Return to flip book view

Fine Art Auction Paintings, Drawings, Prints and SculptureMilford, Connecticut • April 27, 2023

Front cover illustration #54 Back cover illustration #64FINE ART AUCTION PAINTINGS, DRAWINGS, PRINTS AND SCULPTURE PREVIEW DATES & TIMES: In-person previews by appointment April 17-26th (weekdays from 11AM-6PM) Saturday, April 22nd (10AM-3PM) Closed Sunday Virtual previews & additional photos are available by request. Bid by telephone, absentee or live on shannons.com.AUCTION INFORMATION Thursday, April 27, 2023 | 6:00 PM EDT

CONTENTSContacts 2 Artist Index 124 Invitation to Consign 126 Bid Form 127 Conditions of Sale 128Sandra Germain Managing Partner sandra@shannons.comAli Danker Specialist ali@shannons.comGene Shannon Founder / Consultant info@shannons.comDerek Gautier Auction Associate derek@shannons.comJoe Bartolomeo Operations / Photography joe@shannons.comContactsGeneral Sale Inquiries info@shannons.com

1 JACK LORIMER GRAY American (1927-1981) TAPPAN ZEE BRIDGE oil on canvas signed lower right "© Jack L Gray" 26 x 40 inches PROVENANCE Quester Gallery, Rowayton, Connecticut (label on the reverse); Private Collection, Maryland ESTIMATE $12,000—$18,00013

2 JOHANN BERTHELSEN American (1883-1972) UNITED NATIONS BUILDING, 1965 oil on canvas signed lower right "Johann Berthelsen", dated on the reverse "1965" 20 x 30 inches PROVENANCE Garfield Galleries, Orange, Connecticut (label on the reverse); Private Collection, Connecticut; by descent to Private Collection, Connecticut NOTES A copy of a letter from Garfield Galleries dated January 28, 1988 describing the painting accompanies this lot. ESTIMATE $5,000—$7,00023443 JOHANN BERTHELSEN American (1883-1972) "SUMMER NIGHT AT MADISON SQUARE" oil on canvasboard signed lower right "Johann Berthelsen" 12 x 16 inches PROVENANCE Private Collection, New York NOTES This lot includes a Certificate of Authenticity signed by Lee A. Berthelsen of the Johann Berthelsen Conservancy, LLC and dated September 22, 2016. ESTIMATE $3,000—$5,000

4 JOHANN BERTHELSEN American (1883-1972) "WALL STREET IN WINTER" oil on canvasboard signed lower right "Johann Berthelsen", signed and titled in pencil on the reverse 12 x 9 inches PROVENANCE Private Collection, New York ESTIMATE $3,000—$5,00046555 JOHANN BERTHELSEN American (1883-1972) WASHINGTON SQUARE oil on canvas signed lower right "Johann Berthelsen" 12 x 16 inches PROVENANCE Private Collection, New York ESTIMATE $2,500—$3,5006 ANTOINE BLANCHARD French (1910-1988) "THÉATRE VARIÉTÉS" oil on canvas signed lower right "Antoine Blanchard" 12 3⁄4 x 18 inches PROVENANCE Private Collection, New York ESTIMATE $3,000—$5,000

7 HANS BALUSCHECK German (1870-1935) "AUSWANDERER" mixed media on board signed and dated lower right "H Baluschek / 1909", signed, titled and inscribed "Berlin" on the reverse 35 1⁄4 x 47 inches PROVENANCE Private Collection, Connecticut LITERATURE "Im Zeichen des Berfehrs", in "Die Gartenlaube" (Leipzig: Keil, 1914), pp. 500-504 (illustrated). (A copy of this article accompanies the lot.) ESTIMATE $10,000—$15,00076

8 RAFAL OLBINSKI Polish (b. 1943) AMERICA REVISITED, 1995 acrylic on canvas signed lower left "Olbinski" 15 1⁄4 x 11 1⁄4 inches PROVENANCE The artist; Nahan Galleries, New York, New York; Private Collection, California NOTES A copy of a Certificate of Authenticity issued by Nahan Galleries accompanies this lot. ESTIMATE $10,000—$15,00087

89 WINFRED REMBERT American (1945-2021) "ACE HI SHACK" dye on carved and tooled leather signed lower left "W. Rembert" 10 1⁄2 x 13 3⁄4 inches (sight) PROVENANCE The artist; Private Collection, Connecticut NOTES A copy of the original purchase receipt, signed by the artist, accompanies this lot. ESTIMATE $25,000—$35,000Winfred Rembert was born in Cuthbert, Georgia in 1945. As a child he picked cotton and as a teenager he was arrested in the aftermath of a civil rights demonstration. He later broke out of jail, survived a near-lynching and spent seven more years in prison where he was forced to work on a chain gang. He was released in 1974 and settled in New Haven, Connecticut. When he was fifty-one years old, encouraged by his wife Patsy Gammage, he began carving and painting memories from his youth. He used leather and leather-tooling skills he had learned in prison to create his unique and colorful compositions. “With my paintings, I tried to make a bad situation look good. You can’t make the chain gang look good in any way besides by putting it in art. Those black and white stripes look good on canvas. People can’t really tell what they are until they get up close. They don’t recognize those stripes as people until they take a real good look. That was my goal– to put it down so you can’t understand it until you take a real up-close look. That tells you something about prison life. When you look at it from the outside, you can’t see what’s going on, but when you’re up close you realize what you are up against.”1 Rembert was a self-taught artist using skills he learned in prison to create his colorful, three-dimensional compositions. As a child, he went to work on the cotton fields never learning to read or write. His intuitive sense of color and composition were recognized and in 2010 Adelson Galleries organized the first one-man show of Rembert’s work in New York City. In 2000, he was the subject of a major exhibition at Yale University Art Gallery. Today, his works are displayed alongside noted African American artists including Jacob Lawrence, Hale Woodruff, Horace Pippin and Romare Bearden. 1 Winfred Rembert, “An Artist on How He Survived the Chain Gang,” The New Yorker, May 10, 2021.

99

101010 WINFRED REMBERT American (1945-2021) "LITTLE GIRL SITTING" dye on carved and tooled leather signed upper right "W Rembert" 11 1⁄2 x 9 1⁄2 inches (sight) PROVENANCE The artist; Private Collection, Connecticut NOTES A copy of the original purchase receipt, signed by the artist, accompanies this lot. ESTIMATE $15,000—$25,000

111111 WINFRED REMBERT American (1945-2021) "COLBARLBIS" (COUPLE) dye on carved and tooled leather signed lower right "W Rembert" 15 1⁄2 x 11 1⁄2 inches (sight) PROVENANCE The artist; Private Collection, Connecticut NOTES A copy of the original purchase receipt, signed by the artist, accompanies this lot. ESTIMATE $20,000—$30,000

13121212 ROBERT KULICKE American (1924-2007) "WHITE ROSE TULIPS IN A GLASS JAR", 1989 oil on canvas mounted on masonite signed and dated lower center "Kulicke 89" 13 3⁄4 x 11 3⁄4 inches PROVENANCE Davis and Langdale Company, Inc., New York, New York; Private Collection, France ESTIMATE $4,000—$6,00013 ROBERT KULICKE American (1924-2007) "SINGLE YELLOW PEAR WITH AN ALMOND ON A LIGHT GREY BACKGROUND", 1990 oil on panel signed and dated lower center "Kulicke 90" 8 1⁄2 x 7 inches PROVENANCE Davis and Langdale Company, Inc., New York, New York; Private Collection, France ESTIMATE $3,000—$5,000

14151314 DINES CARLSEN American (1901-1966) "MOUNTAIN LAUREL" oil on masonite signed lower right "Dines Carlsen", signed and titled on the reverse 38 3⁄4 x 31 3⁄4 inches PROVENANCE Grand Central Galleries, New York, New York; Private Collection Long Island, New York; Shannon's, Milford, Connecticut; April 29, 2010 lot 180; Private Collection New Jersey ESTIMATE $3,000—$5,00015 JOHN F. FRANCIS American (1808-1886) STILL LIFE WITH PINEAPPLE, ORANGES AND NUTS, 1866 oil on canvas signed and dated lower right "J.F. Francis 1866" 10 3⁄4 x 13 3⁄4 inches PROVENANCE Bonham's, New York, New York, May 21, 2008, lot 1001; Private Collection, New Jersey ESTIMATE $4,000—$6,000

1416 LEVI WELLS PRENTICE American (1851-1935) BASKET OF APPLES, 1891 oil on canvas signed and dated in the center "L.W. Prentice / 1891" 20 x 16 inches PROVENANCE Private Collection ESTIMATE $30,000—$50,000Levi Wells Prentice was raised on a farm in Lewis County, New York. He moved to Syracuse in 1870 and later spent four years in Buffalo. Prentice was self-taught, first painting the Adirondack Mountain landscape around him. From the start, he painted in a distinctive delineated style with vibrant colors. Art historians now refer to this as “hard-edged realism.”[1] In 1883, Prentice moved to Brooklyn where there was already a community of still-life artists. His meticulous style was well suited to still-lifes, and his depictions of apples, plums, peaches and raspberries are among his best-known works. Prentice combined the influence of contemporary painting trends, the attention to detail of the American Pre-Raphaelites and the playful deceit of the trompe l’oeil artists. The outcome was distinctive and still-lifes by Prentice can be readily identified by their characteristic color and clarity. Art historian William Gerdts says of Prentice’s still lifes, “A characteristic peculiar to Prentice is a rustic unpretentiousness. His fruit is brilliantly colored but often pitted with spots or holes…Even his most elaborate container, the tin pail, is a mundane kitchen object…Indeed, Prentice’s work is the most photographic of all the late nineteenth century fruit painters.”[2] In the present lot, Basket of Apples, the apples are extremely realistic. Their abundance on the ground and the full basket indicating the season for picking. Prentice depicts every blade of grass and all of the woodgrain in the basket and fence in extreme detail. Still life paintings by Prentice are included in numerous public and private collections including the New York State Museum, the Museum of Fine Arts, Boston, the Montclair Art Museum, the Philbrook Museum of Art, and Yale University Art Gallery. [1] Barbara L. Jones, Nature Staged: The Landscapes and Still Life Paintings of Levi Wells Prentice, (Blue Mountain Lake, New York: Adirondack Museum, 1993), p. 52. [2] William H. Gerdts and Russell Burke, American Still-Life Painting, (New York: Washington: London: Praeger Publishers, 1971), p. 162.

1615

1617 MATILDA BROWNE American (1869-1947) THE PATH oil on board signed lower right "Matilda Browne", inscribed on a label on the reverse "Sweet River / Price $100.00" 12 x 16 inches PROVENANCE The artist; Pauline Brandreth (artist's first cousin); by descent in the family to Private Collection, New York ESTIMATE $5,000—$7,000171818 WILLIAM S. ROBINSON American (1861-1945) MOUNTAIN LAUREL oil on canvas, backed by board signed lower right "WM. S. ROBINSON" 25 x 30 inches PROVENANCE Private Collection, Rock Falls, Illinois; Private Collection, Illinois ESTIMATE $6,000—$8,000

1719 RUSSELL CHATHAM American (1939-2019) "RIVER AT TWILIGHT", 1991 oil on canvas signed with artist's logo and dated lower left "1991" 30 x 36 inches PROVENANCE Rebecca Fine Art, Livingston, Montana; Private Collection, Connecticut ESTIMATE $8,000—$12,000192020 SAMUEL GEORGE PHILLIPS American (1890-1965) POINT PLEASANT FALL oil on canvas signed lower right "S. George Phillips" 25 x 30 inches PROVENANCE Newman Galleries, Philadelphia, Pennsylvania (label on the reverse); Private Collection, Bucks County, Pennsylvania; Private Collection, Pennsylvania ESTIMATE $8,000—$12,000

1821 PIERRE-AUGUSTE RENOIR French (1841-1919) ARBRES DEVANT LA MAISON, 1908 oil on canvas initialed lower right "R." 7 1⁄2 x 6 1⁄3 inches PROVENANCE Wally Findlay Galleries, New York, New York; Christie's, New York, New York, November 15, 1989, lot 391; Private Collection, New Jersey LITERATURE A. Vollard, "Tableaux, Pastels et Dessins de Pierre-Auguste Renoir", Paris, 1918, vol. II, p. 78 (illustrated).This work will be included in the forthcoming Pierre-Auguste Renoir Digital Catalogue Raisonné, currently being prepared under the sponsorship of the Wildenstein Plattner Institute, Inc. ESTIMATE $70,000—$100,000“Why shouldn’t art be pretty? There are enough unpleasant things in the world.” -Renoir A leading figure in the French Impressionist movement, Pierre-Auguste Renoir is a celebrated colorist with an eye for capturing light and shadow. He was a close friend of Claude Monet and the two artists often worked alongside each other. His works inspired later movements of modernism including Fauvism and Cubism. Renoir was born in Limoges to a working class family. In his teen years he worked as a painter in one of the town’s porcelain factories. The son of a tailor and a seamstress, he developed an eye for decorative trimmings and painted pictures, fans and decorative objects for wealthy clientele. In 1860, the young artist started making regular visits to the Louvre in Paris to study the works of French Rococo masters including Jean-Antoine Watteau, Jean-Honore Fragonard, Francois Boucher and Romantic painter Eugene Delacroix. In these artists he admired the commonalities of loose, soft handling of paint, a focus on color and movement rather than form and texture that allowed each individual brushstroke to show through. In 1862 he began formal training under Charles Gleyre who also instructed Claude Monet, Alfred Sisley and Frederic Bazille. As part of their training the group traveled to the forest of Fontainebleau to paint en plein air. Unlike his peers, Renoir preferred to paint in his studio although he often returned to Fontainebleau as a source of inspiration. During the summer of 1869, Renoir and Monet famously painted at La Grenouillere, a lakeside boating resort outside Paris. It was here that the seeds of early Impressionism first appeared. The artists both begin to use broad brush strokes and capture momentary scenes such as the movement of light across the water. After facing rejection from the Salon, Renoir and his artist friends begin planning an independent exhibition of their own free from the constraints of the academic Salon. In 1874, the group exhibited together in the first Impressionist show. This brought him regular commissions and financial independence. By 1880, he had moved away from the Impressionist group returning to more classical ideas. It was between 1880-1881 that he painted his iconic Luncheon of the Boating Party. He then went to Italy, Spain and England studying works of the Rococo and Late Renaissance periods. In the current example, he used his impressionist technique in the trees to create a visual screen to integrate the foreground and the background. The warmth and color invite the viewer into the home. Renoir died in his home at Cagnes-Sur-Mer in 1919 surrounded by his family. By the time of his death, several of his works were hanging in the Louvre alongside those of the French masters he once studied.

