Fine Art Auction
Paintings, Drawings, Prints and Sculpture
Milford, Connecticut • April 29, 2021
Front cover illustration #47
Back cover illustration #55
FINE ART AUCTION
PAINTINGS, DRAWINGS,
PRINTS AND SCULPTURE
PREVIEW DATES & TIMES:
In-person previews by appointment
April 19-28th (weekdays from 11AM-6PM)
Saturday, April 24th (10AM-3PM, closed Sunday)
Virtual previews & additional photos are available by request.
Bid by telephone, absentee and live on shannons.com.
AUCTION INFORMATION
Thursday, April 29, 2021 | 6:00 PM EDT
2
MAP AND DIRECTIONS
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Turn right onto Woodmont Road.
At the first traffic light take a left on
Research Drive.
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At the second traffic light take a left onto
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TABLE OF CONTENTS
Map and Directions 2
Specialist Contacts 3
Artist Index 160
Invitation to Consign 162
Bid Form 163
Conditions of Sale 164
Sandra Germain
Owner
voice: 203.877.1711
fax: 203.877.1719
sandra@shannons.com
Ali Danker
Specialist
voice: 203.877.1711
fax: 203.877.1719
ali@shannons.com
Gene Shannon
Owner
voice: 203.877.1711
fax: 203.877.1719
gene@shannons.com
Specialist Contacts
General Sale Inquiries
info@shannons.com
1
JOHANN BERTHELSEN
American (1883-1972)
"BROOKLYN BRIDGE"
oil on canvas, signed lower right "Johann Berthelsen"
24 x 20
1
4 inches
PROVENANCE
Private Collection, Westport, Connecticut; Phillips,
New York, New York, May 21, 1996, lot 93; Private
Collection, Colorado; Private Collection, New York.
Estimate $4,000—$6,000
3
GLENN O. COLEMAN
American (1887-1932)
MANHATTAN ROOFTOPS
oil on canvasboard, signed lower left "Glenn O. Coleman"
16 x 12 inches
PROVENANCE
Private Collection, New York.
Estimate $4,000—$6,000
1
2 3
44
2
ROBERT KNIGHT RYLAND
American (1873-1951)
BROWNSTONES IN THE EVENING
oil on canvas, signed and dated lower right "R.K. Ryland 1939"
25 x 20 inches
PROVENANCE
Private Collection, New York, New York; Shannon's, Milford,
Connecticut, October 24, 2019, lot 19; Private Collection,
Connecticut.
Notes
Ryland exhibited in the 1939 World's Fair in New York City.
Estimate $4,000—$6,000
4
PETER HOPKINS
American (1911-1999)
"UNITED NATIONS BAR AND GRILL"
oil on canvas, signed lower
right "Peter Hopkins," signed and
titled on the stretcher
36 x 48 inches
PROVENANCE
The artist; Private Collection,
Connecticut.
Notes
A copy of the purchase receipt
from the artist accompanies
the lot.
Estimate $4,000—$6,000
5
PETER HOPKINS
American (1911-1999)
"GREYHOUND BUS DEPOT"
oil on panel, signed and
dated lower right "Peter
Hopkins 1945"
19
1
2 x 23
inches
PROVENANCE
The artist; Private Collection,
Connecticut.
Estimate $4,000—$6,000
4
5
5
6
MARCEL DYF
French (1899-1985)
"PLAGE DE TROUVILLE"
oil on canvas, signed lower left "Dyf"
18 x 21
1
2 inches
PROVENANCE
Private Collection, Scarsdale, New York; Shannon's,
Milford, Connecticut, May 4, 2017, lot 16;
Private Collection, Connecticut.
Notes
This painting is registered in the Marcel Dyf Catalog
Raisonné as catalog N°ID 5134.
Estimate $6,000—$8,000
7
MARCEL DYF
French (1899-1985)
"FLEURS DES CHAMPS"
oil on canvas, signed lower right "Dyf"
21
3
4 x 18
1
8 inches
PROVENANCE
Private Collection, Washington, D.C.
Notes
This painting is registered in the Marcel Dyf
Catalog Raisonné as catalog N°ID 463.
Estimate $4,000—$6,000
6
7
6
8
MARCEL DYF
French (1899-1985)
"CHAMPS DE COURSES À LONGCHAMPS," 1970
oil on canvas, signed lower right "Dyf"
29 x 36
1
8 inches
PROVENANCE
Private Collection, Washington, D.C.
Notes
This painting is registered in the Marcel Dyf
Catalog Raisonné as catalog N°ID 1098.
Estimate $7,000—$10,000
8
7
9
JEAN DUFY
French (1888-1964)
DANCING
mixed media on paper laid
down on canvas, signed lower
right "Jean Dufy"
6
1
4 x 11
1
2 inches
PROVENANCE
Wally Findlay Galleries, New
York, New York; Private
Collection, Connecticut.
Estimate $6,000—$8,000
10
LUDWIG BEMELMANS
American (1898 - 1962)
CHURCH IN THE VILLAGE
oil on canvas, signed lower right
"Bemelmans," dated lower left "57," inscribed
and numbered on the reverse "Plaisir S80"
57
1
2 x 44
1
2 inches
PROVENANCE
Private Collection, Pennsylvania.
Estimate $7,000—$9,000
9
10
8
11
HANS ZATZKA
Austrian (1859-1945)
"FISHER'S DREAM"
oil on panel, signed lower left "H. Zatzka"
14
1
2 x 22
1
2 inches
PROVENANCE
Private Collection, Connecticut.
Estimate $7,000—$10,000
12
HALIL PASHA
Turkish (c. 1857-1939)
ON THE BANKS OF THE BOSPHORUS, ISTANBUL
(TWO VIEWS)
oil on board, signed lower left
(a) 11
1
2 x 17
3
4 inches (b) 15 x 23 inches
PROVENANCE
Private Collection, Pennsylvania.
Estimate $6,000—$8,000
11
12A
12B
9
13
CLAUDE VENARD
French (1913-1999)
"ST. GERMAIN DES PRES"
oil on canvas, signed lower right "C. Venard," numbered on the
reverse "No. 676"
51 x 38
1
4 inches
PROVENANCE
Libra Art Exchange, New York, New York; By descent to the
current owner, Private Collection, Connecticut.
Notes
A copy of the original receipt from Libra Art Exchange
accompanies the lot.
Estimate $8,000—$12,000
13
10
14
WERKSTÄTTE HAGENAUER
Austrian (Established 1898)
MAN AND WOMAN
hand hammered brass, stamped on the base
"Hagenauer Wien / WHW/ Made in Austria" (a unique piece)
Circa 1930
height: 25 inches
PROVENANCE
James P. Infante, Jersey City, New Jersey; Private Collection,
Connecticut.
Estimate $12,000—$18,000
14
11
15
EVERETT LONGLEY WARNER
American (1877-1963)
"HAYING BY THE CONNECTICUT RIVER"
oil on board, signed lower right "Everett Warner"
39
3
4 x 44
1
2 inches
PROVENANCE
Estate of the artist; By descent to Private
Collection, Maryland.
Notes
Warner painted this scene in Westmoreland,
New Hampshire on the banks of the
Connecticut River. Proceeds from the sale will
benefit the Florence Griswold Museum.
Estimate $4,000—$6,000
16
EMILE A. GRUPPE
American (1896-1978)
"MORNING ROCKPORT"
oil on canvas, signed lower left "Emile
Gruppe"
25 x 30 inches
PROVENANCE
Private Collection, Connecticut.
EXHIBITED
Cape Ann Festival of the Arts, Gloucester,
Massachusetts, 1964.
Estimate $5,000—$7,000
15
16
12
17
ALDRO THOMPSON HIBBARD
American (1886-1972)
COVERED BRIDGE IN WINTER
oil on canvas, signed lower left "A.T. Hibbard"
25 x 30 inches
PROVENANCE
Given by the artist to painter Lee W. Cort (the artist's neighbor); thence by
descent in Cort's family; Skinner, Boston, Massachusetts, May 17, 2013, lot
422; Private Collection, Connecticut.
Notes
A copy of a photograph of Hibbard, Court, and Earle Titus painting a sugar
shack in the winter accompanies the lot.
Estimate $10,000—$15,000
17
13
14
Eric 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 inven-
tor, 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. Aviation would become a central theme for Sloane as seen in lot 22, The
Sentinel. Amelia Earhardt is said to have purchased his first cloud painting and his largest is on the
wall of the Smithsonian Air and Space Museum in Washington D.C. (a commission he earned at
age 75).
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 for 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.
