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20 CELEBRATING Fine American and European Paintings Drawings Prints and Sculpture Milford Connecticut October 26 2017

Artist Index 172 Absentee Phone Bid Form 175 Conditions of Sale 176 Consignment Information 174 Directions 174

finE amEriCan a n D EurOpEan painTingS DraWingS prinTS a n D SCulpTurE AUCTION INFORMATION Thursday October 26 2017 6 00p m PREVIEW DATES TIMES October 16 October 25 October 21 Weekdays 11 a m 6 p m Saturday 10 a m 3 p m Closed Sundays October 26 Thursday 12 p m 5 30 p m The sale will begin at 6 00 p m EDT on Thursday October 26 2017 for future consignments please contact gene Shannon or Sandra germain Shannon s fine art auctioneers 49 research Drive milford CT 06460 www shannons com info shannons com 203 877 1711 fax 203 877 1719 front cover illustration 39 detail Back cover illustration 52 20 CELEBRATING

1 JOHANN BERTHELSEN american 1883 1972 LITTLE CHURCH AROUND THE CORNER AT CHRISTMAS TIME oil on canvas 30 x 25 inches signed Johann Berthelsen lower right PROVENANCE The artist private Collection new York new York descended in the family to the present owner accompanied by a letter of authenticity from The Johann Berthelsen Conservancy llC according to lee Berthelsen this painting depicts lee his father Johann and their dog Wags bringing home a Christmas tree Estimate 5 000 7 000 1 2 JOHANN BERTHELSEN american 1883 1972 5TH AVENUE AND 23RD STREET IN WINTER NEW YORK oil on canvas 18 x 14 inches signed Johann Berthelsen lower right PROVENANCE Vose galleries Boston massachusetts private Collection new York private Collection Connecticut Estimate 5 000 7 000 2 2

3 GEORGE LOFTUS NOYES american 1864 1954 EARLY SPRING ROXBURY CIRCA 1899 oil on canvas 22 x 18 inches signed g l noyes lower left PROVENANCE Jordan marsh Company private Collection new Hampshire Skinner Boston 2008 Estimate 5 000 7 000 4 WILLIAM CHADWICK american 1879 1962 BOATHOUSE OLD LYME oil on canvas 20 x 24 inches signed W Chadwick lower left PROVENANCE Estate of the artist Estimate 5 000 7 000 3 4 3

5 5 RICHARD HAYLEY LEVER 6 RICHARD HAYLEY LEVER LIGHTHOUSE WITH BOATS oil on panel 12 x 15 3 4 inches unsigned PROVENANCE Clayton liberatore new York new York private Collection new York Estimate 7 000 10 000 FISHING FLEET BROADSTAIRS ENGLAND 1903 oil on canvas 10 x 13 inches signed Hayley lever lower right titled and signed on the reverse PROVENANCE Clayton liberatore new York new York private Collection new York Estimate 5 000 7 000 american 1876 1958 6 4 american 1876 1958

7 7 GUY CARLETON WIGGINS american 1883 1962 SUMMER MORNING GLOUCESTER oil on board 16 x 12 inches signed guy Wiggins lower right titled on the reverse PROVENANCE private Collection illinois Estimate 15 000 25 000 5

8 8 ERIC SLOANE american 1905 1985 PENNSYLVANIA AUTUMN oil on masonite 24 x 44 1 2 inches signed Eric Sloane and titled lower right PROVENANCE private Collection new Jersey Estimate 12 000 18 000 6

9 9 ERIC SLOANE american 1905 1985 SUNRISE ON THE FARM oil on masonite 24 x 48 inches signed Eric Sloane lower left PROVENANCE private Collection new Jersey Estimate 12 000 18 000 7

10 ROBERT VICKREY american 1926 2011 MARBLE PLAYER egg tempera on masonite 11 1 4 x 16 1 8 inches signed robert Vickrey lower right PROVENANCE private Collection massachusetts labels on the reverse from Columbus gallery of fine arts midtown galleries new York new York Estimate 5 000 7 000 11 ROBERT VICKREY 10 american 1926 2011 GIRL WITH BUTTERFLY egg tempera on board 11 7 8 x 16 3 4 inches signed robert Vickrey lower left PROVENANCE private Collection massachusetts Estimate 4 000 6 000 11 8

12 12 HENRY GASSER american 1909 1981 INDUSTRIAL SCENE oil on board 30 x 40 inches signed H gasser lower right PROVENANCE acquired from the artist by milton gelman private Collection new York ILLUSTRATED Henry gasser Techniques of picture making new York reinhold publishing Corporation 1962 p 104 illus Estimate 15 000 25 000 The present lot is a masterwork by Henry martin gasser This large composition depicts a bustling industrial scene Cars are moving along the bridge smoke is billowing out from factories and steel mills along the river and trains are bringing in goods and people gasser created vistas that many people could identify with in the early 20th century cities like the one depicted were popping up all along the rivers and harbors of the east coast The factories mills and growing infrastructure were common themes for gasser gasser s work is widely collected in public institutions and private collections across the united States He excelled as a painter and watercolor artist He also wrote several books on drawing instruction and taught numerous students in new York and new Jersey 9

13 13 HENRY GASSER american 1909 1981 TELEPHONE POLES IN THE SNOW oil on canvas 24 x 36 inches signed H gasser lower left PROVENANCE William Doyle galleries new York april 1 1987 lot 165 private Collection new York Estimate 4 000 6 000 14 JOHN R GRABACH american 1886 1981 IN THE RIGGING oil on wood panel 42 x 36 inches signed John r grabach lower left center signed on the reverse PROVENANCE acquired from the artist Sotheby s may 15 1991 lot 238 private Collection new York new York Estimate 2 500 3 500 14 10

15 15 LEON DABO american 1868 1960 SAILBOATS AMONG THE MOUNTAINS oil on board 16 x 20 inches signed leon Dabo lower right PROVENANCE private Collection florida Estimate 4 000 6 000 16 JOHN WHORF american 1903 1959 FISHERMAN S MOONS DOUBLE SIDED WORK watercolor and gouache on paper 14 1 2 x 21 inches sight signed John Whorf lower right PROVENANCE private Collection greenwich Connecticut note This work has an unfinished sketch on the reverse Estimate 6 000 8 000 16 11

17 17 PETER TUNNEY american b 1961 THANK YOU collage on canvas 60 x 48 inches signed peter lower right PROVENANCE private Collection new York inscribed on the reverse This piece is guaranteed original and authentic a gift to the Suroff XO peter What can i say But Thank You lots of love peter april 15 2013 Estimate 8 000 12 000 12

18 18 ROBERT COTTINGHAM american b 1935 A gouache on paper 11 3 4 x 8 1 2 inches image signed Cottingham and dated 1996 lower right PROVENANCE forum gallery new York new York pensler galleries Washington D C EXHIBITED robert Cottingham Empire forum galleries new York new York february 24 april 9 2011 a related work arT sold at Sotheby s new York april 2 2008 lot 169 Estimate 8 000 12 000 13

mauricio nogueira lima is a famous member of the latin american Concrete art movement lima was among the first trained visual designers in his native Brazil and he became one of the country s best known designers working as a painter architect graphic artist and teacher at the age of two lima moved to Sao paulo with his family from 1947 1950 he studied at the institute of fine arts ufrgS in porto alegre When he returned to Sao paulo in 1951 he took courses in visual communication industrial design and advertising at the institute of Contemporary art from 1953 1957 lima studied architecture at the mackenzie presbyterian university in Sao paulo in 1958 one of his first major corporate commissions came from programming committee of the first international Textile fair in 1974 lima started teaching at various universities in Sao paulo He earned a master s and doctoral degree in urban environmental structures at the university of Sao paolo During the 1980s and 1990s he completed urban architectural commissions in public spaces such as roosevelt Square Sao Bento square and various subway stations in Sao paulo at the iCa he met other notable artists including alexandre Wollner antonio maluf and Waldemar Cordeiro Cordeiro the leader of Concretism in Brazil urged lima to join grupo raptura in 1953 further associating lima with the Concrete art movement grupo raptura was one of two concrete art groups that formed in Brazil in the early 1950s The Concrete artists formed in response to modernism a rejection of figurative painting and for raptura an embrace of constructivist rationalism lima and his fellow Concrete artists wanted to develop a type of art that was universal and objective thus putting Brazilian art in an international context They distilled paintings to planes lines and color although the movement had a tremendous impact on the art that would follow it was ultimately short lived The ideals of the group were strong and polarizing leading to the emergence of neo Concrete artists in the present untitled work lima s aptitude for strong graphic design is evident as is the connection to Op art and other popular art historical movements in the 1950s and 60s There is nothing uniquely Brazilian about this work instead it is appealing for its objective understanding of the international modernism of its time 14

19 19 MAURICIO NOGUEIRA LIMA Brazilian 1930 1999 UNTITLED watercolor on paper 19 3 4 x 19 3 4 inches signed mauricio n lima and dated 59 lower right PROVENANCE private Collection Oregon Estimate 20 000 30 000 15

20 ALEX KATZ american b 1927 BLUE UMBRELLA 1 1978 color lithograph 20 x 30 inches signed alex Katz and numbered 98 120 lower left PROVENANCE Brooke alexander gallery new York new York private Collection Keene new Hampshire published by gHJ graphics printed by Styria Studio new York City a letter from Brooke alexander inc dated 1984 and a print certification from gHJ graphics inc accompanies the lot Estimate 6 000 8 000 20 21 PIERRE SOULAGES french b 1919 EAU FORTE XXX 1974 color lithograph 18 1 2 x 11 1 4 inches signed Soulages lower right and numbered 52 100 lower left PROVENANCE The Harvard COOp Cambridge massachusetts private Collection Keene new Hampshire a letter of authenticity from pablo lozada Echenique is included with the lot Estimate 7 000 10 000 21 22 PIERRE SOULAGES french b 1919 22 16 SERIGRAPHE NO 16 COMPOSITION IN BLUE 1981 serigraph 41 3 8 x 29 1 2 inches signed Soulages numbered 11 45 and inscribed Ea lower right PROVENANCE Circle gallery San francisco California private Collection Keene new Hampshire Original documentation from the publisher accompanies the lot Estimate 5 000 7 000

23 23 ELLSWORTH KELLY american 1923 2015 COLORED PAPER IMAGE XIX BROWN BLUE BLACK GREEN VIOLET 1976 colored and pressed paper pulp 32 x 31 inches signed Kelly lower right numbered 5 17 lower left PROVENANCE private Collection Connecticut ILLUSTRATED axsom 1987 no 159 Estimate 10 000 15 000 17

24 24 WILLIAM STANLEY HASELTINE american 1835 1900 NARRAGANSETT BAY oil on canvas 12 x 22 inches initialed WSH lower left PROVENANCE private Collection new York new York private Collection pennsylvania Estimate 6 000 8 000 25 18 25 WILLIAM BRADFORD american 1823 1892 SHIP OFF THE COAST OF LABRADOR oil on canvas 9 x 14 inches signed lower right PROVENANCE private Collection Connecticut Estimate 8 000 12 000

26 26 EDWARD GAY american 1837 1928 ON THE SHORE oil on canvas 26 x 39 3 4 inches signed Edward gay and dated 1883 lower left PROVENANCE private Collection Brooklyn new York a label from the american art association new York new York is on the reverse Estimate 8 000 12 000 27 MAURITZ FREDERICK H DE HAAS american 1832 1895 SHIPS NEAR A LIGHTHOUSE oil on canvas 12 x 18 inches signed m f H De Haas lower left PROVENANCE private Collection St louis missouri Estimate 4 000 6 000 27 19

A 28 B C 28 ALFRED THOMPSON BRICHER american 1837 1908 GROUP OF FOUR ROCKS AT GRAND MANAN 1889 MORNING AT GRAND MANAN 1889 ROCKS AND SURF 1882 KENNEBUNKPORT MAINE 1876 watercolor en grisaille with Chinese white on paper a 3 1 4 x 7 3 4 b 3 1 4 x 7 1 2 c 3 1 2 x 7 1 2 d 3 x 7 inches signed with artist s monogram lower right all PROVENANCE These drawings were purchased as an intact sketchbook from the artist s niece by Clayton liberatore gallery of new York City and Bridgehampton long island private Collection Connecticut Estimate 2 000 3 000 20 D

29 29 ALFRED THOMPSON BRICHER american 1837 1908 LOW TIDE GRAND MANAN ISLAND oil on canvas 15 x 33 inches signed aT Bricher lower right and inscribed copyright 1899 PROVENANCE private Collection northamptonshire England Bricher exhibited four views of low tide on grand manan island new Brunswick at the national academy between the years 1898 and 1901 marlton s Cove matthew s Cove Hetherington s Cove now in the collection of the San antonio museum of art and Castilla Estimate 40 000 60 000 21

30 ALFRED THOMPSON BRICHER american 1837 1908 WATERFALL IN THE FOREST oil on canvas 14 3 4 x 13 1 4 inches signed a T Bricher and dated 72 lower left PROVENANCE private Collection new York Estimate 5 000 7 000 31 AMBROSE ANDREWS american 1805 1859 IN THE CATSKILLS oil on canvas 13 3 8 x 20 inches signed a andrews and dated 1850 lower right PROVENANCE private Collection new York private Collection Connecticut Estimate 5 000 7 000 30 31 22

32 ASHER BROWN DURAND american 1796 1886 MOUNTAIN LANDSCAPE WITH HORSES oil on canvas 14 5 8 x 14 1 2 inches unsigned PROVENANCE private Collection St louis missouri Estimate 12 000 18 000 32 33 DAVID JOHNSON american 1827 1908 OLD MILL WEST MILFORD NEW JERSEY oil on canvas 18 x 16 inches initialed DJ lower center and dated 1851 lower right PROVENANCE Thomas Colville fine art guilford Connecticut private Collection Connecticut ILLUSTRATED a picture of the same subject is owned by the Brooklyn museum and is illustrated in revealed masters 19th Century american art facing page 88 in a 19th Century american frame Estimate 8 000 12 000 33 23

34 34 NORMAN ROCKWELL american 1894 1978 BOY IN SANTA SUIT pencil on paper 15 3 4 x 12 3 4 inches sight initialed n r lower right PROVENANCE private Collection Connecticut private Collection new York private Collection Ohio This work is a study for a Hallmark Christmas card 1957 Estimate 25 000 35 000 24

35 35 NORMAN ROCKWELL american 1894 1978 GOOD DEEDS pencil on paper 15 3 4 x 12 7 8 inches sight initialed n r lower right PROVENANCE private Collection Connecticut private Collection new York private Collection Ohio This work is a study for the Saturday Evening post cover Dec 6 1924 Estimate 30 000 50 000 25

Farm life was all I knew for the first 20 years of my life In painting these canvases I felt again the vastness of endless skies experienced again the penetrating cold of Nebraska winters lived again as farmers live in spirit I am very much a farmer Dale nichols Dale nichols was born in rural David City nebraska in 1904 His early life had a profound influence on his paintings which centered on the recreations of farm life He stated i feel that an artist paints best what he has been exposed to during his youth i think my memory paintings of my home state may be my only creations that i sign with full confidence The search for pure american art was growing and the public was interested in scenes of american life nichols emerged as an artist when regionalism and rural regionalism were growing as a collecting genre His paintings are classified as a succession from grant Wood Thomas Hart Benton and John Steuart Curry nichols studied in Chicago at the academy of fine arts and the art institute with Carl Wentz He became a successful illustrator watercolorist designer writer lecturer block printer and painter in the 1930s and 40s he created artwork for direct mail industrial advertising from 1942 1948 he succeeded grant Wood as art editor of the Encyclopedia Britannica During his career he had eighteen solo exhibitions and exhibited in more that eighty regional and national exhibitions in T hrough the C louds offered here nichols depicts a dramatic sky that seems to be ripping open to let light shine through a lone farmer stands admiring the view from the path between his house and his barn The sense of eeriness and quiet in T hrough the C louds is characteristic of nichols work it gives the painting a sense of otherworldliness barns and rolling hills dominate the landscape rather than skyscrapers and pavement nichols distinctive style has attracted collectors since the 1930s american collectors at that time looked to buy rural regionalist art to capture the disappearing idyllic agricultural lifestyle nichols work has been avidly collected in numerous public and private collections throughout the country including the metropolitan museum of art and the Smithsonian american art museum 26

36 36 DALE NICHOLS american 1904 1995 THROUGH THE CLOUDS oil on canvas 18 x 24 inches signed Dale nichols and dated 1939 lower left PROVENANCE association of american artists new York new York private Collection California Shannon s fine art auctioneers april 26 2007 lot 59 There are labels on the reverse from the art reference Bureau new York new York and the Circulating gallery of the Dayton art institute Estimate 40 000 60 000 27

37 37 GEORGE GARDNER SYMONS american 1863 1930 NEW ENGLAND WINTER oil on canvas 25 x 30 inches signed gardner Symons lower left PROVENANCE The gordon art galleries Detroit michigan purchased by mr E C Sullivan Detroit 1925 By descent to mary Sheridan Hamilton Ontario By descent to a private Collection Toronto private Collection Connecticut Estimate 10 000 15 000 28

