,000—$7,000154155126

156157127156FRANK HENRY SHAPLEIGHAmerican (1842-1906)ST. AUGUSTINE COURTYARDoil on canvas, signed "F.H. Shapleigh" lower left10 1⁄8 x 16 inchesPROVENANCEPrivate Collection, New York.Estimate $8,000—$12,000157ARTHUR FITZWILLIAM TAITAmerican (1819-1905)DOG AND SNIPEoil on board, signed "A.F. Tait," dated"1866," numbered "No. 464," and inscribed"Morrisania / Westchester Co. N.Y."on the reverse6 1⁄2 x 9 inchesPROVENANCEThe artist; Henry H. Leed’s Sale, April 5, 1866.ILLUSTRATEDCadbury, Warder H, and Henry F. Marsh."Arthur Fitzwilliam Tait: Artist in theAdirondacks." Newark: University ofDelaware Press, pp. 191, no. 66.27.Estimate $10,000—$15,000

128158159158CHARLES MARION RUSSELLAmerican (1864-1926)SMOKING UPbronze, inscribed "C.M. Russell" and withartist device on the base, stamped withfoundry mark "Roman Bronze Works, NY"height: 11 1⁄4 inchesPROVENANCEPrivate Collection, Connecticut.Estimate $6,000—$8,000159JANET SCUDDERAmerican (1873-1940)FROG BABYbronze, signed "Janet Scudder" and stampedwith foundry mark "Gorham Co. Foundry"height: 12 1⁄2 inchesPROVENANCEPrivate Collection, Georgia; Shannon's,Milford, Connecticut, April 29, 2011, lot 199;Private Collection, New York.Estimate $5,000—$7,000

160ROBERT REIDAmerican (1862-1929)TIGER LILYoil on canvas laid down on board, unsigned18 3⁄4 x 14 1⁄4 inchesPROVENANCEThe Cooley Gallery, Old Lyme, Connecticut;Private Collection, Connecticut.Estimate $4,000—$6,000160161129161MARCEL DYFFrench (1899-1985)CLAUDINEoil on canvas, signed "Dyf" lower right23 3⁄4 x 28 3⁄4 inchesPROVENANCEPrivate Collection, New Jersey.NotesThis painting is registered in the Marcel DyfCatalog Raisonné as catalog ID number 1669.Estimate $7,000—$10,000

162CHARLES MURRAY PADDAYBritish (1868-1954)PILOT BOAT CREWoil on canvas, signed "C.M. Padday" and dated "98" lower left30 1⁄2 x 48 1⁄4 inchesPROVENANCEA Connecticut estate.Estimate $5,000—$7,000163EMILE A. GRUPPEAmerican (1896–1978)BRINGING IN THE NETSoil on canvas, signed "Emile A. Gruppe" lower right24 x 36 inchesPROVENANCEPrivate Collection, New York.Estimate $7,000—$10,000162163130

164ALDRO THOMPSON HIBBARDAmerican (1886-1972)SNOW SCENE WITH GREEN SILOSoil on canvas, estate stamped on the reverse24 x 32 inchesPROVENANCEEstate of the Artist; Private Collection,Buffalo, New York; Private Collection,New York.NotesA label from A.T. Hibbard Collection,Ledgendsea Gallery, Rockport,Massachusetts is on the reverse. A copy of a letter of authenticity fromthe artist's estate signed by ElaineHibbard Clark accompanies the lot.Estimate $5,000—$7,000164165131165ALDRO THOMPSON HIBBARDAmerican (1886-1972)VERMONT STREAMoil on canvasboard, signed"A.T. Hibbard" lower right16 x 19 5⁄8 inchesPROVENANCEHanover Square Gallery, New York, New York; Private Collection, Illinois.Estimate $4,000—$6,000

166JAMES KING BONNARAmerican (1883-1961)WINTER LANDSCAPEoil on canvas, signed "Jas. K. Bonnar" lower right22 x 28 inchesPROVENANCEPrivate Collection, Connecticut.Estimate $2,000—$3,000166168167132167ANTHONY THIEMEAmerican (1888-1954)HARBOR SCENEoil on canvasboard, signed "A. Thieme" lower right19 1⁄2 x 15 1⁄2 inchesPROVENANCEPrivate Collection, Scotts Valley, California.Estimate $3,000—$5,000168ANTHONY THIEMEAmerican (1888-1954)WARM LIGHToil on canvas, signed "A. Thieme" lower right25 x 30 inchesPROVENANCEPrivate Collection, Naples, Florida.Estimate $4,000—$6,000

169EMILE A. GRUPPEAmerican (1896–1978)"SUMMER DAY"oil on canvas, signed "Emile A. Gruppe"lower left and titled on the stretcher24 x 20 inchesPROVENANCEPrivate Collection, New York.Estimate $6,000—$8,000169170133170ANTONIO PIETRO MARTINOAmerican (1902-1989)GLOUCESTER WHARVESoil on canvas, signed "A. P. Martino" lower right,stamped "copyright owned by Harry Eichleavy ArtCo. Pittsburgh, PA" on the stretcher30 x 32 inchesPROVENANCEShannon's, Greenwich, Connecticut, October 25,2001, lot 51; Private Collection, New Jersey.Estimate $7,000—$10,000

172JOHN JOSEPH ENNEKINGAmerican (1841-1916)SPRING FLOWERSoil on canvas, signed "Enneking" and dated "04" lower right18 x 24 inchesPROVENANCEPhillips, New York, May 23, 2000, lot 113; Private Collection, Pennsylvania.Estimate $4,000—$6,000171GUY CARLETON WIGGINSAmerican (1883-1962)ROCKS AND TREESoil on canvasboard, signed "Wiggins" lower left12 x 16 inchesPROVENANCEPrivate Collection, New York; Shannon's, Greenwich, Connecticut, May 4, 2006, lot 184; Private Collection, Mississippi.Estimate $4,000—$6,000171172134

173PAUL DOUGHERTYAmerican (1877-1947)"MORNING COAST"oil on board, signed "Paul Dougherty" lower right, signed and titled on the reverse24 x 20 inchesPROVENANCEPrivate Collection, Mystic, Connecticut; Private Collection, New York.Estimate $4,000—$6,000174JOHN FULTON FOLINSBEEAmerican (1892-1972)"BACKYARD, NEW HOPE"oil on canvas, signed "John Folinsbee" lower right, titled on the stretcher20 x 24 inchesPROVENANCEPrivate Collection, New Jersey.Estimate $6,000—$8,000173174135