The present lot, Last Snow, depicts a scene typically seen in southeastern Pennsylvania with a
stone farmhouse, red barn, and rolling hills dappled with light. Biographer, James W. Mauch,
chose this painting as the cover image for his retrospective catalog Aware. He notes that the
painting “It is a farm so typical of southeastern Pennsylvania with its stone house, rolling, tree-
topped hillsides, enormous red barn and white-spired church in the distance.”
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 but also the
effects of the air on the light 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.
18
ERIC SLOANE
American (1905-1985)
"LAST SNOW"
oil on masonite, signed lower left "Eric Sloane N.A."
24 x 20 inches
PROVENANCE
The artist; Taschen Collection; Hammer Gallery, New York, New York; Rose Hill Gallery,
Englewood Cliffs, New Jersey; Green River Gallery, Millterton, New York; Private
Collection, Martha's Vineyard, Massachusetts; Private Collection, New Jersey.
EXHIBITED
Hammer Galleries, New York, New York, "Eric Sloane An American Realist," December 8,
1986 - January 8, 1987, cat p. 2; Hammer Galleries, New York, New York, "Eric Sloane
Paintings and Drawings," March 11- 30, 1991, cat. page 4.
ILLUSTRATED
James W. Mauch, "Aware A Retrospective of the Life and Work of Eric Sloane," (Laurys
Station, Pennsylvania: Garrigues House, 2000) (cover illustration).
Notes
A copy of "Aware A Retrospective of the Life and Work of Eric Sloane" signed by the
author accompanies the lot.
Estimate $15,000—$25,000
18
15
16
19
CHARLES HAROLD DAVIS
American (1856-1933)
"ROLLING HILLS OF MYSTIC"
oil on canvas, signed lower left "C.H. Davis"
13 x 16 inches
PROVENANCE
Private Collection, Connecticut.
Estimate $2,500—$3,500
20
WILLIAM CHADWICK
American (1879-1962)
THE PATH HOME
oil on board, signed lower right "W. Chadwick"
14
1
4 x 18
1
4 inches
PROVENANCE
A Connecticut estate; Private Collection, Connecticut.
Estimate $2,000—$3,000
21
WILLIAM LESTER STEVENS
American (1888-1969)
AUTUMN IN THE VALLEY
oil on canvas, signed lower right "W. Lester
Stevens, NA"
20 x 25
1
2 inches
PROVENANCE
Private Collection, Rhode Island; Private
Collection, Connecticut.
Estimate $2,500—$3,500
19
21
20
17
22
ERIC SLOANE
American (1905-1985)
"THE SENTINEL"
oil on masonite,
signed and titled lower left "Sloane"
35
5
8 x 41
7
8 inches
PROVENANCE
Hammer Galleries, New York, New York;
Private Collection, Connecticut; Private
Collection, New Jersey.
EXHIBITED
Hammer Galleries, New York, New York,
"Eric Sloane Paintings and Drawings,"
March 11- 30, 1991, cat. page 13.
Estimate $6,000—$8,000
23
FREDERICK JUDD WAUGH
American (1861-1940)
"THE COVE"
oil on masonite,
signed lower right "F. Waugh"
30 x 40 inches
PROVENANCE
Vose Galleries, Boston, Massachusetts;
Private Collection, Massachusetts.
EXHIBITED
Mattatuck Museum, Waterbury,
Connecticut, "Haven and Inspiration:
The Kent Art Colony," June 22 - August
2014.
Notes
The painting is possibly Otter Cove,
Mount Desert, Maine.
Estimate $7,000—$10,000
22
23
24
JOHN QUINCY ADAMS
American (1874-1933)
STORY TIME
signed and dated lower right "John Quincy Adams 9 05"
67 x 55
1
4 inches
PROVENANCE
Butler Fine Art, New Canaan, Connecticut;
Private Collection, Connecticut.
Notes
A copy of the original purchase receipt from Butler Fine
Art accompanies the lot.
In a period tabernacle frame.
Estimate $12,000—$18,000
24
18
FIDELIA BRIDGES
American (1834-1923)
Fidelia Bridges enjoyed a long and successful career as a painter of meticulous depictions of the natural
world, particularly of birds and flowers. One of her favorite sites was along the banks of the Housatonic River
in Stratford, Connecticut.
Bridges was steeped in the Pre-Raphaelite tradition and spent time under the tutelage of William Trost
Richards. In her mature work the influence of Japanese Ukiyo-e prints, ‘prints of the floating world,’ became
evident in her work. The tendency towards asymmetrical compositions emerged during this period as well
as a departure from the ‘all-over’ technique present in her early works.
Bridges was born in Salem, Massachusetts in 1834 to a sea captain working in the China shipping trade. She
and her three siblings were orphaned in the years of 1849–1850 when they lost both parents within a few
months of each other. The two oldest sisters took over the main responsibilities of supporting and guiding the
family, and the family remained close-knit for their entire lives. While in Salem, the Bridges were Unitarian
church members. This likely influenced the sense of nature as being infused with divinity apparent in her
work.
The family left Salem for Brooklyn and Bridges became a governess for the family of William Augustus Brown,
a relationship that she maintained for the rest of her life. Bridges became aware of trends in the work of her
contemporaries, including the British Pre-Raphaelites and the writings of John Ruskin. In 1860, she moved to
Philadelphia to train at the urging of Anne Whitney, a budding sculptress teaching at the Pennsylvania
Academy of Fine Arts (PAFA). She became closely associated with Richards at that time and formed a long-
lasting relationship with the Richards family. She was inspired by Richards to begin painting in the Pre-
Raphaelite tradition of close and meticulous work highlighting the details of the natural word, particularly
botanicals.
May Brawley Hill notes the effect of the Pre-Raphaelite school of thought on Bridges, “the idea that through
faithful depiction the essence of the thing could be revealed.”[1]. In the 19th century journal “The New
Path” a writer notes the difference in painting the natural world in this new tradition versus the existing ‘still
life’ tradition as “…one man paints a free, wild, vigorous plant as it grows, and another paints a vase of cut
flowers…” and argues that this new tradition, though not yet the fashionable one, will ultimately raise the
standard.[2]
After early successes throughout the 60s, and exhibitions at PAFA in 1862, 1865 and 1866, Bridges spent time
traveling in Europe, including time in Rome with Anne Whitney and the Richards family in Lake Geneva. After
returning to the States, Bridges began painting regularly in watercolor, her preferred medium for the rest of
her career. Bridges continued to focus on nature and as Hill notes, “…the actual presence of growing things
in the open, suffused with sunlight… microcosms of Nature, embodying the Transcendental idea that divinity
is manifest in the smallest part of the created world.”[3]
In 1873, Bridges became an Associate of the National Academy and in 1875 a member of the American
Society of Painters in Watercolor. She sold her work regularly to Louis Prang, the publisher of cards, calendars,
and other popular publications, this would establish her one of the most financially successful female artists
of her time. Her most prolific and popular works of birds and botanicals were inspired by locations in the
Catskills, the New Hampshire mountains, the New Jersey coast and especially the salt marshes of the New
England coast – particularly Stratford, Connecticut. Bridges’ colors were vibrant, and attention to detail was
her hallmark. In 1879, her very successful exhibition at a Fifth Avenue gallery brought in an increasing number
of patrons, including the famous author Mark Twain.
Bridges eventually settled in Canaan, Connecticut in her later years, becoming a beloved fixture in the
town, associating regularly with other local women of literary and artistic backgrounds. The children of the
Richards and the Browns all remained in close contact with her, visiting her there regularly. Bridges died in
Canaan on May 14, 1923. Her paintings are held by the Smithsonian American Art Museum, the
Metropolitan Museum of Art, the Brooklyn Museum, and the Pennsylvania Academy of the Fine Arts, as well
as many others.
[1,3] May Brawley Hill. Fidelia Bridges: American Pre-Raphaelite, New Britain Museum of Art, November 15, 1981 – January 3, 1982,
Berry-Hill Galleries, 1981. (p. 15)
[2] The New Path, Vol. I, No.4 August 1863 (p. 7.43)
25
FIDELIA BRIDGES
American (1834-1923)
ROSE BREASTED GROSBEAK IN A THICKET
oil on canvas, signed lower right "F. Bridges"
18 x 14 inches
PROVENANCE
Private Collection, Connecticut.
EXHIBITED
The William Benton Museum of Art, The University of Connecticut, Storrs,
Connecticut, "Art in Connecticut: Early Days in the Gilded Age,"
March 17 - May 17, 1992; Brandywine Conservancy Brandywine River
Museum, Chadds Ford, Pennsylvania, "Double Lives, American Painters as
Illustrators," September 6 - November 23, 2008; New Britain Museum of
American Art, New Britain, Connecticut, "Double Lives: The American
Painter and Illustrator, 1850-1950," December 10 - February 22, 2009;
Florence Griswold Museum, Old Lyme, Connecticut, "Connecticut
Treasures: Works from Private Collections," July 3 - September 19, 2010.