38 38 WALTER LAUNT PALMER american 1854 1932 THE PINE GROVE oil gouache and graphite on millboard 30 x 22 inches signed W l palmer lower right inscribed and titled on the reverse PROVENANCE The artist sale american art association new York 168 american paintings and sculpture contributed by artists for the relief fund of the american artists relief Committee of One Hundred co operating with the fraternit des artistes paris and for new York allied War relief may 4 1917 lot 154 Collier Whittemore Baird new Jersey and new York Thence by descent to the previous owner EXHIBITED new York national academy of Design 1912 no 164 as under the pines Washington DC The Corcoran gallery of art The paintings of Walter launt palmer 1913 no 11 ILLUSTRATED n levy american art annual Washington 1917 vol XiV p 382 maybelle mann Walter launt palmer poetic reality Exton pennsylvania 1984 p 173 no 1155 Estimate 20 000 30 000 29

abbott fuller graves the best flower painter in Boston 1 choose his specialty from the start of his career graves studied European flower painting in the ateliers of the french impressionists figure painting at the academie Julien and was invited to exhibit at the paris Salons and the Columbian Exhibition in Chicago The obituary for his memorial exhibition summarizes his career the best part of his artistic life was dedicated to flowers and all that they suggested in the way of beauty 2 graves was born in 1859 in Weymouth massachusetts He began working in a greenhouse at the age of 16 where he is said to have sketched flowers in his free time a few years later he established a studio in Boston where he taught flower painting in 1884 graves took a trip to paris specifically to study flower painting There he met Edmond Tarbell who would become a lifelong friend in 1885 after returning from his first trip to paris graves became an instructor of flower painting at the Cowles School of art There he befriended Childe Hassam who would also become a lifelong friend in Boston graves exhibited at the Boston art Club joined the paint and Clay Club the Society of Boston Watercolor painters the Boston art Students association the Boston art Club and the Copley Society in 1881 he established his own studio on Tremont Street and in 1886 opened another studio on Washington Street in 1887 together with his new wife montie may aldrich graves left for Europe to pursue a three year study of figurative painting at the academie Julien His work was readily received into the paris salons of 1888 and 1889 at the academie he studied figure painting with fernand Cormon a leading historicist painter in 1891 graves returned to Boston and established his own studio and art school in Boston That summer graves took his family on vacation to Kennebunkport maine The family was charmed and graves begin to paint scenes of Kennebunkport gardens doorways and genre scenes of the various characters in the village in 1895 the family purchased their first house in Kennebunkport and in 1906 the family built Westlook a permanent house and studio graves best known works are from this period from the late 1890s to the early 1920s The present canvas In the G arden captures graves remarkable ability to paint flowers his skill as a figurative painter and the breathtaking views of the new England coastline The scene although unidentified is probably a new England coastal town a day trip away from Kennebunkport graves would often travel to paint the nearby gardens of his friends and patrons a critic commented When you look at one of graves gardens you think you have that garden somewhere and you have because it is a garden you have dreamed about 1 gerdts Down G arden Paths p 84 2 A bbott Fuller G raves Brick Store museum n p 30

39 Property of The Manoogian Collection 39 ABBOTT FULLER GRAVES american 1859 1936 IN THE GARDEN oil on canvas 24 x 20 inches signed abbott graves lower left PROVENANCE Henry goodson ives pittsfield massachusetts By bequest to grace mackintosh ives foster his widow Chevy Chase maryland Helen mackintosh Shepard her sister Washington DC ann Shepard green her daughter Washington DC Barbara Henderson and Susann Eastridge her daughters marshall Virginia Barridoff galleries august 5 2005 lot 146 The manoogian Collection Detroit michigan Estimate 100 000 150 000 31

40 ROBERT REID american 1862 1929 YOUNG WOMAN WITH FLOWERS pastel on card 22 x 18 inches signed r reid lower right PROVENANCE private Collection philadelphia pennsylvania David and David gallery philadelphia pennsylvania private Collection philadelphia pennsylvania Estimate 8 000 12 000 40 41 EDWARD HENRY POTTHAST american 1857 1927 THE MAROON HAT C 1922 oil on board 16 x 12 inches signed E potthast lower right PROVENANCE private Collection Thomas Colville fine art guilford Connecticut private Collection Connecticut EXHIBITED new York allied artists of america 8th annual Exhibition 1922 as Study West palm Beach florida Trosby galleries french and american impressionist and post impressionist paintings and Sculpture 1 4 march 1974 Estimate 7 000 10 000 41 32

42 ABBOTT FULLER GRAVES american 1859 1936 SOUTHERN BALCONY PROBABLY NEW ORLEANS oil on canvasboard 15 3 4 x 11 7 8 inches signed abbott graves lower left PROVENANCE private Collection California Estimate 12 000 18 000 42 43 ABBOTT FULLER GRAVES american 1859 1936 A NEW ENGLAND DOORWAY oil on board 12 1 4 x 10 1 2 inches unsigned PROVENANCE private Collection Boston massachusetts Estimate 4 000 6 000 43 33

44 44 HENRY RASCHEN 45 HENRY RASCHEN NATIVE AMERICANS ON THE HUNT oil on canvas 26 1 4 x 43 1 4 inches unsigned PROVENANCE Shirley and Benjamin flayderman Collection Boston massachusetts by descent to the present owner Estimate 7 000 10 000 INDIANS IN CAMP oil on canvas 26 1 8 x 46 1 4 inches signed H raschen lower left PROVENANCE Shirley and Benjamin flayderman Collection Boston massachusetts by descent to the present owner Estimate 5 000 7 000 american 1854 1937 45 34 american 1854 1937

46 46 GILBERT GAUL american 1855 1919 TWO INDIANS IN A CANOE FOREST INTERIOR C 1890 oil on canvas 30 x 40 inches signed gilbert gaul lower left PROVENANCE Sold to benefit the acquisition fund of the Hood museum of art Dartmouth College Hanover new Hampshire m r Schweitzer gallery new York Thomas Colville fine art guilford Connecticut private Collection Connecticut Estimate 15 000 25 000 35

47 47 AIDEN L RIPLEY american 1896 1969 BLACK DUCKS COMING IN watercolor on paper 18 1 2 x 28 1 2 inches sight signed a lassell ripley and inscribed lower left PROVENANCE The Sporting gallery Bookshop new York The Estate of John Kingsley Connecticut Estimate 15 000 25 000 36

48 48 HARRY LEITH ROSS american 1886 1973 HUNTER AND DOG oil on canvas 28 x 25 inches signed leith ross lower right PROVENANCE plymouth union gallery plymouth meeting pennsylvania Christie s September 27 1990 lot 203 private Collection Ohio Estimate 12 000 18 000 37

in 1889 after albert Bierstadt completed his iconic painting The last of the Buffalo he headed north to montreal where he caught a train headed to the far West Traveling by train toward the pacific northwest he arrived in Banff alberta on august 5th from there he decided to go directly to the coast where he boarded the side wheeler steamship A ncon On august 28th the A ncon ran aground in loring Bay alaska stranding Bierstadt and the other passengers for five days Bierstadt described the experience to his wife as a narrow escape Before being rescued they lived in indian huts and salmon canneries Bierstadt further wrote he was busy all the time and have 60 studies in color and two books of drawings of alaska One of Bierstadt s most famous studies The Wreck of the ancon in loring Bay museum of fine arts Boston derived from this trip many of the 60 studies in color have not specifically been identified as pertaining to this trip as they were relatively cursory studies created quickly Salmon Fishery V illage is clearly one of Bierstadt s more accomplished works featuring two indian women sitting in the foreground and several birch bark canoes either sprawled on the ground or up on a canoe rack The village itself is clearly a working village not a romantic scene from the Western plains a lone figure stands in the background possibly working on the canoe on the rack Clearly a field study Salmon Fishery V illage reveals Bierstadt s ability to quickly capture the essentials of his subject with a unique portrayal of a working village Bierstadt was born in Solingen germany in 1830 He moved with his family when he was two years old to new Bedford massachusetts as a young artist he travelled back to germany to seek formal instruction ironically in Europe he met american artists Emanuel leutze and Worthington Whittredge who served as mentors to Bierstadt in 1858 a year after returning from Europe Bierstadt exhibited his first painting in new York at the annual exhibition of the national academy of Design it was received with grand critical acclaim and he was elected an honorary member of the academy following this successful reception he began taking trips west to paint the american landscape He established a gallery at the Tenth Street Studio Building inviting the public to view his monumental canvases of the rockies the Yosemite Valley and other views of the western landscape Bierstadt continued to spend time in California but also travelled back to Europe where he maintained a strong market for his work in 1867 he was invited to show two paintings privately to Queen Victoria Despite a successful career towards the end of his life american tastes were changing and he struggled as an artist in 1889 his submission to the american committee for the paris Exposition universelle was rejected in 1902 Bierstadt died in new York as struggling artist His work was not properly revaluated until the 1960s and he is now one of the best known american artists of the 19th century 38

49 49 ALBERT BIERSTADT american 1830 1902 SALMON FISHERY VILLAGE oil on paper 12 x 17 inches sight unsigned PROVENANCE lockwood de forest most likely acquired directly from albert Bierstadt By descent in the lockwood de forest family private Collection This work will be included in the albert Bierstadt catalogue raisonne project by melissa Webster Speidel and a letter from ms Speidel will accompany the lot Estimate 30 000 40 000 39

50 50 WILLIAM LOUIS SONNTAG SR american 1822 1900 LUMINIST LANDSCAPE oil on canvas 30 x 50 inches signed Sonntag lower left PROVENANCE private Collection new Jersey Estimate 15 000 25 000 40

51 51 JOHANN HERMANN CARMIENCKE german american 1810 1867 HUDSON RIVER LANDSCAPE oil on canvas 27 x 40 inches signed J H Carmiencke and dated 1863 lower left PROVENANCE alexander gallery new York new York Questroyal fine art new York new York private Collection St augustine florida Estimate 15 000 25 000 41

Hayley lever is one of the freshest and most vigorous painters who are still allied with the academy He does not depend upon stale academic recipies but prefers to see and paint things in his own way his work shows an invigoratingly personal point of view A rts 1929 at the turn of the nineteenth century the ancient Cornish fishing town of St ives England was home to a thriving artists colony that lured both European as well as american artists to paint along the shores and piers richard Hayley lever was a frequent visitor to St ives and painted when the tide was out and when it was in at all hours sunrise midday sunset and moonlight 1 lever was originally from adelaide australia and began his artistic training there at the prince alfred College upon graduation he attended James ashton s academy of the arts also in adelaide where he was encouraged to paint out of doors around 1894 lever moved to England settling and painting in london and by 1899 he moved to St ives to study with the British marine painters Julius Olsson and algernon Talmage strong proponents of painting in plein air after a trip to the Continent in 1908 lever was introduced to the works of Vincent van gogh and his style took on a more vivid color palette and bolder brushwork with an emphasis on line and two dimensional form He was profoundly influenced by the works of Van gogh and in homage he created a series of paintings called V an G ogh s Hospital Holland lever immigrated to the united States in 1912 and settled in new York City where he had a prosperous painting career He painted a number of scenes of manhattan and later opened a studio in gloucester massachusetts that he maintained for many years from 1919 to 1931 he taught at the art Students league in new York City and exhibited his work throughout the united States lever was a member of the national academy of Design national arts Club new Society of artists royal British artists royal institute of Oil painters and the royal West of England academy His works are displayed in art institutions throughout the country including the Baltimore museum of art Corcoran gallery of art Washington D C Detroit institute of arts los angeles County museum of art Brooklyn museum and The metropolitan museum of art 1 Carol lowrey Hayley Lever 1876 1958 new York Spanierman gallery 2003 13 42

52 52 RICHARD HAYLEY LEVER american 1876 1958 THE OLD LIGHTHOUSE AND FLEETS OF ST IVES oil on canvas 50 x 60 inches signed Hayley lever lower left PROVENANCE DeVille galleries Torrance California private Collection malibu California Estimate 80 000 120 000 43

53 53 RICHARD HAYLEY LEVER american 1876 1958 NIGHT AT ST IVES 1905 oil on canvas 10 x 13 inches signed Hayley lever lower left PROVENANCE Clayton liberatore new York new York private Collection new York Estimate 4 000 6 000 54 44 54 RICHARD HAYLEY LEVER american 1876 1958 DOUARNENEZ BRITTANY CIRCA 1908 oil on canvas 8 x 10 1 4 inches signed Hayley lever lower right inscribed Douarnenez Brittany 1904 on the reverse PROVENANCE The Estate of Beatrice a nobel Sheffield massachusetts Estimate 4 000 6 000

55 55 RICHARD HAYLEY LEVER american 1876 1958 DOUARNENEZ BRITTANY oil on board 16 x 20 inches signed Hayley lever lower right signed and titled on the reverse PROVENANCE Clayton liberatore new York new York private Collection new York Estimate 20 000 30 000 45

56 56 ANTOINE BOUVARD french 1913 1972 VENETIAN SUNSET oil on canvas 26 x 36 inches signed marc aldine the artist s nom de plume lower right PROVENANCE private Collection Oregon Estimate 12 000 18 000 46

57 57 EDOUARD LEON CORTES french 1882 1969 RUE ROYALE MADELEINE oil on canvas 21 1 2 x 18 inches signed Edouard Cortes lower right PROVENANCE William a findlay inc Chicago illinois Estimate 20 000 30 000 47

58 58 ALFRED POLLENTINE British 1836 1890 A VIEW IN VENICE oil on canvas 30 x 48 inches unsigned PROVENANCE private Collection Hilton Head South Carolina Estimate 6 000 9 000 59 48 59 EUGENE GALIEN LALOUE french 1854 1941 VUE DES QUAIS DE SEINE oil on canvas 13 x 18 inches signed J lievin the artist s nom de plume lower right PROVENANCE Carvajal antibes france Estimate 5 000 7 000

60 60 ODOARDO BORRANI italian 1834 1905 FEEDING TIME ON THE FARM oil on canvas 16 x 19 3 4 inches signed Borrani lower left PROVENANCE private Collection new Jersey inscribed in italian on the reverse label on the reverse from C E H Schwicker firenze Estimate 10 000 15 000 61 PINCKNEY MARCIUS SIMONS american 1867 1909 THE AMBITIOUS MODEL oil on panel 14 7 8 x 18 inches signed marcius Simons lower left PROVENANCE private Collection new York Estimate 6 000 8 000 61 49

62 62 LEMUEL EVERETT WILMARTH american 1835 1918 PEACHES oil on canvas 14 x 17 inches signed l E Wilmarth and dated 1870 lower left PROVENANCE Sloan Schatzberg inc new York Thomas Colville fine art guilford Connecticut private Collection Connecticut EXHIBITED new York national academy of Design 1877 no 615 in a 19th Century american frame Estimate 8 000 12 000 63 50 63 ALBERT FRANCIS KING american 1854 1945 STILL LIFE WITH BASKETS PEACHES AND GRAPES oil on canvas 18 x 24 inches signed f King lower right PROVENANCE private Collection new Jersey Estimate 6 000 8 000

64 IVAN OLINSKY american russian 1878 1962 DOROTHY oil on canvas 16 x 12 inches signed ivan g Olinsky upper right PROVENANCE Salmagundi Club new York new York private Collection new Jersey Estimate 6 000 8 000 65 CONTINENTAL SCHOOL 19th Century STILL LIFE WITH FLOWERS oil on canvas 24 x 38 inches signed illegibly lower right PROVENANCE private Estate Kingston new York Estimate 5 000 7 000 64 65 51

William mason Brown is a second generation Hudson river School artist Early on in his career he did some portrait painting but mainly became known for his Hudson river landscapes after 1869 he became famous for his highly detailed still life paintings His still lifes reached a large audience through chromolithographic prints Brown was born in Troy new York in 1828 in upstate new York he studied with Thomas grinnell and portrait artist abel B moore in 1852 he moved with moore to newark new Jersey to complete an apprenticeship as a portraitist He was inspired by Thomas Cole and the artists of the Hudson river School it was around this time in the 1850s that Brown painted landscapes it was also around this time that Brown settled in Brooklyn new York in Brooklyn Brown studied with local artists and set up his own studio most of Brown s contemporaries living in Brooklyn were pre raphaelites This group of artists painted exacting landscapes with microscopic detail Brown applied this technique to his Hudson river landscapes This approach to painting easily transitioned into an aptitude for still lifes The present lot flowers and fruits of Summer is a masterwork by Brown The composition is filled with the fruits of summer cherries currants roses petunias and other delicate flowers and foliage The still life rests in a naturalistic background as if the overfilled basket had just been placed on the forest floor Everything is painted with rich detail under magnification the viewer can see the seeds and the veins in each small golden currant in the 1860s and 1870s Brown s still lifes were widely reproduced as chromolithographs These highly colored and often hand detailed prints were commonly hung in dining rooms during this period They were published by a variety of publishers who purchased image rights Currier and ives are among the most famous publishers who reproduced Brown s still lifes During his lifetime Brown exhibited at the national academy of Design for thirty one years Today his work is widely collected in public and private collections across the united States museums that hold examples of his work include The Corcoran gallery of art The Brooklyn museum of art The Cleveland museum of art and the pennsylvania academy of fine arts 52