2119

222022 RUFINO TAMAYO Mexican (1899-1991) MUJER CON CANASTA, 1944 watercolor on paper signed and dated lower left "Tamayo / 44" 16 3⁄4 x 13 3⁄4 inches PROVENANCE Christie's East, New York, New York, May 27, 1974; Private Collection ESTIMATE $15,000—$25,000

232123 ANGEL BOTELLO Puerto Rican (1913-1986) COQUETTE bronze signed and numbered on the base "Botello / cast #6" h. 48 inches (on a 22 1⁄2 inch custom base) PROVENANCE Private Collection, New York ESTIMATE $25,000—$35,000

24252224 ANGEL BOTELLO Puerto Rican (1913-1986) CABEZA bronze numbered and signed on the base "#13 / Botello" h. 12 1⁄4 inches PROVENANCE Private Collection, New York ESTIMATE $3,000—$5,00025 ISIDORE KONTI American (1862-1938) PURSUIT OF HAPPINESS bronze signed on the bottom "I Konti / C.R.", with foundry mark "Roman Bronze Works N.Y." h. 20 1⁄4 inches PROVENANCE Private Collection, New Jersey ESTIMATE $3,000—$5,00026 DAVID HOSTETLER American (1926-2015) SUMMERTIME LADY polished bronze signed and numbered on the reverse "D Hostetler / II/XII" h. 26 inches; h. 28 inches (including base) PROVENANCE Private Collection, New York NOTES Included with this lot is a poster titled "The American Woman", signed and inscribed by the artist. ESTIMATE $2,500—$3,50026

272327 FREDERICK WILLIAM MACMONNIES American (1863-1937) "PAN OF ROHALLION" bronze signed on the reverse "Frederick MacMonnies", dated on the reverse "Copyright 1894 Paris 1890", with foundry mark on the reverse "H. ROUARD. Fondeur FRANCE" h. 30 inches PROVENANCE Debra Force Fine Art, New York, New York; Private Collection, New York, New York ESTIMATE $12,000—$18,000

2428 LYNNE MAPP DREXLER American (1928-1999) "FOLIAGE STUDY", 1962 gouache on paper signed, titled and dated on the reverse "Lynne Drexler 1962" 16 x 13 inches PROVENANCE The artist, Monhegan Island, Maine; Private Collection, Connecticut ESTIMATE $30,000—$50,000“I’ve always felt deeply within myself I was a damn good artist, though the world didn’t recognize me as such. I wasn’t about to play their game.” — Lynne Mapp Drexler Lynne Mapp Drexler was born in Newport News, Virginia in 1928, she was educated at the Richmond Professional Institute and the College of William and Mary. She studied painting with Hans Hofmann in New York and Provincetown, and with Robert Motherwell at Hunter College Graduate School. She was part of the second-generation of Abstract Expressionists—including Grace Hartigan, Joan Mitchell, and Larry Rivers. Drexler incorporated aspects of Impressionism and Post-Impressionism into her vivid, innovative paintings. Drexler lived for many years in New York City, where she painted and cultivated her love of the performing arts. She lived for a period of time in the Chelsea Hotel in its Bohemian heyday. She met her husband, painter John Hultberg at the 8th Street Artists Club in New York and they were married in 1962. Hultberg was represented by the art dealer Martha Jackson, who bought a house for him on Monhegan Island in 1963. Monhegan, a tiny, rockbound island off the coast of Maine, had been long loved by many artists. Drexler’s inspiration derived primarily from the island, where she and her husband spent their summers until moving to the island permanently in 1983. Many of her paintings created after 1962 are clearly inspired by the landscape of Monhegan. Her affinity with nature and music became deeply intertwined in her work. This vision is apparent in the four works offered here. Drexler died at her home on Monhegan Island on December 30, 1999 following a long illness. Her work is part of the permanent collections of the Museum of Modern Art, Monhegan Museum, Farnsworth Museum, Brooklyn Museum, Queens Museum, Greenville County Museum of Art, and the Portland Museum of Art, among others. Despite her talent and dedication, Drexler is just now beginning to receive well-deserved scholarly and market attention. From October 27-December 17, 2022 there was a major exhibition of her works at Mnuchin Gallery and Berry-Campbell Gallery in New York City, the first showing of her work in New York City in 38 years.

2825

292629 LYNNE MAPP DREXLER American (1928-1999) "BLACKHEAD STUDY", 1962 gouache on paper titled, signed and dated on the reverse" 1962 / Lynne Drexler" 16 x 12 3⁄4 inches PROVENANCE The artist, Monhegan Island, Maine; Private Collection, Connecticut ESTIMATE $30,000—$50,000

302730 LYNNE MAPP DREXLER American (1928-1999) "WASHER WOMAN", 1962 gouache on paper signed, titled and dated on the reverse "Lynne Drexler / 1962" 12 3⁄4 x 16 inches PROVENANCE The artist, Monhegan Island, Maine; Private Collection, Connecticut ESTIMATE $30,000—$50,000

31 LEO VERNON JENSEN American (1926-2019) "A LESSON FROM VINCENT" mixed media (painted wood, oil on canvas, fibers) initialed on the canvas, lower right "L.J.", signed on the reverse of the canvas "Leo Jensen" figure: h. 77 inches canvas: 60 1⁄2 x 48 1⁄4 inches PROVENANCE The artist; Private Collection, Connecticut ESTIMATE $20,000—$30,00028Leo Jensen is the only American artist who actually grew up in the circus. He became a Pop Art pioneer in the early 1960s, and was the first to create kinetic Pop sculpture. His work represents a fascinating and truly unique chapter in the history of American Art. Leo Vernon Jensen was born in 1926 in Minnesota. When the Great Depression began it became clear to Jensen’s father that his career as a cabinet-maker was not going to support his family and he decided to become a circus promoter. Young Leo became a trick rider on horses while experimenting with making art from empty cartons and colorful items he found on the circus grounds as well as painting the circus wagons and banners. When Leo turned fourteen in 1940, his family moved closer to Minneapolis. In 1948, at twenty-two, Jensen submitted two of his paintings to the Minneapolis Art Institute of Art’s Twin City Annual. The judges were Max Weber and Alexander Calder. Both works were accepted and this inspired Leo to move to New York to become a window designer and soon after the company moved him to New Haven Connecticut. In 1952 Jensen’s sculpture made its first New York appearance, in a group show at the Creative Gallery on 57th Street. The next year the gallery gave him his first solo exhibition. Throughout the 1950s and 60s, his sculptures became recognized and were described as fantastical. On one occasion in 1962 he parked on Madison Avenue, unpacked his seven-and-a-half-foot kinetic Baseball Machine, and set it up on the sidewalk. It caught the attention of Allan Stone, who asked him to set it up in his gallery. Willem De Kooning, who was in the gallery that day, exclaimed, “That makes my painting look like mashed potatoes!” and the two went in to become good friends. Jensen was also friendly with a number of New York painters, including John Wesley, Roy Lichtenstein, James Rosenquist and Tom Wesselman. Jensen’s breakout solo exhibition came in 1964 at the Amel Gallery on Madison Avenue. Amel showed Jensen from 1962 until it closed around 1967. During this period conversations about Pop Art often included Jensen’s name with Lichtenstein, Warhol, and Wesselman. And in 1966 Jensen was featured in Lucy Lippard’s seminal book, Pop Art. In 1967 the New Britain Museum of American Art gave Jensen a solo exhibition. By the 1970s Jensen could claim his work had been exhibited in 64 countries. In 1996 Jensen created in Eastern Connecticut what would become one of the state’s most beloved tourist attractions. The Jillson Hill Bridge spans the Willimantic River (a tributary to the Thames River). At both sides of the bridge two 22-foot tall bronze frogs with gilded eyes are perched atop bases of giant spools of thread. The huge 3,000-pound frogs, which were installed to great fanfare, continue to surprise unsuspecting motorists. Jensen enjoyed three solo museum exhibitions; at the New Britain Museum of American Art (1967), the Mattatuck Museum (1990), and the Amarillo Museum of Art (2010). He has been included in nearly thirty museum group exhibitions, including the Minneapolis Art Institute, the Butler Institute of American Art (Youngstown, Ohio), the Institute of Contemporary Art (Boston), the Yale University Art Gallery, the National Art Museum of Sport, and the National Portrait Gallery. Unique in his approach to art, Jensen was never concerned about fitting in with either the “New York School” or the “Beat Generation.” Throughout his life he remained the artist whose purpose was to amaze and delight the crowd. True to his roots, he drew inspiration from the Circus, the rodeo, and the visual vocabulary of American primitive. After all, he concluded, “to move the heart and lift the spirit is magical.”

3129

3032 RICHARD HAYLEY LEVER American (1876-1958) "SUNSHINE IN THE HILLS", 1904 oil on canvas signed and dated lower right "Hayley Lever / 1904", inscribed and titled on reverse "River Ex." (River Exe, Exmouth, England) 40 x 50 inches PROVENANCE Clayton-Liberatore Gallery, Bridgehampton, New York; Spanierman Gallery, New York, New York; Private Collection, Connecticut ESTIMATE $60,000—$80,000Hayley Lever…is one of the freshest and most vigorous painters who are still allied with the Academy. He does not depend upon stale academic recipes but prefers to see and paint things in his own way…his work shows an invigoratingly personal point of view. —Arts, 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 en 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 Van Gogh’s Hospital, Holland. In the current example, Sunshine in the Hills, Van Gogh’s influence is apparent throughout the hillside and rippling water.. 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, New York. 1 Carol Lowrey, Hayley Lever 1876-1958 (New York: Spanierman Gallery, 2003), 13

3132

33 EMILE A. GRUPPE American (1896-1978) "EVENING, VERMONT", 1959 oil on canvas signed lower left "Emile A. Gruppe", titled, signed and dated on the stretcher 24 x 20 inches PROVENANCE Private Collection, Connecticut ESTIMATE $5,000—$7,00034333234 ANTHONY THIEME American (1888-1954) "DISMANTLED BOAT" oil on canvas signed lower right "A Thieme", titled on the reverse 30 x 25 inches PROVENANCE Private Collection, Texas ESTIMATE $3,000—$5,000

35363335 EMILE A. GRUPPE American (1896-1978) "SUGARING, VERMONT", 1969 oil on canvas signed lower right "Emile A. Gruppe", titled, signed, and dated on the reverse 20 x 23 3⁄4 inches PROVENANCE Private Collection, New Jersey ESTIMATE $4,000—$6,00036 ROBERT EMMETT OWEN American (1878-1957) SNOWY LANE oil on canvas signed lower right "R. Emmett Owen" 36 x 44 inches PROVENANCE Spanierman Gallery, New York, New York (label on the reverse); Private Collection, Connecticut ESTIMATE $8,000—$12,000

3437 DALE NICHOLS American (1904-1995) FIRST SNOW / LAST LOAD oil on canvas signed lower right "DALE NICHOLS" 30 x 40 inches PROVENANCE Private Collection ESTIMATE $30,000—$50,000“Farm life was all I knew for the first 20 years of my life. In painting these canvases, I felt again the vastness of endless skies, experienced again the penetrating cold of Nebraska winters, lived again as farmers live …in spirit, I am very much a farmer,” Dale Nichols. Dale Nichols was born in rural David City, Nebraska in 1904. His early life had a profound influence on his paintings which centered on recreations of farm life. As a child, he worked on his family farm and walked to school. At the time, the search for a defined American Art was growing and the public was interested in scenes of American life. American collectors in the 1930s looked to buy Rural Regionalist art to capture the disappearing idyllic agricultural lifestyle. Nichols emerged as an artist when Regionalism and Rural Regionalism were growing as a collecting genre. His paintings are classified as a succession from Regionalist masters Grant Wood, Thomas Hart Benton and John Steuart Curry. Nichols studied in Chicago at the Academy of Fine Arts and the Art Institute with Carl Wentz. He became a successful illustrator, watercolorist, designer, writer, lecturer, block-printer and painter. In the 1930s and 40s he created artwork for direct-mail industrial advertising. From 1942-1948 he succeeded Grant Wood as art editor of the Encyclopedia Britannica. Aside from his commercial success, around 1933, Nichols set out to become a painter. He found ample inspiration from his childhood and repeatedly painted scenes of farm life and barns. As an artist, he was well recognized and enjoyed critical acclaim. In 1934, his painting End of the Hunt received an award from the Art Institute of Chicago and in 1939 it was purchased by the Metropolitan Museum of Art in 1939 where it still hangs today. The taste for Regionalism waned in the subsequent decade and Nichols moved to Arizona in 1940. He briefly started an art school and then moved to various locations throughout the United States including living on a small yacht. In 1960, he moved to Guatemala for some time. He painted his surroundings but continued to paint barn scenes even after he left Nebraska. Many of these are indistinguishable from his earlier paintings. A reexamination of Regionalist art in recent decades has fortunately renewed interest in Nichols’ paintings. In 2012, the Bone Creek Museum of Art organized a traveling retrospective exhibition, Dale Nichols: Transcending Regionalism. This exhibition cemented Nichols as the fourth American Regionalist alongside Wood, Benton and Curry. Nichols’ work has been avidly collected in numerous public and private collections throughout the country as well as the Metropolitan Museum of Art in New York.

3537

3638 ERIC SLOANE American (1905-1985) "THE FORGE BARN" oil on masonite titled and signed lower left "SLOANE", inscribed on reverse "ERIC SLOANE / NEW MILFORD / CONN" 22 1⁄2 x 27 1⁄2 inches PROVENANCE Private Collection, Virginia ESTIMATE $20,000—$30,000Eric Sloane was born Everard Jean Hinrichs in 1905 to an upper middle-class family. He took an early interest in art and learned to paint letters and signs from his neighbor the noted font inventor, Frederic Goudy. As a young artist he painted the markings on planes flying out of Roosevelt Field in Long Island. Famed American aviator, Wiley Post, taught Sloane how to fly in exchange for painting lessons. Sloane left home at a young age and worked as a sign painter in various locations, most notably a stay in Taos, New Mexico. In 1925, he traveled throughout the Northeast where he became enamored with the covered bridges, barns, stone walls and farmhouses dating to the colonial era. He felt the spirit of America in the early architecture and would paint, draw and write about his perspectives over a career that spanned six decades. In the 1950s he started writing and sketching books on his version of Americana, focused primarily on New England and Pennsylvania farmhouses, barns and landscapes. In 1953 he purchased and restored a farm in Brookfield, Connecticut and moved to various towns in the region of Lake Candlewood including Merryall and Warren where kept a home until 1985. He painted early American scenes, especially the barns and covered bridges of Western Connecticut and Pennsylvania. Attuned to architecture and weather, Sloane’s paintings capture the spirit of a place by taking into consideration every visual element and clue in the architecture and landscape and, in addition, the effects of the light on the air and shadows. In addition to his success as an artist he is credited as an authority on rural American architecture and early American tools. His extensive tool collection outgrew his home in Warren and he donated them to the Sloane-Stanley Museum in Kent, Connecticut.

3738

39 GUY CARLETON WIGGINS American (1883-1962) "5TH AVE AT 42ND STREET" oil on canvas signed lower right "Guy Wiggins", titled and signed on the reverse 25 1⁄4 x 30 1⁄4 inches PROVENANCE Spanierman Gallery, New York, New York (label on the reverse); Private Collection, New York ESTIMATE $50,000—$75,00038Guy C. Wiggins was born in Brooklyn, New York in 1883. His father, Carleton Wiggins, was an accomplished landscape artist who enjoyed a successful career. According to an article on the Wiggins family written in 2011, “He [Carleton Wiggins] pressed a palette and paints into his young son’s hands. By age 4, Guy Carleton Wiggins was churning out watercolors that foreshadowed a talent greater than his father’s.” (Ann Farmer, “A Family of Painters is Having Its Moment,” New York Times, June 6, 2011) Wiggins first studied architecture at Brooklyn Polytechnic Institute then left to pursue fine arts training at the National Academy of Design. The architecture of New York City became his muse and he started painting famous buildings in an impressionistic style. He once said, “If you want to sell paintings, it helps if it’s recognizable to many people.” He became highly successful in the 1920s and 1930s selling views of New York City architecture, particularly in the snow. In 1912, he became the youngest artist represented in the Metropolitan Museum’s collection with a painting titled “Metropolitan Tower.” He painted the Executive Mansion from the White House Lawn, a painting that hung in President Eisenhower’s Office. The Great Depression took a toll on sales and Wiggins struggled in the years following the war. He moved with his family permanently to Essex, Connecticut and started the Guy Wiggins Art School. He became an active member of the Old Lyme Art Academy. He started to paint landscapes, however, he continued to paint New York City as a preferred subject, particularly on snowy days. In the current example, 5th Ave at 42nd Street, the city taxis and pedestrians move undeterred by the falling snow. The lions in front of the library rest peacefully under the colorful waving flags. Wiggins’ legacy was preserved in the history of American Art and his works are included in numerous public and private collections including the Wadsworth Atheneum in Hartford, Connecticut, the Metropolitan Museum of Art in New York, the Brooklyn Museum, the National Gallery in Washington D.C., and the Art Institute of Chicago.