175ALFRED WORDSWORTH THOMPSONAmerican (1840-1896)CROSSING THE RIVERoil on canvas, signed "Wordsworth Thompson" lower right8 3⁄4 x 17 1⁄4 inchesPROVENANCEPrivate Collection, New York, New York.NotesA label from Kennedy Galleries, New York,New York is on the reverse.Estimate $3,000—$5,000176ALBERT FITCH BELLOWSAmerican (1911-1988)LANDSCAPE WITH RIVERoil on canvas, signed "A.F. Bellows" lower right11 1⁄2 x 19 1⁄2 inchesPROVENANCEThe Cooley Gallery, Old Lyme, Connecticut;Private Collection, Connecticut.Estimate $4,000—$6,000177SAMUEL COLMANAmerican (1832-1920)SAW MILL VALLEY, PENNSYLVANIAoil on board, signed "Samuel Colman" lower left8 1⁄4 x 14 3⁄4 inchesPROVENANCEHeritage Auctions, Dallas, Texas,December 5, 2013, lot 64167; Private Collection, Connecticut.Estimate $3,000—$5,000175177176136

178JASPER FRANCIS CROPSEYAmerican (1823-1900)MOUNTAIN LAKE IN AUTUMNwatercolor on card mounted on masonite, signed "J.F. Cropsey" and dated "1895" lower right12 1⁄4 x 18 1⁄4 inchesPROVENANCEGeorge E. Missbach Collection, Atlanta, Georgia.NotesA label from Berry-Hill Galleries, Inc., New York, NewYork is on the reverse.Estimate $3,000—$5,000179EDWARD HILLAmerican (1843-1923)SHEEP GRAZINGoil on canvas, signed "Edward Hill" and dated "99" lower right10 x 16 inchesPROVENANCEThe Artist; The Collection of RobertGoldberg, Conway, New Hampshire;Private Collection, Colorado.Estimate $2,000—$3,000178179137

180RACKSTRAW DOWNESAmerican/British (b. 1939)RIVERSIDE DRIVE WITH THE GATES OF COLUMBIA, 1979pencil on paper, initialed "RD" lower right17 5⁄8 x 32 inches (sheet)PROVENANCETatistcheff and Company, Inc., New York,New York; Private Collection,Connecticut.EXHIBITEDOklahoma City, Oklahoma, OklahomaArt Center, "A Heritage Renewed," June26 - August 7, 1983. Catalog No. 22.Santa Barbara, California, University ArtMuseum, "A Heritage Reviewed:Representational Drawing Today," March 1 - April 17, 1983.Estimate $4,000—$6,000181JOHN R. GOODAmerican (b. 1930)MODERNIST CHURCHpastel on board, signed "John R. Good" lower right26 x 12 inchesPROVENANCEPrivate Collection, New York.NotesJohn R. Good Gallery, New York, New York stamp is on the reverse.Estimate $2,000—$3,000180181182138182GRANT WOODAmerican (1891-1942)MARCHlithograph, signed "Grant Wood" in pencil lower right12 1⁄8 x 16 inchesPROVENANCEDebra Force Fine Art, New York, New York; Private Collection, South Carolina.Estimate $2,500—$3,500

183SONIA DELAUNAYFrench/Ukrainian (1885-1979)UNTITLEDwatercolor on paper, signed "Sonia Delaunay" in pencillower right and numbered "169" lower left4 3⁄4 x 5 3⁄4 inches (sheet)PROVENANCEBorghi Fine Art, New York, New York; Private Collection,Connecticut.Estimate $4,000—$6,000184ELIE 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 reverse24 x 28 inchesPROVENANCEPrivate Collection, New York, New York.Estimate $3,000—$5,000183184185139185EDNA TACONAmerican/Canadian (1913-1980)UNTITLEDmixed media on paper, signed "Edna Tacon"and dated "1942" in pencil on the mattinglower right9 1⁄4 x 11 7⁄8 inches (sight)PROVENANCEPrivate Collection, Connecticut.Estimate $3,000—$5,000

186PHILIP EVERGOODAmerican (1901-1973)"SEAWEED PICKERS AND CANNERY"oil on canvas, signed "Philip Evergood"and dated "48" lower left, titled on the stretcher18 x 28 1⁄4 inchesPROVENANCEACA Gallery, New York, New York; PrivateCollection, New York, acquired from theabove, 1966; Descended directly in thefamily to the present owner.Estimate $3,000—$5,000187PHILIP EVERGOODAmerican (1901-1973)"SEEKING A FUTURE"oil on masonite, signed "PhilipEvergood" and dated "46" lower right,signed, titled and inscribed "A.C.A.GALLERY/63 EAST 57" on the reverse22 1⁄4x 18 inchesPROVENANCEACA Gallery, New York, New York; PrivateCollection, New York, acquired from theabove, 1966; Descended directly in thefamily to the present owner.Estimate $4,000—$6,000188PHILIP EVERGOODAmerican (1901-1973)"EPISODE AT FIRE ISLAND"oil on canvas, signed "Philip Evergood" lower left,dated "LXVII" lower right, and titled on the stretcher14 x 18 inchesPROVENANCEACA Gallery, New York, New York; PrivateCollection, New York, acquired from the above,1969; Descended directly in the family to the present owner.NotesA label from Hammer Galleries, New York, NewYork is on the reverse.Estimate $2,500—$3,500186188187140

189DAVID BURLIUKAmerican/Russian (1882-1967)TWO PEASANT WOMENoil on canvasboard, signed "Burliuk" and dated "1947"lower left, signed and inscribed "Painted Nov 18-19 / (12 hours)" on the reverse9 3⁄4 x 7 3⁄4 inchesPROVENANCEPrivate Collection, New York; descended in the family to the present owner, Private Collection, New York.Estimate $3,000—$5,000190DAVID BURLIUKAmerican/Russian (1882-1967)SEATED PEASANT IN A RED DRESSoil on canvasboard, signed "Burliuk" lower left9 x 12 inchesPROVENANCEACA Galleries, New York, New York; PrivateCollection, New York; By descent, PrivateCollection, New York.Estimate $3,000—$5,000189190191141191DAVID BURLIUKAmerican/Russian (1882-1967)PEASANT IN A YELLOW SKIRToil on panel, signed "Burliuk" lower left anddated "1964" lower right12 x 11 inchesPROVENANCEACA Galleries, New York, New York; PrivateCollection, New York; By descent, PrivateCollection, New York.Estimate $3,000—$5,000