66 Property of The Manoogian Collection 66 WILLIAM MASON BROWN american 1828 1898 FLOWERS AND FRUITS OF SUMMER C 1870s oil on canvas 16 1 2 x 24 inches signed W m Brown lower right PROVENANCE lee Harold letts Charleston South Carolina The manoogian Collection Detroit michigan Estimate 50 000 75 000 53

67 SOREN EMIL CARLSEN american 1848 1932 STILL LIFE WITH FRUIT AND WINE oil on canvas 29 3 4 x 35 inches signed Emil Carlsen and dated 93 lower right PROVENANCE Collection of Charles a gould new York 1929 mr and mrs george a milne Estimate 8 000 12 000 68 LEVI WELLS PRENTICE american 1851 1935 STILL LIFE WITH OYSTERS oil on canvas 16 x 22 inches signed l W prentice lower right PROVENANCE Coe Kerr gallery new York new York adams Davidson galleries Washington D C Chapellier galleries new York new York Shannon s fine art auctioneers milford Connecticut april 30 2009 lot 119 private Collection new Jersey EXHIBITED adirondack museum Blue mountain lake new York nature Staged The landscape and Still life paintings of levi Wells prentice may 28 October 15 1993 Estimate 7 000 10 000 67 68 54

69 69 SOREN EMIL CARLSEN american 1848 1932 STILL LIFE WITH TEA KETTLE AND RADISHES C 1890 oil on board 8 1 2 x 11 3 4 inches signed Emil Carlsen lower left PROVENANCE The Estate of minnie Cassatt Hickman Thomas Colville fine art guilford Connecticut private Collection Connecticut Estimate 10 000 15 000 70 JEROME THOMPSON american 1814 1886 WILD FLOWERS oil on canvas 14 1 2 x 11 1 2 inches unsigned PROVENANCE private Collection millerton new York Estimate 7 000 10 000 70 55

Bradley Tomlin was born 1899 in Syracuse new York He died in 1953 in new York City abruptly culminating a career and a lifespan concurrent with the abstract Expressionist movement in the united States after graduating with a degree in painting from Syracuse university Tomlin moved to new York City There he worked as a magazine and commercial illustrator in 1923 he went to paris on a fellowship to study at the academie Colarossi and the academie de la grande Chaumiere in 1926 he had his first solo exhibition and in 1929 he sold a painting to the pennsylvania academy of fine arts his first sale to a museum During the depression from 1932 1941 Tomlin taught painting at Sarah lawrence College and other preparatory schools in new York During this period he was primarily painting in a cubist style moma s 1936 exhibition fantastic art Dada and Surrealism had a profound effect on Tomlin as it did on many other artists of the day Tomlin s work after this show became increasingly abstract and surrealist in 1945 Tomlin met adolph gottlieb and through him some of the leading abstract Expressionists including robert motherwell phillip guston and Jackson pollock at this point in Tomlin s career his work became assertively distinctive He stopped teaching in order to focus on his own painting He began to experiment with automatism using themes like calligraphy and typographic shapes in the 1940s and 50s his work was abstract but focused on geometry and order The present work number 2 was created in 1952 at a time when Tomlin had found his own artistic voice a year before his untimely death This work on wallpaper was probably a special commission for a patron at the Dalton School where Tomlin taught during the 1930s preserved intact and signed this work demonstrates Tomlin s interest in automatism repetition and abstraction in 2016 the Samuel Dorsky museum of art at SunY new paltz together with the Everson museum of art Syracuse new York organized the first retrospective and catalog of Tomlin s work since 1975 a review of the exhibition noted it is largely because Tomlin avoided the automatic action packed swagger of his compatriots that he s often denied true abstract Expressionist honors Others see through the unobtrusive quiet gracious demeanor of a gay man from the 1940s an artist who found it necessary to shun all bravado Some cite his early death and paucity of extant Expressionist works as reasons why he may never have fully realized his vision However setting these asides aside this retrospective provides a fresh view of Tomlin as an artist whose keen understanding of the structure of a new aesthetic enabled him to distill its visual and psychic energy He did this fully knowing himself acknowledging his voice and expressing it authentically in irrepressibly original ways 1 1 Joyce Beckenstein Bradley Walker Tomlin a retrospective in T he Brooklyn Rail Oct 4 2016 http brooklynrail org 2016 10 artseen bradley walker tomlin a retrospective 56

71 71 BRADLEY WALKER TOMLIN american 1899 1953 NUMBER 2 oil on wallpaper 30 x 18 1 4 inches signed Tomlin lower right inscribed pour richard Sobel 1952 Bon 2 Dalton School Bradley Tomlin on the reverse PROVENANCE private Collection roanoke Virginia Estimate 80 000 120 000 57

72 MARK TANSEY american b 1949 72 ALLEGORICAL PAINTING CA 1970 a oil on masonite a 14 x 10 inches b 10 3 4 x 10 3 4 inches sheet unsigned b etching signed m Tansey lower right and numbered 1 50 lower center PROVENANCE gift from the artist private Collection Oregon The accompanying etching is the first strike of the plate signed and numbered by the artist The image on the etching appears in the painting verifying the artist This painting is a reference to gustav flaubert s Salammbo and the cult of Tanit at the top of the painting Tansey included the symbol of Tanit goddess of the city of Carthage a letter from the owner describing the provenance accompanies the lot Estimate 8 000 12 000 73 BLANCHE LAZZELL american 1878 1956 UNTITLED CUBIST COMPOSITION B gouache on paper 9 3 8 x 8 3 8 inches sheet 8 x 7 inches sight signed Blanche lazzell and dated 1924 lower right PROVENANCE aCa galleries new York new York martin Diamond fine arts new York new York michael rosenfeld gallery new York new York Estimate 10 000 15 000 73 58

74 74 HANS HOFMANN american 1880 1966 UNTITLED oil on board mounted on stretched canvas 20 1 4 x 21 1 4 inches unsigned PROVENANCE private Collection Connecticut private Collection florida private Collection West palm Beach florida gift from the above private Collection florida The authenticity of this work has been confirmed by James Yohe ameringer mcEnery Yohe new York new York mr Yohe is the editor of Hans Hofmann rizzoli edition and is a recognized authority on Hans Hofmann Estimate 10 000 15 000 59

75 75 CHARLES MORRIS YOUNG american 1869 1964 CANAL NEAR LUMBERVILLE PA oil on canvas 18 x 24 inches signed C morris Young lower right PROVENANCE private Collection new York new York ILLUSTRATED Charles Teaze Clark in pursuit of Higher Truth The landscape paintings of Charles morris Yount The magazine antiques 168 no 5 november 2005 169 no 20 Estimate 6 000 8 000 76 60 76 WALTER EMERSON BAUM american 1884 1956 GRAY DAY SOUTH SIDE EASTON PENNSYLVANIA oil on canvasboard 16 x 20 inches signed W E Baum lower right inscribed South Side Easton pa W E Baum on the reverse Titled on a label from the artist s studio Sellersville pennsylvania on the reverse PROVENANCE private Collection pennsylvania Estimate 5 000 7 000

77 77 WILLIAM LANGSON LATHROP american 1859 1938 WOODCUTTERS C 1922 oil on canvas 30 1 2 x 27 1 2 inches signed Wl lathrop lower right PROVENANCE allentown art museum allentown pennsylvania Emily lower gallery Hofstra university Hempstead new York private Collection Ohio EXHIBITED allentown art museum pennsylvania School of landscape painting an Original american impressionism September 16 1984 may 5 1985 allentown pennsylvania Estimate 12 000 18 000 61

78 78 DAVID WU JECT KEY american Chinese 1890 1968 PROVINCETOWN oil on board 19 3 4 x 25 3 4 inches signed Wu Ject Key lower right titled on the reverse PROVENANCE Salmagundi Club new York new York long island new York Estate private Collection massachusetts Estimate 8 000 12 000 79 62 79 JOHN JOSEPH ENNEKING american 1841 1916 THE RED MILL oil on canvas 24 x 30 inches signed Enneking lower right PROVENANCE Vose galleries Boston massachusetts an oil sketch of Venice is on the reverse in a period Carrig rohane frame inscribed on the reverse 19 00 35 Carrig rohane Shop inc r C Vose Boston 5892 Estimate 8 000 12 000

80 80 PAULINE LENNARDS PALMER american 1867 1938 AFTERNOON IN TOWN PROBABLY PROVINCETOWN oil on board 24 x 27 3 4 inches signed pauline palmer lower left PROVENANCE private Collection illinois Estimate 15 000 25 000 63

Early in his career William glackens was attracted to crowds at the seashore in numerous variations these beach scenes constitute a theme that absorbed him until the end of his life glackens first beach scenes are of Coney island an easy train ride from his home and studio in new York City in 1911 in Bellport long island the artist began to explore the subject in depth He spent the succeeding five summers there and from 1918 to 1919 and 1936 on the new England coast This body of work is acknowledged to be among his most distinctive achievements in 1919 the glackens family spent the summer at Eastern point in gloucester massachusetts and it is here that Bathers was painted The vibrant animation of glackens figures caught in informal poses is carried over directly from his drawings We know the mother combing her daughter s wet hair it might be our friends chatting under the umbrella near the water Their movements walking swimming stretching are specific gestures The figures are rapidly yet surely painted firmly fixed in space Their graceful contours give rhythm to the painting and are strengthened by the structural elements of the composition The curves of the shore are echoed in the curves of the umbrellas and the curved lines in the patterned fabric of the seated figure in the foreground These devices help move the viewer s eye across the scene This is further developed by glackens sophisticated use of color the dark blue bathing garments acknowledging his interest in the cool palette of manet root the foreground and then carefully accent the mid ground to define further the spatial composition glackens personal feeling for color and light has now becomes a fusion of the impressionism he knew by the example of his fellow americans Ernest lawson and maurice prendergast and the fauvism which he had seen in paris in the work of both alfred maurer and Henri matisse Broad brush strokes in the foreground become the smoother yet bold shapes and warmer tones of the rocks and finally the thinly brushed soft hues of the sky William glackens contributes his own sense of shapes and crisp sparkle to Bathers He focuses on the essential immediacy of his subject its incidental details and its humanity with a sophisticated gentleness and joyousness The viewer truly feels a part of the moment as albert C Barnes commented on these beach scenes He shows with detachment the essential picturesqueness and humanity of the events represented and his only comment upon life is that it is pleasant to live in a beautiful world 1 1albert C Barnes The art in painting merion pa The Barnes foundation press 1925 p 297 64

81 Property of The Manoogian Collection 81 WILLIAM GLACKENS american 1870 1938 THE BATHERS oil on board 16 1 2 x 22 5 8 inches unsigned PROVENANCE Estate of the artist Kraushaar galleries inc alexander gallery new York new York The manoogian Collection Detroit michigan EXHIBITED american impressionism ii Coe Kerr gallery new York may 19 June 23 1989 a letter from Kraushaar galleries inc describing the provenance accompanies this lot Estimate 250 000 350 000 65

82 82 EMILE ALBERT GRUPPE american 1896 1978 WINTER LANDSCAPE oil on canvas 25 x 30 inches signed Emile a gruppe and dated 1924 lower right PROVENANCE private Collection new York private Collection new Jersey Estimate 7 000 10 000 83 66 83 EMILE ALBERT GRUPPE american 1896 1978 COVERED BRIDGE VERMONT oil on canvas 20 x 24 inches signed Emile a gruppe lower right titled and signed on the reverse PROVENANCE Skinner inc march 2 2007 lot 531 private Collection massachusetts Estimate 5 000 7 000

84 84 GUY CARLETON WIGGINS american 1883 1962 WINTER S DAY oil on canvasboard 12 x 16 inches signed guy Wiggins lower left signed titled and dated 1958 on the reverse PROVENANCE Salmagundi Club new York new York Christie s los angeles California October 28 1999 lot 68 private Collection palm Beach florida Estimate 12 000 18 000 85 EMILE ALBERT GRUPPE american 1896 1978 ITALIAN DOCKS oil on canvas 25 x 30 inches signed Emile a gruppe lower right signed and titled on the reverse PROVENANCE private Collection new York Estimate 6 000 8 000 85 67

86 86 WORTHINGTON WHITTREDGE american 1820 1910 THE CATSKILL FERNS IN AUTUMN oil on canvas laid down on board 8 1 8 x 16 inches signed W Whittredge lower right titled on the reverse PROVENANCE private Collection Texas Estimate 3 000 5 000 87 HUDSON RIVER SCHOOL american 19th century WOODLAND SCENE oil on paper on canvas 10 x 14 inches unsigned PROVENANCE private Collection new York Estimate 2 500 3 500 87 88 RALPH ALBERT BLAKELOCK american 1847 1919 FLAT LANDSCAPE oil on canvas 4 3 4 x 6 3 4 inches signed r a Blakelock faintly lower right PROVENANCE private Collection Connecticut EXHIBITED important public auction Bedford Village n Y november 18 19 1938 a label from the university of nebraska Blakelock inventory no nBi 1770 ii is on the reverse a letter from norman geske describing the painting accompanies the lot Estimate 3 000 5 000 88 68

89 89 AMERICAN SCHOOL 19th Century 1860 1870 AMERICAN VISTA WITH FIGURES oil on canvas 30 x 58 inches unsigned PROVENANCE private Collection new York Estimate 8 000 12 000 69

alfred Thompson Bricher was born in portsmouth new Hampshire and grew up in newburyport massachusetts During his 50 year career as an artist he became known for his luminist new England coastal seascapes He was highly successful during his lifetime and exhibited regularly at galleries and venues including the Boston athenaeum the Brooklyn art association the World s Columbian Exposition in Chicago and the american Watercolor Society at 21 years old and primarily self taught Bricher opened his first studio in newburyport after opening his studio and beginning his serious pursuit of an artistic career Bricher began to take sketching tours in new England By 1860 he had moved to Boston and opened a new studio there He visited mt Desert island maine with William Stanley Haseltine and traveled to long island new York the Catskills the White mountains and the Hudson river Bricher specialized in landscapes featuring placid inland bodies of water and picturesque scenes of the new England seaboard as a luminist painter he was predominantly interested in the pictorial effects of light and translucency it is always possible to ascertain specifics such as the time of day weather conditions and geography in his work yet his paintings manifest a spiritual quality that was an important component of Hudson river School Today Bricher is widely appreciated by art historians for his mastery of luminist realism The present canvas Figures by a V alley Stream A W inter Scene dates to an early period in Bricher s career in this work light is the primary subject The sun setting behind the mountains creates shadows on the snow and reflections on the ice Bricher successfully created a suffused warm glow in the sky and the atmosphere surrounding the scene in 1879 Bricher was elected an associate member of the national academy of Design His work was seen regularly in the annual exhibitions of both the academy and the american Watercolor Society Bricher also exhibited at the art institute of Chicago the Boston art Club and the gallery of James gill in Springfield massachusetts Today works by Bricher can found in the permanent collections of many of america s most prominent museums the metropolitan museum of art the Brooklyn museum of art the Smithsonian american art museum the White House The Wadsworth athenaeum and the pennsylvania academy of fine arts By the time he died in 1908 Bricher s career had spanned a period of momentous evolution in american art indeed from the era of the Hudson river School to the imminent appearance of color abstraction it is little wonder then that when Bricher died at new Dorp on September 30 1908 his obituary commented Bricher did not receive the notice in the press that the artist s ability and reputation deserved 70

90 Property of The Manoogian Collection 90 ALFRED THOMPSON BRICHER american 1837 1908 FIGURES BY A VALLEY STREAM A WINTER SCENE 1860 oil on canvas 20 x 42 inches signed a T Bricher lower left PROVENANCE William Vareika fine arts ltd newport rhode island The manoogian Collection Detroit michigan Estimate 60 000 80 000 71

91 91 GEORGE GUNTHER HARTWICK american 1819 1899 WINTER IN NEW ENGLAND oil on canvas 26 x 36 inches unsigned PROVENANCE private Collection Blue ash Ohio Estimate 6 000 8 000 92 72 92 ROBERT BRUCE CRANE american 1857 1937 WINTER SUNRISE LONG ISLAND CIRCA 1889 94 oil on canvas 16 1 2 x 24 1 2 inches signed Bruce Crane and inscribed n Y lower right PROVENANCE private Collection new Jersey Estimate 6 000 8 000

93 93 FREDERICK JUDD WAUGH american 1861 1940 STORMY SEAS oil on canvas 24 x 30 inches signed Waugh lower right PROVENANCE private Collection Connecticut Estimate 6 000 8 000 94 FREDERICK JUDD WAUGH american 1861 1940 GRAND MANAN COAST oil on canvas 25 x 30 inches signed Waugh lower right PROVENANCE parke Bernet auction House new York 1979 private Collection purchased from Owen gallery 1992 Thomas S Buechner Estate Estimate 4 000 6 000 94 73