3939

40414040 ARTHUR CLIFTON GOODWIN American (1866-1929) "PUBLIC GARDEN", BOSTON, 1923 oil on canvas signed lower left "A.C. Goodwin", signed, titled and dated on the reverse 20 x 26 inches PROVENANCE The artist; to his friend, Private Collection, Massachusetts; by descent in the family to Private Collection, Connecticut ESTIMATE $4,000—$6,00041 ERNEST LAWSON Canadian / American (1873-1939) "THE LOCK, NEW HOPE" oil on canvas signed lower left "E. Lawson" 18 x 32 inches PROVENANCE Hirschl & Adler Galleries, New York, New York; Private Collection; Christie's, New York, New York, October 9, 2003, Lot 71; Private Collection; Spanierman Gallery, New York, New York; Doyle, New York, New York, May 8, 2013, lot 344; Private Collection, Connecticut EXHIBITED Philadelphia, Pennsylvania, The Pennsylvania Historic and Museum Commission, "A Salute to Pennsylvania's Heritage", May - August 1979. LITERATURE "Selections from the Collection of Hirschl & Adler Galleries", Vol. IV. (New York: Hirschl & Adler Galleries, 1962-63), p. 20, no. 29, illustrated. ESTIMATE $5,000—$7,000

424142 LEON KROLL American (1884-1974) "MEDITERRANEAN HARBOR" oil on canvas signed lower right center "Leon Kroll" 26 1⁄2 x 32 1⁄2 inches PROVENANCE Christie's East, New York, New York, June 15, 2000, lot 197; Gerald Peters Gallery, New York, New York (label on the reverse); Private Collection, Connecticut ESTIMATE $15,000—$25,000

4243 JASPER FRANCIS CROPSEY American (1823-1900) A BEND IN THE RIVER, 1892 oil on canvas signed and dated lower center "J.F. Cropsey 1892" 12 1⁄2 x 20 1⁄2 inches PROVENANCE T. A. Wilmurt & Son, New York; George T. Lamason; Sotheby Parke-Bernet,New York, New York, April 21, 1977, lot 31; Sotheby’s, New York, New York, December 1, 1994, lot 138; Sotheby’s, New York, New York, November 30, 2000, lot 143; Questroyal Fine Art, New York, New York; Private Collection; Private Collection, Georgia EXHIBITED New York, New York, National Academy of Design, 1892, no. 474. LITERATURE Kenneth Maddox and Anthony Speiser, "Jasper F. Cropsey: Catalogue Raisonné", Volume 3, 1885–1900 (Hastings-on-Hudson, New York: The Newington-Cropsey Foundation,2019), 94, no. 2065. ESTIMATE $30,000—$50,000Jasper Cropsey trained as an architect, a profession which he exercised at various times throughout his life, but he turned to painting full-time in 1843. He soon became one of the leading landscape painters of the Hudson River School and was widely regarded as “America’s painter of autumn.” Following his marriage to Maria Cooley in 1847, Cropsey and his wife traveled to Europe on a Grand Tour until 1849. In Rome, Cropsey moved into the studio formerly occupied by Thomas Cole, an artist who influenced him greatly from the start of his career. On his return to America, he opened a studio in New York and traveled throughout New England to paint. Cropsey returned once again to Europe and lived in England from 1856 to 1863. During this time, he enjoyed the same success he had in America and in 1862 completed one of the most ambitious landscapes of his career, Autumn on the Hudson River, now in the permanent collection of the National Gallery of Art in Washington, D.C. On his return to America in 1863, Cropsey’s paintings illustrated his admiration for the luminist aesthetic inspired by the natural splendor around him. That same year, he built a Victorian-style residence named “Aladdin” next to Greenwood Lake, situated in a 45-acre property near Warwick, New York. This became the location and inspiration for many of his paintings in the 1860s, which illustrate his masterful fluency in depicting the Hudson River Valley in all its natural splendor. The Hudson River Valley, and the artist’s later retirement to Hastings-on-Hudson, where he began painting the Palisades and the rocky outcroppings on the Hudson’s West Bank, were considered by the artist to be “one of the finest passages of scenery of the river.” Autumn, with its rich colors, was a favored season among many 19th century American landscape painters. Cropsey specialized in painting the fall for half a century, and devoted himself almost exclusively to that theme in his later career. The present lot, A Bend in the River, is likely a scene from this period depicting the Hudson River in autumn.

4343

44444544 WILLIAM HART American (1823-1894) SUNSET oil on canvas signed lower right "W Hart" 8 x 12 1⁄2 inches PROVENANCE Questroyal Fine Art, New York, New York (label on the reverse); Private Collection, Georgia ESTIMATE $7,000—$10,00045 JAMES HAMILTON American (1819-1878) SUNSET oil on canvas signed lower left "James Hamilton" 30 x 50 inches PROVENANCE Private Collection, Connecticut ESTIMATE $5,000—$7,000

46 ELIZABETH GILBERT JEROME American (1824-1910) SOUTH AMERICAN SUNSET, 1870 oil on canvas signed and dated lower right "G Jerome 1870" 30 x 50 inches PROVENANCE Alexander Gallery, New York, New York (label on the reverse); Questroyal Fine Art, LLC, New York, New York (label on the reverse); Shannon's, Milford, Connecticut, October 27, 2011, lot 61; Private Collection, Massachusetts ESTIMATE $15,000—$25,0004645New Haven artist Elizabeth Gilbert Jerome studied in Hartford and at the National Academy of Design in New York. She was a student of famed artist Emanuel Leutze. In 1856 she married fellow artist Benjamin Jerome and the two settled in Hartford close to Frederick Edwin Church's house. In the present lot, South American Sunset, Church's influence is evident. Jerome struggled as a female artist working in the nineteenth century. By one account, she was forbidden from making art since it was an unladylike activity. When she was 15 her stepmother burned all of her drawings and she was not able to begin studying painting until she turned 27.

48474647 WILLIAM HART American (1823-1894) HUDSON RIVER LANDSCAPE oil on canvas signed lower right "W. Hart" 14 1⁄4 x 12 1⁄4 inches PROVENANCE Herbert W. Plimpton, Massachusetts; Vose Galleries, Boston, Massachusetts (label on the reverse); Private Collection, Michigan EXHIBITED Mead Art Building, Amherst College, Northampton, Massachusetts (label on the reverse). ESTIMATE $7,000—$10,00048 JOHN W. CASILEAR American (1811-1893) AFTERNOON BY THE LAKE, 1884 oil on canvas initialed and dated lower left "JWC 84" 12 x 10 inches PROVENANCE Cleveland Museum of Art, Cleveland, Ohio (label on the reverse); Bernard and S. Dean Levy, Inc., New York, New York (label on the reverse); Sotheby's Arcade, New York, New York, September 30, 1997, lot 70; Private Collection, Georgia ESTIMATE $6,000—$8,000

494749 THOMAS DOUGHTY American (1793-1856) PROMENADE ON THE HUDSON, 1839 oil on canvas signed and dated on the stretcher "T. Doughty 1839" 16 1⁄2 x 24 inches PROVENANCE Shannon's, Greenwich, Connecticut, April 26, 2001, lot 67; Questroyal Fine Art, New York, New York; Private Collection, Georgia ESTIMATE $25,000—$35,000

50 WILLIAM LOUIS SONNTAG SR. American (1822-1900) CABIN AT SUNSET, 1892 oil on canvas signed and dated lower right "W.L. Sonntag 92" 16 x 24 inches PROVENANCE Questroyal Fine Art, New York, New York (label on the reverse); Private Midwestern Collection; Private Collection, Massachusetts ESTIMATE $5,000—$7,00051504851 HENRY BOESE American (1824-1863) STROLL ALONG THE RIVER oil on canvas signed and dated lower center "H. Boese 1853" 25 1⁄4 x 30 inches PROVENANCE Private Collection, New York, New York ESTIMATE $3,000—$5,000

524952 ALVAN FISHER American (1792-1863) NIAGARA, 1823 oil on canvas signed and dated on the reverse "Alvan Fisher / 1823" 31 x 46 inches PROVENANCE Hollis Taggart Galleries, New York, New York; Private Collection, New Jersey, acquired directly from the above, 2004; By descent in the family to the present owner ESTIMATE $25,000—$35,000

535053 HARRIET WHITNEY FRISHMUTH American (1880-1980) CREST OF THE WAVE bronze signed and dated "HARRIET W. FRISHMUTH 1925", with foundry mark "Gorham Co. Founders QFML" h. 21 inches PROVENANCE Private Collection, New York ESTIMATE $12,000—$18,000

51GEORGE TOOKER American (1920-2011)20th century modernist George Tooker is best identified with his eerie figurative compositions that often carry a social message. He was associated with Magic Realism, a figurative branch of Surrealism that presents bodies in unusually, highly staged arrangements that evoke psychological responses. Often his works reference the Italian Renaissance in medium, egg tempera, but also in the arrangement of figures. Tooker was born in Brooklyn in 1920 and grew up in Bellport along the south shore of Long Island. He took painting lessons as early as age 7 with a family friend, Malcolm Fraser. He graduated with a degree in English Literature from Harvard University and briefly entered the Marine Corps before he was discharged for health reasons. When he returned to New York City in 1943 he enrolled at the Art Students League where he met Paul Cadmus and Jared and Magaret French. The group became lifelong friends. At the Art Students League Tooker studied under the tutelage of Reginald Marsh and Kenneth Hayes Miller. Although Tooker had some exposure to egg tempera through Marsh, his friends Cadmus and French encouraged Tooker to experiment more with this medium, garnering renewed interest from contemporary artists. Egg tempera is notoriously difficult to work with as it is quick drying and difficult to change. Tooker took this historically important medium and rendered scenes from everyday American life. Human isolation, self-alienation, and loss of individuality are recurring themes present in Tooker’s work. Responding to the social injustices of postwar urban society, Tooker’s paintings carry the message of contemporary existential philosophy. He was an openly gay artist working in the 1950s and a staunch anti-Capitalist. In his paintings he depicts figures that are devoid of individuality, often identically faced, as in The Watchers, or faceless and dressed the same. These works reflect Karl Marx’s theory of alienation describing how

individuals become estranged from themselves and others as a result of Capitalism. In many cases, his figures are also androgynous and non-gendered, likely a reflection of his understanding of equality among the sexes. In other works, his empathy for women is evident. Where many of his Surrealist contemporaries depicted women as sexualized or erotic, Tooker depicted women as equal subjects of capitalism and social anxiety. In The Watchers the similar figures have the same expression but they seem to connect to one another as a result of whatever they are seeing. The woman rests against the central figure of the man as if the routine of her daily life has been broken. All four figures appear shocked into a different reality by taking in the scene in front of them. In 1945, Tooker moved from Brooklyn to Greenwich Village. A year later he was included in Dorothy Miller’s landmark exhibition “Fourteen Americans” at the Museum of Modern Art (MoMA) in New York City. In 1949, Tooker spent six-months traveling in Europe with Cadmus visiting churches, museums and historic sites in Italy and France. By 1950, Tooker was participating in major exhibitions and the Whitney Museum of American Art acquired “Subway,” the artist’s first painting to enter a museum collection and still one of his best known figurative compositions. In 1951 he was the subject of his first solo exhibition at Edwin Hewitt Gallery. Beginning in the late 1950s, Tooker and his partner, William Christopher, begin building a home in Hartland, Vermont close to the French’s summer house. They permanently relocated from Brooklyn in 1960 although Tooker continued to return regularly teaching at the Art Student’s League from 1965-1968. He was an activist in the Civil Rights Movement and in 1965 traveled to Alabama to take part in one of the pivotal marches from Selma to Montgomery alongside Dr. Martin Luther King, Jr. In 1968, Tooker and Christopher purchased a summer home in Malaga, Spain. After Christopher died in 1973, Tooker became a devout Catholic and as a routine attended morning mass returning home to diligently paint into the late afternoon. In 2007, President George W. Bush awarded Tooker the prestigious National Medal of Arts. He died in his home in Vermont in April 2011.54 GEORGE TOOKER American (1920-2011) THE WATCHERS, CA. 1962 egg tempera on gesso board signed lower right "TOOKER" 24 x 18 inches PROVENANCE Rouben Ter-Arutunian, New York, New York; Marisa del Re Gallery, Inc., New York, New York (label on the reverse); Private Collection, Connecticut EXHIBITED San Francisco, California, The Fine Arts Museums of San Francisco, California Palace of the Legion of Honor, "George Tooker: Paintings", July 13 - September 2, 1974, on loan from Mr. R. Ter-Arutunian, cat. no. 16 (label on the reverse); New York, New York, Marisa del Re Gallery, "George Tooker Paintings", February 6 - March 2, 1985 (label on the reverse). ESTIMATE $250,000—$350,00052

5453

55 CHARLES BURCHFIELD American (1893-1967) FROSTED WINDOWS, 1917 watercolor and pencil on paper signed and dated lower right "Chas Burchfield / Jan 1917 –" 26 x 20 inches PROVENANCE Mr. and Mrs. Clyde B. Hurtt, Kirkwood, Missouri; Sotheby Parke-Bernet, New York, New York, May 16, 1973, lot 121; Private Collection; Private Collection (acquired from above) until 2006; Godel and Co., Bedford, New York; Private Collection, New York EXHIBITED New York, New York, Frank K. M. Rehn Galleries, "Early Watercolors by Charles Burchfield", November - December 1939. LITERATURE J. S. Trovato, "Charles Burchfield: Catalogue of Paintings in Public and Private Collections", (Utica, New York: Munson-Williams-Proctor Institute, 1970), p. 56, no. 249. ESTIMATE $60,000—$80,00054Charles Burchfield grew up in Salem, Ohio, and remained associated with this region for his entire life. As a child, Burchfield was intensely sensitive to nature, and he spent many hours walking in the woods and fields near his home, sketching and reading the works of such naturalists as Henry David Thoreau and John Burroughs. After graduating from high school, he attended the Cleveland School of Art (1912-16), where he excelled in courses in design and decorative illustration. Through his teachers William Eastman and Henry G. Keller, he was introduced to Oriental art and developed an interest in the bold, patterned shapes of Japanese prints and the decorative and rhythmic abstractions of Chinese scroll paintings. In October of 1916 Burchfield went to New York on a scholarship to study at the National Academy of Design. He attended only one day of class, quickly realizing that New York was not for him. He was back in Salem by the end of November, but while in New York he developed a friendship with Mary Mowbray-Clarke, who became his dealer for the next thirteen years and helped to promote him as a rising star in American art. In the fall of 1921 Burchfield moved to Buffalo, New York, where he supported himself by working as a designer in a wallpaper company. In 1929, when Frank K. M. Rehn became his dealer, he was able to devote all of his time to painting. In 1956, Burchfield’s biographer, John I. H. Baur identified three distinct periods in Burchfield’s career. During the first, from 1916 to about 1920, the artist painted small-scale works in which he recorded his emotional responses to the forces of nature using a unique system of graphic symbols to express his feelings about rain and snowstorms, sounds, and feelings. The second phase began in 1921, when Burchfield left his hometown of Salem and moved to Buffalo. The change of scenery shifted his focus from the rural landscape to the urban and industrialized scenery around Buffalo. His large, realistically painted images of abandoned or dilapidated houses, lonely, isolated streets, smoke-belching factories, and steam locomotives captured the moody spirit of Depression-era America. In 1943, Burchfield returned to nature for his inspiration and combined aspects of the two earlier phases of his career. He applied the calligraphic language from his early years to large, exuberant landscapes that celebrate both the seasons and the mysteries of the natural world. Charles Burchfield is one of the most celebrated and original modern American artists. His work is included in all major public art collections in the country. For many years he was considered an isolated figure, in part because he chose to work away from the New York art scene. But recent scholarship has demonstrated Burchfield’s wide-ranging influence on his contemporaries, as well as his firm place in the story of twentieth-century American art.1 1 See Nanette V. Maciejunes and Michael D. Hall, The Paintings of Charles Burchfield: North by Midwest (Columbus, Ohio: Columbus Museum of Art, 1997). Burchfield also kept an extraordinary series of journals for most of his life that provide fascinating insight into his personality and his interests. See J. Benjamin Townsend, ed., Charles Burchfield’s Journals: The Poetry of Place (Albany, New York.: State University of New York Press, 1998).