Notes
In a Carrig-Rohane frame.
Estimate $12,000—$18,000
25
20
26
FIDELIA BRIDGES
American (1834-1923)
GOLDFINCHES AND THISTLE
oil on canvas, signed and dated lower right "F. Bridges 1873"
14 x 11 inches
PROVENANCE
Skinner Inc., Malborough, Massachusetts, March 12, 1999, lot
328; Private Collection, Connecticut.
Estimate $10,000—$15,000
26
21
22
Most famed for creating one of the four monumental murals commissioned for the United States
Capitol Rotunda (Baptism of Pocahontas, 1840), John Gadsby Chapman was also well-known for
his landscapes of Italy’s Campania region, where he lived for many years.
Chapman was born in Alexandria, Virginia and studied locally with the artists George Cooke and
Charles Bird King before his formal studies at the Pennsylvania Academy of Fine Arts. He first
became enamored with the Italian coast and its peoples when he lived in Rome from 1828-1831,
studying classical painting and drafting techniques. Following his time in Rome, Chapman lived
and worked in in Virginia, Washington, D.C., and Philadelphia before settling in New York in 1834.
He became a highly successful illustrator and painter, earning full academician status at the
National Academy of Design. In the 1840s, he was given the Capitol Rotunda commission as well
as the project of creating over 1,400 engravings for Harper’s illuminated edition of the Bible (The
Illuminated Bible, 1846). He also authored a highly popular instructional book on drawing for both
amateurs and professionals titled The American Drawing Book (1847).
Despite his artistic success in New York, Chapman experienced some financial woes and
heartbreaking family losses during these years. In 1848, he returned to Italy with his remaining
family, living first in England, Paris, and Florence before settling in again in Rome in 1850. Up until
the American Civil War, Chapman was very successful at painting scenes of the Campania coast
for the constant flow of tourists and Grand Tour travelers who made their way through Italy.
Unfortunately, the war years put a damper on this flow of travelers and in the 1860s Chapman
again found himself in difficulties. He persevered for many years, but finally returned the United
States in 1884 where he lived in New York with his sons Conrad Wise Chapman and John Linton
Chapman. Both sons also became painters. Chapman died in New York in 1890.
A similar, smaller work with the same view of the present example is currently held in The Johnson
Collection in Spartanburg, South Carolina, dated 1870 and titled The Bay of Naples. Sorrento is
inscribed to Charles Crocker of Sacramento, California and dated 1872 which places the paint-
ing in the famous railroad family’s possession, possibly having been painted for Charles Crocker
by request. The setting is an idyllic long view of the Amalfi Coast facing north to Vesuvius. A
beautifully detailed pastoral scene on the right highlights the breathtaking cliffside road
traversed by a herd of goats and their caretakers. The deceptively calm blue waters of the Bay
of Naples rest under a faintly smoking Vesuvius in the distance. The full scene encapsulates the
very heart of the region with Vesuvius’s remarkable presence against the jewel-like beauty of the
Amalfi Coast and its everyday activities – a perfect memento of the region by a 19th century
painter renowned in his time.
27
JOHN GADSBY CHAPMAN
American (1808-1890)
"SORRENTO"
oil on canvas, signed with artist's monogram, dated
and inscribed lower right "JC 1872 Roma," signed,
titled, dated and inscribed on the reverse "For Charles
Crocker, Esq., Sacramento, CA, Rome 1872"
37 x 59
3
4 inches (oval)
PROVENANCE
Private Collection, Switzerland; By descent to the
current owner, Private Collection, New York.
Estimate $20,000—$30,000
27
23
24
28
ANTONIO MARIA DE REYNA MANESCAU
Spanish (1859-1937)
GONDOLIERS IN VENICE
oil on canvas, signed lower right "A. Reyna Manescau"
14 x 29
1
2 inches
PROVENANCE
An Alabama estate; Private Collection, Tennessee.
Estimate $7,000—$10,000
29
ANTONIO MARIA DE REYNA MANESCAU
Spanish (1859-1937)
VENETIAN CANAL
oil on canvas, signed lower right "A. Reyna
Manescau"
14 x 29
1
2 inches
PROVENANCE
An Alabama estate; Private Collection, Tennessee.
Estimate $5,000—$7,000
28
29
30
JOHN KOCH
American (1909-1978)
ARTIST BY THE RIVER
oil on canvas, signed lower right "Koch"
30 x 24 inches
PROVENANCE
Kraushaar Galleries, New York, New York;
Julianna Force; Christie's, New York, New York,
October 18, 2017, lot 560; Private Collection,
Greenwich, Connecticut.
Estimate $8,000—$12,000
30
25
26
Montague Dawson, grandson of painter Henry Dawson (1811–1878), was both a British naval
seaman and an exceptional painter, internationally recognized as the leading marine artist of
the twentieth century. He spent much of his childhood with his father, an avid yachtsman, on the
waters of Southampton where he learned about sailing and ships.
Dawson studied under the renowned artist Charles Napier Hemy (1841–1917) at the Royal
Academy. He met Hemy in Falmouth during the first World War when he was a member of the
Royal Navy. It was during this time that he became skilled in painting naval ships. By the end of
the war, Dawson was a Lieutenant in the ‘Dazzle Painting’ section at Leith. After the war, Dawson
exhibited frequently at the Royal Academy and began his exclusive relationship with Frost &
Reed Gallery in London. He was also appointed as an official war artist during World War II.
In the years following World War I, Dawson established himself as a professional marine artist. He
concentrated on historical subjects and on painting sailing ships, masterfully capturing the
movement of the ocean waves and wind in the sails. His most iconic work explored the world of
18th and 19th century clippers and warships, paying homage to maritime history’s ‘Age of Sail.’
Lot 31 Ship at Sail is a typical example of this part of Dawson’s œuvre – a 19th century clipper,
built to move imports like gold from California and tea from China in the quickest times possible.
Dawson’s skill with painting the effects of both light and wind on the ship, its sails, and the
surrounding sky and ocean bring the moment to life, a portrait that captures an era.
For several centuries, the ambitions of European and American business, travel, world-wide trade,
and exploration depended specifically on their commercial and military naval capabilities.
Fortunes rose and fell with the Dutch, the English, the French, the Spanish, and the Portuguese, all
plying the seas in these majestic, deep-water sailing ships. Their romanticization after the rise of
steam-powered engines and eventually fossil fuel engines has not abated - the nostalgia and
wonder elicited by these beautiful ships traveling vast distances on just the power of the wind
and sails paired with the skill of their crew still evokes the magic of journeys and exploration.
“Shortly before his death in 1973,” writes Ron Ranson in his 1993 monograph, “a remarkable
tribute was made to Montague Dawson. He looked out of his window one day to see two fully
rigged training ships, the Royalist and the Sir Winston Churchill, apparently sailing straight towards
his house on the shore. At what appeared to be the very last moment, they turned about, and
both ships dipped their ensigns in salute to the man who had probably done more than any other
to capture the magic and majesty of sail.”[1].
Dawson was an associate of the Royal Society of Artists and a member of the Royal Society of
Marine Artists. His works can be viewed in museums around the world, and his patrons included
the British Royal Family, and American Presidents Dwight D. Eisenhower and Lyndon B. Johnson.
[1] Ron Ranson, The Maritime Paintings of Montague Dawson, Newton Abbot, Devon, 1993, p. 15.
31
MONTAGUE DAWSON
British (1890-1973)
SHIP AT SAIL
oil on canvas on board, signed lower left "Montague Dawson"
20 x 29
3
4 inches
PROVENANCE
Marshall Fields and Company Pictures Gallery, Chicago, Illinois;
Estate of Peter Pauls Stewart, Dallas, Texas; Private Collection,
Texas.
Estimate $20,000—$30,000
31
27
28
Gerome Kamrowski was born in Warren, Minnesota in 1914. In 1932 he enrolled in the Saint Paul
School of Art and in 1933 he was awarded a scholarship to the Art Students League in New York
where he studied under Hans Hoffman and George Grosz.
As a member of the WPA, he traveled extensively throughout the United States during the 1930s
painting murals. In 1937 studied at The New Bauhaus in Chicago with László Moholy-Nagy and in
1938 he received a Guggenheim fellowship from Hilla Rebay to attend Hans Hofmann's summer
school in Provincetown, Massachusetts. He then relocated to New York where he met William
Baziotes.