95 95 THOMAS ADKINS american 20th 21st Century DISTANT VIEWS WOODBURY oil on canvas 24 x 38 inches signed T adkins lower right PROVENANCE private Collection Connecticut Estimate 2 000 3 000 96 74 96 THOMAS ADKINS american 20th 21st Century WINTER SUNRISE oil on canvas 24 x 30 inches signed T adkins lower left PROVENANCE private Collection Connecticut Estimate 2 000 3 000

97 97 DALE NICHOLS american 1904 1995 SILENT MORNING oil on canvas 30 x 40 inches signed Dale nichols and dated 1972 lower right titled on the reverse PROVENANCE Skinner marlborough massachusetts march 4 2005 lot 432 private Collection new York new York Shannon s fine art auctioneers april 25 2013 lot 27 private Collection Connecticut Estimate 25 000 35 000 75

Born in St louis missouri richard Edward miller was later to become one of the leading members of the second generation of american impressionists living and painting in the small french town of giverny the home of Claude monet after studying at the acad mie Julian in paris in 1898 99 miller began teaching his own classes in giverny as well as at the acad mie Colarossi in paris He remained in france for over a decade painting in a style that combined pure impressionist color exquisite brushwork and strong draughtsmanship He returned to the united States in 1914 at the outbreak of World War i briefly moving to pasadena Calif before finally settling down in Charles Hawthorne s artist colony in provincetown massachusetts although its date indicates that it was painted in france Portrait of a W oman in a Blue Dress foreshadows miller s work in provincetown which often features women seated in interiors suffused with light an aura of cool blues and greens surrounds the sitter enhancing her natural beauty while also suggesting the mood of her reverie Even in this figural painting miller s impressionist fascination with light effects is evident in his treatment of the gauzy fabric around the sitter s shoulders and of the reflections in the glass surface of the table richard miller exhibited extensively throughout his career winning numerous medals and prizes at illustrious venues such as the paris Salon pan american Exposition Buffalo 1901 international Exhibition Venice 1907 national academy of Design pennsylvania academy of the fine arts art institute of Chicago and the Corcoran gallery Washington D C His other honors include his knighthood in the french legion of Honor and his membership in the national academy of Design His works are housed in prestigious private and public collections around the world including the luxembourg gardens paris gallery of modern art rome museum of fine art antwerp art institute of Chicago pennsylvania academy of the fine arts and The metropolitan museum of art new York 76

98 98 RICHARD EDWARD MILLER american 1875 1943 PORTRAIT OF A WOMAN IN BLUE DRESS C 1909 oil on canvas 38 x 30 inches signed miller lower right PROVENANCE private Collection new York new York Estimate 30 000 50 000 77

99 99 ALEXANDER HELWIG WYANT american 1836 1892 AUTUMN LANDSCAPE 1872 oil on canvas 17 1 2 x 30 inches signed a H Wyant lower right PROVENANCE Thomas Colville fine art guilford Connecticut private Collection Connecticut This work can be found at The Wyant Website http alexanderwyant org at ref 132 032 Estimate 5 000 7 000 100 JERVIS MCENTEE american 1828 1891 WALKING AT SUNSET oil on canvas 6 1 4 x 5 3 8 inches unsigned PROVENANCE private Collection new York Estimate 4 000 6 000 100 78

101 101 HERMANN HERZOG american german 1832 1932 FISHING AT THE FALLS oil on canvas 22 1 4 x 27 inches signed H Herzog lower left PROVENANCE newman gallery philadelphia pennsylvania private Collection atlanta georgia Estimate 8 000 12 000 102 HERMANN HERZOG american german 1832 1932 MAJESTIC MOUNTAIN LANDSCAPE oil on canvas 14 x 18 1 8 inches signed H Herzog lower left PROVENANCE private Collection new York new York Estimate 5 000 7 000 102 79

James fairman was born in glasgow Scotland in 1826 at six years old his father died and his mother emigrated with her two sons to new York City James and his older brother both started drawing at an early age although James later went on to train as a craftsman at eighteen he started working as a bookbinder but he was still eager to become an artist He enrolled in evening courses at the american academy of Design in 1851 fairman traveled to England to visit the great Exhibition at the Crystal palace He was profoundly impressed by the English painting he saw there and later said it was a revelation to him for the next ten years fairman pursued a political career He started with active participation in the abolitionist movement and through that discovered his talent for public speaking He continued studies in latin and greek and pursued a political agenda driven by his religious morals as a politician he was successful in new York City defeating a coalition of anti Catholic and protestant groups that were trying to influence the school board He then tried to run for congress in his district but lost the election During the Civil War fairman quickly became a Colonel in the army a position he probably acquired through his political connections and prior militia experience after the war fairman turned his attentions to painting full time He set up a studio in new York City in 1863 and regularly exhibited at the national academy of Design and Society of painters in Watercolor He soon developed a reputation for being acerbic His works were often withdrawn from the academy possibly over disputes about how they were hung He argued against the academy in 1869 and suggested forming a new association By late 1871 he had left new York City in pursuit of commissions in Jerusalem and Europe for the next decade he spent time at a studio in Dusseldorf and studying painting in london and paris He regularly made return trips to new York City to exhibit and sell recent work fairman succeeded where other late 19th century artists struggled Towards the end of the 19th century the realist landscapes religious historical paintings and panoramic landscapes were considered out of style fairman toured new York and visited collectors of his work in the midwest giving lectures about his paintings and art in general He successfully created a market for his paintings where he sold directly to collectors who would not generally go to the academy unfortunately he never mended his ties with the academy and he fell out of favor in new York City His work was principally collected by amateur collectors in the united States and he did not receive serious critical attention until after his death He died in 1904 in Chicago Today his works are in numerous museums and private collections including the Hudson river museum and the Washington County museum of fine arts 1 1 gerald m ackerman american Orientalists paris aCr Edition 1994 pp 76 79 80

103 Property of The Manoogian Collection 103 JAMES FAIRMAN american 1826 1904 VIEW OF THE UPPER HUDSON RIVER AT STORM KING oil on canvas 31 x 72 inches signed James fairman and dated 1885 lower right PROVENANCE alexander gallery new York new York The manoogian Collection Detroit michigan Estimate 70 000 90 000 81

104 104 JOSEPH DECKER american 1853 1924 STRAWBERRIES IN A BASKET oil on canvas 8 x 14 inches signed J Decker and dated 83 lower right PROVENANCE private Collection arizona Estimate 12 000 18 000 82

105 105 ROBERT SPEAR DUNNING american 1829 1905 STILL LIFE WITH FRUIT ROSES AND HONEYCOMB oil on canvas 16 x 21 inches signed r S Dunning and dated lower right inscribed r S Dunning painter 1890 on the reverse PROVENANCE Vose galleries Boston massachusetts Shannon s fine art auctioneers October 21 1999 lot 139 private Collection Connecticut Estimate 30 000 50 000 83

Soren Emil Carlsen was a still life landscape and marine painter initially he had a tumultuous career and moved frequently His career peaked toward the end of his life and died a successful artist in new York City His paintings are now in prominent collections including the art institute of Chicago the Smithsonian institution The metropolitan museum of art the pennsylvania academy of the fine arts and the San Deigo museum of art Carlsen was born in Copenhagen Denmark in 1853 He took his first art courses in Denmark from a cousin and later at the royal academy in Copenhagen at the royal academy he studied architecture painting and sculpture in 1872 Carlsen moved to Chicago first to work as an architectural assistant and then to work with the Danish marine painter laurentz B Holst Holst returned to Denmark and Calsen took over his studio Once settled in Chicago he began teaching at the Chicago academy of Design now the art institute of Chicago in 1875 Carlsen returned to Denmark and visited paris it was there that he first saw the work of Jean Baptiste Simeon Chardin an artist who would influence Carlsen s work a year later Carlsen was working in Boston painting still lifes and working as an assistant in alexander pope s studio in 1879 he offered many of his paintings up for auction to pay his bills The auction was largely unsuccessful and he ended up further in debt T J Blakeslee a new York dealer took an interest in Carlsen several years later and sent him to paris to study for two years in exchange for financing Carlsen s trip Blakeslee received one floral still life per month it was likely one of these that was Carlsen s first painting exhibited at an annual exhibition at the national academy of Design in 1886 Carlsen returned to new York City and rented a studio next to his friend from Chicago J f murphy One year later he took a job as the director of the school of the San francisco art association This position only lasted two years although Carlsen stayed in San francisco an additional two years teaching the San francisco art Students league in 1891 he moved back to new York City and settled in a studio on fifty ninth Street He remained there for the rest of his life in 1902 Carlsen was elected to the Society of american artists and around this time he started to gain serious recognition for his work in 1905 now a successful artist he built a country house in falls Village Connecticut He was regularly exhibiting his work in the national academy s annual exhibitions and in 1907 was awarded the inness gold medal in 1911 William macbeth a prominent new York dealer started representing Carlsen He was most successful as an artist later in life at this stage he was painting quiet wispy landscapes such as the present lot and selling them through macbeth galleries He was so successful during this period that in 1935 macbeth held a retrospective of Carlsen s work 1 1 David B Dearinger ed paintings and Sculpture in the Collection of the national academy of Design new York Hudson Hills press 2004 p 87 84

106 Property of The Manoogian Collection 106 SOREN EMIL CARLSEN american 1848 1932 APPLE BLOSSOM C 1920 oil on canvas 40 x 48 inches unsigned PROVENANCE acquired directly from the family of Dines Carlsen son of the artist lakeside Connecticut private Collection lakeside Connecticut Brett mitchell Collection inc Cleveland Ohio The manoogian Collection Detroit michigan Estimate 50 000 75 000 85

107 ALICE L MATTERN american 1909 1945 UNTITLED mixed media on board 16 3 8 x 11 3 4 inches image size unsigned estate stamp on the reverse PROVENANCE private Collection new Jersey Estimate 4 000 6 000 107 108 ALICE L MATTERN american 1909 1945 UNTITLED mixed media on board 17 x 12 7 8 inches unsigned estate stamp on the reverse PROVENANCE private Collection new Jersey Estimate 4 000 6 000 108 86

109 109 ILYA BOLOTOWSKY american 1944 2009 YELLOW DIAMOND WITH RED AND BLUE acrylic on canvas 50 x 50 inches signed ilya Bolotowsky and dated 77 lower left signed titled and dated on the reverse PROVENANCE acquired from the Estate of the artist private Collection michigan Estimate 15 000 25 000 87

110 GERALD JOHNSON american 1944 2009 UNTITLED acrylic on canvas 60 x 48 inches unsigned PROVENANCE acquired from the Estate of the artist private Collection michigan Estate stamp inventory number 17208079 on the reverse Estimate 3 000 5 000 110 111 GERALD JOHNSON american 1944 2009 WHITE CUT acrylic on canvas 84 x 37 1 4 inches signed gerald Johnson dated July 77 and titled on the reverse PROVENANCE acquired from the Estate of the artist private Collection michigan Estate stamp inventory number 17208077 on the reverse Estimate 2 500 3 500 111 112 GERALD JOHNSON american 1944 2009 UNTITLED acrylic on canvas 60 x 48 inches unsigned PROVENANCE acquired from the Estate of the artist private Collection michigan Estate stamp inventory number 17208078 on the reverse Estimate 2 500 3 500 112 88

113 113 JENNY HOLZER american b 1950 TRUISM FOOTSTOOL 1988 Baltic brown granite 16 H 23 W 15 3 4 D Edition of 40 plus 8 proofs PROVENANCE mrs Vera g list prominent Contemporary art Collector and philanthropist new York new York and greenwich Connecticut by descent to the present owner Connecticut Estimate 15 000 25 000 89

Shannon s is pleased to present for sale the following recently rediscovered painting by William Tolman Carlton This fresh to the market painting provides new insights into Carlton s work and 19th century american genre painting William Tolman Carlton was born in Boston and he grew up in Dorchester massachusetts There is little information known about his early life and education There are no records for his formal artistic training either although it is known that before 1840 he spent several years studying in italy germany and france By 1836 when he was just 20 years old he began exhibiting his paintings at the Boston athenaeum in Boston he also worked as a portrait painter and private art teacher Carlton spent some time in albany working as a portrait painter and returned to Boston in 1850 He worked with george Hollingsworth at the lowell institute teaching students to draw from living models Both artists Hollingsworth and Carlton taught at the school until it closed in 1878 The courses were free and provided some students their first lessons in art notable alums include alfred Thompson Bricher and Willard leroy metcalf in the 1850s Carlton exhibited several paintings at the free gallery of the new England art union in Boston a painting titled T he Y ankee Peddler was exhibited twice priced at 400 There are two known versions of this painting including the present newly discovered example and a smaller unsigned version at the Harvard art museums 1895 664 There is also a known pen and ink sketch at the mfa in Boston The peddler s Cart 66 498 Theodore Stebbins noted art historian and Curator of american art Emeritus of the Harvard art museums commented now knowing of your signed and dated picture lot 114 i would guess that yours is the art union work in the drawing as in the present lot the young woman shopping from the cart looks directly at the viewer in the Harvard painting she is instead looking down There are other more subtle differences between the two compositions in the present lot the lower right corner is much brighter the two figures are in sunlight instead of shadow and the central figure of the young girl is painted with more detail The artist changed the color of her shawl from pink to yellow and added golden embroidered details to her skirt likewise the silver wares appear to be painted with more detail as well The window frames of the cottage were changed to a white wash color making the crimson tapestry held by the woman at the door stand out against the plain background of the house These differences suggest that Carlton was working out the composition possibly using the drawing as an intermediary between the two paintings The subject T he Y ankee Peddler was a common theme for genre paintings in the mid nineteenth century Other artists notably asher B Durand and francis W Edmonds exhibited paintings of this topic at the national academy of Design in 1836 and 1844 respectively Viewers particularly wealthy new York businessmen would have recognized the characters and gestures from literature and anecdotes The two advertisements on the side of the cart Sands Sasaparilla and Dr Brandereth s Obstetrical pills refer to known medicinal scams of the period and at the window the viewer can read The Boston post as the farmer reaches for it from the child s hands 1 1 Hannah Blunt William Tolman Carlton in american paintings at Harvard Vol i edited by Theodore E Stebbins pp 113 115 90

114 114 WILLIAM TOLMAN CARLTON american 1816 1888 THE YANKEE PEDDLER oil on canvas 36 1 4 x 46 3 4 inches signed W T Carlton and dated 1851 lower left PROVENANCE private Collection Connecticut Special thanks to Theodore E Stebbins Jr Curator of american art Emeritus Harvard art museums for his assistance in cataloging this lot Estimate 20 000 30 000 91

115 115 JOHN FRANCIS MURPHY american 1853 1921 LANDSCAPE oil on canvas 16 x 24 inches signed J murphy and dated 78 lower right PROVENANCE private Collection Cincinnati Ohio Carl Solway gallery Cincinnati Ohio Keny galleries Columbus Ohio private Collection Columbus Ohio private Estate Columbus Ohio Estimate 10 000 15 000 116 92 116 HENDRICK DIRK KRUSEMAN VAN ELTEN american Dutch 1829 1904 SUMMER AFTERNOON oil on canvas 14 1 2 x 22 1 2 inches signed Kruseman Van Elten lower right PROVENANCE private Collection massachusetts Shannon s fine art auctioneers October 25 2007 lot 25 private Collection pennsylvania Estimate 6 000 8 000

117 117 ALFRED THOMPSON BRICHER american 1837 1908 SUMMER POND SOUTHAMPTON oil on canvas 22 x 40 inches signed a T Bricher lower left PROVENANCE private Collection Washington D C private Collection Connecticut Shannon s fine art auctioneers may 1 2014 lot 57 private Collection Connecticut Estimate 30 000 50 000 93

along with William morris Hunt and John lafarge Blashfield was one of the most prolific and important of the american mural painters 1 Blashfield worked closely alongside the most prominent architects of his period to create impressive custom murals These works can be seen in the dome of the library of Congress the Detroit public library the union league Club of Chicago the Court House of Baltimore the Cleveland federal Building and the in the capitol buildings of iowa Wisconsin and minnesota His murals are also visible in numerous churches Blashfield was born and raised in new York City at the end of the nineteenth century in the 1860s he studied in Boston with Thomas Johnston and William rimmer Then from 1867 1870 and 18741880 he went to paris to study with leon Bonnat and Jean leon gerome He also travelled to germany italy and Switzerland He returned to new York City for six years from 1881 1887 and then left for six years of travel to Egypt Europe and England in 1887 he spent the summer in Broadway England with contemporaries Edwin austen abbey frederick leighton and lawrence alma Tadema all of his European travels and training are evident in his painting which is highly academic and conservative He rose to fame during the american renaissance a period of historical revivalism in the united States in 1913 he published a book mural painting in america compiling his lectures at the art institute of Chicago and championing mural painting although best known for his murals Blashfield did easel paintings of similar subjects including genre portraits ancient ruins and native american figures like his murals the easel paintings were also meant to be read as historical subjects or moral themes in the present canvas adspice Quo fremilu monstralos perferat ictus two female women are fighting while a servant waits with water and a male figure watches the scene although there were female gladiators these women were probably patricians evident from their fine clothing weaponry and attendant servant They were probably fighting for sport and clearly for the amusement of the applauding man The overall composition makes evident Blashfield s training with gerome and his admiration of classical academic painters like Jaques louis David and pierre puvis de Chavannes Blashfield was the president of the national academy of Design from 1920 1296 He was a member of the architectural league of new York The national Sculpture Society and the national Society of mural painters He exhibited his easel paintings at the national academy of Design the paris Salon the Brooklyn art association the pennsylvania academy and the royal academy in london 1 peter falk Who Was Who in american art p 344 94