192ROBERT WILLIAM VONNOHAmerican (1858-1933)MISTY MORNoil on canvas, signed "Vonnoh" lower right14 x 18 inchesPROVENANCEBerry Hill Galleries, Inc., New York, New York;Private Collection, New York, New York.Estimate $4,000—$6,000193AMERICAN SCHOOL 20th CenturyVENICE SCENEoil on canvasboard, signed lower right16 x 15 1⁄4 inchesPROVENANCEA Connecticut estate; Private Collection, Connecticut.Estimate $2,000—$3,000194ROBERT WILLIAM VONNOHAmerican (1858-1933)-AFTERNOON SHADOWS, GREZ, FRANCEoil on panel, unsigned10 1⁄8 x 13 1⁄4 inchesPROVENANCEPrivate Collection, Hingham, Massachusetts.NotesA Paris exhibition label is on the reverse.Estimate $4,000—$6,000192194193142

195RALPH ALBERT BLAKELOCKAmerican (1847-1919)LANDSCAPEoil on canvas, signed "Ralph Blakelock" lower left8 x 12 inchesPROVENANCEA Connecticut estate.NotesA label from the University of Nebraska, no. 914, category II is on the reverse.Estimate $2,500—$3,500196WILLIAM BLISS BAKERAmerican (1859-1887)SHADOWS IN A POOLoil on canvas, signed "Bliss Baker" lower left10 1⁄2 x 12 1⁄4 inchesPROVENANCEA Connecticut estate.Estimate $5,000—$7,000195196143

197FRANKLIN D. BRISCOEAmerican (1844-1903)"BREEZY DAY NEW YORK BAY"oil on canvas, signed "F.D. Briscoe" anddated "1878"lower right, signed, dated andtitled on the reverse10 x 20 inchesPROVENANCEA Connecticut estate.Estimate $2,500—$3,500198HERMAN FUECHSELAmerican (1833-1915)FALL AT THE LAKEoil on board, signed "H. Fuechsel" lower left8 x 14 inchesPROVENANCEPrivate Collection, New York.Estimate $2,500—$3,500199AMERICAN SCHOOL 19th CenturySAILING OFFSHOREoil on panel, unsigned7 1⁄4 x 10 inchesPROVENANCEPrivate Collection, Chatham,Massachusetts.Estimate $3,000—$5,000197199198144

200WILLARD LEROY METCALFAmerican (1858-1925)BLACK MOUNTAIN FROM LITTLE CAMPTON VILLAGE,NEW HAMPSHIREoil on wood panel, signed "Willard L. Metcalf" anddated "Sept. 1875" on the reverse11 1⁄2 x 19 1⁄2 inchesPROVENANCEThe 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.ILLUSTRATEDThe painting is recorded as Control Number: IAP 71771445 in the inventories of American Painting and Sculpture,Smithsonian American Art Museum, Washington, D.C.NotesThis work will be included in the forthcoming Willard LeroyMetcalf Catalogue Raisonnè Project Inc., under the direction of Betty Krulik.Estimate $8,000—$12,000201JERVIS MCENTEEAmerican (1828-1891)EVENING LIGHT, WINTERoil on canvas, estate stamp on the reverse8 1⁄4 x 14 1⁄4 inchesPROVENANCEEstate of the artist; Sotheby's, New York, September23, 1993, lot 55; Barridoff Galleries, Portland, Maine,July 31, 2002, lot 190; Debra Force Fine Art, NewYork, New York; Private Collection, Baltimore,Maryland.EXHIBITEDStockholm, Sweden, The American Embassy, June1989-October 1992. New Paltz, New York, SamuelDorsky Museum of Art, "Jervis McEntee: A Painter-Poet of the Hudson River School," August 26-December 13, 2015.Estimate $5,000—$7,000201200145

202WILLIAM GUY WALL (ATTRIBUTED)American/Irish (1792-1864)FARM IN THE VALLEY, TROY, NEW YORKoil on canvas, unsigned, inscribed "Troy, NY" on the stretcher14 x 20 inchesPROVENANCESacred Heart Convent, Albany, New York;Private Collection, Connecticut.Estimate $3,000—$5,000203ARTHUR PARTONAmerican (1842-1914)PADDLING ALONG THE RIVERoil on canvas, signed "Arthur Parton" lower left18 x 24 inchesPROVENANCEA New York, New York estate; PrivateCollection, New York.Estimate $2,500—$3,500204SAMUEL L. GERRYAmerican (1813-1891)MOUNTAINOUS LANDSCAPEoil on canvas, unsigned8 x 12 inchesPROVENANCEPrivate Collection, New York.Estimate $1,500—$2,500202204203146

205RICHARD WHATELY WESTBritish (1848-1905)"FALLS OF CLYDE"oil on canvas, signed "R.W. West" lowerleft, signed and titled on the reverse40 x 72 inchesPROVENANCEPrivate Collection, Massachusetts.Estimate $4,000—$6,000206DAVID JOHNSONAmerican (1827-1908)DEER IN A FOREST CLEARINGoil on canvas, initialed "DJ" lower right10 1⁄2 x 8 inchesPROVENANCEPrivate Collection, Connecticut.Estimate $2,000—$3,000205206207147207THOMAS HILLAmerican (1829-1908)LAKE AT YOSEMITE, CALIFORNIAoil on board, signed "T. Hill" lower right14 x 21 inchesPROVENANCEPrivate Collection, Connecticut.NotesInscribed on the reverse: "Presented to Mrs.Jane B. Robinson, of Detroit Michigan, withmy compliments as a small evidence ofappreciation on behalf of myself and the rel-atives of Thomas Hill in return for her courtesyin placing Mr. Hill's great canvas "The GrandCannon of the Yellowstone" in the DetroitMuseum of Art where it will receive the careand appreciation due such a masterpiece.J.E. Williamson, Administrator Estate ofThomas Hill, deceased. 1010 Broadway,Oakland, California."A note on the reverse indicates the workdepicts a lake at Yosemite, California.Estimate $4,000—$6,000

208CHARLES P. ADAMSAmerican (1858-1942)"THE END OF THE DAY VICINITY OF GOLDEN,COLORADO"oil on canvas, signed "Charles P. Adams" lowerright and titled on the reverse10 x 14 inchesPROVENANCEDuncan Vail Co., Los Angeles, California.Estimate $3,000—$5,000209HUGH BOLTON JONESAmerican (1848-1927)LANDSCAPE WITH STREAMoil on canvas, signed "H. Bolton Jones" lower right14 x 20 inchesPROVENANCEShannon's, Greenwich, Connecticut, October 20,2005, lot 147; Private Collection, Illinois.Estimate $3,000—$5,000208209148