5555

56 CHARLES BURCHFIELD American (1893-1967) NOVEMBER PLOWING watercolor on paper initialed and dated lower left "CEB / 1928" 18 x 33 inches PROVENANCE Frank K.M. Rehn Galleries, New York, New York; Charles F. Stein, Baltimore, Maryland, acquired from the above, 1929; to his daughter, Private Collection, Baltimore, Maryland; by descent to the present owner, Private Collection, Baltimore, Maryland EXHIBITED New York, New York, Montross Gallery, "Exhibition of Recent Paintings by Charles Burchfield", March 26 - April 7, 1928; Cleveland, Ohio, Cleveland Museum of Art, "Sixth Exhibition of Watercolors and Pastels", March 23 - April 10, 1929 (label on the reverse); Buffalo, New York, Burchfield Penney Art Center, "Charles E. Burchfield & The American Scene", December 11, 2020 - May 30, 2021. LITERATURE Joseph S. Trovato, "Charles Burchfield: Catalogue of Paintings in Public and Private Collections", (Utica, New York: Munson Williams Proctor Institute, 1970), p. 131, no. 736. ESTIMATE $25,000—$35,00056I will always be an inlander in spirit. The ocean does not lure my imagination. Without discounting its awe-inspiring grandeur, it is not for me, and surely it has a worthy rival in a hay or wheat field on a bright windy day.1 Raised in Salem, Ohio, Charles Ephraim Burchfield studied painting at the Cleveland School of Art with Henry G. Keller. After his graduation in 1916, the young artist was awarded a scholarship at the prestigious National Academy of Design and moved to New York City in October of the same year. After one day of life class at the Academy Burchfield was convinced to decline their offer; he instead decided to spend the rest of the year sketching independently. He remained in New York long enough to meet Mary Mowbray-Clarke, who organized an exhibition of his watercolors at her Sunwise Turn Bookshop later that year. After his return to Salem at the end of 1916, Burchfield resumed a previous position as an accountant at W. H. Mullins Company, but diligently continued painting. In July of 1918, Burchfield was inducted into the US Army. He was attached first to the Field Artillery at Camp Jackson, South Carolina, and later transferred to the camouflage section at the camp, where his artistic talent was put to use creating camouflage designs for uniforms. During his time in the Army, the artist continued to sketch and paint, exploring the various visual motifs, representing fear, melancholy, nostalgia, meditation and other abstract thoughts that he had begun to formulate earlier in 1918 in his notebooks. From this point until the 1960s, Burchfield’s work evolved in subject matter, palette, style, and psychological impact. His oeuvre can basically be divided into three phases. The first from 1915-1919 features landscapes based upon childhood memories and fantasies, some with a fauvist use of color and others more somber, reflective of his moods and personal feelings. Inspired by Sherwood Anderson’s Winesburg, Ohio, the second phase from 1919-1943, exhibits a Social Realist or American Scene theme in the artist’s depictions of small-town life and industrial scenes in and around Buffalo. With the artist himself citing the need for a diversion from the aftermath of World War II, the third phase from 1943-1967 returns to the subject matter of his childhood. The resulting watercolors are much more expansive in large-scale formats and in portraying a more expressionistic intensity utilizing swirling strokes, heightened colors, and exaggerated forms. November Plowing exemplifies the natural scenes beloved to Burchfield throughout his career, depicting a sloping hill located between Gowanda and Cattaraugus, New York. In a journal from 1934, he returns to the area for the first time in several years and notes the striking beauty of the location, recalling his reaction to looking upon the hill once more: “I was filled with emotion as I looked at it, and longed to embrace it – it was mine – mine …”2 Though the landscape of November Plowing is unusual to Burchfield’s work in its depiction of a human figure surrounded by nature, the elements of the rest of the piece are familiar. The eye of the viewer dips through the bowl of the valley and follows the curve of the hill, sweeping up to the sky where murky November clouds threaten the oncoming winter. The combination of earthly beauty and atmospheric phenomena creates a sweeping sense of place, invites appreciation of the pause between seasons, and lets the viewer enjoy the scene just the same as Burchfield himself. 1 Charles Burchfield, as quoted in John I.H. Baur, The Inlander: Life and Work of Charles Burchfield,1893-1967 (Cranbury, New Jersey: Associated University Presses, Inc., 1982), p. 224 2 Charles E. Burchfield (1893-1967), Volume 39, Page 36, September 2, 1934; handmade cardboard notebook, 9 5/8 x 11 1/2 inches; Gift of Charles E. Burchfield, 1966

5657

57 ARTHUR BURDETT FROST American (1851-1928) GROUSE SHOOTING gouache on board signed lower left "A.B. Frost" 12 3⁄4 x 19 3⁄4 inches PROVENANCE The artist; by descent in the family to his granddaughter; Sessler's Book Shop, Philadelphia, Pennsylvania (original label accompanies the lot); Joseph Pew, Philadelphia, Pennsylvania; Private Collection, Canada ESTIMATE $10,000—$15,0005758

585958 REGINALD MARSH American (1898-1954) TWO GIRLS ON A FERRY, 1943 (PROBABLY NEW YORK HARBOR) tempera on board unsigned 18 1⁄2 x 24 inches PROVENANCE Estate of the artist; ACA Galleries, New York, New York; Dr. & Mrs. Arnold B. Rubenstein; Private Collection, Connecticut EXHIBITED Brooklyn, New York, Museum of the Brooklyn College, April 12 - May 10, 1983, n. 47; Atlanta, Georgia, The High Museum of Art, January 24 - March 26, 1989, p. 162. ESTIMATE $10,000—$15,000

59 RICHARD HAYLEY LEVER American (1876-1958) "HIGH BRIDGE OVER HARLEM RIVER", CA. 1913 oil on canvas signed lower right "Hayley Lever" 50 x 60 inches PROVENANCE Clayton-Liberatore Gallery, Bridgehampton, New York; Spanierman Gallery, New York, New York; Private Collection, Connecticut EXHIBITED Yonkers, New York, Hudson River Museum, "Industrial Sublime: Modernism and the Transformation of New York's Rivers, 1900-1940", October 12, 2013 - January 17, 2014. LITERATURE "Industrial Sublime: Modernism and the Transformation of New York's Rivers, 1900-1940", exhibition catalog, (Yonkers: Hudson River Museum, 2013), p. 130, cat. no. 37. ESTIMATE $50,000—$75,00060Born in Australia, Richard Hayley Lever came to America in 1911 at the urging of artist Ernest Lawson, whom he had met in Paris. Lever called New York with its astounding modernity “the most wonderful and delightful city in the world,” and quickly made the city his primary subject matter. Lever’s structured impressionist style was well suited to painting the geometric patterns characteristic of the urban landscape, particularly New York’s bridges. High Bridge over the Harlem River is one of the most striking of his early career. Lever clearly conveys the massiveness of the bridge’s structure as it rhythmically marches across the wintry landscape; it is just possible to see the busy pedestrian foot traffic, miniscule figures barely visible above the bridge railing.1 The work is housed in an exceptional frame which adds to the dramatic height of the bridge and adds a beautiful contrast to the white snow. 1 “Industrial Sublime: Modernism and the Transformation of New York’s Rivers, 1900-1940”, exhibition catalog, (Yonkers: Hudson River Museum, 2013), p. 130, cat. no. 37.

5961

60 JOHN FULTON FOLINSBEE American (1892-1972) "CANAL LANE", 1919-1920 oil on canvas signed lower left "John F Folinsbee", titled, signed inscribed in pen on card tacked to top of stretcher "$400" 24 x 30 inches PROVENANCE Estate of the artist until 1978; Private Collection EXHIBITED Philadelphia, Pennsylvania, McClees Gallery, "Paintings of John F. Folinsbee", November 1 - 25, 1920, cat. no. 9; New York, New York, Ferargil Gallery, "Paintings by John Folinsbee", March 1921; Cincinnati, Ohio, Cincinnati Museum of Art, "28th Annual Exhibition", May 28 - June 30, 1921. LITERATURE "Appraisal of Pictures, Estate of John F. Folinsbee, June 20, 1972", (Boston, Massachusetts: Vose Galleries, 1972), no. 438; Kirsten M. Jensen, "Folinsbee Considered", (Manchester, Vermont: Hudson Hills Press, 2013), p. 56 (illustrated in color), p. 234, cat. no. 1182. ESTIMATE $30,000—$50,00062Kirsten M. Jensen notes, John Folinsbee started his career with a splash. By 1915, at the age of 23, he had already had his first solo exhibition, his first traveling exhibition, important gallery representation at Macbeth in New York, and his first award from a jury in a national exhibition. During his lifetime, works sold for five-figure sums to important collectors and museums in Chicago, Cleveland, Houston and Los Angeles and his paintings were exhibited at international venues as representative of American art. Folinsbee always intended to be an artist, attending children’s classes at the Art Student’s League of Buffalo at just nine years old. His family moved to Boston where Impressionists Frank Weston Benson and Edmund Tarbell dominated the art scene. In 1906, he had Polio and left the city to recover with his relatives in Plainfield, New Jersey. There, he met Jonas Lie, a strong advocate of plein air painting. Folinsbee spent a few months with Lie before moving to attend the Gunnery school in Washington, Connecticut. In Connecticut, Folinsbee was encouraged to continue painting landscapes by Frank Vincent Dumond and the writings of Birge Harrison who was then at Woodstock. Motivated by Harrison’s writings, Folinsbee first arrived at Woodstock in the summer of 1912 and would return in 1913 and 1914 and in the winter between those years. Folinsbee boarded at Birge Harrison’s house and was exposed to Harrison as a mentor even though he was no longer actively teaching. Together with Harry Leith-Ross the young artists stayed in Woodstock under the tutelage of Harrison in the winter between 1913-1914. In 1914, Folinsbee married and two years later moved with his wife, Ruth Baldwin, to New Hope, Pennsylvania. Edward Redfield, Daniel Garber, Robert Spencer and William Lathrop were already painting there and Folinsbee would join their ranks as a member of the now coined New Hope School or the Pennsylvania Impressionists. Of the present lot Jensen notes, “In “Canal Lane”— a canvas reminiscent of [Robert] Spencer’s work in both subject and tone– the pearly atmosphere is still there, but the brilliant red of the mule’s blanket and the subtle blending of greens, reds and blues in the surrounding buildings unify and enliven the composition and suggest a new, more sophisticated use of color.”1 Folinsbee’s work was regularly included in national exhibitions of American art. He was elected as an associate member of the National Academy in 1919 and a full academician in 1928. Today his work can be viewed in numerous public collections including the Corcoran Gallery of Art in Washington D.C., the Museum of Fine Arts in Houston, the New Britain Museum in Art in Connecticut and the Princeton University Art Museum in New Jersey. 1 Kirsten M. Jensen, Folinsbee Considered, (Easthampton, Massachusetts: Hudson Hills Press, 2013), p. 56.

6063

61 JOHN FULTON FOLINSBEE American (1892-1972) "MULE BARN", 1928-1929 oil on canvas signed lower right, "John Folinsbee" 24 1⁄2 x 30 inches PROVENANCE Estate of the artist; Private collection, Princeton; Wiscasset Bay Gallery, Wiscasset, Maine; Private Collection, Connecticut EXHIBITED Bethlehem, Pennsylvania, Lehigh University Gallery, May 4–18, 1929; Philadelphia, Pennsylvania, Philadelphia Art Club, [Group Exhibition], November 14–December 1, 1929; Washington, Connecticut, The Gunnery School, "Paintings, Drawings, and Lithographs by John Folinsbee", 1976, no. 42; Philadelphia, Pennsylvania, Newman Galleries, "John F. Folinsbee", 1977, no. 23; Philadelphia, Pennsylvania, Newman Galleries, "John F. Folinsbee: Following His Own Course", March 2–April 7, 1990, no. 43; Philadelphia, Pennsylvania, Newman Galleries, "John Folinsbee: Another View", April 8–30, 1994, no. 25 (label on the reverse); New Hope, Pennsylvania, Gratz Gallery, "19th & 20th Century American Paintings", 2007. LITERATURE Appraisal of Pictures, Estate of John F. Folinsbee, June 20, 1972, (Boston: Vose Galleries), 1972, #555; Stricker, Michele Pavon, "John Folinsbee: Following His Own Course", (Philadelphia: Newman Galleries), 1990, exhibition catalogue, p. 16, b/w ill., #43; "Pennsylvania Painters and the New Hope Circle", (New Hope, Pennsylvania: Gratz Gallery), 2007, exhibition catalogue, color ill.; Jensen, Kirsten M., "Folinsbee Considered", (Hudson Hills Press, 2013), p. 74, color ill., p. 252, cat entry. ESTIMATE $30,000—$50,0006164

62 J. ALDEN WEIR American (1852-1919) "SUMMER IN CONNECTICUT - THE OLD BARN AT BRANCHVILLE", CA. 1890s oil on canvas signed lower left "J. Alden Weir" 20 x 24 inches PROVENANCE George A. Hearn, New York, New York; American Art Association, New York, Hearn Estate Sale, 25 February 1918; Robert Handley, New York, acquired from the above; F.S. Shaw, acquired from the above, by 1921; Milch Galleries, New York, New York; Berry-Hill Galleries, Inc., New York, New York; (Probably) Acquired by Betty Barton Evans from the above, circa 1970s; Christie's, New York, New York (from the estate of Betty Barton Evans), February 25, 2014, lot 78; Private Collection, Connecticut LITERATURE The Century Association, "Julian Alden Weir: An Appreciation of His Life and Works", New York, 1921, p. 133 (as Summer in Connecticut). ESTIMATE $12,000—$18,0006265

63 WILLIAM MERRITT CHASE American (1849-1916) "BOBBIE: A PORTRAIT SKETCH" oil on canvas inscribed on the stretcher "Bobbie", with the artist's red wax seal on the stretcher 15 7⁄8 x 13 1⁄4 inches PROVENANCE The artist, ca. 1889; American Art Galleries, "Completed Pictures, Studies, and Sketches by William Merritt Chase, N.A.", New York, New York, May 14, 1917; J.B. Townsend, acquired at the above sale ($35,000); Student of William Merritt Chase; Private Collection, ca. 1920; Sotheby's, New York, New York, March 17, 1994, lot 106; Private Collection, New Jersey LITERATURE Ronald G. Pisano, "William Merritt Chase: Portraits in Oil", (New Haven, Connecticut: Yale University Press, 2006), p. 147, catalog number OP.273 (illustrated). ESTIMATE $25,000—$35,00066“The most prominent characteristic of his style in portraiture is force. Vividness of conception, strength and rapidity of hand—these are its most striking qualities.”1 William Merritt Chase is one of the most celebrated American Impressionists. He was an influential teacher of plein-air painting and a tremendously successful artist working in a progressive style that included elements of Tonalism, Impressionism and Realism. Chase was born in Franklin, Indiana where he began his artistic training under Benjamin Hayes. He spent a brief period in St. Louis, Missouri studying under Munich-trained artist John Mulvaney. His talent was apparent early on and patrons from St. Louis sponsored a trip for Chase to go to Munich and study bravura painting at the Royal Academy. (Bravura is a type of brushstroke used by John Singer Sargent, Anders Zorn, Velazquez and others. To accomplish this style, painters used what appears to be a quick brushstroke but is actually a deliberate, purposeful paint application.) From 1872-1878 Chase studied in Munich with friends J. Frank Currier, Frank Duveneck, and John Twachtman. In 1878, Chase returned to New York where he became a teacher at the Art Students League and rented a studio in Greenwich Village. Chase quickly outgrew his original space and took over the large gallery originally intended for all of the Tenth Street Studio Building tenants to exhibit their work. He made several trips to Europe absorbing the styles of the Old Masters but also increasingly of contemporary European artists like Edouard Manet and Giuseppe de Nittis. Early in his career, Chase concluded that painting portraits would help him achieve success both artistically and financially. In the first exhibition of the Society of American Arts held in 1878, Chase exhibited four portraits, including Apprentice, a painting of a young man he completed in Munich during his time there from 1872-1877. His skills as a portraitist attracted high profile sitters – presidents, businessmen, actresses and celebrities– sat for their portraits at Chase’s Tenth Street Studio. He painted his friends, relatives and fellow artists. In London, he met J.A.M. Whistler and the artists painted one another. In the present lot, Chase painted his son Bobbie holding a red ball. In the catalog raisonne author Ronald Pisano notes, “This work was said to have been purchased at the Chase estate auction by a Chase student. The portrait is of Chase’s son Robert Stewart Chase, born December 19, 1898 (died December 5, 1987). A similar portrait of Chase’s son Roland Dana Chase (1901-1980) holding a red ball is in the collection of the Metropolitan Museum of Art, New York.” 1“William Merritt Chase,” American Art Review, 2 (January, 1881): 97.