118 Property of The Manoogian Collection 118 EDWIN HOWLAND BLASHFIELD american 1848 1936 ADSPICE QUO FREMILU MONSTRALOS PERFERAT ICTUS oil on canvas 25 1 2 x 56 inches signed EH Blashfield lower right PROVENANCE alexander gallery new York new York The manoogian Collection Detroit michigan Estimate 50 000 75 000 95

119 119 WILLIAM MCGREGOR PAXTON american 1869 1941 STUDY FOR PHRYNE oil on canvas 28 x 12 inches unsigned PROVENANCE Vose galleries Boston massachusetts phillips new York november 28 2000 lot 100 private Collection Connecticut in a frame by foster Brothers Boston massachusetts inset brass makers plaque on the reverse Estimate 12 000 18 000 96

120 120 GUILLAUME SEIGNAC french 1870 1924 INDOLENCE oil on canvas 24 x 20 3 4 inches signed g Seignac upper right PROVENANCE private Collection Chile Stamp on the reverse Direccion De Bibliotecas archivos y museos Santiago Chile autorizada ley no 17 236 inform 0565 11 de 11 de 2013 Estimate 30 000 50 000 97

121 121 ROBERT WILLIAM VONNOH american 1858 1933 AFTERNOON SHADOWS GREZ FRANCE oil on panel 10 1 4 x 13 1 4 inches unsigned PROVENANCE private Collection new York new York ILLUSTRATED may Brawley Hill grez Days robert Vonnoh in france new York Berry Hill galleries 1987 Brian H peterson et al pennsylvania impressionism philadelphia James a michener art museum 2002 Estimate 6 000 8 000 122 98 122 CHARLES HAROLD DAVIS american 1856 1933 WINTER MORNING IN THE WOODS C 1892 1893 oil on canvas 17 x 21 inches signed C H Davis and dated 93 lower left PROVENANCE private Collection new England Thomas Colville fine art guilford Connecticut private Collection Connecticut ILLUSTRATED Winter morning in the Woods appears in Davis s record book as C73 This is from a group of works originally consigned to Thomas B Clarke new York patron dealer and collector Estimate 5 000 7 000

123 123 JANE PETERSON american 1876 1965 BOATS IN GLOUCESTER HARBOR oil on canvas 18 x 24 inches signed Jane peterson lower left PROVENANCE Santa fe East Santa fe new mexico Keny Johnson gallery Columbus Ohio Shannon s fine art auctioneers October 20 2005 lot 112 private Collection richmond Virginia EXHIBITED The John pence gallery San francisco California 1989 Estimate 15 000 25 000 99

124 124 BRUCE BRAITHWAITE american b 1950 VIRGIL S ON 44TH NYC oil on canvas 24 x 30 inches signed Bruce Braithwaite lower right signed titled and numbered 508 on the reverse Estimate 4 000 6 000 125 100 125 BRUCE BRAITHWAITE american b 1950 THE PLAZA STANDS NYC oil on canvas 24 x 30 inches signed Bruce Braithwaite lower right signed titled and numbered 507 on the reverse Estimate 4 000 6 000

126 126 KEN KEELEY american b 1934 COHEN S oil on canvas 46 3 4 x 72 1 4 inches signed Ken Keeley on umbrella PROVENANCE private Collection new York Estimate 4 000 6 000 127 MASAAKI SATO Japanese 20th Century NEWSSTAND NO 29 1984 1985 oil on canvas 68 x 54 inches signed masaaki Sato titled and dated 198485 on reverse PROVENANCE private Collection new York Estimate 4 000 6 000 127 101

128 128 JOHN KOCH american 1909 1978 PORTRAIT OF A WOMAN IN AN INTERIOR oil on canvas 20 x 24 inches signed Koch lower right PROVENANCE private Collection new York a label on the reverse from the collection of H V Kalterborn Estimate 10 000 15 000 102

129 129 CHARLES COURTNEY CURRAN american 1861 1942 MATERNAL CARES oil on canvas 20 x 30 inches signed and dated 1909 lower right PROVENANCE fentress Collection Waco Texas ILLUSTRATED Teal gardner poems in paint The Work of Charles C Curran in Hearst s aug 1916 vol 30 no 2 p 102 104 illus p 104 Estimate 40 000 60 000 103

130 MARY STEVENSON CASSATT american 1844 1926 STUDY OF A YOUNG GIRL C 1906 pencil on board 17 3 4 x 12 inches estate stamp of mathilde X paris 1931 lower left PROVENANCE The artist mathilde Vallet paris france 1927 Sale mathilde X paris france 1931 Thomas Colville fine art guilford Connecticut private Collection Connecticut EXHIBITED paris france galerie a m reitlinger 1931 no 156 illustrated ILLUSTRATED a D Breekskin mary Cassatt a Catalogue raisonne of the Oils pastels Watercolors and Drawings Washington D C Smithsonian institution press 1970 no 919 p 300 illustrated Estimate 6 000 8 000 130 131A 131 OSCAR BLUEMNER american 1867 1938 A PAIR GRAND AVE CANARSIE crayon on paper a 4 1 2 x 6 7 8 inches sight b 4 x 6 3 4 inches sight a initialed OB and titled lower left b unsigned and titled upper left PROVENANCE H V allison galleries new York new York private Collection new York Estimate 5 000 7 000 131B 104

132 132 CHARLES E PRENDERGAST american 1863 1948 PAGE FROM SKETCHBOOK WINTER PARK FLORIDA pencil and watercolor on paper 8 x 5 inches titled on a label from mrs prendergast on the reverse unsigned PROVENANCE Estate of the artist Eug nie prendergast gifted to Joseph Butler in 1982 LITERATURE Carol Clark nancy mowll mathews and gwendolyn Owen marurice prendergast a Catalogue raisonne Williamstown ma Williams College museum 1990 cat no 2389 Estimate 8 000 12 000 105

133 THOMAS HART BENTON american 1889 1975 COFFEE POT ink and wash on paper 12 1 2 x 16 inches sight signed Benton lower right PROVENANCE rita Benton private Collection new York ILLUSTRATED Benton Drawings Columbia university of missouri press 1968 illus p 55 This work depicts T p Benton age 10 on the White river in arkansas Estimate 10 000 15 000 133 134 THOMAS HART BENTON american 1889 1975 STILL LIFE WITH FRUIT AND KNIFE watercolor on paper 6 x 6 3 8 inches sight signed Benton lower right PROVENANCE Estate of Cliff Hillegass private Collection new York private Collection Connecticut Estimate 6 000 8 000 134 106

135 135 ANDREW NEWELL WYETH american 1917 2009 WILLARD ASLEEP pencil on paper 11 x 15 3 4 inches sight signed andrew Wyeth lower right PROVENANCE The art Emporium Vancouver British Columbia private Collection Canada Descended in the family to the present owner EXHIBITED andrew Wyeth recent Works The art Emporium Vancouver B C October 4th October 18th 1977 catalog no 13 Exhibition catalog accompanies the lot Estimate 15 000 25 000 107

136 136 RALPH ALBERT BLAKELOCK american 1847 1919 SUNNY MORNING IN THE CATSKILLS oil on canvas 15 1 4 x 21 inches signed lower center left PROVENANCE Kennedy galleries new York new York Chapellier galleries inc new York new York Vose galleries Boston massachusetts EXHIBITED portland art museum portland Oregon american galleries September 2 2003 february 2 2005 Estimate 8 000 12 000 137 SAMUEL COLMAN american 1832 1920 PICNIC ON THE HUDSON oil on canvas 10 1 8 x 7 1 2 inches signed S Colman and dated 69 lower left PROVENANCE private Collection massachusetts Estimate 4 000 6 000 137 108

138 138 AMERICAN SCHOOL c 1845 CATSKILL MOUNTAIN HOUSE oil on canvas 36 x 27 3 4 inches unsigned PROVENANCE private Collection maryland Columns were added to the Catskill mountain House in 1846 therefore the painting dates to before that addition Estimate 6 000 8 000 109

139 RALPH ALBERT BLAKELOCK american 1847 1919 BOULDER CANYON oil on canvas 12 x 10 inches signed r a Blakelock titled and dated 1879 on the stretcher PROVENANCE private Collection Connecticut There is a label from the university of nebraska Blakelock inventory no nBi 1771 ii on the reverse a letter from norman geske describing the painting accompanies the lot Estimate 7 000 10 000 140 RALPH ALBERT BLAKELOCK american 1847 1919 TWO INDIANS BY THE OCEAN oil on panel 8 1 2 x 11 7 8 inches unsigned PROVENANCE Vose galleries Boston massachusetts private Collection Connecticut a label from the university of nebraska Blakelock inventory no 744 is on the reverse Category ii Estimate 7 000 10 000 139 140 110

141 141 WORTHINGTON WHITTREDGE american 1820 1910 A GREY DAY ON THE HUDSON C 1880 oil on canvas 11 x 17 inches signed W Whittredge lower right titled on the reverse PROVENANCE private Collection new York new York Estimate 20 000 30 000 111

142 JAMES GALE TYLER american 1855 1931 TRINCHERA oil on canvas 30 x 25 inches signed James g Tyler lower right PROVENANCE malcolm forbes private Collection malcolm forbes Estate malcolm forbes nautical art Collection Sale red Baron antiques atlanta georgia January 2011 Estimate 4 000 6 000 143 EDWARD MORAN american 1829 1901 SHIP ON STORMY SEAS oil on canvas 12 x 20 inches signed Edward moran lower right PROVENANCE private Collection Valley Cottage new York private Collection Wilmington Delaware Estimate 4 000 6 000 142 143 112

144 FRANKLIN DULLIN BRISCOE american 1844 1903 SAIL AND STEAM oil on canvas 29 1 2 x 50 inches signed f D Briscoe and dated 1877 lower right PROVENANCE private Collection Baltimore maryland Estimate 3 000 5 000 144 145 ROBERT SWAIN GIFFORD american 1840 1905 SAILBOATS IN THE HARBOR oil on panel 10 x 19 1 2 inches signed r Swain gifford and dated 67 lower right PROVENANCE Beal Collection California inscribed on the reverse This panel was taken from the reception room of the old Hancock House Beacon Street Boston at the time of its demolition in 1863 and presented to Charles S randall by John Chipman Hoadley 1867 Hancock House was erected in 1737 demolished 1863 Estimate 2 000 3 000 145 146 GEORGE CURTIS american 1826 1881 SUNSET ALONG THE SHORE oil on panel 10 x 14 inches signed g O Curtis lower left PROVENANCE a north Carolina Estate Shannon s fine art auctioneers april 26 2007 lot 81 private Collection pennsylvania Estimate 3 000 5 000 146 113

147 CHARLES HAROLD DAVIS american 1856 1933 LANDSCAPE oil on canvas 21 x 28 1 2 inches signed C H Davis lower right PROVENANCE private Collection California Estimate 3 000 5 000 147 148 WILLIAM KEITH american 1838 1911 LANDSCAPE WITH COWS oil on canvas 12 5 8 x 24 inches signed W Keith lower left PROVENANCE private Collection new York Estimate 2 500 3 500 148 149 ARTHUR PARTON american 1842 1914 COWS GRAZING BY THE RIVER oil on canvas 26 x 22 1 4 inches signed arthur parton lower right PROVENANCE private Collection Kingston new York Estimate 3 000 5 000 149 114

150 150 WILLIAM LOUIS SONNTAG SR american 1822 1900 MOUNTAIN LANDSCAPE WITH RIVER oil on canvas 20 x 36 inches signed W l Sonntag lower left PROVENANCE private Collection new Jersey Estimate 10 000 15 000 115

151 CHARLES JACQUE french 1813 1894 TROUPEAU PAISSANT SOUS BOIS oil on canvas 26 x 21 1 2 inches signed Chs Jacque lower right PROVENANCE mann galleries new Orleans louisiana private Collection Connecticut artist s wax stamp on the reverse pierre Olivier fanica Charles Jacque 1813 1864 montigny surloing art Bizon 1995 Book accompanies the lot Estimate 6 000 8 000 152 LUIS JIMENEZ Y ARANDA Spanish 1845 1928 CONVERSATION ALONG THE RIVER oil on canvas 24 x 36 inches signed luis Jimenez inscribed pontoise and dated 1902 lower right PROVENANCE private Collection Cleveland Ohio Estimate 6 000 8 000 151 152 116

153 FREDERICK WILLIAM MACMONNIES american 1863 1937 DIANA bronze 18 7 8 H signed f macmonnies dated 1890 and inscribed Copyright 1894 H rouard founders on the base PROVENANCE private Collection new York Estimate 8 000 12 000 154 GEORGE HENRY BOUGHTON american 1833 1905 LADIES IN CONVERSATION oil on canvas 18 1 4 x 36 1 4 inches signed g H Boughton lower left PROVENANCE private Collection Hilton Head South Carolina Estimate 6 000 9 000 153 154 117

155 AMERICAN SCHOOL 19th Century 1850 1860 INSTRUMENTS OF THE PASSION oil on canvas 36 x 29 inches unsigned PROVENANCE private Collection Connecticut Estimate 1 000 1 500 156 EDWARD CHALMERS LEAVITT american 1842 1904 A PAIR STILL LIFE WITH NAUTILUS EWER STILL LIFE WITH VASE AND FLOWERS oil on canvas 20 x 12 inches each signed E C leavitt and dated 1876 a lower left b lower right PROVENANCE private Collection new York private Collection Connecticut Estimate 5 000 7 000 155 156A 118 156B

157 THOMAS BALL american 1819 1911 BUST OF EVE marble 28 1 2 H signed T Ball and dated 74 on reverse PROVENANCE private Collection new York Thomas Ball devoted a chapter in his first autobiography my Three Sons and Ten to this sculpture Estimate 10 000 15 000 157 158 THOMAS BALL american 1819 1911 PORTRAIT OF A YOUNG WOMAN carved marble relief plaque 16 x 12 5 8 inches oval signed T Ball lower left PROVENANCE private Collection new York a label from the Baltimore museum of art Baltimore maryland is on the reverse Estimate 7 000 10 000 158 119

159 HENRY GASSER american 1909 1981 THE COLLECTION watercolor on paper 14 5 8 x 21 5 8 inches sight signed H gasser lower right PROVENANCE private Collection Connecticut Estimate 3 000 5 000 159 160 MASOOD ALI WILBERT WARREN american 1907 1995 JOE LOUIS EXHIBITION watercolor on paper14 7 8 x 17 5 8 inches signed masood ali Warren dated 43 lower right inscribed Sgt Joe louis exhibition at Camp Cook Calif nov 12 43 lower center PROVENANCE private Collection new York private Collection new York Estimate 2 500 3 500 160 161 GLENN STUART PEARCE american 1909 1986 LAST SUPPER oil on canvas 36 x 48 inches signed glenn S pearce and dated 30 on the stretcher PROVENANCE private Collection new Jersey Estimate 2 000 3 000 161 120

162 162 JEROME MYERS american 1867 1940 A NORTH RIVER RECREATION PIER 1905 pastel on paper 19 3 8 x 23 3 4 inches sight signed Jerome myers and dated 1905 lower left PROVENANCE aCa galleries new York new York private Collection new York Estimate 15 000 25 000 121

B 163 A 163 JAMES ROSENQUIST american 1933 2017 OFF THE CONTINENTAL DIVIDE B THEO WUJCIK american B 1936 PORTRAIT OF JAMES ROSENQUIST a lithograph in colors 42 1 2 x 77 1 2 inches sight signed James rosenquist and dated 1973 74 lower right numbered 22 43 lower left titled upper left published by ulaE publisher s blind stamp lower right b silverpoint on paper 11 3 4 x 8 1 4 inches image signed Theo Wujcik and dated 1975 lower right PROVENANCE private Collection Connecticut ILLUSTRATED Walter Hopps and Sarah Bancroft James rosenquist a retrospective new York guggenheim 2003 p 349 cat no 251 another example illustrated glenn 69 Estimate 8 000 12 000 164 ROBERT RAUSCHENBERG american 1925 2008 TREATY lithograph in colors two sheets 27 1 8 x 40 inches sight each sheet signed rauschenberg upper right numbered HC 1 5 and dated 74 lower right publisher s blind stamp a upper right b lower left published by ulaE PROVENANCE private Collection Connecticut ILLUSTRATED mary lynn Kotz rauschenberg art and life new York Henry n abrams inc 1990 p 150 another example illustrated Estimate 7 000 10 000 164 122