210ARTHUR BOWEN DAVIESAmerican (b. 1925)"[?] BOATS, RACING AT MARBLEHEAD"oil on panel, signed "A.B. Davies"lower left, signed and titled illegibly onthe reverse4 x 10 inchesPROVENANCEPrivate Collection, New York.Estimate $2,000—$3,000211RICHARD HAYLEY LEVERAmerican (1876-1958)BRIDGE OVER THE THAMES RIVER, LONDON, 1908oil on canvas, signed "Hayley Lever" lower left6 1⁄4 x 9 1⁄4 inchesPROVENANCEPrivate Collection, New York.Estimate $2,000—$3,000212210211149212MORRIS HALL PANCOASTAmerican (1877-1963)HARBOR SCENEoil on canvas, signed "Morris Hall Pancoast" on the stretcher28 x 32 inchesPROVENANCEPrivate Collection, Connecticut.Estimate $2,500—$3,500

150213214215213GEORGE LOFTUS NOYESAmerican (1864-1954)"OLD FARMHOUSE NEAR FIESOLE," ITALYoil on canvasboard, signed "G. L. Noyes" lower right13 1⁄2 x 15 inchesPROVENANCEThe artist's wife; Private Collection, Connecticut;Shannon's, Greenwich, Connecticut, October 21,2004, lot 12; Private Collection, Illinois.Estimate $3,000—$5,000214GEORGE LOFTUS NOYESAmerican (1864-1954)"LES LAVOIRS PARIS"oil on canvas laid down on panel,signed "G. L. Noyes" lower right andtitled on the reverse14 1⁄4 x 16 inchesPROVENANCEDescended in the artist's family; PrivateCollection, New England; Shannon's,Greenwich, Connecticut, May 6, 2004,lot 30; Private Collection, Illinois.Estimate $3,000—$5,000215GEORGE LOFTUS NOYESAmerican (1864-1954)"NEWBURYPORT"oil on canvas, signed "G. L. Noyes" lower right,signed and titled on the stretcher20 x 24 inchesPROVENANCEPrivate Collection, New Jersey.Estimate $3,000—$5,000

216ATTILIO PRATELLAItalian (1856-1949)A WALK ALONG THE PROMENADEoil on panel, signed "A. Pratella"lower left11 3⁄4 x 7 5⁄8 inchesPROVENANCEPrivate Collection, Palm Coast,Florida.Estimate $2,000—$3,000217COLIN CAMPBELL COOPERAmerican (1856-1937)WESTMINSTERwatercolor and gouache onboard, signed "ColinCampbell Cooper" anddated "1902" lower left23 x 29 3⁄4 inchesPROVENANCEPrivate Collection, Virginia.Estimate $4,000—$6,000151216217218218JEAN FRANCOIS RAFFAELLIFrench (1850-1924)"COMMUNION DAY"oil on board, signed "J.F. Raffaelli" lower left16 x 13 inchesPROVENANCEPrivate Collection, New York.Estimate $3,000—$5,000

219GUSTAVE CIMIOTTIAmerican (1875-1969)VERMONT IN SPRINGTIMEoil on canvas, signed "Cimiotti" lower left and right15 x 18 inchesPROVENANCEHanover Square Gallery, New York, New York;Private Collection, Illinois.Estimate $2,000—$3,000220PINCKNEY MARCIUS SIMONSAmerican (1867-1909)THE CITY OF DREAMSoil on canvas, signed "Marcius Simons"lower left31 x 44 inchesPROVENANCEPrivate Collection, Maryland.Estimate $2,000—$3,000221FREDERICK F. FURSMANAmerican (1874-1943)WINTER TREESoil on canvas, signed "Frederick Fursman" andinscribed "Saugatuck, Michigan" on the reverse24 x 24 inchesPROVENANCEPrivate Collection, New York, New York.Estimate $2,000—$3,000219221220152

222GUSTAVE WEIGANDAmerican (1872-1957)BIRCH TREESoil on canvas, signed "Gustave Weigand" lower right26 1⁄4 x 21inchesPROVENANCEPrivate Collection, Connecticut.Estimate $1,500—$2,500223ROBERT HOGG NISBETAmerican (1879-1961)THE WILLOWS AT BILBY HOUSEoil on canvas, signed "Robert Nisbet N.A." lower right16 x 20 inchesPROVENANCEDryads Green Gallery, New York, New York; A New Haven,Connecticut estate.EXHIBITEDNational Arts Club 2018.NotesThis painting hung in the Bilby House during Nisbet's life.Thanks to Amy Kurtz Lansing of the Florence GriswoldMuseum for her assistance in the cataloging of this lot.Visit www.shannons.com for additional information.Estimate $2,000—$3,000222223224153224WILLIAM STARBUCK MACYAmerican (1853-1945)WINTER LANDSCAPEoil on canvas, signed "W.S. Macy," dated"79," and inscribed "New York" lower left25 3⁄4 x 20 1⁄2 inchesPROVENANCEPrivate Collection, San Diego, California.Estimate $3,000—$5,000

225CHAUNCEY FOSTER RYDERAmerican (1868-1949)"MINE HEAD"oil on canvas, signed "Chauncey F. Ryder"lower right, titled on the stretcher, signed ona label on the reverse28 x 36 inchesPROVENANCEGrand Central Art Gallery, New York, NewYork; Fine Art Gallery, T. Eaton Co., Canada;Private Collection, Connecticut.Estimate $5,000—$7,000226CHAUNCEY FOSTER RYDERAmerican (1868-1949)SEASCAPEoil on canvas, signed "Chauncey F. Ryder" lower right32 1⁄2 x 40 1⁄2 inchesPROVENANCEA Houston, Texas estate.Estimate $4,000—$6,000154225226