Together they shared a fascination in Surrealist movement, and both artists explored its possibili-
ties in their paintings. Kamrowski was particularly drawn to Surrealism's fundamental appeal of
intuition over intellect. He was interested seeking a process that "binds all things together...a kind
of cosmic rhythm". [1]
In the early 1940s Kamrowski worked closely with Baziotes, Robert Motherwell, Jackson Pollock,
and Roberto Matta, who were original members of an open-ended movement referred to as
Abstract Surrealism, a group that would prove to be a critical step in the birth of Abstract
Expressionism. It was during these years that he worked on many collaborative works with Pollack
and Baziotes. In a letter to B.H. Friedman, Kamrowski recalled that one day he, Pollock, and
Baziotes were fooling around' with quart-cans of lacquer paint. Baziotes asked if he could use
some 'to show Pollock how the paint could be spun around.' He then looked around the room for
something to work on, and a canvas that Kamrowski had 'been pouring paint on and was not
going well' was handy, so Baziotes began to throw and drip' white paint on it. He next gave the
dripping palette knife to Jackson, who with his intense concentration' started flipping the paint
with abandon. ' According to Kamrowski, after all had a chance to play, Baziotes identified the
spiral forms he had created as 'birds' nests, ' but Pollock refused to interpret his spots." This painting
was a pivotal work, showing the transition from, and fusion of, Surrealism to Action Painting and
Abstract Expressionism.[2]
In 1947 Kamrowski was invited to the Surrealist Exhibition in Paris by surrealist Andre Breton. He was
deeply respected by Breton, who proclaimed: "Gerome Kamrowski is the one who has impressed
me far the most by reason of the quality and sustained character of his research. Among all the
newcomers there, he was the only one tunneling in a new direction."
He left New York in 1948 and became a teacher at the University of Michigan School of Art at
Ann Arbor where he taught for 38 years .He never abandoned his art career and continued to
evolve, creating 3D works of art with different medium until his death at the age of 90 in 2004.
1 Smithsonian American Art Museum, Art + Artists: Artists "Gerome Kamrowski"
2 Karamanoukian, Jacques. "Gerome Kamrowski: Art, Fame & Fortune." Agenda, April 1997, P. 7 & 8. Ann Arbor District
Library.
32
GEROME KAMROWSKI
American (1914-2004)
"DISEMBODIED MOTION" (DOUBLE-SIDED)
ink and gouache on paper, signed lower left
"Kamrowski," titled and dated on the reverse "1943"
30 x 21
1
2 inches
PROVENANCE
The artist; By descent in the artist's family, Michigan.
Estimate $10,000—$15,000
32
29
30
33
GEROME KAMROWSKI
American (1914 - 2004)
"SPACE CARNAGE"
mixed media and collage on canvas, signed on the
reverse "G. Kamrowksi," titled on the artist's label on the reverse
96 x 48
1
2 inches
PROVENANCE
The artist; By descent in the artist's family, Michigan.
Estimate $6,000—$8,000
34
GEROME KAMROWSKI
American (1914 - 2004)
"LUNAR RIBS"
mixed media on canvas, signed upper left "Kamrowski,"
signed, dated and numbered on the reverse "
# 739 / 1960," titled on the artist's label on the reverse
67 x 36 inches
PROVENANCE
The artist; By descent in the artist's family, Michigan.
Estimate $4,000—$6,000
33
34
35
CARL PICKHARDT JR.
American (1908-2004)
"ABSTRACTION #134 BLACK + BLUE ON WHITE," C. 1956-1957
acrylic on canvas stretched on wood, initialed lower center
"C.P.," signed, titled and numbered on the reverse
30
1
2 x 26
1
8 inches (corner to corner)
PROVENANCE
Private Collection, Massachusetts.
Estimate $5,000—$7,000
36
JAMES MEIKLE GUY
American (1909-1983)
UNTITLED
oil on wood and steel construction on particle board
support, signed lower center "Guy"
36 x 36 inches
PROVENANCE
Private Collection, Massachusetts.
Estimate $5,000—$7,000
35
36
31
An originator of the shaped canvas, Carl Pickhardt
began creating his free form paintings in the early
1950s. His first free form painting dates to 1953, some
seven years before Frank Stella’s first experimentation
with “deductive” pictorial structure and nine years
before Kenneth Noland’s shaped chevron paintings.
32
Expressionism took hold in Germany at the beginning of the 20th century influenced by the work
of Post-Impressionists like Vincent Van Gogh, Edvard Munch and James Ensor. Expressionist
paintings originated from within the artist rather than representations of the external world. Bright
colors and heavy brushwork conveyed internal emotions and anxieties that were a reaction to
rapid urbanization.
In Germany, the Die Brücke group was formed in Dresden in 1905 and is seen as the origin of
German Expressionism. The name, translated to “the bridge,” indicates a bridge from the past to
the present. Founded by Ernst Ludwig Kirchner, Fritz Bleyl, Erich Heckel and Karl Schmidt-Rottluff.
Works by these artists are characterized by unnatural, strong colors that are meant to jolt the
viewer and evoke an emotional response.
The influence of Die Brücke on Benkert is immediately apparent in the Self-Portrait offered here.
Benkert’s early paintings, including this work, exhibit a dynamic, enervated energy reminiscent of
Van Gogh, through his use of expressive means such as elongated forms and strong application
of paint. In 1922, Benkert’s works were included in an exhibition of Expressionist art organized by
Anton Rauh that included works by German Expressionist artists Heinrich Campendonk, Erich
Heckel, Paul Klee and Die Brücke members, Schmidt-Rottluff and Max Pechstein.
In Berlin, Benkert counted members of Die Brücke including Schmidt-Rottluff and Emil Nolde and
noted Expressionists Ernst Barlach, James Ensor as his friends. Together with Philipp Schreiber,
Stermann and Wedemann, Benkert founded “Der Norden” a successor organization to “Die
Brücke.” Benkert work was exhibited internationally including in a show in Oslo of German
Contemporary Art
Until 1934 Benkert’s paintings were shown in exhibitions alongside those of Ernst Barlach,
Pechstein, Heckel, Wilhelm Lehmbruck, Auguste Macke, Franz Marc, Otto Mueller, Emil Nolde,
and Schmitt-Rottluff.
After 1934 modern art exhibitions were banned. Benkert’s works were shown alongside his
contemporaries in the famed “Degenerative Art” exhibition where they were subsequently
burned publicly. This painting is a rare survivor of the mass destruction of modern art in Europe.
37
JOSEF ALBERT BENKERT
German (1900-1960)
SELF PORTRAIT
oil on canvas, initialed, dated and inscribed
illegibly upper right "JAB '21"
31 x 37 inches
PROVENANCE
Private Collection, Bamburg, Germany;
Private Collection, Connecticut.
Estimate $10,000—$15,000
37
33
34
Alfred Thompson Bricher was one of America’s best-known landscape and marine painters of the
nineteenth century. Unlike the artists of the two generations preceding his, who sought untamed
wilderness views in the Catskill Mountains, the White Mountains, and the Adirondacks, Bricher
specialized in landscapes featuring placid inland bodies of water and picturesque scenes of the
New England seaboard.
He is thought to have made his first trip to the Grand Manan locale in the period around 1872-
1874 and he went back often in later years. The coastline’s sublime wonders are deftly captured
in Bricher’s paintings with his masterful handling of sunlight and fog playing off of each other as
seen in Low Tide, Grand Manan.
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. He also exhibited at the Art Institute of Chicago, the Boston Art Club, and the gallery of
James Gill in Springfield, Massachusetts. 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. Today, New
England seascapes by Bricher are in the permanent collections of many of America’s most pres-
tigious 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).
38
ALFRED THOMPSON BRICHER
American (1837-1908)
"LOW TIDE, GRAND MANAN ISLAND"
oil on canvas, signed and inscribed lower right "AT Bricher copyright 1899"
15 x 33 inches
PROVENANCE
Private Collection, Northamptonshire, England; Shannon's, Milford,
Connecticut, October 26, 2017, lot 29; Private Collection, Connecticut.
Notes
Bricher exhibited four views of low tide on Grand Manan Island, New
Brunswick, at the National Academy between the years 1898 and 1901:
Marlton’s Cove, Matthew’s Cove, Hetherington’s Cove (now in the
collection of the San Antonio Museum of Art), and Castilla.
Estimate $20,000—$30,000
38
35
36
Alfred Thompson Bricher was born in Portsmouth, New Hampshire and grew up in Newburyport,
Massachusetts. During his 50-year career as an artist he became known for his luminist New
England coastal seascapes. He was highly successful during his lifetime and exhibited regularly
at galleries and venues including the Boston Athenaeum, the Brooklyn Art Association, the
World’s Columbian Exposition in Chicago, and the American Watercolor Society.