165 A B C 165 YUTAKA OHASHI Japanese american 1923 1989 DAWN NO 5 TRIPTYCH acrylic and gold leaf on canvas 50 x 34 inches each signed Y Ohashi in gold leaf lower left signed titled and inscribed florence 1956 on the reverse PROVENANCE margaret Brown galleries Boston massachusetts private Collection new York Estimate 4 000 6 000 166 RAYMOND PARKER american 1922 1990 UNTITLED acrylic on paper 27 x 37 inches sheet initialed r p and dated 57 lower right PROVENANCE private Collection new York private Collection Connecticut Estimate 4 000 6 000 166 123

167 GEORGE HAUSDORF american 1894 1959 CONVERSATION ON THE DOMINICAN SHORE oil on canvas board 11 3 4 x 15 1 4 inches signed george Hausdorf lower right PROVENANCE private Collection new York Estimate 3 000 5 000 167 168 ALFRED GWYNNE MORANG american 1901 1958 ADOBE HOUSES oil on canvasboard 12 x 16 inches signed alfred morang and dated 54 lower right PROVENANCE private Collection Santa fe new mexico private Collection Wilmington Delaware Estimate 2 500 3 500 168 169 ALLEN TUCKER american 1866 1939 LANDSCAPE WITH TREES oil on board 20 x 23 1 2 inches inscribed allen Tucker and dated 1917 on the reverse PROVENANCE a maine Estate Estimate 3 000 5 000 169 124

170 170 ABRAHAM MANIEVICH russian american 1881 1942 WINTER SCENE IN YONKERS oil on canvas 21 3 4 x 27 1 4 inches signed a manievich lower left and signed on the reverse PROVENANCE pensler fine art Washington D C EXHIBITED included in the 1928 solo exhibition at the Baltimore museum of art ILLUSTRATED abraham manievich by alan pensler and mimi ginsberg p 126 Estimate 8 000 12 000 125

171 171 GERALD JOHNSON american 1944 2009 UNTITLED acrylic on canvas 20 x 84 inches signed gerald Johnson and dated nov 77 on the reverse PROVENANCE acquired from the Estate of the artist private Collection michigan Estate stamp inventory number 17208081 on the reverse Estimate 2 000 3 000 172 172 HANNES BECKMANN Czech american 1909 1976 COLOR STUDY TO DOMINANT SEVEN STAR CUBE oil on canvas on board initialed h b and dated 68 lower left 10 x 10 inches signed titled inscribed To mila Kanegis and dated on the reverse PROVENANCE acquired from the Estate of the artist private Collection michigan Estimate 2 000 3 000 173 GERALD JOHNSON american 1944 2009 173 126 UNTITLED acrylic on canvas 70 x 30 inches unsigned PROVENANCE acquired from the Estate of the artist private Collection michigan Estate stamp inventory number 17208080 on the reverse Estimate 2 000 3 000

174 174 LEONARD NELSON american 1912 1993 COLORFIELD oil on canvas 54 x 50 inches signed l nelson and dated 88 89 on the reverse PROVENANCE Estate of the artist private Collection Bar Harbor maine Estate stamp 344 Estimate 15 000 25 000 127

175 MARGUERITE STUBER PEARSON american 1898 1978 HOLIDAY PASTIME oil on canvas 25 x 30 inches signed marguerite S pearson lower left PROVENANCE rockport art association rockport massachusetts private Collection new York Estimate 4 000 6 000 175 176 ELLEN DAY HALE american 1855 1940 PORTRAIT OF A WOMAN oil on canvas 28 x 23 1 2 inches initialed E H lower left PROVENANCE private Collection new York Ellen Day Hale Collection stamp on the reverse Estimate 4 000 6 000 176 128

177 177 PHILIP MARTINY american 1858 1927 BOY WITH HERON C 1910 bronze fountain 51 H signed p H martiny SC on reverse cast by roman Bronze Works new York PROVENANCE private Collection new York Estimate 15 000 20 000 129

178 HARRY WICKEY 179 MAX KALISH THE BOXER bronze 21 H inscribed Wickey roman Bronze Works inc nY and dated 1950 PROVENANCE frances naumann fine art new York new York private Collection new York EXHIBITED art in america francis naumann new York new York September 10 October 15 2004 Estimate 4 000 6 000 THE DANCER bronze 14 1 4 H inscribed m Kalish on the base PROVENANCE private Collection new York 1990 EXHIBITED Cleveland museum 1925 possibly partial C m a label on base ILLUSTRATED Contemporary american Sculpture The national Sculpture Society 1929 p 176 1st prize Cleveland museum of art plaque on base Estimate 3 000 5 000 american 1890 1968 polish 1891 1945 178 179 180 RICHARD H RECCHIA american 1885 1983 180 130 THE DREAMER bronze 20 H signed r H recchia and inscribed ideal Casting Co prov ri on the base PROVENANCE Edwin a ulrich museum of art Wichita Kansas label removed copy available private Collection new York EXHIBITED national Sculpture Society 1923 annual Exhibition of The Concord art association 1925 an american Collection paintings and Sculptures from the national academy of Design 1990 other examples exhibited ILLUSTRATED an american Collection paintings and Sculpture from the national academy of Design another version illus p 137 The Dreamer was recchia s diploma presentation piece at the national academy of Design and an example is in the permanent collection of the academy Estimate 2 500 3 500

181 181 KATHERINE WARD LANE WEEMS american 1899 1989 KANGAROO bronze 11 1 2 H inscribed K l Weems and r B W inc on base PROVENANCE private Collection new York Estimate 5 000 7 000 182 EDGAR BRANDT french 1880 1960 PELICANS A PAIR OF ASHTRAYS cast wrought iron 5 3 4 H each stamped E Brandt on the base PROVENANCE ardeche Encheres annonay france Estimate 4 000 6 000 182 183 EDGAR BRANDT french 1880 1960 COBRA PAPERWEIGHT patinated iron paperweight 4 1 4 H inscribed E Brandt on the base PROVENANCE le Calvez et associes auvers sur Oise france ILLUSTRATED J Kahr Edgar Brandt new York 1999 re edited 2010 p 201 another example illustrated Estimate 1 000 1 500 183 131

184 ERNEST FIENE american 1894 1965 STUDIO ALCOVE oil on canvas 43 x 31 inches signed E fiene and dated 52 lower right titled on the reverse PROVENANCE The Estate of the artist private Collection new York EXHIBITED Whitney museum new York new York annual Exhibition of Contemporary painting October 15 December 6 1953 ILLUSTRATED fiene Ernest Complete guide to Oil painting by Ernest fiene new York Watson guptill publication illus p 79 from the literature This section of my country studio contains various objects i have collected as possible subjects for paintings The old wood burning stove is a great asset on cold winter days The anatomy chart palette jugs and vases complete the studio environment Estimate 4 000 6 000 185 ERNEST FIENE american 1894 1965 RIO GRANDE VALLEY 1935 oil on canvas 29 x 36 inches signed E fiene lower right PROVENANCE morgan and Brother new York new York nedra matteucci galleries Santa fe new mexico EXHIBITED artistic Crossroads Historic new mexico paintings at nedra matteucci galleries Exhibition november 4 26 2005 Estimate 2 000 3 000 184 185 132

186 186 RALPH FASANELLA american 1914 1997 THE GAS STATION oil on canvas 30 x 40 inches signed r fasanella and dated 1949 lower right PROVENANCE private Collection new York private Collection Connecticut Estimate 8 000 12 000 187 PHILIP EVERGOOD american 1901 1973 FARMERS oil on canvas 20 x 25 inches signed philip Evergood lower right PROVENANCE D C moore gallery new York new York private Collection maryland EXHIBITED american Social realism 1920 1950 forum gallery new York new York January 18 february 24 2007 Estimate 4 000 6 000 187 133

188 188 LEONARD OCHTMAN american 1854 1935 COLD WINTER SNOW STORM oil on canvas 36 1 2 x 52 inches signed leonard Ochtman lower left PROVENANCE modern art museum of fort Worth Texas private Collection fort Worth Texas Estimate 4 000 6 000 189 134 189 WILSON HENRY IRVINE american 1869 1936 SPRINGTIME IN OLD LYME oil on canvas 24 x 27 inches unsigned PROVENANCE private Collection Connecticut Estimate 4 000 6 000

190 190 WILSON HENRY IRVINE american 1869 1936 HARBOR VIEW oil on canvas 24 x 27 inches signed irvine lower right PROVENANCE Collection of rev John a Spitler Camarillo California By descent to current owner Estimate 6 000 8 000 191 WILLIAM LESTER STEVENS american 1888 1969 CHURCH IN TOWN oil on canvas 25 x 29 3 4 inches signed W lester Stevens na lower right PROVENANCE private Collection new York Estimate 3 000 5 000 191 135

192 ARTHUR BOWEN DAVIES american 1862 1928 DANCER IN LANDSCAPE oil on canvas 9 x 15 inches signed a Davies lower left PROVENANCE Owen gallery new York new York private Collection maryland EXHIBITED The Eight Owen gallery new York new York October 26 December 17 2005 Estimate 3 000 5 000 192 193 PHILIP REISMAN american 1904 1992 WINE OS oil on canvas 24 x 36 inches signed philip reisman and dated 1965 lower right PROVENANCE purchased directly from the artist s estate labels on the reverse Harbor gallery Spring Harbor new York aCa new York new York Bergen museum of art and Science Closter new Jersey Estimate 2 500 3 500 193 194 SIDNEY GROSS american 1921 1969 EL oil on canvas 40 x 30 inches signed gross lower center signed titled and dated 1948 on the stretcher PROVENANCE private Collection greenwich Connecticut Estimate 3 000 5 000 194 136

195 ARTHUR BOWEN DAVIES american 1862 1928 NUDES IN A RED LANDSCAPE C 1915 oil on canvas 14 x 28 inches signed a B Davies lower left PROVENANCE Owen gallery new York new York private Collection maryland EXHIBITED The Eight Owen gallery new York new York October 23 December 14 2002 Estimate 4 000 6 000 195 196 LOUIS EILSHEMIUS american 1864 1941 FEMALE NUDES BY A RIVER oil on board 30 x 39 3 4 inches signed Eilshemius and dated 1916 lower right PROVENANCE private Collection new Jersey Estimate 6 000 8 000 196 197 GRIGORY GLUCKMANN russian american 1898 1973 SYLVAN FROLIC oil on board 10 1 4 x 8 1 4 inches signed gluckmann lower center PROVENANCE O Brien s art Emporium Scottsdale arizona private Collection arizona Estimate 3 000 5 000 197 137

198 HENRY RASCHEN american 1854 1937 HORSES IN THE EVENING oil on canvas 24 x 36 inches unsigned PROVENANCE Shirley and Benjamin flayderman Collection Boston massachusetts by descent to the present owner Estimate 2 500 3 500 198 199 GORDON PHILLIPS american b 1927 CALLIN ON NEIGHBORS oil on canvas 30 x 36 inches signed gordon phillips and dated 72 lower left PROVENANCE Kennedy galleries new York new York The peoria Journal Star inc Corporate Collections peoria illinois private Collection new Jersey Estimate 2 000 3 000 199 200 ROBERT WILLIAM MEYERS american 1919 1970 AN UNWANTED ESCORT oil on board 18 x 24 inches signed myers lower left PROVENANCE private Collection florida Estimate 2 000 3 000 200 138

201 201 CHARLES ROBERT KNIGHT american 1874 1953 PREHISTORIC SHORT FACED BEARS AND GLYPTODON oil on canvas 27 x 23 inches signed Chas r Knight lower left PROVENANCE The artist s daughter private Collection pennsylvania Estimate 15 000 25 000 139

202 PIERRE BITTAR french b 1934 FLORAL WALKWAY AT THE HARBOR oil on canvas 30 x 40 inches signed Bittar lower left PROVENANCE private Collection new York Estimate 6 000 8 000 203 MICHELE CASCELLA american italian 1892 1989 FLORAL STILL LIFE oil on canvas 36 1 4 x 24 1 4 inches signed michele Cascella lower left PROVENANCE private Collection new Jersey Estimate 4 000 6 000 204 HOWARD LOGAN HILDEBRANDT 202 203 140 american 1872 1958 SPRING FLOWERS oil on panel 32 x 26 inches signed H l Hildebrandt n a lower left PROVENANCE private Collection new York new York Estimate 1 500 2 500 204

205 205 VU CAO DAM Vietnamese french 1908 2000 FEMME AU FOND ROUGE oil on canvas 28 5 8 x 23 1 2 inches signed Vu Cao Dam lower left PROVENANCE findlay galleries new York new York private Collection St louis missouri Estimate 15 000 25 000 141

206 DAVID HAYES american 1931 2013 UNTITLED 19 1 4 H welded painted steel PROVENANCE The Estate of the artist Estimate 3 000 5 000 207 JOHN GRILLO american 1917 2014 ABSTRACT watercolor on paper 29 3 4 x 22 inches signed grillo and dated 06 PROVENANCE private Collection massachusetts Estimate 2 000 3 000 208 ROBERT NATKIN american 1930 2010 UNTITLED watercolor on paper 16 x 14 1 2 inches sheet signed natkin and dated 63 lower left PROVENANCE private Collection massachusetts Estimate 1 500 2 500 206 207 142 208

209 209 MARC CHAGALL french russian 1887 1985 AVENUE DE LA VICTOIRE A NICE 1967 color lithograph on arches paper 24 1 8 x 18 inches image signed in pencil lower right marc Chagall numbered in pencil lower left lXXi lXXV PROVENANCE private Collection Connecticut ILLUSTRATED Sorlier 31 from the series nice et la Cote d azur Estimate 10 000 15 000 143

210 F LUIS MORA american 1874 1940 THE TENNIS GIRL oil on board 15 x 11 1 2 inches signed f luis mora lower right PROVENANCE pierce galleries Hingham massachusetts Estimate 3 000 5 000 210 211 AMERICAN SCHOOL 19th Century READING ON A SUNNY AFTERNOON oil on panel 6 1 8 x 8 3 4 inches unsigned PROVENANCE private Collection Connecticut Estimate 800 1 200 211 212 JOHN EDWARD COSTIGAN american 1888 1972 CHILDREN FISHING oil on canvasboard 12 x 16 inches signed JE Costigan n a lower right signed and titled on the reverse PROVENANCE private Collection Connecticut Estimate 2 500 3 500 212 144

213 213 FRANK VINCENT DUMOND 214 FREDERICK JUDD WAUGH PINK RHODODENDRONS oil on canvas 14 1 4 x 23 inches signed f V Dumond lower right PROVENANCE Shannon s may 4 2006 lot 57 private Collection Connecticut Estimate 8 000 12 000 CHRYSANTHEMUMS oil on panel 26 3 4 x 36 1 4 inches signed f Waugh lower right PROVENANCE private Collection massachusetts Estimate 5 000 7 000 american 1865 1951 american 1861 1940 214 145

215 FREDERICK JUDD WAUGH american 1861 1940 SEASCAPE WITH BREAKING WAVES oil on board 13 1 4 x 19 3 4 inches signed Waugh lower right PROVENANCE Thomas Colville fine art guilford Connecticut private Collection Connecticut Estimate 3 000 5 000 215 216 AMERICAN SCHOOL Early 20th Century WOMAN WITH PARASOL ON THE BEACH oil on canvas 14 1 4 x 19 1 2 inches unsigned PROVENANCE private Collection new York Estimate 6 000 8 000 216 217 HERMANN DUDLEY MURPHY american 1867 1945 THE BEACH NIGHT oil on canvas 13 x 20 inches artist s monogram lower left titled and signed on the reverse PROVENANCE private Collection new England Estimate 3 000 5 000 217 146

218 ROBERT VICKREY american 1926 2011 KATHERYN S ARROWS egg tempera on board 5 7 8 x 9 3 8 inches signed r Vickrey lower left PROVENANCE Trees place gallery Orleans massachusetts a Wellesley massachusetts Collector Estimate 3 000 5 000 218 219 ROBERT VICKREY american 1926 2011 GOLDEN BOATS egg tempera on board 8 x 12 inches signed robert Vickrey lower left PROVENANCE private Collection massachusetts Estimate 3 000 5 000 219 220 ROBERT VICKREY american 1926 2011 DISTANT DOME egg tempera on gesso panel 17 x 22 5 8 inches signed robert Vickrey and dated 88 lower left PROVENANCE Kennedy galleries inc new York new York private Collection massachusetts Estimate 2 500 3 500 220 147