227GEORGE HENRY HALLAmerican (1825-1913)STILL LIFE WITH GRAPES AND A PEACHoil on board, unsigned7 1⁄2 x 9 inchesPROVENANCEPrivate Collection, Ohio; Shannon's,Milford, Connecticut, October 21, 2005, lot 127; Private Collection, Connecticut.EXHIBITEDA remnant exhibition label is on thereverse.Estimate $3,000—$5,000228PAUL DUBOISFrench (1829-1905)"CHARITY"bronze, signed "P. Dubois" and stamped withfoundry mark "F. Barbdienne Fondeur, Paris"height: 23 inchesPROVENANCEPrivate Collection, New York.Estimate $4,000—$6,000155227228229229WILLIAM MASON BROWNAmerican (1828-1898)STILL LIFE WITH PEARS AND GRAPESoil on canvas, signed "W.M. Brown" lower left8 x 10 inchesPROVENANCEPrivate Collection, New York.Estimate $2,500—$3,500

230FERNANDO CUETO AMORSOLOFilipino (1892-1972)BATHING, 1957oil on canvas, signed "F. Amorsolo," inscribed "Manila,"and dated "1957" lower right28 x 22 1⁄4 inchesPROVENANCEBonhams, San Francisco, California, May 22, 2007, lot 30;Private Collection, Virginia.Estimate $40,000—$60,000156230

231FERNANDO CUETO AMORSOLOFilipino (1892-1972)BATHING IN THE RIVER, 1951oil on canvas, signed "F. Amorsolo" and dated"1951" lower left20 x 16 inchesPROVENANCEBonhams, San Francisco, California, May 22, 2007, lot 31;Private Collection, Virginia.Estimate $30,000—$50,000157231

232ROGELIO DE EGUSQUIZASpanish (1845-1915)AT THE WINDOWoil on canvas, signed "Egusquiza 73" lower left25 1⁄8 x 17 1⁄2 inchesPROVENANCEPrivate Collection, New York.Estimate $3,000—$5,000233AMERICAN SCHOOL 19th CenturyBLOWING BUBBLESoil on canvas, unsigned15 1⁄2 x 19 3⁄8 inchesPROVENANCEHeritage Auction, Dallas, Texas, September 12,2012, lot 87668; Private Collection, NewMexico.Estimate $3,000—$5,000158234HENRY JOHN STOCKBritish (1853-1930)DEPARTURE OF THE SOULwatercolor on paper, signed "H.J. Stock" and dated "1881" lower left28 5⁄8 x 16 1⁄2 inchesPROVENANCEPrivate Collection, Arizona.NotesA label from the Harry Hershfield estate is on the reverse.Estimate $3,000—$5,000232233234

159235236237235EDWARD E. SIMMONS (ATTRIBUTED)American (1852–1931)YOUNG PEASANT BOY IN FRANCEoil on canvas, unsigned18 x 13 inchesPROVENANCEPrivate Collection, Massachusetts.Estimate $4,000—$6,000236ABBOTT HANDERSON THAYERAmerican (1849-1921)"PORTRAIT OF ELSIE BIRCH"oil on panel, unsigned20 x 16 inchesPROVENANCEPrivate Collection, Massachusetts.EXHIBITEDCornish, New Hampshire, Cornish Colony Galleryand Museum, May - October 2001.Estimate $3,000—$5,000237DANIEL GARBERAmerican (1880-1958)"DR. ROY LYNDE"oil on canvas, unsigned, inscribed "Property of K.K. Leiby / New Hope PA" on the stretcher30 x 25 inchesPROVENANCEFreeman's, Philadelphia, Pennsylvania, December 8,2002, lot 145; Private Collection, New Jersey.Estimate $3,000—$5,000

160238239238KAREL APPELDutch (1921-2006)UNTITLEDwatercolor and gouache onpaper, signed "K. Appel" anddated "58" lower left19 3⁄4 x 25 3⁄4 inchesPROVENANCEPrivate Collection, New York,New York.Estimate $8,000—$12,000239GINO SEVERINIItalian (1883-1966)UNTITLEDwatercolor, gouache andmarker on paper, signed "G. Severini VIII" lower right15 1⁄2 x 19 1⁄2 inches (sight)PROVENANCEPrivate Collection,Connecticut.Estimate $3,000—$5,000

161240241242240VARDA CAIVANOArgentine/Italian (b. 1971)UNTITLEDoil on canvas, signed "Varda Caivano"and dated "2008" on the reverse18 x 24 inchesPROVENANCEVictoria Miro Gallery, London; Private Collection, New York.Estimate $2,500—$3,500241BYRON BROWNEAmerican (1907-1961)UNTITLEDmixed media on paper, signed "Byron Browne"and dated "July 9, 1957" lower left19 1⁄4 x 25 inches (sight)PROVENANCEPrivate Collection, Pennsylvania.Estimate $3,000—$5,000242SHIRLEY GOLDFARBAmerican (1925-1980)UNTITLEDoil on masonite, signed "Shirley Goldfarb"and dated illegibly lower right29 3⁄4 x 39 3⁄4 inchesPROVENANCEPrivate Collection, Connecticut.Estimate $2,500—$3,500

162243244245243DAVID BURLIUKAmerican/Russian (1882-1967)SAILBOAToil on canvasboard, signed "Burliuk" and dated "1949" lower left10 x 12 inchesPROVENANCEACA Galleries, New York, New York;Private Collection, New York; By descent,Private Collection, New York.Estimate $3,000—$5,000244RICHARD HAYLEY LEVERAmerican (1876-1958)BATEAU SUR LA SEINE, PARISoil on board, signed "Hayley Lever" lower right9 5⁄8 x 13 inchesPROVENANCEBarridoff Galleries, Portland, Maine, April 30, 2015,lot 139; Private Collection, Connecticut.Estimate $2,500—$3,500245REYNOLDS BEALAmerican (1866-1951)CIRCUSwatercolor on paper, unsigned13 1⁄8 x 15 1⁄4 inches (sight)PROVENANCEKraushaar Galleries, New York, New York; Private Collection, New York.Estimate $2,000—$3,000

163246247246THERESA FERBER BERNSTEINAmerican (1890-2002)BATHERS AT FOLEY'S COVEoil on canvas, signed "Bernstein" lower right23 x 27 inchesPROVENANCEPrivate Collection, Florida.Estimate $7,000—$10,000247THERESA FERBER BERNSTEINAmerican (1890-2002)BATHERS AT CONEY ISLAND, 1925oil on board, signed "Bernstein" lower left12 x 16 inchesPROVENANCEPrivate Collection, Florida.Estimate $5,000—$7,000