Bricher’s early works emulate Thomas Cole, Asher B. Durand, and Frederic Church during the
early and mid-1860s. As he expanded his subject matter and incorporated Luminist principles his
works emulated John Frederick Kensett. Bricher, however, remained rooted to his experience of
nature in person rather than spiritually. By the 1870s he matured as an artist and his distinct style
emerged in the 1880s and 1890s. His works from this period use slanting sunlight and freer brush-
work (as seen in lot 38).
At 21-years old and primarily self-taught, Bricher opened his first studio in Newburyport. After
opening his studio and beginning his serious pursuit of an artistic career, Bricher began to take
sketching tours in New England. By 1860, he had moved to Boston and opened a new studio
there. He visited Mt. Desert Island, Maine with William Stanley Haseltine and traveled to Long
Island, New York, the Catskills, the White Mountains, and the Hudson River. Bricher specialized in
landscapes featuring placid inland bodies of water and picturesque scenes of the New England
seaboard.
39
ALFRED THOMPSON BRICHER
American (1837-1908)
BOATING IN THE AFTERNOON, NEWBURYPORT
oil on canvas, signed lower left "A.T. Bricher"
35 x 25 inches
PROVENANCE
Shannon's, Greenwich, Connecticut, April 30, 2009, lot 68;
A private Midwestern collection; Shannon's, Milford,
Connecticut, October 23, 2014 lot 57; Private Collection,
Connecticut.
Estimate $25,000—$35,000
39
37
38
The following comments were written by Kevin Avery, Adjunct Professor of American Art History at Hunter
College and former Curator of American Art at the Metropolitan Museum of Art.
Though not signed or dated, the painting presented to me as “Lake Champlain” is an early work by
Sanford Robinson Gifford. The picture does not appear to be recorded in the artist’s exhibition records;
in the catalogues of the 1880-81 Gifford Memorial exhibition at the Metropolitan Museum of Art; the cat-
alogues of the Gifford estate sale in April 1881; or inA Memorial Catalogue of the Paintings of Sanford
Robinson Gifford, N.A.,published by The Metropolitan Museum of Art in 1881.Still, the painting relates in
subject to at least two paintings recorded in those sources. It closely approximates the style of other
Gifford paintings of the 1848-1850 period, and its imagery corresponds closely to at least one drawing,
dated August 22, 1848, in an early Gifford sketchbook now in the Francis Lehman Loeb Art Center at
Vassar College.
Based on the painting’s imagery, I propose the title,Lake George from near Sabbath Day Point. Across
the lake at left is Black Mountain, the highest hill overlooking the water on the east shore, with Mt. Erebus,
Shelving Rock, and Buck Mountain to its right. The lake and mountains are set off by a foreground of
brush, rocks and a tree stump, which bear the eye to a picket fence that extends, first right, then left into
the fields of the middle distance. There, at the foot of a tall cypress tree, stands a red-roofed farmhouse,
along with a few other dwellings and perhaps a barn close to the lakes near shore. A stand of trees proj-
ects into the view at right, as does a forested peninsula beyond, whose form is repeated in a few islands
on the lake’s surface. Beyond the mountains at right, a distant fleet of pale clouds echoes the forms of
the peninsula and the islands.
The painting’s imagery relates closely to a drawing that Gifford inscribed, “Sabbath-Day Point, Aug. 22,
1848,” in an 1847-48 sketchbook of “Marbletown, Catskills, & Lake George” subjects now in the collection
of the Francis Lehman Loeb Art Center at Vassar College.In the drawing can be seen the same moun-
tain profiles as in the painting, as well as, in the foreground, a picket fence bordering a winding road
leading to the lake in the middle distance. The location of the imagery in Gifford’s picture tends to be
confirmed, not only by modern photographs of Sabbath Day Point and its vicinity, but also by the testi-
mony of persons who frequent Lake George.
Both the exhibition records of the American Art-Union and theMemorial Catalogueof Gifford’s work indi-
cate that he executed, exhibited, and sold paintings (now unlocated) of Lake George subject matter in
1848 and 1849. The facture ofLake George from near Sabbath Day Pointcompares closely to contem-
poraneous paintings securely attributed to the artist, such as the Landscape with River (Scene in
Northern New York)(1849; New-York Historical Society), and the recently discoveredWest Branch of the
Delaware River(1851; currently Questroyal Fine Art, New York). All these pictures reflect Gifford’s early,
somewhat prosaic rendering of scenery, conventional landscape coloration (generally brown and
green in the foreground, pale blue in the background), and youthful brushwork. Only a few years several
years later would he advance to the highly atmospheric, chromatic and technically fluent style that
marked his maturity.
Note: According to the owner, attached to the verso of the backing of this painting was an index card,
now removed. The card appears yellowed with age and is inscribed in an unknown hand. It records the
artist’s full name, his National Academy credentials, his birth and death dates, and paraphrases the title,
partial authorship, and publication information ofA Memorial Catalogue of the Paintings of the Sanford
Robinson Gifford, N.A., cited above. On the right of the card, a separate inscription (in the same hand),
evidently referring to the artist, reads: “was the brother of / the mother of the / late Mr. Robert / Wilkinson
in / Poughkeepsie, N. Y. / (Mrs. Robert Wilkinson / is Cordelia[sic], née Maurice.[)]” Cornelia Maurice
Wilkinson (1876-1949) was married to Robert Wilkinson, Jr. (1876-1934) His mother was Julia Gifford
Wilkinson (1838-1937), one of the artist’s sisters, married to Robert Wilkinson (1843-1903). One can only
speculate that the present picture—and possibly the other brought to me for authentication (lot 40)—
first belonged to Julia, who may have received both paintings directly from her brother before his death
and the subsequent assembling of his remaining pictures for the Gifford estate sale in 1881. Neither of the
two paintings brought to me can be readily linked with any titles in the sale, nor with any titles in
the Memorial Catalogue. The current owner reportedly received the paintings from his parents, who
received them from Mrs. Robert Wilkinson, Jr. (née Cornelia Maurice), with whom they were good
friends.
40
SANFORD ROBINSON GIFFORD
American (1823-1880)
"LAKE GEORGE FROM NEAR SABBATH DAY POINT"
oil on canvas mounted on paperboard, unsigned, inscribed on the reverse
“Sanford R. Gifford (Hudsonian School) / Present from Mrs. Robert Wilkinson
(neé Cornelia Maurice) Poughkeepsie, N.Y.”
10
3
4 x 14
7
8 inches
PROVENANCE
Private Collection, Jeckell Island, Georgia; Private Collection, Cabot, Vermont;
Driscoll Babcock Galleries, New York, New York.
Estimate $30,000—$50,000
40
39
41
WILLIAM TROST RICHARDS
American (1833-1905)
SOUTH JERSEY COASTAL SCENE
watercolor, signed and dated lower left center "Wm. T. Richards 1874"
9
3
4 x 17
1
2 (sight)
PROVENANCE
Newman Galleries, Philadelphia, Pennsylvania; Estate of Donald
Brenwasser; Shannon's, Milford, Connecticut, October 29, 2015, lot 139;
Private Collection, Connecticut.
Estimate $8,000—$12,000
41
40
42
WARREN W. SHEPPARD
American (1858-1937)
SUNSET - ISLE OF SHOALS
oil on canvas, signed lower right "Warren Sheppard"
20 x 30 inches
PROVENANCE
Private Collection, Massachusetts.
Estimate $7,000—$10,000
42
41
42
Compared to his contemporaries, Charles Morgan McIlhenney had a modest output and
died at only 46 years old. He worked tirelessly to perfect his canvases. In the 1905 sale of his
estate, fellow artist Arthur Hoeber notes, “he was his own most severe critic and always
insisted on the highest standards for his work, scraping, repainting, studying, rearranging until
he felt he had exhausted every means to produce the final result.”
In addition to Hoeber, Hamilton Hamilton is listed as the executor of McIlhenney’s estate. His
friendship with these two prominent artists at the time of his premature death, indicate
McIlhenney was on the path to achieve the success of his contemporaries. In 1892 he
received the William T. Evans prize in the exhibition of the American Watercolor Society in
Philadelphia and in 1893 he was awarded the first Hallgarten prize at the National Academy
of Design. He exhibited regularly at the at the N.A.D. from 1882-1896. His paintings received
recognition in the Paris Exposition and at the Pan American show.