221 MARY ELIZABETH PRICE american 1877 1965 VILLAGE QUEEN oil on board 19 1 2 x 16 inches signed m Elizabeth price lower right titled on the reverse PROVENANCE a pennsylvania Estate private Collection pennsylvania Estimate 2 500 3 500 221 222 REGINALD MARSH american 1898 1954 THE SS NORMANDIE IN NEW YORK HARBOR watercolor on paper 14 1 2 x 20 7 8 inches sight initialed r m lower right inscribed SS normandie and dated 1937 lower center PROVENANCE The artist Estate of Senator William Benton John H Benton Trust York private Collection Washington Estimate 4 000 6 000 222 223 CHARLES ROBERT PATTERSON american 1878 1958 ALL HANDS ON THE MAINSTAY oil on canvas 25 x 30 inches signed Charles robert patterson lower right titled on the reverse PROVENANCE private Collection Connecticut private Collection pennsylvania Estimate 2 500 3 500 223 148

224 HENRY GASSER american 1909 1981 WINTER CORNER watercolor on paper mounted on board 22 x 29 3 4 inches signed H gasser lower left PROVENANCE private Collection Connecticut Estimate 4 000 6 000 224 225 HENRY GASSER american 1909 1981 WINTER HARBOR SCENE watercolor on paper 22 x 30 inches sight signed H gasser lower left PROVENANCE private Collection florida Estimate 3 000 5 000 225 226 HENRY GASSER american 1909 1981 TOWN AT THE HARBOR watercolor on paper 22 1 2 x 15 1 4 inches sight signed H gasser lower left PROVENANCE private Collection new York Estimate 3 000 5 000 226 149

227 JULIEN DUPRE STUDIO OF french 1851 1910 HAYING oil on canvas 18 x 21 1 2 inches bears signature Julien Dupre lower left PROVENANCE a Washington estate Our thanks to Howard rehs for his assistance in cataloging this lot Estimate 3 000 5 000 227 228 PIERRE EUGENE MONTEZIN french 1874 1946 LES CANARDS DUCKS oil on canvas 31 x 42 inches signed montezin lower right PROVENANCE Wally findlay galleries new York new York private Collection new York new York Estimate 2 000 3 000 228 229 EDGAR HUNT British 1876 1953 FARMYARD SCENE oil on board 6 3 8 x 10 3 8 inches signed E Hunt lower right PROVENANCE private Collection Estimate 2 000 3 000 229 150

230 FELIX ZIEM french 1821 1911 VENISE FONDAMENTE NUOVO watercolor and ink on paper 8 x 10 1 4 inches sight signed Ziem lower right inscribed and dated Venise fondamente nuovo mai 1864 25 mai 5h 30 lower left PROVENANCE Thomas Colville fine art guilford Connecticut private Collection Connecticut ILLUSTRATED pierre miquel l cole de la nature f lix Ziem Volume Viii ditions de la martinelle maurs la Jolie 1978 p 244 no 1819D illustrated Estimate 1 500 2 500 230 231 LEVI WELLS PRENTICE american 1851 1935 VENICE oil on canvas 20 x 30 inches signed l W prentice lower right PROVENANCE private Collection new Jersey Estimate 2 500 3 500 231 232 LOIS MAILOU JONES american 1905 1998 FRENCH CHATEAU oil on canvasboard 8 x 13 inches signed lois m Jones dated 78 and inscribed france lower right PROVENANCE private Collection massachusetts Estimate 2 500 3 500 232 151

233 FRANCIS JOHNSON american 1878 1931 AFTERNOON TEA 1909 oil on canvas 28 1 4 x 36 1 4 inches signed f morton Johnson dated 1909 and inscribed paris lower left PROVENANCE Owen gallery High falls new York private Collection paris private Collection new York Estimate 3 000 5 000 233 234 IGNAZ GAUGENGIGL american german 1855 1932 PORTRAIT OF A GENTLEMAN oil on panel 11 1 2 x 8 1 8 inches signed i gaugengigl and dated 79 lower right PROVENANCE private Collection florida Estimate 2 000 3 000 234 235 ROBERT FREDERICK BLUM AFTER american 1857 1903 THE AMEYA oil on canvas 25 1 8 x 30 inches unsigned PROVENANCE private Collection Houston Texas Estimate 2 000 3 000 235 152

236 ENOCH WOOD PERRY american 1831 1915 ANNE HATHAWAY S COTTAGE oil on canvas 10 x 15 inches signed EW perry lower right and dated 74 lower right signed and titled on reverse PROVENANCE O Brien s Chicago illinois private Collection minnesota private Estate minnesota Estimate 2 500 3 500 236 237 CARL HERPFER german 1836 1897 THE BRIDESMAID oil on canvas 29 1 2 x 21 1 2 inches signed Carl Herpfer dated 1872 and inscribed munchen lower right PROVENANCE private Collection atlanta georgia private Collection Connecticut Estimate 3 000 5 000 237 238 MARGARET SARAH CARPENTER British 1793 1872 MARGE CARPENTER oil on canvas 26 1 4 x 29 1 4 inches signed margaret Carpenter and dated 1852 lower left center PROVENANCE garnier and gilder new York new York private Collection pennsylvania Estimate 2 500 3 500 238 153

239 LOWELL NESBITT american 1933 1993 STAIRCASE oil on canvas 77 x 60 inches signed l nesbitt dated 1965 and titled on reverse PROVENANCE Howard Wise gallery new York new York private Collection new York Estimate 5 000 7 000 239 240 MICHEL DELACROIX french b 1933 LE VIOLONISTE oil on canvas 14 x 10 3 4 inches signed michel Delacroix and inscribed paris lower right signed titled and inscribed paris on the reverse PROVENANCE private Collection Spain gorringe s lewes England private Collection England Estimate 5 000 7 000 240 241 DORIS EMRICK LEE american 1905 1983 HOLLYWOOD HOUSE gouache on board 13 x 11 inches sight signed D lee lower right PROVENANCE private Collection arizona Estimate 2 000 3 000 241 154

242 LEONARD NELSON american 1912 1993 YELLOW FIELDS oil on canvas 25 x 20 inches signed nelson and dated 85 lower right PROVENANCE Estate of the artist private Collection pennsylvania Estimate 4 000 6 000 242 243 MAX PAPART french 1911 1994 MARLBOROUGH CHERCHEUSE D OR 1972 mixed media collage on masonite 31 1 4 x 31 1 4 inches signed max papart and inscribed lXV lower left titled and dated 1972 on the reverse PROVENANCE The artist early 1970s private Collection new York new York Estimate 2 000 3 000 243 244 JACQUES VILLON french 1875 1963 ABSTRACT COMPOSITION mixed media on paper 12 1 4 x 17 3 4 inches sheet signed Jaques Villon lower left PROVENANCE private Collection new York Estimate 2 000 3 000 244 155

245 JAMES MC DOUGAL HART american 1828 1901 COWS AND DUCKS ALONG THE RIVER oil on canvas 23 x 35 1 4 inches signed James m Hart and dated 1873 lower left PROVENANCE private Collection new York Estimate 2 500 3 500 245 246 HUGH BOLTON JONES american 1848 1927 HAYSTACKS oil on canvasboard 13 7 8 x 19 3 4 inches signed H Bolton Jones lower right PROVENANCE private Collection new York Estimate 3 000 5 000 246 247 JAMES MC DOUGAL HART american 1828 1901 LANDSCAPE WITH COWS oil on canvas 20 x 28 inches signed James m Hart lower left PROVENANCE private Collection Vermont Estimate 3 000 5 000 247 156

248 EVERETT LONGLEY WARNER american 1877 1963 AFTER THE STORM oil on canvas 25 1 2 x 32 inches signed Everett Warner lower right PROVENANCE private Collection massachusetts Estimate 3 000 5 000 248 249 EMILE ALBERT GRUPPE american 1896 1978 APRIL VERMONT oil on canvas 31 x 25 3 4 inches signed Emile a gruppe lower left PROVENANCE private Collection Connecticut EXHIBITED Salmagundi Club 1954 Summer Exhibition Estimate 3 000 5 000 249 250 ANTON OTTO FISCHER american german 1882 1962 GOLF OUTING oil on canvas 15 x 20 inches signed anton Otto fischer and dated 48 lower right PROVENANCE private Collection new York Estimate 2 000 3 000 250 157

251 JULIUS ROLSHOVEN american 1858 1930 RED HAT 3 pastel on paper 22 5 8 x 17 3 4 inches sight signed J rolshoven and inscribed florence upper left PROVENANCE grand Central art galleries new York new York Jordan Volpe gallery new York new York private Collection new York private Collection Connecticut Estimate 2 000 3 000 251 252 JENNIE AUGUSTA BROWNSCOMBE american 1820 1936 SPRING pastel on paper 21 5 8 x 14 3 4 inches sight signed Jennie Brownscombe lower left PROVENANCE private Estate pennsylvania private Collection new York Estimate 2 500 3 500 252 253 JENNIE AUGUSTA BROWNSCOMBE american 1820 1936 MOTHER AND CHILD watercolor on paper 10 1 4 x 15 3 4 inches sight signed Jennie Brownscombe center right PROVENANCE private Collection new York Estimate 2 500 3 500 253 158

254 REGINALD MARSH american 1898 1954 BILLIE HOLIDAY gouache on paper 15 1 8 x 12 inches signed reginald marsh titled and dated 44 lower right PROVENANCE robert Henry adams fine art Chicago illinois private Collection Connecticut Estimate 2 000 3 000 254 255 GRACE HARTIGAN american 1922 2008 PORTRAIT OF A WOMAN gouache on paper 24 x 18 inches signed Hartigan and dated 71 lower left PROVENANCE private Collection California Estimate 2 000 3 000 255 256 AMERICAN SCHOOL 19th Century MOTHER AND CHILDREN pastel on paper 11 3 4 x 10 5 8 inches sight unsigned PROVENANCE private Collection new York Estimate 1 000 1 500 256 159

257 WOLF KAHN american b 1927 COLORFUL LANDSCAPE pastel on paper 8 x 11 1 2 inches sheet signed W Kahn lower left PROVENANCE private Collection Connecticut Estimate 2 000 3 000 257 258 FRANK STELLA american b 1936 PUERTO RICAN BLUE PIGEON FROM EXOTIC BIRD SERIES 1977 lithograph and screenprint 33 7 8 x 45 7 8 inches sight signed f Stella and dated 77 lower right numbered 29 50 published by Tyler graphics publisher s blind stamp lower right PROVENANCE private Collection Connecticut ILLUSTRATED axsom 108 Estimate 4 000 6 000 258 259 JOSEPH STELLA american 1877 1946 STILL LIFE crayon and colored pencil on paper 9 3 4 x 10 3 8 inches sight signed Joseph Stella and dated 1944 lower right PROVENANCE The Estate of James mellow author rockport massachusetts private Collection Connecticut Estimate 3 000 5 000 259 160

260 ROBERT RAUSCHENBERG american 1925 2008 STUDY FOR CHINESE SUMMERHALL ektacolor print 26 x 26 inches image signed rauschenberg lower left inscribed uSf XVii XXX lower center PROVENANCE graphic Studio Tampa florida private Collection Keene new Hampshire a photograph at uSf and a press release describing this work accompanies the lot Estimate 3 000 5 000 260 261 PIERRE SOULAGES french b 1919 SERIGRAPHE NO 15 COMPOSITION IN BROWN 1981 serigraph 41 1 2 x 28 3 4 inches signed Soulages numbered 16 45 and inscribed Ea lower left PROVENANCE Circle gallery San francisco California private Collection Keene new Hampshire Original documentation from the publisher accompanies the lot Estimate 3 000 5 000 261 262 PIERRE SOULAGES french b 1919 LITHOGRAPHIE NO 1 1957 lithograph 22 x 17 1 4 inches signed Soulages lower right and numbered 21 60 lower left PROVENANCE Walker art gallery minneapolis minnesota private Collection Keene new Hampshire Estimate 3 000 5 000 262 161

263 CHILDE HASSAM american 1859 1935 HELEN WELLS 1929 etching 7 x 5 inches inscribed East Hampton and dated 1924 lower left artist s monogram lower right and titled on the reverse PROVENANCE private Collection Connecticut Estimate 2 500 3 500 264 HENRY MOORE British 1898 1986 RECLINING WOMAN etching on paper 6 x 7 3 4 inches plate signed in pencil moore lower right and numbered 10 50 lower left PROVENANCE mrs Vera g list prominent Contemporary art Collector and philanthropist new York new York and greenwich Connecticut by descent to the present owner Connecticut Estimate 1 000 1 500 263 264 265 LOUISE NEVELSON american 1899 1988 265 162 THE LOUISE NEVELSON SCULPTURE FOR THE AMERICAN BOOK AWARD 1983 painted wood relief 15 1 4 x 15 7 8 x 2 1 4 inches unsigned edition no 94 PROVENANCE The Estate of James mellow author rockport massachusetts private Collection Connecticut label on the reverse for autobiography Biography to James r mellow for nathaniel Hawthorne in His Times published by Houghton mifflin a copy of the american Book awards program accompanies the lot a photograph of the author receiving the award accompanies the lot Estimate 2 500 3 500

266 WALKER EVANS american 1903 1975 HAVANA PORTRAIT photograph 11 x 16 inches image artist s estate stamp lower right PROVENANCE The Estate of James mellow author rockport massachusetts private Collection Connecticut Estimate 4 000 6 000 267 BRUCE BRAITHWAITE american b 1950 GRAND STREET EVENING NYC oil on canvas 18 x 24 inches signed Bruce Braithwaite lower right signed titled and numbered 509 on the reverse Estimate 1 500 2 500 266 267 268 BRUCE BRAITHWAITE american b 1950 LIBERTY AT NASSAU TAXI NYC oil on canvas 16x 20 inches signed Bruce Braithwaite lower right signed titled and numbered 496 on the reverse Estimate 1 200 1 800 268 163

269 JOHN FRANCIS MURPHY american 1853 1921 SUNDOWN oil on canvas 12 x 19 inches signed J francis murphy and dated 91 lower left PROVENANCE private Collection new York Estimate 3 000 5 000 269 270 JOHN FRANCIS MURPHY american 1853 1921 LANDSCAPE WITH BOAT AND HOUSE oil on board 6 1 4 x 10 inches signed lower right PROVENANCE Babcock galleries new York new York Shannon s fine art auctioneers april 26 2007 lot 92 private Collection pennsylvania Estimate 2 500 3 500 270 271 GEORGE INNESS JR ATTRIBUTED american 1825 1894 ETRETAT NORMANDY FRANCE oil on canvas 18 x 24 inches bears signature lower right PROVENANCE private Collection Seattle Washington Estimate 2 500 3 500 271 164

272 CHARLES TICE american 1810 1870 WHITE MOUNTAINS WATERFALL CASCADE FALLS oil on board 18 x 14 inches signed Tice lower center PROVENANCE a ramsdell Estate newburgh new York Estimate 1 500 2 500 272 273 AMERICAN SCHOOL 19th Century NIAGARA FALLS oil on canvas 16 3 4 x 23 inches unsigned PROVENANCE private Collection massachusetts Estimate 1 500 2 500 273 274 ALBERTUS DEL ORIENT BROWERE american 1814 1887 CONSTRUCTION OF NEW YORK CENTRAL RAILROAD oil on canvas 24 x 32 inches initialed a D O B lower left PROVENANCE private Collection new York private Collection new York label on the reverse Construction of new York Central r r 1806 from rogers island Catskill on Hudson new York by Spencer 1808 Estimate 2 500 3 500 274 165

275 DORIS CAESAR american 1893 1971 HUNGER bronze 17 1 2 H signed on the base PROVENANCE The reingold Collection 2007 private Collection new York ILLUSTRATED another example illustrated in american Sculpture by C ludwig Brumme Crown publishers new York 1948 plate 14 Estimate 1 200 1 800 276 WILLIAM ZORACH american 1887 1966 275 276 TESSIM wood 46 3 4 H unsigned PROVENANCE Descended in the artist s family paradox gallery Woodstock new York private Collection new York EXHIBITED Coming Home a retrospective Exhibit of parrish manship faulkner and Zorach Cornish Colony museum Windsor Vermont not listed in the catalog accompanied by a photograph of the sculpture in the exhibition at the Cornish Colony museum alongside director alma gilbert Smith Estimate 2 000 3 000 277 ADOLPH ALEXANDER WEINMAN american 1870 1952 BUST OF ABRAHAM LINCOLN 1914 bronze 10 3 4 H signed a a Weinman and inscribed roman Bronze Works nY on the base PROVENANCE Harry Hilbert by descent to the present owner Connecticut Estimate 3 000 5 000 278 JOHN TERKEN american 1912 1993 277 166 278 A YOUNG BOY WITH HIS DOG AND CAT bronze 11 5 8 H signed John Terken and dated 1967 PROVENANCE private Collection new York Estimate 1 200 1 800