164248249250248AARON J. GOODELMANAmerican (1890-1978)TIGHTROPE WALKERbronze, signed "A.J. Goodelman" on the baseheight: 32 inchesPROVENANCEThe artist; Private Collection, New York;Descended directly in the family to thepresent owner.Estimate $2,500—$3,500249REGINALD MARSHAmerican (1898-1954)COUPLE ON A BENCHoil on masonite,signed "Marsh" lower right5 x 4 inchesPROVENANCEFriends of Olana Art Auction,September, 1997, lot 67;Private Collection, New York.Estimate $3,000—$5,000250ERNEST FIENEAmerican (1894-1965)"EVENING RAIN, NYC"oil on canvas,signed "E. Fiene" and titled on the reverse20 x 16 inchesPROVENANCEA New York, New York estate; PrivateCollection, New York.Estimate $3,000—$5,000

165251252253251HENRY KOERNERAustrian (1915-1991)THE PUBpencil and gouache on illustration board,signed "Koerner" lower right14 x 8 3⁄4 inches (sight)PROVENANCEMidtown Galleries, New York, New York;Private Collection, New York.Estimate $2,000—$3,000252MOSES SOYERAmerican (1899-1974)COUPLE READINGoil on canvas, signed "M. Soyer" lower right10 x 20 inchesPROVENANCEPrivate Collection, New York.Estimate $2,000—$3,000253MOSES SOYERAmerican (1899-1974)WOMAN IN REDoil on canvas, signed "M. Soyer" upper right30 x 25 inchesPROVENANCEPrivate Collection, New York.Estimate $2,000—$3,000

166254255256254THEO TOBIASSEFrench (1927-2012)SHABBAT SCENEoil on canvas, signed "Theo Tobiasse" upper left,inscribed "Ta Main Me Touche, et c'est"inscribed in Hebrew "Shabbat," dated "65" lowerright and stamped "45" on the reverse28 3⁄4 x 36 1⁄4 inchesPROVENANCEPrivate Collection, Tennessee.Estimate $3,000—$5,000255DAVID BURLIUKAmerican/Russian (1882-1967)PORTRAIT OF A LADYoil on panel, signed "Burliuk" lower right12 x 16 inchesPROVENANCEPrivate Collection, Florida.Estimate $2,000—$3,000256EUGENEIUSZ EIBISCHPolish (1896-1987)STILL LIFE WITH FISHoil on canvas, signed "Eibisch" upper right23 3⁄4 x 28 3⁄4 inchesPROVENANCEDalzell Hatfield Galleries, Los Angeles,California; Private Collection, Tennessee.Estimate $3,000—$5,000

167257258259257RAFAL OLBINSKIPolish/American (b. 1943)UNTITLEDacrylic on canvas, signed "Olbinski" lower left30 x 22 inchesPROVENANCEThe artist; Private Collection, New York.Estimate $3,000—$5,000258RAFAL OLBINSKIPolish/American (b. 1943)UNTITLEDacrylic on canvas, signed "Olbinski" lower right20 1⁄2 x 36 inchesPROVENANCEThe artist; Private Collection, New York.Estimate $3,000—$5,000259RAFAL OLBINSKIPolish/American (b. 1943)UNTITLEDacrylic on canvas, signed "Olbinski" lower left30 x 20 inchesPROVENANCEThe artist; Private Collection, New York.Estimate $3,000—$5,000

168260261262260WILLIAM GROPPERAmerican (1897-1977)"TOM SAWYER"oil on canvas, signed "Gropper" lower left,titled and stamped "WILLIAM GROPPER/CROTON-ON-HUDSON N.Y." on the stretcher18 x 9 inchesPROVENANCEACA Gallery, New York, New York; PrivateCollection, New York, acquired from theabove, 1964; Descended directly in the familyto the present owner.Estimate $2,000—$3,000261WALDO PEIRCEAmerican (1884-1970)CHILD IN A ROCKERoil on canvas, inscribed "For Anna fromPepper "and dated "Nov 35" lower left,signed "W. Peirce," dated and inscribed /Bangor, ME / Anna Galy on the reverse26 x 21 1⁄4inchesPROVENANCEBarridoff Galleries, Portland, Maine, July31, 2002, lot 269; Private Collection, New York.Estimate $2,500—$3,500262SIGMUND JOSEPH MENKESUkrainian (1896-1986)GIRL WITH HATmixed media on paper, signed "Menkes" upper right14 3⁄8 x 9 1⁄2 inches (sight)PROVENANCEPrivate Collection, New York, New York.NotesA sketch is on the reverse.Estimate $2,500—$3,500

169263264265263ANNA S. FISHERAmerican (1873-1942)FLORAL STILL LIFEoil on canvas, signed "Anna Fisher" upper right30 x 25 3⁄8 inchesPROVENANCEA Connecticut estate.NotesAn inscription discussing the provenance is on the reverse.Estimate $2,500—$3,500264LAURA COOMBS HILLSAmerican (1859-1952)GARDEN WITH VASEpastel on paper, signed "Laura Hills" upper left21 x 17 1⁄4 inchesPROVENANCESusan Powell Fine Art, Madison, Connecticut;Private Collection, Illinois.Estimate $3,000—$5,000265EDNA MULLERAmerican (20th century)NANTUCKET MARKEToil on canvas, signed "Edna Muller" lower right20 x 24 inchesPROVENANCEA Connecticut estate.Estimate $2,500—$3,500

170266267268266FREDERICK TRAP FRIISAmerican (1865-1909)VIEW OF A CHURCH COURTYARD, FLORENCEoil on canvas, unsigned, estate stamped on the reverse25 3⁄4 x 23 3⁄4 inchesPROVENANCEChristie's, New York, September 23, 1992, lot 154; Private Collection, Illinois.Estimate $2,000—$3,000267LAWRENCE MAZZANOVICHAmerican (1872-1959)LANDSCAPE OF VILLAGEoil on canvas, signed "Mazzanovich" lower left21 1⁄2 x 25 1⁄2 inchesPROVENANCESusan Powell Fine Arts, Madison, Connecticut;Private Collection, Illinois.Estimate $4,000—$6,000268EDWARD CHARLES VOLKERTAmerican (1871-1935)"SPRING WORK"oil on board, signed "Edw. Volkert" lower right12 x 16 inchesPROVENANCEPrivate Collection, Connecticut.EXHIBITEDLyme Art AssociationNotesA label from the Lyme Art Association is on the reverse.Estimate $4,000—$6,000