The example offered here, Summer Afternoon by the Shore, is a rare masterpiece quality
painting. The three children lay in the sand tired from the sun and play. With bare feet and
soft smiles this scene captures a relaxed moment. The youngest of the group is pictured
building a sandcastle as the sand slips through the tiny hand, the young girl enjoys the feeling
of the sand on her feet and hands while the young boy looks at directly at the viewer too tired
to play but not yet ready to leave.
Hoeber described patrons of McIlhenney, “…this convincing sincerity, in the natural course of
events, brought him influential and intelligent patronage, his pictures going to important
collections where they were appreciated at their full worth. He was not prolific, however,
working with almost exasperating deliberation, making many preliminary experiments before
definitely settling on his composition.”
McIlhenney was born in Philadelphia where he attended the local public schools. He studied
with Frank Briscoe and studied anatomy at the Philadelphia Academy of the Fine Arts. He also
participated in a sketching tour in the South Pacific from 1878-1881. When he returned, he
settled in New York where he quickly attained success as a mature artist.
McIlhenney’s works are included in the Smithsonian American Art Museum, the Metropolitan
Museum of Art, and the Harvard Art Museums.
43
CHARLES MORGAN MCILHENNEY
American (1858-1904)
SUMMER AFTERNOON BY THE SHORE
oil on canvas, signed lower right "C. Morgan McIlhenney"
14 x 26
3
4 inches
PROVENANCE
Sotheby's, New York, New York, September 24, 1992, lot 49;
Private Collection, Connecticut.
EXHIBITED
The New Britain Museum of American Art, New Britain,
Connecticut, "Innocence," June 25th - September 18, 2005.
Estimate $15,000—$25,000
43
43
44
Severin Roesen was the finest and best-known still life painter in America during the mid
nineteenth century. His works are highly esteemed for their botanical accuracy and variety of
species, and scholars have described his work as "highly finished, brilliantly colored, and at times
extravagantly elaborate, [executed with] meticulous draftsmanship and technical virtuosity."[1]
Roesen came to New York in 1848 from Germany, selling and exhibiting his paintings through the
American Art Union until about 1860. Roesen ultimately settled in Williamsport, Pennsylvania until
his death around 1872. Roesen's still lifes show fruit and flowers in abundance, each in their peak
beauty, which many scholars believe alludes to the growth and prosperity of the population and
society at the time.[2] Whereas previous, traditional still lifes were of the vanity genre, portraying
fruit and beautiful flowers with some allusion to their already expiring lifetime, reminding us that
everything good will eventually end, with Roesen's this theme is refreshingly, nowhere to be
found. An abundance of fruit piled from the marble table, to a stand, even the tendrils of the fruit
(one of which making the artist's signature, continue above in cloudlike, somewhat floral struc-
tures. Their curves dance freely in the air giving an optimistic feel to the scene. Still life paintings
by Roesen are in the collections of Los Angeles County Museum of Art; Rose Hill Mansion in
Geneva, NY; Westmoreland Museum of American Art; The Metropolitan Museum of Art; The
Amon Carter Museum; University of Vermont; National Museum of American Art; St. Louis Art
Museum; The Shelburne Museum; The White House; the Pennsylvania Academy of Fine Art;
Munson Williams Procter Institute; the United States Department of State and the Virginia Museum
of Fine Arts.
ABOUT AMBASSADOR JOSEPH VERNER REED
He started his career as Private Secretary to the President of the World Bank, Eugene 11 Gene II
Robert Black, Sr. (1898-1992). He then served as Vice President and Assistant to the Chairman of
the Chase Manhattan Bank, David Rockefeller, from 1963 to 1981. In 1985, he became United
States Deputy Permanent Representative to the Economic and Social Council of the United
Nations. Two years later, in 1987, he became Under-Secretary General of the United Nations for
Political and General Assembly Affairs. He was appointed by President Ronald Reagan to serve
as United States Ambassador to Morocco from 1981 to 1985. He was then appointed by President
George H.W. Bush to serve as the Chief of Protocol of the United States from 1989 to 1991. He
returned to the UN, serving as Under-Secretary-General of the United Nations and Special
Representative for Public Affairs from 1992 to 1997. From 1997 to 2004, he served as President of
the Staff Management Coordination Committee of the UN. In January 2005, he was appointed
as Under-Secretary-General and Special Adviser. He was re-appointed as such in 2009. He is a
member of the Council on Foreign Relations. He is the recipient of the Legion of Honour. He also
received The Yale Medal from his alma mater, Yale University.
1 Natalie Spassky, American Paintings in,the Metropolitan Museum. vol 2, New York: Metropolitan Museum of Art, 1985,
p.1082
2 The Metropolitan Museum of Art Collection, Severin Roesen, Still Life: Fruit, 1855,
https://www.metmuseum.org/art/collection/search/11939
Essay courtesy of Driscoll Babcock Galleries.
44
SEVERIN ROESEN
American (1815-1872)
STILL LIFE OF FRUIT WITH GOBLET OF FLOWERS
oil on canvas, signed lower right "Roesen," inscribed on the reverse
"Purchased by Geo. W. Jones April 11th 1878 / of John W. Quincy /
who bought it of / the Artist"
25 x 35 inches
PROVENANCE
The artist; John W. Quincy; George W. Jones 1878; Ambassador
and Mrs. Joseph Verner Reed; The estate of Ambassador Reed;
Private Collection, New York, New York; Driscoll Babcock, New
York, New York; Private Collection, New York.
Estimate $30,000—$50,000
44
45
46
45
CHARLES ETHAN PORTER
American (1847-1923)
FLORAL STILL LIFE
oil on canvas, signed faintly lower left
7
1
2 x 11 1⁄2 inches
PROVENANCE
The Cooley Gallery, Old Lyme, Connecticut;
Private Collection, Connecticut.
EXHIBITED
New Britain Museum of American Art, New
Britain, Connecticut, " Charles Ethan Porter:
African American Master of Still Life," January 12
- March 16, 2008; North Carolina Central
University Art Museum, Durham, North Carolina,
"Charles Ethan Porter: African American Master
of Still Life," August 17 - November 2, 2008.
Notes
A copy of the purchase receipt from The
Cooley Gallery accompanies the lot.
Estimate $5,000—$7,000
46
PAUL LACROIX
American (1827-1869)
STILL LIFE WITH CHRYSANTHEMUMS
oil on canvas, signed dated and inscribed lower
left "P. Lacroix NY 64"
12 x 15 inches
PROVENANCE
Alexander Gallery, New York, New York; Shannon's,
Milford, Connecticut, October 28, 2010, lot 113;
Private Collection, Connecticut.
Estimate $6,000—$8,000
45
46
47
PAUL LACROIX
American (1827-1869)
FLORAL STILL LIFE WITH SHELLS
oil on board, signed,
inscribed and dated lower left
"P. Lacroix NY 66 "
17
1
2 x 11
1
2 inches
PROVENANCE
A Little Rock, Arkansas estate;
Private Collection, Tennessee.
Estimate $6,000—$8,000
47
47
Paul Lacroix was an American painter of French or Swiss origin who was best known for
his lush still life paintings, particularly florals. His realistic technique and allegorical
elements hark back to the work of Dutch, German and French masters of the still life
which were popular in mid-century America. Few facts are known about Lacroix but it
is speculated that he trained or associated with Severin Roesen in New York prior to
Roesen’s departure to Pennsylvania.
The 19
th
century in America witnessed a revival in the attention to symbolism in
elements traditionally chosen for still life paintings such as flowers, fruits, and other
objects like musical instruments, tableware, shells, game animals, etc. Numerous books
were written about the meaning of flowers in particular, known as ‘floriographies,’ often
illustrated by young women artists. Lacroix’s arrangement here with a bouquet of
flowers and two shells evokes the themes of romance and love. The dominant oriental
‘stargazer’ lily in the center is traditionally thought to convey romance, wealth and
prosperity while the pink roses and fuchsia echo the theme of love, perhaps innocent
and young love. The forget-me-nots express a hope of enduring connection and part-
nering. The beautifully rendered shells in the lower right foreground depict the exotic
purple-top tiger cowrie, a strong fertility reference, and a letter olive shell widely found
in southern U.S. waters. Overall, the elements chosen in this lovely grouping of red, white
and blue flowers with shells suggests a piece celebrating a marriage and may have
been a gift to newlyweds.
48
Born on the eve of the Civil War in Louisiana, 1859, Rosseau lost much of his family during the
war years, including his parents and two brothers. Rosseau’s life went from the initially privileged
plantation environment of a well-off family to being raised through the good will of family friends
in Kentucky.