280 280 DAVID BURLIUK american russian 1882 1967 279 279 CHAIM GROSS american 1904 1991 FIGURE OF A WOMAN pink alabaster 7 1 2 H inscribed Chaim gross PROVENANCE private Collection new York Estimate 2 500 3 500 281 CHARLES LEVIER french 1920 2003 STILL LIFE WITH PITCHERS AND FRUIT oil on canvas 20 x 48 inches signed levier lower right PROVENANCE private Collection greenwich Connecticut private Collection new York Estimate 700 1 000 281 FIGURES SEATED AT A TABLE WITH SAMOVAR CA 1947 watercolor and graphite on paper 10 3 8 x 14 3 8 inches sight signed Burliuk lower left PROVENANCE aCa galleries new York new York private Collection maryland Estimate 1 200 1 800 282 CHARLES LEVIER french 1920 2003 SALTIMBANQUE ET SA FILLE oil on canvas 40 x 30 inches signed levier lower right PROVENANCE private Collection greenwich Connecticut private Collection new York Estimate 800 1 200 282 167

283 HENRY BILLINGS american 1901 1985 TAKE THE POINT tempera on panel 15 x 18 inches unsigned PROVENANCE private Collection new York Estimate 4 000 6 000 283 284 ARNOLD BITTLEMAN american 1933 1985 MR MARPLES GARDEN A PAIR ink on paper backed with linen on board a 75 1 2 x 40 1 2 inches b 74 1 4 x 40 1 2 inches titled and dated 1958 60 on the stretcher PROVENANCE private Collection new York Estimate 2 000 3 000 284 A B 285 IGOR TULPANOV russian b 1939 YENOKOENUE oil on canvas 18 x 24 inches signed igor Tulpanov dated 2003 and titled on the reverse PROVENANCE private Collection new Jersey Estimate 3 000 5 000 285 168

286 286 CLAUDE RAGUET HIRST 287 american 1855 1942 american 1882 1960 STILL LIFE WITH TEA SET watercolor on paper 16 x 12 inches sight signed Claude raguet Hirst and inscribed n Y lower right PROVENANCE private Collection nevada Estimate 2 500 3 500 CANYON DE CHELLY ARIZONA oil on canvas backed by masonite 20 x 24 inches signed C Bertram Hartman lower right PROVENANCE Estate of the artist John Hartman Kewanee illinois private Collection pennsylvania Estimate 1 500 2 500 288 SILVIA PLIMACK MANGOLD 289 THOMAS ADKINS FLOOR II 1974 lithograph 23 x 31 inches sight signed Sylvia mangold and dated 1974 lower right numbered 30 38 lower left PROVENANCE private Collection Connecticut Estimate 1 200 1 800 JUDSON ST 3 TREES WOODBURY oil on canvas 14 x 16 inches signed T adkins lower right PROVENANCE private Collection Connecticut Estimate 1 000 1 500 american b 1938 288 287 C BERTRAM HARTMAN american 20th 21st Century 289 169

290 JOHANN BERTHELSEN american 1883 1972 FIFTH AVENUE LOOKING SOUTH FROM 60TH ST oil on canvas 10 x 8 inches signed Johann Berthelsen lower right PROVENANCE private Collection Connecticut Estimate 3 000 5 000 290 291 291 JOHANN BERTHELSEN american 1883 1972 BROOKLYN BRIDGE TOWER NEW YORK NY oil on canvas 10 x 8 inches signed Johann Berthelsen lower right PROVENANCE private Collection Connecticut Estimate 2 500 3 500 292 JOHANN BERTHELSEN american 1883 1972 292 170 STATUE OF SHERMAN BY ST GAUDENS oil on board 12 x 9 inches signed Johann Berthelsen lower right PROVENANCE Sotheby s new York September 24 2008 lot 228 private Collection new Jersey Estimate 2 500 3 500

293 NAIMA RAUAM german american b 1946 ORIENT POINT oil on canvas 24 x 36 inches signed naima rauam lower right PROVENANCE private Collection new York Estimate 1 200 1 800 293 294 NAIMA RAUAM german american b 1946 CHINATOWN oil on canvas 24 x 36 inches signed naima rauam and dated 1987 lower right PROVENANCE private Collection new York Estimate 1 200 1 800 294 295 NAIMA RAUAM german american b 1946 VILLAGE CIGARS oil on canvas 24 x 36 inches signed naima rauam and dated 1987 PROVENANCE private Collection new York Estimate 1 200 1 800 295 296 NAIMA RAUAM german american b 1946 LITTLE ITALY oil on canvas 24 x 36 inches signed naima rauam lower right and dated 1987 lower right PROVENANCE private Collection new York Estimate 1 200 1 800 296 End of Sale 171

a adkins Thomas american School andrews ambrose B inDEX 95 96 289 89 138 155 211 216 256 273 31 Ball Thomas 157 158 Beckmann Hannes 172 Baum Walter Emerson Benton Thomas Hart Berthelsen Johann Bierstadt albert Billings Henry Bittar pierre Bittleman arnold Blakelock ralph albert Blashfield Edwin Howland Bluemner Oscar 76 133 134 1 2 290 291 292 49 283 202 284 88 136 139 140 118 131 Blum after robert frederick 235 Borrani Odoardo 60 Bolotowsky ilya Boughton george Henry Bouvard antoine Bradford William Braithwaite Bruce Brandt Edgar Bricher alfred Thompson Briscoe franklin Dullin Browere albertus Del Orient Brown William mason Brownscombe Jennie augusta Burliuk David C 109 154 56 25 124 125 267 268 182 183 28 29 30 90 117 144 274 66 252 253 280 Chadwick William 4 graves abbott fuller 39 42 43 Colman Samuel 137 gross Sidney 194 Chagall marc Continental School Cortes Edouard leon Costigan John Edward 129 Curtis george D Davies arthur Bowen 192 195 Dam Vu Cao Davis Charles Harold De Haas mauritz frederick H Decker Joseph Delacroix michel Dumond frank Vincent Dunning robert Spear Dupre Studio Of Julien Durand asher Brown E Cascella michele Cassatt mary Stevenson 172 203 130 205 122 147 27 104 240 213 105 227 32 Eilshemius louis 196 Evans Walker 266 Enneking John Joseph Evergood philip f 79 187 fairman James 103 fiene Ernest 184 185 fasanella ralph fischer anton Otto g galien laloue Eugene gasser Henry gay Edward 238 146 15 114 51 92 Dabo leon Carlton William Tolman Carpenter margaret Sarah 212 Curran Charles Courtney Crane robert Bruce gaugengigl ignaz Carmiencke Johann Hermann 57 18 275 67 69 106 65 Cottingham robert Caesar Doris Carlsen Soren Emil 209 gaul gilbert gifford robert Swain glackens William gluckmann grigory grabach John r 186 250 59 12 13 159 224 225 226 234 46 26 145 81 197 14 grillo John gross Chaim gruppe Emile albert H 207 279 82 83 85 249 Hale Ellen Day 176 Hartigan grace 255 Hart James mc Dougal Hartman C Bertram Hartwick george gunther Haseltine William Stanley Hassam Childe Hausdorf george Hayes David Herpfer Carl Herzog Hermann Hildebrandt Howard logan Hirst Claude raguet Hofmann Hans 245 247 287 91 24 263 167 206 237 101 102 204 286 74 Holzer Jenny 113 Hunt Edgar 229 Hudson river School i 87 inness Jr george attr 271 Jacque Charles 151 Johnson David 33 irvine Wilson Henry J Jimenez Y aranda luis 189 190 152 Johnson gerald 110 111 Johnson francis 233 Jones lois mailou Jones Hugh Bolton K Kahn Wolf Kalish max Katz alex 112 171 173 232 246 257 179 20 Keeley Ken 126 Kelly Ellsworth 23 Keith William 148

King albert francis Knight Charles robert Koch John l 63 201 128 lathrop William langson 77 leavitt Edward Chalmers 156 lazzell Blanche lee Doris Emrick leith ross Harry 73 241 48 lever richard Hayley 5 6 52 53 levier Charles 281 282 lima mauricio nogueira m 54 55 19 macmonnies frederick William 153 manievich abraham 170 mangold Silvia plimack marcius Simons pinckney 288 61 marsh reginald 222 254 mattern alice l 107 108 martiny philip mc Entee Jervis meyers robert William miller richard Edward montezin pierre Eugene moore Henry mora f luis moran Edward morang alfred gwynne murphy John francis murphy Hermann Dudley myers Jerome n 177 100 200 98 228 264 210 143 168 115 269 270 217 162 natkin robert 208 nesbitt lowell 239 nelson leonard nevelson louise nichols Dale noyes george loftus O 174 242 265 36 97 3 Ochtman leonard 188 Olinsky ivan 64 Ohashi Yutaka 165 p palmer Walter launt 38 papart max 243 palmer pauline lennards parker raymond parton arthur patterson Charles robert paxton William mcgregor pearce glenn Stuart pearson marguerite Stuber perry Enoch Wood peterson Jane phillips gordon pollentine alfred potthast Edward Henry prendergast Charles E prentice levi Wells price mary Elizabeth r raschen Henry rauam naima rauschenberg robert recchia richard H reid robert reisman philip ripley aiden l rockwell norman rolshoven Julius rosenquist James S 80 166 149 223 119 161 175 236 123 199 58 41 44 45 198 293 294 295 296 164 260 180 40 193 47 34 35 251 163 120 50 150 Soulages pierre 21 22 261 Stella frank 258 Symons george gardner T Tansey mark Terken John Tucker allen Tulpanov igor Tunney peter Tyler James gale V Van Elten H D Kruseman Vickrey robert W 8 9 Stevens William lester 71 221 Sloane Eric Stella Joseph Tomlin Bradley Walker Tice Charles Villon Jacques 68 231 127 Sonntag Sr William louis 70 132 Sato masaaki Seignac guillaume Thompson Jerome 262 259 191 37 72 278 Vonnoh robert William 272 169 285 17 142 116 10 11 218 219 220 244 121 Warner Everett longley 248 Waugh frederick Judd 93 94 214 Warren masood ali Wilbert Weems Katherine Ward lane Weinman adolph alexander Whittredge Worthington Whorf John Wickey Harry Wiggins guy Carleton Wilmarth lemuel Everett Wu Ject Key David Wyant alexander Helwig Wyeth andrew newell Y 160 215 181 277 86 141 16 178 7 84 62 78 99 135 Young Charles morris 75 Ziem felix 230 Z Zorach William 276 173

COnSignmEnTS inViTED at SHannOn S we offer personalized service and competitive commission rates to ensure you have the most profitable auction experience for over 20 years clients have trusted us with their fine art relying on our expertise reputation and history of record prices Since 1997 Shannon s has sold over 100 000 000 in fine paintings Drawings prints and Sculpture Contact us today to see what we can do for your collection Upcoming Auctions January 2018 2 00pm On line fine art auction Consignment deadline December 15 2017 April 2018 6 00pm important american European paintings Drawings prints Sculpture Consignment deadline March 1 2018 To submit artwork for consideration please email photos to info shannons com or visit www shannons com TESTimOnialS On behalf of my mother and sister i d like to express to you our appreciation for the way you conducted the sale of my mother s oil painting by m J Heade Being complete novices with a valuable oil painting on our hands we could have made any number of wrong decisions Thanks to the guidance and the hard work of your firm we were able to realize what was probably the maximum price for the painting Our experience working with Shannon s was completely enjoyable and satisfying from start to finish Bill new Jersey approximately three months ago i walked into your gallery with a somewhat damaged soiled painting Since that time i ve experienced a once in a lifetime journey Your expertise honesty and candor were evident throughout this time i thank you for your guidance and professionalism John Connecticut Thank you for your succinct handling of my five offerings in your October auction i was more than pleased with the final financial transactions but even more so with the personal warmth not condescending professional aloofness as evidenced by many auction houses and galleries and willingness to inform the uninitiated to further appreciation of a genuine treasure Your enthusiasm is evident and infectious luther California 174

ABSENTEE BID FORM PHONE BID FORM CHECK ONE Bids must Be received at least 24 hours prior to day of sale Bidding Increments 0 2 000 100 2 000 5 000 250 5 000 10 000 500 10 000 20 000 1 000 20 000 50 000 2 000 Over 50 000 5 000 Over 100 000 10 000 The Auctioneer has the discretion to accept bids not commensurate with this pattern Lot Artist s Name Maximum Bid Excluding buyers premium I understand that Shannon s will execute my bids as a convenience and will not be held responsible for errors or the inadvertent failure to execute bids On my behalf Shannon s will try to purchase these lots for the lowest possible price If identical absentee bids are left Shannon s will give precedence to the first one received I have read and agree to the Conditions of Sale printed in this catalog Payment for successful bids must be made within two weeks of the sale A premium of 25 of the successful bid up to and including 200 000 and 20 on any amount exceeding 200 000 will be applied to the hammer price of all lots sold to be paid by the buyer as part of the purchase price Name Address City State Phone Alternate Fax Email Signature required Date Zip MAIL OR FAX BIDS TO SHANNON S Bid Department 49 Research Drive Milford CT 06460 Phone 203 877 1711 Fax 203 877 1719 Email info shannons com 175

CONDITIONS OF SALE Shannon s llC fine art auctioneers acts solely as an agent for various owners and consignors it exercises care in describing all items listed and uses judgment in attributing authorship but offers no guarantee regarding authenticity condition or description The items described in this catalog which description may be amended by notice or announcement at sale time are offered for sale by Shannon s llC as agent for various owners or others authorized to sell the items Hereinafter Shannon s llC is referred to as the Sellers agent The owners or others authorized to sell the items are hereinafter referred to as Sellers The person or persons acknowledged by the auctioneer to be the highest bidder on an item shall be hereinafter referred to as the Buyer or Buyers Shannon s llC reserves the right to change the terms of sale by oral announcement any such change shall become part of the Conditions of Sale By placing of a bid whether present at the sale in person or by agent by written or oral bid by telephone or other means the Buyer agrees to be bound by these conditions of sale 1 The highest bidder acknowledged by the auctioneer shall be the Buyer in the event of any dispute between bidders the auctioneer has the absolute discretion to determine which bidder is the successful Buyer or to re offer the item in dispute and resell it 2 in the event of any dispute after the sale Shannon s llC s record of the final sale price and of the successful buyer shall be conclusive Shannon s llC reserves the right to withdraw any item before or during the sale 3 Shannon s llC reserves the right to sell items which are not listed in the catalogue 4 items in the auction are sold subject to a reserve Such reserve is confidential but in no case will the reserve exceed the low estimate The auctioneer may reject any bid or increment not commensurate with the value of the lot 5 Order bids are accepted a deposit may be required absent parties may place bids by mail email fax or in person prior to the sale Order bids must be placed 24 hours prior to the day of sale Shannon s llC will execute such bids up to the maximum amount specified phones must be reserved 24 hours prior to the day of sale phone bidders are encouraged to leave a cover bid in case of technical failure Shannon s is not responsible for errors or omissions in the execution of these bids 6 a premium of 25 of the successful bid up to and including 200 000 and 20 on any amount exceeding 200 000 per lot will be applied to the individual hammer price of all lots sold to be paid by the buyer as part of the purchase price payment may be made by cash check or wire transfer Visa or masterCard may be used up to the amount of 10 000 per auction purchases are subject to 6 35 CT sales tax 176 all iTEmS muST BE paiD fOr WiTHin 14 DaYS Of THE SalE aT WHiCH pOinT THEY Will BE rElEaSED fOr SHipmEnT Or DEliVErY 7 limited Warrantee although Shannon s llC exercises due care in describing the items listed and use good judgment in attributing authorship it does not make any express or implied warrantee as to such authorship notwithstanding Shannon s llC may but shall have no obligation to consider any reasonable request for refund on the grounds of authenticity of authorship only and only under the following conditions a notification must be made to Shannon s in writing within 7 days of receipt of the item B The items must be returned within 28 days of the sale accompanied by written testimony from a recognized authority that the lot in question is a forgery C The limited warrantee does not extend to the lots identified as attributions school circle manner or after D The limited warrantee is applicable only to the original Buyer 8 all property is sold as is 9 as a convenience to the Buyer Shannon s llC will make a referral for packing and shipping This is at the request expense and risk of the Buyer and Shannon s assumes no responsibility for the items or the timing of delivery insurance for in transit items is the responsibility of the buyer all items must be removed within 30 days post sale or a fee of up to 20 per day will be charged for storage items not collected within twelve months of a sale will become the property of Shannon s 10 Shannon s has retained the art loss register to check all uniquely identifiable items offered for sale in the catalog that are estimated for 5 000 or more against the computerized database of stolen or lost artwork maintained by the art loss register a search certificate can be provided by the art loss register for an additional fee The art loss register does not guarantee the provenance or title of any catalogued item against which they search and will not be liable for any direct or consequential losses of any nature howsoever arising The statement is not to affect detract from or override Shannon s Conditions of Sale and in the event of any conflict Shannon s Conditions of Sale will take priority to the terms of this statement BiDDing aT THiS auCTiOn WHETHEr in pErSOn BY agEnT OrDEr BiD TElEpHOnE inTErnET Or OTHEr mEanS COnSTiTuTES YOur aCKnOWlEDgEmEnT anD aCCEpTanCE Of THESE COnDiTiOnS Of SalE

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