171— END OF SALE —269270271269OSCAR EDMUND BERNINGHAUSAmerican (1874-1952)A RIDE IN THE MOUNTAINSoil on board, signed "O.E. Berninghaus" lower left3 1⁄2 x 5 inchesPROVENANCEPrivate Collection, Chicago; PrivateCollection, New York.Estimate $3,000—$5,000270FRED DARGEAmerican (1900-1979)REACHING THE SUMMIToil on canvasboard, signed "F. Darge" lower right18 x 24 inchesPROVENANCEA New York, New York estate; Private Collection,New York.Estimate $3,000—$5,000271JOHN WHORFAmerican (1903-1959)POLING QUIET WATERSwatercolor on paper, signed "John Whorf" lower right14 3⁄8 x 21 3⁄8 inches (sight)PROVENANCEVose Galleries, Boston, Massachusetts; Private Collection, Boston, Massachusetts.Estimate $3,000—$5,000

172INDEXA Adams, Charles P. 208Albert, Ernest 12, 13American School 33, 193, 199, 233Amorsolo, Fernando Cueto 230, 231Anuszkiewicz, Richard 101, 102Appel, Karel 238B Bacher, Otto Henry 86Baker, William Bliss 196Barnet, William 65Beal, Reynolds 245Beard, Peter 144Bellows, Albert Fitch 176Bernard, Mile 59Berninghaus, Oscar E. 269Bernstein, Theresa Ferber 35, 36, 246,247Berthelsen, Johann 17Bisttram, Emil James 153Blakelock, Ralph Albert 195Bonnar, James King 166Borgrave, Elie 184Braithwaite, Bruce 140, 141Brega, David 106Brevoort, James Renwick 74Bricher, Alfred Thompson 78, 79Briscoe, Franklin D. 197Brown, John George 90, 116, 117, 118Brown, William Mason 229Browne, Byron 241Burliuk, David 48, 49, 189,190, 191, 243, 255C Cadmus, Paul 142Caivano, Varda 240Carlson, John F. 71, 72Casilear, John W. 63Castañeda, A. 150Chapman, Conrad Wise 124Chartrand, Esteban 155Chatterton, Clarence Kerr 1, 2, 37 Chialiva, Luigi 50Cimiotti, Gustave 219Clymer, John Ford 21Coates, Edmund C. 61Colman, Samuel 62, 177Cooper, Colin Campbell 217Coppedge, Fern Isabel 100Cornoyer, Paul 60Cortes, Edouard Leon 32Crane, Bruce 130Cropsey, Jasper Francis 64, 178D Dali, Salvador 145Darge, Fred 270Davies, Arthur Bowen 210Davis, Charles Harold 92Dawson, Montague 23, 24, 25, 26, 27, 40De Bergue, Tony Francois 44De Egusquiza, Rogelio 232De Haas, William F. H. 10, 28Delaunay, Sonia 183Dohanos, Stevan 20Douaihy, Saliba 139Dougherty, Paul 173Downes, Rackstraw 180Dubois, Paul 228Dyf, Marcel 161E Eaton, Charles Warren 125Eibisch, Eugeneiusz 256Elderen, Elie 184Enneking, John Joseph 133, 172Evergood, Philip 186, 187, 188F Fiene, Ernest 250Fisher, Anna S. 263Folinsbee, John Fulton 174Fountain, Desmond 80Frerichs, William Charles A. 131Friedman, Arnold 34Frieseke, Frederick Carl 66Friis, Frederick Trap 266Fuechsel, Herman 126, 198Fursman, Frederick F. 221G Gaisser, Max 43Garber, Daniel 237Gaul, Arrah Lee 122Gerry, Samuel L. 204Gilboa, Nahum 29, 30, 31Goldfarb, Shirley 242Good, John R. 181Goodelman, Aaron J. 248Greacen, Edmund William 68Gropper, William 260Gruppe, Emile Albert 69Gruppe, Emile A. 163, 169H Hall, George Henry 129, 227Harnett, William Michael 128Hart, William 8Hayden, Henri 41Henri, Robert 57, 58Herter, Albert 121Hibbard, Aldro Thompson 164, 165

173Hill, Thomas 119, 207Hill, Edward 179Hills, Laura Coombs 264Hollosy, Simon 45Horter, Earl 152Hutchins, Will 134, 135, 136, 137J Jacobsen, Antonio 38, 39Johnson, David 95, 206Jones, Hugh Bolton 93, 209K Kensett, John Frederick 94Klee, Paul 147Knight, Daniel Ridgway 46Koerner, Henry 251Kruseman Van Elten, H. D. 127Krushenick, Nicholas 103Kuehne, Max 5, 6L Lawlor, George W. 87Lever, Richard Hayley 3, 4, 7, 110,111, 112, 123, 211, 244Lewandowski, Edmund D. 22Lynes, Goerge Platt 143M Macy, William Starbuck 224Marsh, Reginald 249Martino, Antonio Pietro 170Mazzanovich, Lawrence 267Mcentee, Jervis 154, 201Menkes, Sigmund Joseph 47, 262Metcalf, Willard Leroy 200Miller, Richard Edward 84Morales, Armando 138Moran, Edward 11Moses, Grandma 85Mulhaupt, Frederick J. 14, 91Muller, Edna 265N Nisbet, Robert Hogg 223Noyes, George Loftus 54, 213, 214, 215O Olbinski, Rafal 257, 258, 259 Olinsky, Ivan 82P Padday, Charles Murray 162Palmer, Walter Launt 55, 70, 98 Panayotou, Angelos 52, 53Pancoast, Morris Hall 212Parton, Arthur 203Paxton, William Mcgregor 120Pearlstein, Philip 16Peirce, Waldo 261Peterson, Jane 56Picasso, Pablo 146, 148Poskas, Peter 109Pratella, Attilio 216Q Quartley, Arthur 9, 149R Raffaelli, Jean Francois 218Reid, Robert 160Richards, William Trost 77Richardt, Ferdinand 75, 76Robinson, Hal 132Rocca, Luigi 15Rosseau, Percival 97Roszak, Theodore J. 151Russell, Charles Marion 158Ryder, Chauncey Foster 225, 226Ryland, Robert Knight 18, 19S Scarlett, Rolph 105Schofield, Walter Elmer 73Scudder, Janet 159Severini, Gino 239Shapleigh, Frank Henry 156Sharp, Dorothea 88Shaw, Charles Green 104Simmons, Edward E. 235Simons, Pinckney Marcius 220Sloane, Eric 107Soyer, Moses 252, 253St. Leger Eberle, Abastenia 81Stock, Henry John 234Sword, James Brade 89Symons, George Gardner 99T Tacon, Edna 185Tait, Arthur Fitzwilliam 157Thaulow, Frits 51Thayer, Abbott Handerson 236Theise, Michael 108Thieme, Anthony 113, 114, 115, 167, 168Thompson, Alfred W. 175Tobiasse, Theo 254Turner, Helen Maria 83V Volkert, Edward Charles 268Vonnoh, Robert William 192, 194W Wall (Attributed), William G. 202Walter, Martha 67Warshawsky, Abel George 42Weigand, Gustave 222West, Richard Whately 205Whittredge, Worthington 96Whorf, John 271Wiggins, Guy Carleton 171Wood, Grant 182