6367

6864 MARTIN JOHNSON HEADE American (1819-1904) "VASE OF RED ROSES", CA. 1880S oil on canvas signed lower left "M J Heade" 20 x 12 inches PROVENANCE Henry Melville Fuller, New York, New York; with Sloan and Roman, Inc., New York, 1972; Private Collection EXHIBITED Jacksonville, Florida, Cummer Gallery of Art, "Mid-Nineteenth Century American Painting from the Collections of Henry M. Fuller and William H. Gerdts", 1966; Chadds Ford, Pennsylvania, Brandywine River Museum, "Flower Painting: an American Tradition", June 2 - September 9, 1984 (label on the reverse). LITERATURE William H. Gerdts, "Mid-Nineteenth Century American Painting from the Collections of Henry M. Fuller and William H. Gerdts", (Jacksonville, Florida: Cummer Gallery of Art, 1966), cat. no. 30.; Theodore E. Stebbins, Jr., "The Life and Works of Martin Johnson Heade", (New Haven, Connecticut: Yale University Press, 1975), p. 268, cat. no. 289.; Theodore E. Stebbins, Jr., "The Life and Work of Martin Johnson Heade", (New Haven: Yale University Press, 2000), p. 330, cat. no. 522. ESTIMATE $80,000—$120,000Martin Johnson Heade was born in Lumberville, Pennsylvania in 1819. His earliest training was with painter Edward Hicks and possibly Hicks’ cousin Thomas, a portrait painter. Their influence is evident in Heade’s early works which were most often portraits that appear stiff and naive. Around 1838, Heade traveled to Europe and spent two years in Rome. He made his professional debut at the Pennsylvania Academy of the Fine Arts in 1841. In 1843, he exhibited a portrait at the National Academy of Design. Following another trip to Europe in 1848, Heade began to exhibit more regularly. He moved frequently and would continue this itinerant pattern throughout his life. By the 1850s he was moving away from portraits and experimenting with landscape painting. In 1859, while living in New York City, he met Frederic Edwin Church who would become a close friend. Heade’s landscapes from this period are primarily coastal areas including New England salt marshes and seascapes. He was praised for his ability to capture the changing effects of light, atmosphere and weather. In the early 1860s, he was painting still-lifes which would remain a primary interest for the rest of his career. He continued to travel along the eastern United States and in 1863 made his first of three trips to South America. Church had visited the tropics twice and was already celebrated for his vast, large-scale paintings of the dramatic landscapes in South America. Heade instead focused on smaller, more intimate and less dramatic views. He painted flowers and hummingbirds on small, impossibly detailed canvases with the same attention to detail present in his still-life paintings. In 1883, Heade moved to St. Augustine, Florida. He was never fully accepted into the New York art establishment. In Florida, he married and found steady patronage from oil and railroad magnate Henry Morrison Flagler. Heade continued to paint orchids and hummingbirds but he turned his attention to the Florida marshes and swamps and painted still-lifes of magnolias and cut flowers. When he died in 1904, his work and legacy were largely forgotten. It was not until the 1940s when a renewed interest in American Art brought attention back to his paintings. Now, Heade is included in the canon of Important 19th century American artists and his work is included in numerous prominent public and private collections including the Metropolitan Museum of Art, the National Gallery of Art and the Brooklyn Museum.

6469

7065 PAUL WONNER American (1920-2008) TABLETOP STILL LIFE acrylic on canvas signed and dated lower right center "Paul Wonner 1988 Dec" 72 x 48 inches PROVENANCE Berggruen Gallery, San Francisco, California; Private Collection, Connecticut ESTIMATE $30,000—$50,000Born in Tucson in 1920, Paul Wonner moved to the San Francisco bay area to study at the California College of Arts and Crafts in Oakland. After earning his bachelor’s degree and military service in Texas, Wonner moved to New York where he continued his artistic training at the Art Students League. In 1950, he returned to California and completed a Master’s degree in Fine Arts at University of California, Berkeley. In the 1950s, he worked as a librarian at the University of California, Davis and in the 1960s moved to Southern California where he taught at the University of California Santa Barbara and Otis Art Institute in Los Angeles. In the bay area, his contemporaries David Park and Richard Diebenkorn provided friendly support for Wonner’s work. Wonner emulated their style of painting with rich brush strokes until the late 1970s. He then started painting crisp images emphasizing bright light and sharp shadows, focusing primarily on still-life themes. Although inspired by Dutch masters, Wonner chooses objects from everyday life as his subjects. The present lot is a prime example of Wonner’s approach to still-life. The objects float in a surrealistic space. In addition to classical flowers, Wonner included shoes, scissors, ribbon, and on a small piece of paper, his signature, as if it were a note left on the table.

6571

7266 JAMES FAIRMAN American (1826-1904) STORM KING ON THE HUDSON, 1867 oil on canvas signed with artist's monogram lower right, initialed, titled and dated on the reverse "18 JF 67 / Storm King / On the Hudson River", inscribed on the stretcher "Jas. Fairman / 212 5th Avenue / New York" 12 1⁄4 x 14 1⁄4 inches PROVENANCE Questroyal Fine Art, New York, New York; Godel and Co., New York, New York, 2001; Private Collection, Georgia ESTIMATE $7,000—$10,000666767 JAMES FAIRMAN American (1826-1904) MARBLEHEAD, MASSACHUSETTS oil on canvas signed lower left "Jas. Fairman" 26 x 36 inches PROVENANCE Vose Galleries, Boston, Massachusetts (labels on the reverse); Private Collection, Maryland ESTIMATE $6,000—$8,000

68 WILLIAM FREDERICK DE HAAS Dutch / American (1830-1880) SAILBOATS ON GLOUCESTER ROCKS AT SUNSET oil on canvas signed lower right "W.F. de Haas", inscribed on the reverse "William F. De Haas 1879" 14 x 24 inches PROVENANCE Private Collection, Rockport, Massachusetts; Private Collection, Florida ESTIMATE $12,000—$18,0006873

7469 BAYARD TYLER American (1855-1931) BOATING ALONG THE PALISADES oil on canvas signed lower right "Bayard Tyler" 16 x 20 inches PROVENANCE Private Collection, Dallas, Texas; Shannon's, Milford, Connecticut, April 29, 2010, lot 187; Private Collection, New Hampshire; Private Collection, Pennsylvania ESTIMATE $3,000—$5,000697070 HORACE WOLCOTT ROBBINS, JR. American (1842-1904) ALONG THE RIVER, 1871 oil on canvas signed and dated lower left "HW Robbins 71" 15 x 24 inches PROVENANCE The Cooley Gallery, Old Lyme, Connecticut; Godel and Co., Bedford, New York; Private Collection, New York ESTIMATE $7,000—$10,000

7571 JERVIS MCENTEE American (1828-1891) A RIVER AMONG HILLS oil on canvas signed with artist monogram lower right "JNE NA" 15 x 18 inches PROVENANCE Executor's sale, Catalogue of Paintings by the Late Jervis McEntee, N.A., New York, New York, 1892, lot 40; by descent in the family of Sanford Robinson Gifford; Hindman, Chicago, Illinois, May 3, 2009, lot 285, sold as Property from the Family of Sanford Robinson Gifford; Alexander Gallery, New York, New York (label on the reverse); Thomas Colville Gallery, Guilford, Connecticut; Private Collection, New York NOTES In 1857 McEntee and Gifford became close friends upon their meeting at the famed Tenth Street Studio building in New York. With his wife, Gertrude, McEntee was a regular at dinner parties in Gifford's studio and their families vacationed together. In 1863 the artists planned an expedition in the Adirondacks together with Richard William Hubbard and Worthington Whittredge. Gifford purchased this painting from the estate and it stayed with the Gifford family until 2009. ESTIMATE $10,000—$15,00071

7672 FREDERICK J. WAUGH American (1861-1940) SEASCAPE oil on masonite signed lower right "Waugh" 24 x 30 inches PROVENANCE Private Collection, New York ESTIMATE $7,000—$10,000727373 CHARLES COURTNEY CURRAN American (1861-1942) "SUNSHINE THROUGH THE CLOUDS" oil on canvas signed lower right "Charles C. Curran N.A."; inscribed on the reverse "Record No. 266-22 / C.C.C." 20 1⁄4 x 24 inches PROVENANCE Private Collection, New Hampshire ESTIMATE $8,000—$12,000

747774 FREDERICK MULHAUPT American (1871-1938) MOUNTAIN LANDSCAPE IN THE FALL oil on canvas signed lower right "Mulhaupt" 36 x 36 inches PROVENANCE Wally Findlay Galleries, Chicago; Private Collection, Florida; Sotheby's, New York, New York, September 30, 2009, lot 105; Private Collection, New York ESTIMATE $15,000—$25,000

75 WILLIAM JAMES GLACKENS American (1870-1938) FLOWERS ON A PINK TABLE oil on board initialed lower left "W.G.", signed lower right "W. Glackens" 16 x 13 inches PROVENANCE Zabriskie Galleries, New York, New York, 1958; Sotheby's, New York, New York, December 1, 1988, lot 219; Private Collection, New Jersey ESTIMATE $15,000—$25,00078William Glackens was born in Philadelphia in 1870. He was a distinctly American artist who painted still-lifes, street scenes and middle-class urban life. He rejected the dictates of the 19th century art academy and was an early proponent of Realism in the United States. Although he traveled extensively in Europe later in his career, he achieved commercial success as an artist before any European training. Early in his career, Glackens worked as an illustrator for the Philadelphia Record, the Public Ledger and The Philadelphia Press. During this time he studied at the Pennsylvania Academy of Fine Arts. In 1895, he spent a year in Paris and upon his return to America settled in New York City where he worked as an illustrator for The New York Herald and The New York World. In 1898, he traveled to Cuba where he covered the Spanish-American War for McClure’s Magazine. Despite his growing prominence as an illustrator, Glackens began to paint in oils and regularly participated in the annual exhibitions at the Pennsylvania Academy. Glackens’ experimentation combined with his attention to color and expressive brush strokes marked a turn towards modernism. He helped plan and participated in the 1908 Macbeth show and the landmark 1913 Armory Show. Glackens joined a group of like-minded artists including Robert Henri, with whom he had traveled to Paris in 1895, and John Sloan, George Luks, Everett Shinn, Maurice Prendergast and Arthur B. Davies. Collectively known as “The Eight”, and later the “Ashcan School”, the group was focused on depicting scenes from everyday American life. They exhibited together in 1908 but quickly disbanded based on their differing viewpoints. Glackens became known as the “American Renoir” and championed the French Impressionist style and themes. In the last twenty years of his life, he traveled to Europe regularly spending time in Paris and the south of France. In his final years, he focused on floral still-lifes, as in the present lot. Of Glackens’ still-lifes, critic Margaret Bruening wrote in 1937, “”There is something disarming in the simplicity of the arrangements, just little handfuls of flowers casually placed in vases. But the casualness is, of course, camouflage, for there is the utmost subtlety in the patterns of color, in the relations of form and contour... And what joy in pure painting these flower pieces afford! What lusciousness of pigment, what purity of color and astounding candor of statement....”

7579

8076 MAURICE PRENDERGAST American (1858-1924) "BEACH SCENE, BOSTON", CA. 1907-1910 oil on panel unsigned 10 3⁄8 x 13 3⁄4 inches PROVENANCE The artist; to Charles Prendergast, 1924; to Mrs. Charles Prendergast, 1948; to (Larry Shar), 1980; ACA Galleries, New York, New York; Collection of Mrs. Alice Mason, 1983; Coe Kerr Gallery, Inc., New York, New York; Adelson Galleries, Inc., New York, New York, 1995; Private Collection, Maryland LITERATURE Carol Clark, Nancy Mowll Matthews, and Gwendolyn Owens, "Maurice Brazil Prendergast / Charles Prendergast: A Catalogue Raisonne", (New York: Prestel Pub., 1990), p. 258, cat. no. 228 (illus.). NOTES This work was originally the verso of "Springtime, New England", (cat. no. 181) until separated ca. 1980. ESTIMATE $100,000—$150,000Prendergast’s work in both watercolor and oil bridges the styles of the 19th and 20th centuries. He pushed through a late American Impressionism and an Ashcan-influenced urbanism to a highly modern view. His late work incorporated elements of the fantastical, but the heart of his career, from the early 1900s to the teens, was marked by his unique surface patterning of patches of brilliant color. Although he exhibited among The Eight in 1908, Prendergast was distinctly more cosmopolitan than his cohort, advancing a modernist aesthetic that would wash aside the gritty urbanism exhibited at the Armory Show. Along with his brother, Charles, Maurice also made a significant contribution to the world of fine art framing, becoming highly esteemed in their day. Prendergast was highly sought after by major collectors of the first half of the 20th century, and his work formed part of the core collections of the Museum of Modern Art in New York and the Barnes Foundation in Philadelphia. Prendergast’s representations of daily life are bold and modern interpretations of themes that have attracted artists for generations. His work is characterized by elaborately choreographed, multi-figured panoramas developed throughout his career. Whereas other members of The Eight painted mainly New York City scenes, Prendergast often painted the bathers at public beaches around his native Boston. In the present lot, Beach Scene, Boston, beachgoers are gathered around a bench picnicking and socializing. In the water, there are sailboats visible in the distance. Beach Scene, Boston reveals the influence of modern European masters such as Paul Cézanne and Henri Matisse on Prendergast’s style. Prendergast traveled extensively throughout Europe in the late 19th and early 20th centuries and adapted the innovations of these artists to develop his characteristic and unique style. Of his works from the same decade, Prendergast scholar Richard J. Wattenmaker notes “are the culmination of more than thirty years of patient and determined exploration, trial and error, wholly personal variations on subjects that have captivated the most subtle and sophisticated minds of the Western tradition since the dawn of the Renaissance. Prendergast’s comprehensive experiments within this humanistic tradition bring to bear his unique adaptations of ideas from both East and West. If modern painting is primarily about extending the boundaries of color and color relations, Maurice Prendergast has a stature that guarantees him an important place in the pantheon with the masters he so admired and whose ideas he so richly repaid.”1 1 Maurice Prendergast, (New York, New York: Abrams, 1994), p. 143-5.