As a young man, he was compelled to find his own way in the world and explored various pursuits
to earn money for himself and his remaining sister, specifically to fund a dowry for her. He spent
time as a cowboy on the Chisolm Trail from Mexico to Kansas, as a cattle-driver, and eventually
as a commodities broker. After a failed attempt at a lumber business, he eventually achieved
success with an import business, which resulted in enough income for him to finally devote himself
to painting. At the age of 35, he left the business to his partner and travelled to Paris to study at
the Académie Julian.
In these early years in Paris, Rosseau also trained in the ateliers of Jules Lefevre, Tony Robert-Fleury
and Charles Herman-Leon. He first began to show his work in the Paris Salon in 1900 and found
that his most consistent praise was for his depictions of dogs. This suited him immensely as he
found himself generally impatient with sitters for his figurative works. This realization first came in
1903 when his image of the goddess Diana with two Irish wolfhounds was widely acclaimed,
particularly for the wolfhounds. In 1904, he submitted a work with just two dogs in it and it sold
within a day. This was the turning point, and his subsequent focus became sporting dogs on the
hunt. English and American pointers are most often seen in his paintings.
Rosseau’s work became widely popular in the U.S. where there was a well-defined market ready
and waiting for him – wealthy gentlemen sportsmen in the years following America’s Gilded Age.
Nevertheless, he remained in France until 1915, making frequent trips back to the United States
to fulfill commissions and participate in exhibitions. At the onset of World War I, he finally moved
back to the States where he settled in Lyme, Connecticut. During this time, one of his most promi-
nent patrons was Percy Rockefeller. In the early 1920s the Rockefeller family was building a
residence at Overhills, an exclusive hunting club in North Carolina. In 1927, receipts for contractor
payments at Overhills detail payments made to construct a cottage for Rosseau on the property.
Rockefeller encouraged Rosseau to use his dogs as models.
In the present composition, the two pointers and setter at rest look up as if awaiting orders from
their owner. Rosseau beautifully captures the individual characteristics of each dog and gives the
viewer a sense of their individual natures.
Rosseau was a member of the Pennsylvania Academy of the Fine Arts in Philadelphia, the Lotos
Club in New York City, and the Lyme Art Association. He exhibited at the Paris Salon, the Lyme Art
Association, and prominent galleries in New York City and elsewhere. His works are included in
numerous notable private and public collections including The Orlando Museum of Art, The
Columbus Museum of Art, and the Pennsylvania Academy of the Fine Arts. Rosseau died in
Fayetteville, North Carolina on November 29, 1937
48
PERCIVAL ROSSEAU
American (1859-1937)
AWAITING ORDERS
oil on canvas, signed and dated lower right "Rosseau 1920"
24 x 32 inches
PROVENANCE
The artist; Private Collection, Oklahoma; By descent to the
current owner, Private Collection, Colorado.
Estimate $25,000—$35,000
48
49
50
49
EDMUND HENRY OSTHAUS
American (1858-1928)
ON THE HUNT
watercolor on paper, signed lower right "Edm. H Osthaus"
17
1
4 x 29
1
4 inches (sight)
PROVENANCE
Copley Fine Art Auctions, Hingham, Massachusetts; Private
Collection, South Carolina.
Estimate $12,000—$18,000
49
50
THOMAS HILL
American (1829-1908)
"PALM VALLEY," C. 1886-87
oil on paper laid down on museum board, signed lower left "T. Hill"
19
3
4 x 13 inches
PROVENANCE
Estate of Otha Donner Wearin (1903-1990), US Congressman from Iowa; Daughters of Otha
Donner Wearin (by bequest); Adamson-Duvannes Galleries, Los Angeles, California; Braarud Fine
Art, La Conner, Washington; Private Collection; Mercer Island, Washington; Private Collection,
Seattle, Washington.
ILLUSTRATED
"Picturesque California," John Muir, ed. (New York and San Francisco, J. Dewing Company,1888.).
vol. 1, opposite page 176, full page with cover tissue: Photogravure / Palm Valley/ (On the bor-
der of San Diego County) / From Painting by Thomas Hill. "Inventory of American Paintings
Executed before 1914," Smithsonian American Art Museum.
Estimate $12,000—$18,000
50
51
52
"Farm life was all I knew for the first 20 years of my life. In painting these canvases, I felt again the
vastness of endless skies, experienced again the penetrating cold of Nebraska winters, lived
again as farmers live …in spirit, I am very much a farmer," Dale Nichols.
Dale Nichols was born in rural David City, Nebraska in 1904. His early life had a profound influence
on his paintings which centered on the recreations of the farm life. The search for pure American
Art was growing and the public was interested in scenes of American life. Nichols emerged as an
artist when Regionalism and Rural Regionalism were growing as a collecting genre. His paintings
are classified as a succession from Grant Wood, Thomas Hart Benton, and John Steuart Curry.
Nichols studied in Chicago at the Academy of Fine Arts and the Art Institute with Carl Wentz. He
became a successful illustrator, watercolorist, designer, writer, lecturer, block-printer, and painter.
In the 1930s and 40s he created artwork for direct-mail industrial advertising. From 1942-1948 he
succeeded Grant Wood as art editor of the Encyclopedia Britannica. During his career, he had
eighteen solo exhibitions and exhibited in more that eighty regional and national exhibitions.
Waiting for Spring depicts a farmer holding a shovel, looking out at the vast, snowy horizon. His
posture toward the sun and the tractor in the foreground hint at a longing for warmer weather.
This Nebraska farm scene is painted in Nichols’ characteristic Regionalist style.
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.
51
DALE NICHOLS
American (1904-1995)
"WAITING FOR SPRING"
oil on canvas, signed lower left "Dale Nichols"
30 x 40 inches
PROVENANCE
Sotheby's, New York, June 2, 1983, lot 246;
Shannon's, Milford, Connecticut, October 28, 2010,
lot 71; Private Collection, Connecticut.
Estimate $20,000—$30,000
51
53
54
52
COLIN CAMPBELL COOPER
American (1856-1937)
"THE PENNSYLVANIA STATE CAPITOL BUILDING, HARRISBURG"
oil on canvas, signed, inscribed and dated lower right "To
Mr. Joseph M. Huston with the compliments of Colin
Campbell Cooper Jany 1, 1910"
20 x 26 inches
PROVENANCE
The artist; Mr. Joseph M. Huston (architect of the
Pennsylvania state capitol building); By descent in the
family, Private Collection, Colorado; Private Collection, New
Mexico.
Notes
Joseph Miller Huston (1866-1940) was an architect notable
for designing this building, the third (and current),
Pennsylvania State Capitol in Harrisburg. Construction
started in 1902 of his Beaux-Arts design. Coincidentally, both
Joseph Miller Huston and Colin Campbell Cooper were
born and raised in Philadelphia, Pennsylvania. At the
building's dedication in 1906, Theodore Roosevelt pro-
claimed 'This is the handsomest State Capitol I ever saw'.
Estimate $5,000—$7,000
53
LAURENCE A. CAMPBELL
American (b. 1939)
"5TH AVENUE, NEW YORK CITY"
oil on board, signed lower left "Laurence A. Campbell,"
signed and titled on the reverse
9
7
8 x 8 inches
PROVENANCE
Private Collection, New Jersey; Shannon's, Milford,
Connecticut, April 26, 2018, lot 36; Private Collection,
Connecticut.
Estimate $5,000—$7,000
52
53
54
COLIN CAMPBELL COOPER
American (1856-1937)
"WOOLWORTH BUILDING, NEW YORK CITY"
oil on board, signed and inscribed on the reverse "Sketch by Colin Campbell
Cooper / Property of Charlotte Carpenter / from G.D. Carpenter & Gram E"
18 x 14 inches
PROVENANCE
The artist; The artist's second wife; by descent to her niece, Santa Barbara,
California; George Carpenter; Charlotte Carpenter; The estate of Charlotte
Carpenter; Private Collection; Zachary Taylor, Athens, Georgia, Beverly Hills,
California and London; R.H. Love Galleries, Inc., Chicago, Illinois; Private
Collection, Doyle, New York, New York, May 8, 2013, lot 352; Private Collection,
New York.
EXHIBITED
Spanierman Gallery, New York, New York, "Over 100 Years of New York City in
Art," January 10 - February 28, 2004.
Estimate $8,000—$12,000
54
55
56
Trained at New York’s Art Students League and Cooper Union in the late 1890s, Helen Maria Turner
was also a beloved member of the Cragsmoor Artist Colony. Her typically quiet, yet lush works
place her in the company of well-known American Impressionists such as Mary Cassatt, John
Singer Sargent and, her friend, William Merritt Chase. Her figurative works, the vast majority of
which focused on women and girls, are her most iconic. The unique beauty in these figurative
paintings lies in her uncanny ability to evoke some facet of her sitter’s true personalities – seem-
ingly effortlessly captured in moments of everyday activity or moments of contemplation.