174CONSIGNMENTS INVITEDTESTIMONIALSOn behalf of my mother and sister, I’d like to express to you our appreciation for the way you conducted the sale ofmy mother’s oil painting by M.J. Heade. Being complete novices with a valuable oil painting on our hands, we couldhave made any number of wrong decisions. Thanks to the guidance and the hard work of your firm we were ableto 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 JerseyApproximately three months ago, I walked into your gallery with a somewhat damaged, soiled painting. Since thattime, I’ve experienced a once in a lifetime journey. Your expertise, honesty, and candor were evident throughoutthis time. I thank you for your guidance and professionalism.-John, ConnecticutThank you for your succinct handling of my five offerings in your April auction. I was more than pleased with the finalfinancial 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 appreciationof a genuine treasure. Your enthusiasm is evident and infectious.-Luther, CaliforniaTo submit artwork for consideration please email photos toinfo@shannons.com or visit www.shannons.comJanuary 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 uswith their Fine Art, relying on our expertise, reputation and history of record prices. Since 1997 Shannon’s has sold over$100,000,000 in Fine Paintings, Drawings, Prints and Sculpture.Contact us today to see what we can do for your collection.

175BIDS MUST BE RECEIVED AT LEAST 24 HOURS PRIOR TO DAY OF SALE. Lot # Artist’s Name Maximum Bid (Excluding buyers premium) $ $ $ $ $ $ $ $ $Bidding Increments$1,000 – $2,000 . . . . . . . . . .$100$2,000 – $5,000 . . . . . . . . . .$250$5,000 – $10,000 . . . . . . . . .$500$10,000 – $20,000 . . . . . .$1,000$20,000 – $50,000 . . . . . .$2,000Over $50,000 . . . . . . . . . .$5,000Over $100,000 . . . . . . . .$10,000The Auctioneer has the discretion toaccept bids not commensurate withthis pattern.EMAIL OR FAX BIDS TO:49 Research Drive, Milford, CT 06460P: (203) 877-1711 | F: (203) 877-1719Email: info@shannons.com CHECK ONE: ABSENTEE BID PHONE BIDI understand that Shannon's will execute my bids as a convenience, and will not be held responsible for errors, or theinadvertent 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 tothe 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 willbe applied to the hammer price of all lots sold, to be paid by the buyer as part of the purchase price.Name DateAddressCity State Zip CountryPhone # Alternate#Fax# EmailSignature (required) Date

176Shannon’s LLC Fine Art Auctioneers acts solely as an agent for vari-ous owners and consignors. It exercises care in describing all itemslisted and uses judgment in attributing authorship, but offers noguarantee regarding authenticity, condition, or description. Theitems described in this catalog, which description may be amend-ed by notice or announcement at sale time, are offered for sale byShannon’s LLC as agent for various owners or others authorized tosell the items. Hereinafter, Shannon’s LLC is referred to as the Sellersagent. The owners or others authorized to sell the items are here-inafter referred to as Sellers. The person or persons acknowledgedby 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 theConditions of Sale. By placing of a bid, whether present at the salein person or by agent, by written or oral bid, by telephone or othermeans, 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 recordof the final sale price and of the successful buyer shall be con-clusive, Shannon’s LLC reserves the right to withdraw any itembefore or during the sale. 3. Shannon’s LLC reserves the right to sell items which are not listedin 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. Absentparties may place bids by mail, email, fax or in person prior to thesale. Order bids must be placed 24 hours prior to the day of sale.Shannon’s LLC will execute such bids up to the maximumamount specified. Phones must be reserved 24 hours prior to theday of sale. Phone bidders are encouraged to leave a cover bidin case of technical failure. Shannon’s is not responsible for errorsor 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, tobe paid by the buyer as part of the purchase price. Paymentmay be made by cash, check or wire transfer. Visa, MasterCardand 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 andVA and remit the appropriate sales tax. If we do not collect salestax in your state, it is still your responsibility to pay the proper usetax on your purchases. ALL ITEMS MUST BE PAID FOR WITHIN 14 DAYS OF THE SALE, ATWHICH POINT THEY WILL BE RELEASED FOR SHIPMENT OR DELIVERY.7. Limited Warrantee: Although Shannon’s LLC exercises due carein 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 requestfor refund on the grounds of authenticity of authorship only andonly under the following conditions:A. Notification must be made to Shannon’s in writing within 7days of receipt of the item.B. The items must be returned within 28 days of the sale, accompanied by written testimony from a recognizedauthority that the lot in question is a forgery. C. The limited warrantee does not extend to the lots identifiedas 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, andrisk of the Buyer, and Shannon’s assumes no responsibility for theitems or the timing of delivery. Insurance for in transit items is theresponsibility of the buyer. All items must be removed within 30days 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 willbecome 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 thatare estimated for $5,000 or more against the computerizeddatabase of stolen or lost artwork maintained by the Art LossRegister. A search certificate can be provided by the Art LossRegister for an additional fee. The Art Loss Register does notguarantee the provenance or title of any catalogued itemagainst which they search, and will not be liable for any director consequential losses of any nature howsoever arising. Thestatement is not to affect, detract from, or override Shannon'sConditions of Sale, and in the event of any conflict, Shannon'sConditions of Sale will take priority to the terms of this statement.BIDDING AT THIS AUCTION, WHETHER IN PERSON, BY AGENT, ORDERBID, TELEPHONE, INTERNET OR OTHER MEANS, CONSTITUTES YOURACKNOWLEDGEMENT AND ACCEPTANCE OF THESE "CONDITIONS OF SALE". CONDITIONS OF SALEAfter: A work of art or object made in the style of an artist or maker, but not by the artist. Sometimes refers multiples that may have used anartist’s mold or plate, but were reproduced by someone other than the artist, including posthumous works. Can also be used to describe adirect 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 theartist. 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 artistor 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 torefer to the style of a particular artist or artistic movement, generally made long after that time period.GLOSSARY OF TERMS

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