8176

827777 BEVERLY PEPPER American (1922-2020) BASALT HOMAGE TO THE TRIANGLE, 1999 basalt stone signed and dated "Beverly Pepper '99" 28 1⁄2 x 28 3⁄4 x 7 inches PROVENANCE The artist, Todi, Italy; Private Collection, Connecticut NOTES A preliminary drawing of this sculpture accompanies this lot. ESTIMATE $8,000—$12,000Image source: Fondazione Progetti Beverly Pepper https://www.fondazioneprogettibeverlypepper.com "I feel my work when successful, does more than emphasize an emotion, more than extend the landscape, more than compound an exterior environment. It should take the spectator from viewing to entering – and with entering to feeling.” — Beverly Pepper

8378 BEVERLY PEPPER American (1922-2020) UNTITLED, 1999 basalt stone unsigned h. 12 3⁄4 inches PROVENANCE The artist, Todi, Italy; Private Collection, Connecticut ESTIMATE $5,000—$7,00079 BEVERLY PEPPER AND JORIE GRAHAM American (1922-2020) "IN THE PASTURE" artist book with solid bronze sculpture casing signed, numbered, and dated "Beverly Pepper III/X ©2000" 13 1⁄4 x 10 1⁄4 x 4 inches PROVENANCE The artist, Todi, Italy; Private Collection, Connecticut NOTES The Poetry Foundation called Jorie Graham "one of the most celebrated poets of the American post-war generation." ESTIMATE $2,000—$3,0007879

80 PETER (HENRIETTA) MILLER American (1939-2014) HEAD, CA. 1930S oil on canvas estate stamped and numbered on the reverse 36 x 30 inches PROVENANCE Estate of the artist; Private Collection, Pennsylvania LITERATURE Peter Miller, "Peter Miller: Forgotten Woman of American Modernism", p. 31, cat. no. 6 (illustrated in color). ESTIMATE $15,000—$25,0008084Peter Miller, born Henrietta Myers (1913–1996), was an American Modernist who, in the 1940s, showed at the prestigious gallery of Julien Levy in New York City, the premier showcase for Surrealism in America. Henrietta took an interest in art at a very early age and applied for study at the Pennsylvania Academy of the Fine Arts in Philadelphia. On her application form, she wrote “I would rather fail at painting than succeed at anything else”. Miller lived by these words and remained a dedicated painter throughout her life.

818581 LYNNE MAPP DREXLER American (1928-1999) UNTITLED ink and wax crayon resist signed lower left "Drexler" 28 x 20 1⁄4 inches (sheet) PROVENANCE The artist, Monhegan Island, Maine; Private Collection, Connecticut ESTIMATE $20,000—$30,000

8682 MICHAEL GOLDBERG American 1924-2008 UNTITLED, 1959 oil on paper mounted to canvas signed upper left "Goldberg" 11 x 14 inches PROVENANCE Martha Jackson Gallery, New York, New York (label on the reverse); Collection of Jane Wade, New York, New York; Estate of Jane Wade, Palm Springs, California; Manny Silverman Gallery, Los Angeles, California (label on the reverse); Private Collection, Atlanta, Georgia ESTIMATE $40,000—$60,000Michael Goldberg was born in the Bronx in 1924 and began taking classes at the Art Students League at the age of 14. Known as a second generation Abstract Expressionist, he studied under Hans Hofmann from 1940 to 1942. His studies were interrupted by World War II, when he enlisted in the US Army as a paratrooper and served in North Africa, Burma and India. In 1946 Goldberg returned to New York, resuming his studies at Hofmann’s school and the Art Students League. Goldberg frequented the legendary Cedar Bar, a popular watering hole for many avant-garde artists living in lower Manhattan. It was there he became friendly with many of the New York School painters, including Franz Kline, Jackson Pollock, and Mark Rothko. Goldberg participated in the landmark 1951 “Ninth Street Art Exhibition of Paintings and Sculpture”, now known simply as the “Ninth Street Show”, alongside Willem de Kooning, Joan Mitchell, Helen Frankenthaler, Franz Kline, and others. In the mid-1950s, Goldberg took over Rothko’s studio in the Bowery, where he continued working until his death in 2007. Goldberg was influenced by Roberto Matta and Arshile Gorky, but it was de Kooning, and his use of fiery brush-work and explosive color, who proved to be Goldberg’s greatest influence. You can sense the influence of de Kooning in the present lot, Untitled, particularly in the compelling gestural brushwork and vivid colors along with the texture of the impasto. Goldberg received his first of ninety-nine solo exhibitions at Tibor de Nagy Gallery in 1953. His works can now be viewed in public collections across the United States, including the Albright-Knox Art Gallery, Buffalo, New York; the Art Institute of Chicago; the Hirshhorn Museum, Smithsonian Institution, Washington, D.C.; The Museum of Modern Art, New York; the Philadelphia Museum of Art; the Solomon R. Guggenheim Museum, New York; and the Whitney Museum of American Art, New York.

8782

83 ELLIOTT DAINGERFIELD American (1859-1932) SUNRISE IN THE GRAND CANYON oil on canvas signed lower right "Elliott Daingerfield", inscribed on stretcher "MILCH" 30 x 36 inches PROVENANCE Private Collection, New York ESTIMATE $40,000—$60,00088Elliot Daingerfield was raised and educated in Fayetteville, North Carolina. In 1880, at the age of 21, he moved to New York City to study with Walter Satterlee at the Art Students League. A few years later, in 1884, he met George Inness Sr. who taught him methods of painting the atmosphere, using light to create a sense of mood. Inness became a great promoter of Daingerfield’s painting, and he soon joined the prestigious Holbein Studios and began exhibiting at the National Academy of Design. In 1911, Daingerfield was one of five artists selected to travel to the Grand Canyon on a trip commissioned by the Santa Fe Railroad. They wanted to increase tourism by having artists paint the canyon. His paintings of this natural wonder are some of his most famous works and he returned to paint the canyon several times. His painting, The Genius of the Canyon brought $15,000 in 1920. At the time this was likely the highest price paid to date for a work by a living painter. 1 Daingerfield was a religious man who felt that there was a very strong link between spirituality and nature. Many of his paintings have a mystical quality about them. Daingerfield said that “spiritual vision is a message imparted to a man of genius who, if he has technical ability, may pass it on to the observer.” Sunrise in the Grand Canyon is a large, mystical view of the Grand Canyon that is not only a depiction of the canyon itself but creates a mood and sense of wonder. Daingerfield died in 1932 in New York. His work is represented in numerous museums including the Metropolitan Museum of Art, Smithsonian American Art Museum, and National Academy of Design Museum. 1 Michael David Zellman, 300 Years of American Art, (New York, New York: Wellfleet Press, 1987).

8389

9084 WILLIAM MASON BROWN American (1828-1898) PANSIES oil on canvas signed lower left "W.M. Brown" 14 x 12 inches PROVENANCE Private Collection EXHIBITED Chadds Ford, Pennsylvania, Brandywine River Museum, "Flower Painting: An American Tradition", June 2 - September 4, 1984. ESTIMATE $4,000—$6,000848585 ABBOTT HANDERSON THAYER American (1849-1921) "STILL LIFE WITH BRASS VASE AND KIMONO" oil on canvas signed faintly lower right "Abbott H. Thayer" 25 x 30 inches PROVENANCE Private Collection, Washington, D.C.; Private Collection, New Jersey ESTIMATE $4,000—$6,000

86 GEORGE HENRY HALL American (1825-1913) ROMAN GRAPES AND POMEGRANATES oil on canvas signed lower right "Geo. Henry Hall / 1889" 17 x 24 inches PROVENANCE Private Collection, New Jersey ESTIMATE $7,000—$10,0008691

87 ALFRED THOMPSON BRICHER American (1837-1908) ROCKY COAST AT GRAND MANAN oil on canvas signed lower left "A T Bricher" 18 x 38 inches PROVENANCE Kennedy Galleries, New York, New York (label on the reverse); Christie's, New York, New York, December 4, 1997, lot 13; Private Collection, Georgia ESTIMATE $25,000—$35,00092Alfred Thompson Bricher was one of America’s best-known seascape painters of the nineteenth century. Unlike the artists of the two generations preceding, who sought untamed wilderness in the Catskill Mountains, the White Mountains, and the Adirondacks, Bricher specialized in picturesque scenes of the New England seaboard. Today Bricher is widely appreciated by art historians for his mastery of Luminist realism. 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 the Hudson River School. 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. Following a second marriage in 1881, he built a summer home and studio in Southampton, Long Island. “Here he interpreted the expansive coast and quaint village areas in paintings displayed at annual exhibitions from 1882 until 1894. He painted all along the south shore of Long Island. He exhibited views of rugged Montauk Point at the eastern tip between 1882 and 1885; Water Mills, adjacent to Southampton from 1882 to 1888; Patchogue and Blue Point on Great South Bay protected from the Atlantic by Fire Island from 1886-91; further west, Freeport and Far Rockaway from 1888 to 1891; and Wantagh in 1893.”1 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 Synchromism, or color abstraction. 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.” Today New England seascapes by Bricher are in the permanent collections of many of America’s most prestigious museums, the Metropolitan Museum of Art, the Brooklyn Museum of Art, the Smithsonian American Art Museum, the White House, The Wadsworth Atheneum and the Pennsylvania Academy of Fine Arts, to name only a few. 1 Jeffrey R. Brown, assisted by Ellen W. Lee, Alfred Thompson Bricher, 1837-1908, (Indianapolis, Indiana: Indianapolis Museum of Art, 1973).

8793

9488 JOHN MARIN American (1870-1953) "DEER ISLE, MAINE", 1923 watercolor on paper signed lower right "Marin 23" 14 x 21 1/2 inches (sight) PROVENANCE Edward Halper, Brooklyn, New York; Private Collection LITERATURE Sheldon Reich, "John Marin: Part II: Catalogue Raisonne", (Tucson, Arizona: The University of Arizona Press, 1970), p. 518, cat. no. 23.14. ESTIMATE $30,000—$50,000John Marin was born in Rutherford, New Jersey in 1870. His mother died shortly after he was born and he was raised by his relatives in Weehawken – right across the Hudson from New York City. Marin attended the Stevens Institute of Technology for one year and worked as an professional architect for six years before deciding to pursue a career as an artist. From 1899-1901 he studied at the Pennsylvania Academy of Fine Arts where he met Arthur Beecher Carles, a lifelong friend. He also studied at the Art Students League in New York. Like many artists of the period, Marin went to Paris to study at the Academie Julian. He returned to New York in 1909 influenced by Cezanne and the avant garde Fauvist and Cubist movements. Photographer Edward Steichen had seen Marin’s works at the Salon d’Automne in 1909 and introduced him to Alfred Stieglitz who was also in Paris. Marin’s work impressed Stieglitz, a noted American photographer and art dealer, who would later host Marin’s first exhibition at his New York gallery known as “291.” Stieglitz became an important advocate for Marin’s work and exhibited his works more than any other artist except Georgia O’Keeffe. By the early 1910s Marin had established himself in New York City and traveled regularly through New York state and New England. His style matured and he adapted the avant-garde European ideas that had impressed him into his own distinctive style. In 1912 Marin married and settled with his new family in Cliffside, New Jersey. In 1914, the couple made their first trip to Maine. Marin found a well of inspiration in Maine and would return annually. Marin typically painted en plein air, or outdoors, successfully capturing the fleeting atmosphere, changing water and moving light. He writes in a letter from Small Point, Maine, “Outdoor painting as such is just a Job–to get ahead down what’s ahead of you—water you paint the way water moves—Rocks and soil you paint the way they were worked for their formation—Trees you paint the way trees grow. If you are more or less successful these paintings will look pretty well indoors for they have a certain rugged strength which will carry them off in a room–though they seemingly bear no relationship to the room.”

8895

89 ANDY WARHOL American (1928-1987) ORANGUTAN, FROM ENDANGERED SPECIES, 1983 screenprint in colors on Lenox Museum board numbered and signed in pencil lower right "TP 6/30 Andy Warhol", with publishers stamp on the reverse, published by Ronald Feldman Fine Arts, Inc., with printer's blind stamp lower left, printed by Rupert Jasen Smith, New York 38 x 38 inches PROVENANCE Ronald Feldman Fine Arts, Inc., New York, New York; Private Collection, Connecticut ESTIMATE $80,000—$120,00096Andy Warhol is one of the most iconic post-war American artists. His images are ubiquitous internationally even 20 years after his death. Warhol was fascinated with fame, celebrity culture, consumerism and money. These themes are prevalent throughout his works. Initially Warhol worked in advertising design moving to New York City to pursue a career as a commercial artist. In the early fifties, he started making his own works inspired by his experiences. Initially, he drew and painted but quickly moved to industrial media including screenprinting. Warhol employed the concepts of advertising design into his own artwork because it was a language everyone could understand. He incorporated elements of everyday American culture. In 1956, the Museum of Modern Art recognized his work and included him in his first major group show. By the 1960s, Warhol was a leading figure in the growing Pop Art movement. It was during this time that Warhol produced his best known works– Marilyn Monroe, Campbell’s Soup Cans and Coca-Cola Bottles. The Endangered Species portfolio was commissioned and published in 1983 by Ronald Feldman, a prominent New York gallerist and dealer. Feldman and Warhol were both concerned about conservation and coastal erosion. The subjects of the Endangered Species portfolio – African Elephant, Pine Barrens Tree Frog, Giant Panda, Bald Eagle, Siberian Tiger, San Francisco Silverspot, Orangutan, Gervy’s Zebra, Black Rhinoceros, and Bighorn Ram– were on the brink of extinction, many still are. Warhol’s series highlights these animals as stylish portraits commanding attention from the viewer. Created ten years after the passage of the Endangered Species Act, Warhol’s series was an effort to raise the public profile of these animals and draw attention to their plight. By 1983, Warhol had mastered color and works from this series pop with energy and vibrancy. The present lot is a trial proof 30 in which the artist experimented with different colors. In this edition the face of the Orangutan is a bronze metallic against a pink body and a lime green ground. In the final version from an edition of 150, Warhol chose blacks, yellows and browns as the primary colors creating a more muted and serious image. As of today, seven of ten animals featured in the series remain on the endangered species list. These works are still highly relevant bringing attention to climate change, erosion and the environmental toll on vulnerable animal populations.

8997

90 ALEX KATZ American (b. 1927) "LATE JULY II", 1971 lithograph signed and numbered lower left "Alex Katz 45/120", with publisher's blind stamp visible lower right 21 1⁄4 x 27 1⁄2 inches (sight) PROVENANCE Barridoff Galleries, Portland, Maine, August 3, 1979 (a copy of the original purchase receipt accompanies this lot); Private Collection, Connecticut ESTIMATE $3,000—$5,00090919891 LOUISE NEVELSON American (1899-1988) NIGHT LEAF, 1969 Plexiglas (custom mounted in an acrylic box) initialed and numbered on the reverse "L.N. 129/150" 17 1⁄8 x 17 1⁄8 x 3 5⁄8 inches (overall) PROVENANCE The Pace Gallery, New York, New York (label on the reverse); Private Collection, Connecticut ESTIMATE $3,000—$5,000

92 ROBERT MOTHERWELL American (1915-1991) STUDY FOR "THE WALL OF THE TEMPLE", CA. 1951 ink and graphite on paper signed lower right "Robert Motherwell" 14 x 11 inches PROVENANCE Sotheby's Arcade, New York, New York, September 29, 2004, lot 303; Forum Gallery, New York, New York (labels on the reverse); Jerald Melberg Gallery, Charlotte, North Carolina (label on the reverse); Private Collection, New York EXHIBITED New York, New York, Forum Gallery, "Recent Acquisitions", December 16, 2004 - January 22, 2005; New York, New York, Forum Gallery, "A Holiday Exhibition", November 16, 2017 - January 6, 2018. ESTIMATE $12,000—$18,0009299

9310093 WINFRED REMBERT American (1945-2021) "SLAVE TRADE" dye on carved and tooled leather initialed lower right "WR" 11 5⁄8 x 10 inches (sight) PROVENANCE The artist; Private Collection, Connecticut NOTES A copy of the original purchase receipt, signed by the artist, accompanies this lot. ESTIMATE $10,000—$15,000

94 MITCHELL REMBERT American (b. 1984) "LOOKING BACK" acrylic leather paint and dye on carved and tooled leather signed lower right "Mitchell Rembert" 21 3⁄4 x 26 3⁄4 inches PROVENANCE The artist ESTIMATE $3,000—$5,000949510195 MITCHELL REMBERT American (b. 1984) "LITTLE WINFRED" acrylic leather paint and dye on carved and tooled leather signed lower right "Mitchell Rembert" 28 x 21 inches PROVENANCE The artist ESTIMATE $3,000—$5,000Mitchell Rembert - a tribute to his late father, Winfred. "Looking Back" shows the memory of his past driving my father to create. My father's granite slab on the table is the one he used to tool leather. It's clean here, this is early on. Over the years, that piece of granite has been worn and stained with the dye and paint he used. It now looks like the backdrop shown in my painting. I also see it as a metaphor for his years of sharing his story while working. He often talked about his shortcomings and mistakes alongside his triumphs. In Life and art, we make choices. Some work out for the better, and other times, not as much. Dad taught me to make something beautiful from all the choices, good and bad. An emotional note here - I used the last of my father's dyes to finish "Looking Back." While creating "Little Winfred," I worked more in my father's style as a test of my skill and to show my admiration. In the background of this portrait of Dad when he was 11 or 12 years old is a representation of cotton fields. I was motivated by the stories he shared when I was a kid about how badly he wanted to leave those fields behind. — Mitchell

10296 WILLIAM TOLMAN CARLTON American (1816-1888) THE YANKEE PEDDLER, 1851 oil on canvas signed and dated lower left "W.T. Carlton 1851" 36 1⁄4 x 46 3⁄4 inches PROVENANCE Private Collection, Connecticut; Shannon's, Milford, Connecticut, October 26, 2017, lot 114; Private Collection, Georgia NOTES Special thanks to Theodore E. Stebbins, Jr., Curator of American Art, Emeritus, Harvard Art Museums, for his assistance in cataloging this lot. A label from Driscoll Babcock Galleries, New York, New York is on the reverse. ESTIMATE $15,000—$25,000William 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 The Yankee 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, 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, The Yankee 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.

10396

10497 JAMES HENRY CAFFERTY American (1819-1869) THE MIDDAY REST, 1858 oil on canvas signed and dated lower right "J H Cafferty 1858" 26 x 38 inches PROVENANCE Private Collection, Cornwall, New York, until 1984; Gloria and Richard Manney Collection; Christie's, New York, New York, December 4, 1996, lot 42; Phillip's, New York, New York, May 22, 2001, lot 11; Private Collection EXHIBITED New York, New York, National Academy of Design, "Annual Exhibition",1859, no. 718 (a copy of the exhibition record accompanies this lot); New York, New York, The New York Historical Society, "James Henry Cafferty N.A. (1819-1869)", 1986, pp. 31, 49, cat. no. 15 (illustrated); New York, New York, The New York Historical Society, "Art What Thou Eat: Images of Food in American Art", 1990-1991. ESTIMATE $25,000—$35,00097James Cafferty was esteemed for his portraits, especially those of fellow artists such as Jasper Francis Cropsey, and for his brilliantly colored depictions of children placed in lush landscapes. This painting continues the tradition of bucolic representations in American genre painting by artists such as George Henry Durrie, William Sidney Mount, and Jerome Thompson. The Midday Rest is one from a series of harvest-ing scenes Cafferty painted from 1858-1859 that may use his farm in New Jersey as their setting. The other paintings are "Harvesting in Monmouth County, New Jersey”, exhibited in 1858, and "Harvest Home", exhibited at the Pennsylvania Academy of the Fine Arts in Philadelphia, in 1859. In the exhibition catalog for "James Henry Cafferty" at the New York Historical Society, David Stewart Hall proclaims the present work to be "one of Cafferty's most ambitious---and most successful works."

99 DENNIS MALONE CARTER American (1827-1881) A DRAWING ROOM DRAMA oil on board signed lower right "D.M. Carter" 17 3⁄4 x 23 3⁄4 inches PROVENANCE Private Collection, New Jersey ESTIMATE $3,000—$5,0009810598 WILLIAM AIKEN WALKER American (1838-1921) SOUTHERN HOMESTEAD oil on board signed lower left "WA Walker" 9 x 12 inches PROVENANCE Kodner Gallery, St. Louis, Missouri (label on the reverse); Private Collection, Florida; Private Collection, Pennsylvania ESTIMATE $6,000—$8,00099

106100 MOSES SOYER American (1899-1974) TWO SEATED DANCERS oil on canvas signed lower right "M. Soyer" 20 x 16 inches PROVENANCE ACA Galleries, New York, New York (label on the reverse); Private Collection, New Jersey ESTIMATE $4,000—$6,000101 ALFRED H. MAURER American (1868-1932) TWO SISTERS, CA. 1924 oil on gesso panel unsigned 22 1⁄4 x 18 3⁄4 inches PROVENANCE E. Weyhe, Inc., New York, New York (label on the reverse); David Findlay Jr. Fine Art, New York, New York; Private Collection, New York, New York ESTIMATE $7,000—$10,000100101

102 JOHN CARLETON ATHERTON American (1900-1952) PINE TREE, 1938 oil on canvas signed lower right "Atherton / 1938" 24 x 30 inches PROVENANCE Private Collection ESTIMATE $15,000—$25,000102107

103 LUI LIU Chinese (b. 1957) "NOH SCENE II" oil on panel signed and dated lower left "Lui Liu 2002" 31 3⁄4 x 24 inches PROVENANCE Private Collection, Connecticut NOTES A copy of an email from the artist's wife, Min, describing this painting and Liu's work in general accompanies the lot. ESTIMATE $7,000—$10,000104 VALENTI MICHAEL ANGELO Italian (1897-1982) "HORSES IN THE NIGHT" oil on canvas signed lower right "VALENTI ANGELO" 28 x 46 inches PROVENANCE Private Collection, Pennsylvania EXHIBITED Philadelphia, Pennsylvania, Pennsylvania Academy of the Fine Arts, "Annual Exhibition", 1934. ESTIMATE $3,000—$5,000103104108

105 JOHN CARLETON ATHERTON American (1900-1952) DESTROYED BUILDING tempera on panel signed lower left "Atherton" 18 3⁄4 x 24 1⁄2 inches PROVENANCE Associated American Artists, New York, New York (label on the reverse); Private Collection ESTIMATE $6,000—$8,000105106109106 JOHN CARLETON ATHERTON American (1900-1952) "STILL LIFE BLUE & ORANGES" oil on canvas signed lower right "Atherton", signed, titled and inscribed on the reverse "650" 26 x 34 inches PROVENANCE Private Collection, Virginia ESTIMATE $3,000—$5,000

110107 LILLA CABOT PERRY American (1848-1933) NEW ENGLAND LANDSCAPE (POSSIBLY NEW HAMPSHIRE) oil on canvas signed lower right "LC Perry" 25 x 30 inches PROVENANCE Eldred's, East Dennis, Massachusetts, August 1-3, 2007, lot 1378; Private Collection, New York; Private Collection, Connecticut ESTIMATE $4,000—$6,000108 ROBERT EMMETT OWEN American (1878-1957) MOUNTAIN LANDSCAPE IN SPRING oil on canvas signed lower right "R. Emmett Owen" 40 x 50 inches PROVENANCE Spanierman Gallery, New York, New York (label on the reverse); Private Collection, Connecticut ESTIMATE $4,000—$6,000107108

111109110110 FIDELIA BRIDGES (ATTRIBUTED) American (1834-1923) "OCTOBER" oil on canvas initialed lower right "F.B." 20 x 16 inches PROVENANCE Private Collection, Pennsylvania LITERATURE Katherine Manthorne, "Fidelia Bridges: Nature into Art (Northern Lights)", (London, England: Lund Humphries, 2023) (The cover illustration is possibly a print of the present lot.). ESTIMATE $4,000—$6,000109 ANDREW WINTER American (1893-1958) "GRAY AND GREEN", 1946 oil on canvas signed and dated lower right "A WINTER / -46", titled on the stretcher 20 x 30 inches PROVENANCE Private Collection, Ogunquit, Maine; as a gift to Private Collection, Delaware ESTIMATE $5,000—$7,000

112111 JOHN FRANCIS MURPHY American (1853-1921) THE FRUIT FARM oil on canvas signed lower left "J. FRANCIS MURPHY" 10 1⁄2 x 14 inches PROVENANCE The Collection of Mrs. John Francis Murphy; American Art Association, New York, November 1926, no. 194 (sale stamp on the reverse); Milch Galleries, New York, New York; Godel and Co., Bedford, New York; Private Collection, New York ESTIMATE $3,000—$5,000112 HUGH BOLTON JONES American (1848-1927) SPRING LANDSCAPE oil on canvas signed lower left "H. BOLTON JONES" 16 x 24 inches PROVENANCE Collection of Ernest Wadsworth Longfellow (label on the reverse); Private Collection, New York ESTIMATE $5,000—$7,000111112

113113 CHARLES EDWARD DIXON British (1872-1934) ON THE THAMES, 1909 watercolor on paper signed and dated lower left "Charles Dixon 09" 28 1⁄2 x 43 1⁄2 inches PROVENANCE Private Collection, Maryland ESTIMATE $6,000—$8,000113114114 WALTER LAUNT PALMER American (1854-1932) BRIDGE mixed media on paper signed lower left "-W.L. PALMER-" 14 3⁄4 x 24 1⁄2 inches PROVENANCE Private Collection, New York NOTES Partial labels from the Boston Art Club and the Art Club of Philadelphia are apparent on the reverse. ESTIMATE $6,000—$8,000

115 ALSON SKINNER CLARK American (1876-1949) THE LOST DAY, PARIS, CA. 1902 oil on panel signed lower right "A.S. Clark" 10 1⁄2 x 13 3⁄4 inches PROVENANCE The artist; Estate of the artist; Robert Schoelkopf Gallery, New York, New York, 1968; Private Collection, New York; Menconi and Schoelkopf Gallery, New York, New York, 2001; Private Collection, Connecticut ESTIMATE $3,000—$5,000115116 ADDISON T. MILLAR American (1860-1913) "THE PALACE DOOR" oil on canvas signed and inscribed lower left "Addison T. Millar / Alger [Algiers]", titled on the reverse 24 x 18 inches PROVENANCE Private Collection, Pennsylvania ESTIMATE $6,000—$8,000116114

117 ALFRED MIRA American (1900-1981) "LANDSCAPE: FREEPORT, LONG ISLAND" oil on canvasboard signed lower right "Mira", estate stamped and numbered on the reverse 20 x 24 inches PROVENANCE The artist; by descent in the family; Private Collection, Pennsylvania NOTES A copy signed letter from the artist's son, Alfred A. Mira, dated December 5, 2022, detailing the ownership of this painting accompanies the lot. ESTIMATE $5,000—$7,000117118115118 JOHN C. TERELAK American (b. 1942) FLOWER SHOP, GREENWICH AVENUE, 2007 oil on canvas signed lower right "J.C. Terelak" 40 x 30 inches PROVENANCE Private Collection, Connecticut ESTIMATE $3,000—$5,000

116119 WILLIAM LESTER STEVENS American (1888-1969) "HENDERSON POINT" oil on canvas signed lower right "W. LESTER STEVENS N.A.", inscribed on the reverse "Henderson Point" 34 x 38 inches PROVENANCE Heiman G. Gross; Child's Gallery, Boston, Massachusetts (label on the reverse); Private Collection, Massachusetts EXHIBITED Ithaca, New York, Herbert F. Johnson Museum of Art at Cornell University (label on the reverse). ESTIMATE $3,000—$5,000120 J. ALDEN WEIR American (1852-1919) CONNECTICUT HILLTOPS oil on panel stamped signature lower left "J. Alden Weir" 12 x 16 inches PROVENANCE The Marbella Gallery, Inc., New York, New York (label on the reverse); Frederic I. Thaler; Christie's, New York, New York, June 13, 2017, lot 308; Private Collection, Connecticut EXHIBITED Roslyn, New York, Nassau County Museum of Fine Art, "William Cullen Bryant, The Weirs & American Impressionism", April 24 - July 31, 1983. ESTIMATE $2,500—$3,500119120

117121122123122 AMERICAN SCHOOL (19th century) CHILDREN AT THE BARN oil on canvas signed illegibly lower left 12 1⁄2 x 16 1⁄2 inches PROVENANCE Private Collection, Connecticut ESTIMATE $2,000—$3,000121 GEORGE LAFAYETTE CLOUGH American (1825-1901) AN AFTERNOON IN THE PARK oil on canvas signed lower center "G.L. Clough" 10 x 18 inches PROVENANCE Harbor View Center for Antiques, Stamford, Connecticut; Private Collection, New Jersey NOTES This work possibly depicts New York's Central Park. ESTIMATE $2,500—$3,500123 RUSSELL SMITH American (1812-1896) "PENNYPACK", 1872 oil on canvas initialed and dated lower right "R.S. / 72", titled, signed and dated on the reverse 11 3⁄4 x 17 3⁄4 inches PROVENANCE Private Collection, New Jersey ESTIMATE $2,000—$3,000

118124125126124 JOHN HENRY WITT American (1840-1901) THE CONVERSATION oil on canvas signed lower right "J.H. Witt A.N.A." 16 x 12 inches PROVENANCE Private Collection, Virginia ESTIMATE $2,000—$3,000125 THOMAS SEDGWICK STEELE American (1845-1903) WRAPPED ORANGES oil on canvas signed lower right "T.S. Steele" 16 x 20 inches PROVENANCE Godel and Co., Inc., New York, New York; Private Collection ESTIMATE $2,000—$3,000126 RUBENS PEALE (ATTRIBUTED) American (1784-1865) FRUIT ON A TABLETOP oil on canvas unsigned 18 x 24 inches PROVENANCE Godel and Co., Bedford, New York; Private Collection, New York ESTIMATE $6,000—$8,000

119127128129127 MAUDE JEWETT American (1873-1953) BACCHANTE FLOWER HOLDER, 1924 bronze signed and dated "Maude S. Jewett 1924" h. 10 1⁄2 inches PROVENANCE Private Collection, Connecticut; Shannon's Fine Art Auctioneers, Milford, Connecticut, October 23, 2014, lot 173; Private Collection, Connecticut ESTIMATE $3,000—$5,000128 ISIDORE KONTI Austrian / American (1862-1938) PUSHING MEN bronze signed on the base "I Konti", stamped on the base "#165 Gorham Co. Q 471" h. 6 1⁄2 inches PROVENANCE Doyle, New York, New York, February 14, 2018, lot 206; Private Collection, New York ESTIMATE $2,000—$3,000129 FREDERICK WILLIAM MACMONNIES American (1863-1937) PAN OF ROHALLION bronze signed "Frederick MacMonnies", inscribed "FRANCE", with foundry mark "H. Rouard Fondeur" h. 15 inches PROVENANCE Private Collection, New York ESTIMATE $3,000—$5,000

120130 JUMANA EL HUSSEINI Palestinian (1932-2018) JERUSALEM, 1967 oil on canvas signed and dated in Arabic lower left 26 x 40 inches PROVENANCE Purchased from the first exhibition of the Royal Society of Fine Arts founded in Amman, Jordan in 1979; Private Collection, Rhode Island ESTIMATE $7,000—$10,000131 EUGENE FRANCIS SAVAGE American (1883-1978) MURAL STUDY FOR THE FINANCE BUILDING AT HARRISBURG, PENNSYLVANIA mixed media with gold leaf unsigned 9 1⁄2 x 24 inches (sight) PROVENANCE Private Collection, Pennsylvania NOTES A copy of an article describing the commission to create these murals accompanies the lot. ESTIMATE $3,000—$5,000130131

121132 MYRON LECHAY American (1898-1972) SUNSET, 1922 oil on canvas titled, signed and dated on the reverse "Sunset / Myron / Lechaye / 1922" 32 x 36 inches (unframed) PROVENANCE Private Collection, New York NOTES This work is unframed. ESTIMATE $2,500—$3,500132133133 MYRON LECHAY American (1898-1972) TABLE oil on canvas signed lower right "LECHAY" 28 x 36 inches PROVENANCE Private Collection, New York NOTES This work is unframed. ESTIMATE $3,000—$5,000

122134135136134 REUBEN TAM American (1916-1991) UNTITLED, 1960 oil on canvasboard signed and dated lower right "Tam 60" 20 x 24 inches PROVENANCE Private Collection, California NOTES At the time this work was painted in 1960, the artist was working on Monhegan Island. ESTIMATE $2,500—$3,500135 JOSEPH HIRSCH American (1910-1981) "MAN WITH SPRITE", CA. 1950 oil on canvas signed upper left "Joseph Hirsch" 32 x 25 inches PROVENANCE Forum Gallery, New York, New York (labels on the reverse); ACA Galleries, New York, New York (label on the reverse); Forum Gallery, New York, New York; Private Collection, New York EXHIBITED New York, New York, National Academy of Design, "133rd Annual Painting Exhibition", 1958. ESTIMATE $2,000—$3,000136 ROBERT BLISS American (1925-1981) "TIME", 1956 oil on masonite signed and dated lower right "Bliss 56" 32 x 54 inches PROVENANCE Vose Galleries, Boston, Massachusetts (label on the reverse); Private Collection, Massachusetts ESTIMATE $2,000—$3,000

123— END OF SALE —137138139137 GERRIT ALBERTUS BENEKER American (1882-1934) MOUNT MANSFIELD, VERMONT, 1931 oil on board signed and dated lower left "Gerrit A. Beneker", inscribed, signed and dated on the reverse" A Winter Afternoon in the Green Mountains / Craftsbury, Vermont / by Gerrit A. Beneker / March 18, 1931 / $250" 12 x 16 inches PROVENANCE Private Collection, New York, New York ESTIMATE $4,000—$6,000138 WILLIAM STARKWEATHER American (1879-1969) STREET SCENE oil on canvas signed and dated lower right "William Starkweather / 1915" 27 x 39 inches PROVENANCE Private Collection, Virginia NOTES This lot is unframed. ESTIMATE $3,000—$5,000139 LARRY FISHER American (b. 1939) MORNING DEPARTURE FROM OURAY, COLORADO acrylic on canvas signed and dated lower right "L Fisher ©1998" 30 x 48 inches PROVENANCE Private Collection, Virginia ESTIMATE $3,000—$5,000

124INDEXA AMERICAN SCHOOL 122 ANGELO, VALENTI M. 104 ATHERTON, JOHN C. 102, 105, 106 B BALUSCHECK, HANS 7 BENEKER, GERRIT A. 137 BERTHELSEN, JOHANN 2, 3, 4, 5 BLANCHARD, ANTOINE 6 BLISS, ROBERT 136 BOESE, HENRY 51 BOTELLO, ANGEL 23, 24 BRICHER, ALFRED T. 87 BRIDGES, FIDELIA (attr) 110 BROWN, WILLIAM M. 84 BROWNE, MATILDA 17 BURCHFIELD, CHARLES 55, 56 C CAFFERTY, JAMES H. 97 CARLSEN, DINES 14 CARLTON, WILLIAM T. 96 CARTER, DENNIS M. 99 CASILEAR, JOHN W. 48 CHASE, WILLIAM M. 63 CHATHAM, RUSSELL 19 CLARK, ALSON SKINNER 115 CLOUGH, GEORGE L. 121 CROPSEY, JASPER F. 43 CURRAN, CHARLES C. 73 D DAINGERFIELD, ELLIOTT 83 DE HAAS, WILLIAM F. 68 DIXON, CHARLES E. 113 DOUGHTY, THOMAS 49 DREXLER, LYNNE MAPP 28, 29, 30, 81 E EL HUSSEINI, JUMANA 130 F FAIRMAN, JAMES 66, 67 FISHER, ALVAN 52 FISHER, LARRY 139 FOLINSBEE, JOHN F. 60, 61 FRANCIS, JOHN F. 15 FRISHMUTH, HARRIET W. 53 FROST, ARTHUR B. 57 G GLACKENS, WILLIAM J. 75 GOLDBERG, MICHAEL 82 GOODWIN, ARTHUR C. 40 GRAY, JACK LORIMER 1 GRUPPE, EMILE A. 33, 35 H HALL, GEORGE HENRY 86 HAMILTON, JAMES 45 HART, WILLIAM 44, 47 HEADE, MARTIN J. 64 HIRSCH, JOSEPH 135 HOSTETLER, DAVID 26 J JENSEN, LEO V. 31 JEROME, ELIZABETH G. 46 JEWETT, MAUDE 127 JONES, HUGH BOLTON 112 K KATZ, ALEX 90 KONTI, ISIDORE 25, 128 KROLL, LEON 42 KULICKE, ROBERT 12, 13

125L LAWSON, ERNEST 41 LECHAY, MYRON 132, 133 LEVER, RICHARD H. 32, 59 LIU, LUI 103 M MACMONNIES, F. W. 27, 129 MARIN, JOHN 88 MARSH, REGINALD 58 MAURER, ALFRED H. 101 MCENTEE, JERVIS 71 MILLAR, ADDISON T. 116 MILLER, PETER (HENRIETTA) 80 MIRA, ALFRED 117 MOTHERWELL, ROBERT 92 MULHAUPT, FREDERICK 74 MURPHY, JOHN FRANCIS 111 N NEVELSON, LOUISE 91 NICHOLS, DALE 37 O OLBINSKI, RAFAL 8 OWEN, ROBERT E. 36, 108 P PALMER, WALTER L. 114 PEALE, RUBENS (attr) 126 PEPPER, BEVERLY 77, 78 PEPPER, B. & GRAHAM, B. 79 PERRY, LILLA CABOT 107 PHILLIPS, SAMUEL G. 20 PRENDERGAST, MAURICE 76 PRENTICE, LEVI WELLS 16 R REMBERT, WINFRED 9, 10, 11, 93 REMBERT, MITCHELL 94, 95 RENOIR, PIERRE-A. 21 ROBBINS, JR., H. W. 70 ROBINSON, WILLIAM S. 18 S SAVAGE, EUGENE F. 131 SLOANE, ERIC 38 SMITH, RUSSELL 123 SONNTAG SR., WILLIAM L. 50 SOYER, MOSES 100 STARKWEATHER, W. 138 STEELE, THOMAS S. 125 STEVENS, WILLIAM L. 119 T TAM, REUBEN 134 TAMAYO, RUFINO 22 TERELAK, JOHN C. 118 THAYER, ABBOTT H. 85 THIEME, ANTHONY 34 TOOKER, GEORGE 54 TYLER, BAYARD 69 W WALKER, WILLIAM A. 98 WARHOL, ANDY 89 WAUGH, FREDERICK J. 72 WEIR, J. ALDEN 62, 120 WIGGINS, GUY C. 39 WINTER, ANDREW 109 WITT, JOHN HENRY 124 WONNER, PAUL 65

Personalized Service • Competitive Rates • Proven Results25Contact Sandra Germain info@shannons.com 203 877 1711 shannons.comJune 22, 2023 | 2:00 PM Online Fine Art Auction Consignments accepted now through June 1, 2023. October 26, 2023 | 6:00 PM Important Paintings, Drawings, Prints & Sculpture Consignments accepted now through September 15, 2023. YOU ARE INVITED...Lynne Mapp Drexler Sold: $450,000 Charles Burchfield Sold: $375,000 Thomas Hart Benton Sold: $275,000 Consignments accepted year-round

127BIDS MUST BE RECEIVED AT LEAST 24 HOURS PRIOR TO DAY OF SALE. Lot # Artist’s Name Maximum Bid (Excluding buyers premium) $ $ $ $ $ $ $ $ $Bidding Increments $1,000 – $2,000 . . . . . . . . . .$100 $2,000 – $5,000 . . . . . . . . . .$250 $5,000 – $10,000 . . . . . . . .$500 $10,000 – $20,000 . . . . . .$1,000 $20,000 – $50,000 . . . . .$2,000 Over $50,000 . . . . . . . . . .$5,000 Over $100,000 . . . . . . . .$10,000 The Auctioneer has the discretion to accept bids not commensurate with this pattern.EMAIL OR FAX BIDS TO: 49 Research Drive, Milford, CT 06460 P: (203) 877-1711 | F: (203) 877-1719 Email: info@shannons.com CHECK ONE: ABSENTEE BID PHONE BID I understand that Shannon's will execute my bids as a convenience, and will not be held responsible for errors, or the inadvertent failure to execute bids. On my behalf, Shannon's will try to purchase these lots for the lowest possible price. If identical absentee bids are left, Shannon's will give precedence to the first one received. I have read and agree to the Conditions of Sale on the reverse of this form. Payment for successful bids must be made within seven days of the sale. A premium of 25% of the successful bid will be applied to the individual hammer price of all lots sold, to be paid by the buyer as part of the purchase price. Purchases made through Invaluable will be subject to an additional 5% charge (30% total buyer’s premium) and purchases made online through shannons.com will be subject to an additional 2% charge (27% buyer’s premium). Name Date Address City State Zip Country Phone # Alternate# EmailSignature (required) DateWe will have a limited phone bidding staff for this sale. We ask that if you request a phone line, you be prepared to bid the low estimate. If you are not willing to bid the low estimate, we kindly ask that you leave an absentee bid instead.

128Shannon’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 catalog. 4. Items in the auction are sold subject to a reserve. Such reserve is confidential, but in no case will the reserve exceed the low estimate. The auctioneer may reject any bid or increment not commensurate with the value of the lot. 5. Order bids are accepted. A deposit may be required. Absent parties may place bids by mail, email, fax or in person prior to the sale. Order bids must be placed 24 hours prior to the day of sale. Shannon’s LLC will execute such bids up to the maximum amount specified. Phones must be reserved 24 hours prior to the day of sale. Phone bidders are encouraged to leave a cover bid in case of technical failure. Shannon’s is not responsible for errors or omissions in the execution of these bids. 6. A premium of 25% of the successful bid will be applied to the individual hammer price of all lots sold, to be paid by the buyer as part of the purchase price. Purchases made through Invaluable will be subject to an additional 5% charge (30% total buyer’s premium) and purchases made online through shannons.com will be subject to an additional 2% charge (27% buyer’s premium). Payment may be made by, check, ACH or wire transfer. Visa, MasterCard and Amex may be used up to the amount of $5,000 per auction. We currently collect sales tax in CT, DC, FL, GA, IL, IN, KS, MA, MD, MI, NC, NE, NJ, NY, OH, OK, PA, RI, TN, VA and WI and remit the appropriate sales tax. If we do not collect sales tax in your state, it is still your responsibility to pay the proper tax on your purchases. ALL ITEMS MUST BE PAID FOR WITHIN 7 DAYS OF THE SALE, AT WHICH POINT THEY WILL BE RELEASED FOR SHIPMENT OR DELIVERY. 7. Limited Warrantee: Although Shannon’s LLC exercises due care in describing the items listed and use good judgment in attributing authorship; it does not make any express or implied warrantee as to such authorship. Notwithstanding, Shannon’s LLC may, but shall have no obligation to, consider any reasonable request for refund on the grounds of authenticity of authorship only and only under the following conditions: A. Notification must be made to Shannon’s in writing within 7 days of receipt of the item. B. The items must be returned within 28 days of the sale, accompanied by written testimony from a recognized authority that the lot in question is a forgery. C. The limited warrantee does not extend to the lots identified as attributions, school, circle, manner, or after. D. The limited warrantee is applicable only to the original Buyer. 8. All property is sold "as is". 9. As a convenience to the Buyer, Shannon’s LLC will make a referral for packing and shipping. This is at the request, expense, and risk of the Buyer, and Shannon’s assumes no responsibility for the items or the timing of delivery. Insurance for in transit items is the responsibility of the buyer. All items must be removed within 30 days post sale or a fee of up to $20 per day will be charged for storage. Items not collected within twelve months of a sale will become the property of Shannon’s. 10. Shannon's has retained the Art Loss Register to check all uniquely identifiable items offered for sale in the catalog that are estimated for $5,000 or more against the computerized database of stolen or lost artwork maintained by the Art Loss Register. A search certificate can be provided by the Art Loss Register for an additional fee. The Art Loss Register does not guarantee the provenance or title of any catalogued item against which they search, and will not be liable for any direct or consequential losses of any nature howsoever arising. The statement is not to affect, detract from, or override Shannon's Conditions of Sale, and in the event of any conflict, Shannon's Conditions of Sale will take priority to the terms of this statement. BIDDING AT THIS AUCTION, WHETHER IN PERSON, BY AGENT, ORDER BID, TELEPHONE, INTERNET OR OTHER MEANS, CONSTITUTES YOUR ACKNOWLEDGMENT AND ACCEPTANCE OF THESE "CONDITIONS OF SALE". CONDITIONS OF SALEAfter: A work of art or object made in the style of an artist or maker, but not by the artist. Sometimes refers multiples that may have used an artist’s mold or plate, but were reproduced by someone other than the artist, including posthumous works. Can also be used to describe a direct reproduction after an original work of art. Attributed (attr.): In our opinion, probably or possibly a work of art by the artist. The work is either unsigned, and/or lacks adequate provenance or authentication by experts in the field. Bears Signature: The work is signed, but the work and signature may not be by the hand of the artist. Manner of: Made in the likeness or style of an artist, with a slight possibility that it was made by the artist or by a follower or student of the artist. Also see “After” and “Attributed”. Possibly: Being something that may or may not be true or actual without guarantee. Probably: Supported by evidence strong enough to establish presumption but not proof. We do not guarantee it to be true. School: Usually relates to a particular artistic or aesthetic movement. It can also relate to an actual school or to followers of a particular artist or maker. Also see: “Manner of”, “Style”, “Attributed to” and “After”. Style: After the time period in which the style originated, or a more recent reproduction (ie: Style of Pablo Picasso or Cubist Style), used to refer to the style of a particular artist or artistic movement, generally made long after that time period.GLOSSARY OF  TERMS

49 Research Drive, Milford, CT 06460 • (203) 877-1711 • Fax (203) 877-1719 • info@shannons.com