Turner was born in Louisville, Kentucky in 1858 to upper middle-class parents – her father was a
prosperous coal merchant, and her mother was the daughter of a doctor, and the granddaugh-
ter of John Pintard, founder of the New York Historical Society (1804) and the American Academy
of Fine Arts (1816). In the aftermath of the Civil War, the family lost their fortune and by the age
of thirteen, Turner was orphaned. Subsequently living with her uncle’s family in challenging finan-
cial conditions, Turner struggled for years with the dilemma of how to support herself on the out-
skirts of the genteel society she was been born into.
While attending classes at Tulane University and the New Orleans Artists’ Association, Turner was
encouraged by her instructor Bror Anders Wikstrom to move to New York and enter the Art
Students League. She began to show her art in New York during these early years, she also
enrolled at Columbia’s Teachers College and began teaching as a temporary instructor. From
1902 to 1919, she taught scores of young women drafting – training them to sketch rapidly, a skill
needed by fashion houses, magazines, department stores, and greeting card companies to
name a few. At the same time, her presence in the gallery world grew and after 1906 her paint-
ings were regularly included in juried museum shows around the country.
In 1912, her Young Woman with Jewels won the National Arts Prize for ‘best work in the exhibition’
and was sold to the distinguished collector George A. Hearn. Her work was notably included in
the traveling exhibition of 1917 “Six American Women” along with Mary Cassatt, Jane Peterson,
Martha Walter, Alice Schille, and Johanna H. K. Hailmann. In 1921, Turner became the fourth
woman to be elected to full Academician status by the National Academy of Design, and the
first from Louisiana.
In 1906, Turner became acquainted with the Cragsmoor Artist Colony near Ellenville, New York,
through the Impressionist Charles Courtney Curran. The years from 1905 to 1926 were her most
active and the influence of Cragsmoor on those years was undeniable. She was known to have
a stunning garden with the most unusual flora, a clear inspiration for what could be thought of as
the ‘Cragsmoor effect’ on her work – sun-dappled foliage painted in a mosaic of shimmering col-
ors. But the effects of summer light and colors were not all that went into these works, it was also
the quiet energy of a small enclave in the mountains, far removed from the hustle and bustle of
New York City. The famed collector and critic Duncan Philips who owned several of her works
described her as “a painter of unpretentious portraits, of landscapes with gentle girls in gardens,
of the intimate hours of life in the seclusion of homes. Miss Turner reveals, unconsciously, the
woman’s point of view. Her interiors are especially feminine with their swift yet searching glance
over the texture of materials, the influence of light, the character of a room, and the relation of
people to their dwelling place.” [1]
Portrait of Ann Spencer depicts the young Ann Spencer (Pratt). About 12 years old at the time,
Spencer would later become a well-known painter herself and surely was inspired by her time
spent at Cragsmoor. Spencer is perched on the artist’s porch in Cragsmoor enveloped by the
luscious foliage of the garden, with a play of sun and shadow across her figure. She seems des-
tined for some great activity. This painting is one of the last major canvases by Turner not already
in a museum collection.
[1] Duncan Philips. A Collection in the Making (New York: Weyhe, 1926), p.56
55
HELEN MARIA TURNER
American (1858-1958)
"PORTRAIT OF ANNE SPENCER," C. 1925
oil on canvas, signed and inscribed lower left "Helen M. Turner N.Y."
40 x 30 inches
PROVENANCE
Mr. Lawrence Spencer Pratt, Williamsville, New York; Private Collection, New York.
EXHIBITED
National Arts Club, New York, New York, "Member's Annual Exhibition of Paintings and Sculpture" January
13 - February 6, 1926; The Corcoran Gallery of Art, Washington, D.C., "Tenth Exhibition Contemporary
American Oil Paintings, 1926;" Cragsmoor Free Library, Cragsmoor, New York," Helen M. Turner, N.A., "A
Retrospective Exhibition," July 2 - 17 1983; Akron Art Museum, Akron, Ohio, September 11 - November 6,
1983; Jersey City Museum, Jersey City, New Jersey, December 10, 1983 - February 1, 1984; Owensboro
Museum of Fine Art, Owensboro, Kentucky, March 2 - April 5, 1984.
ILLUSTRATED
A copy of the exhibition catalog accompanies the lot.
Notes
A label from Akron Art Museum, Akron, Ohio is on the reverse.
Estimate $30,000—$50,000
55
57
56
HELEN MARIA TURNER
American (1858-1958)
"THE ITALIAN GIRL"
oil on canvas laid down on fiberboard, signed, dated
and inscribed lower left "Helen M. Turner, N.Y. 1921"
30
1
2 x 25
1
4 inches
PROVENANCE
Private Collection, New York.
Notes
A Painters and Sculptors Gallery Assoc., New York,
New York label is on the reverse.
Estimate $30,000—$50,000
56
58
57
FRANCIS LUIS MORA
American (1874-1940)
"SPANISH SHAWLS" (ROSEMARY)
oil on canvas, signed lower left "F. Luis Mora," titled on the reverse
72 x 36 inches
PROVENANCE
Gift of the Artist; by descent to the current owner; Collection of Kathryn Heck,
Weston, Connecticut.
Notes
The daughter of the artist, Rosemary, is the model of for this work.
Estimate $7,000—$10,000
57
59
60
Willard Leroy Metcalf is celebrated as the “poet laureate of the New England hills.” His paintings
capture subtle variations in color, the fleeting effects of light and shadow and the overwhelming,
unique beauty of the region.
Metcalf began his painting career early in life studying painting first in Boston. After finishing his
apprenticeship and a two-year program at the School of the Museum of Fine Arts, he travelled
to New Mexico to paint the Zuni people. Once he had saved enough money, he set out to study
in Europe travelling to France, England, and Northern Africa.
He spent several years abroad primarily in Paris, summering in Grez and Giverny. He studied at
the famous Académie Julian, exhibited at the Salon and befriended artists including Childe
Hassam and John Twachtman.
By 1889, Metcalf returned to the United States and was living in New York. The following ten years
had mixed successes for Metcalf as the taste for French-style painting waned in the States.
Notably in 1898, he was a founding member of “The Ten” a group of like-minded American artists
who seceded from the Society of American Artists to exhibit together in smaller venues.
In late 1903 or early 1904 he retreated to his parents’ home in Clark’s Cove, Maine to reconsider
his work. In 1905, he had his first one-man show at Fishel, Adler and Schwartz Gallery in New York
City. It was here that Metcalf finally hit his stride in the States. Elizabeth DeVeer writes, “at Clark’s
Cove he rid himself of his nostalgia for France and became first and foremost an American, with
a new and profound allegiance to the land.”
Following his period in Maine, and finding ample inspiration in the New England landscape,
Metcalf begin to summer in Old Lyme with Mrs. Florence Griswold. “Miss Florence,” as she was
known, maintained a boarding house that became a destination for artists working in Old Lyme.
He spent three summers there and then, after quickly becoming famous, retreated to Maine
spending time with Frank Benson and his wife Ellen.
Metcalf’s life changed dramatically after the success of the 1905 exhibition. He became highly
successful exhibiting again at Fishel, Adler and Schwartz in New York. Albert Milch became his
gallerist and friend, mounting highly successful one-man exhibitions of Metcalf’s latest paintings.
The present example, The Road that Leads to Home, dates to ca. 1919 during a time when the
artist was visiting the town of Woodbury, Connecticut. Woodbury, a town in Litchfield County,
remains little changed. In 2003, Robert Michael Austin’s Artist’s of the Litchfield Hills, notes that the
house in the painting offered here is little changed from when the artist painted it.
As his career took off, his personal life faced hurdles. His wife, Marguerite, ran away with his friend
and fellow artist Robert Nisbet. Metcalf personally struggled with alcoholism but found support
from his friends, particularly Benson and Milch. His freedom and success afforded him the oppor-
tunity to travel in New England. He spent periods in Maine, Vermont, New Hampshire, and
Connecticut, painting the landscape throughout.
Despite his personal hardships, his paintings became better and better and the critical reception
for his works grew increasingly favorable. In February 1925 mid-way through yet another
successful exhibition at Milch Galleries, he suffered a fatal heart attack. Today Metcalf is
considered one of America’s treasured Impressionists and among the best of the New England
Impressionists. His work is featured in numerous private and public collections including The
Metropolitan Museum of Art in New York, the Museum of Fine Arts in Boston and the Corcoran
Gallery in Washington, D.C.
58
WILLARD LEROY METCALF
American (1858-1925)
"THE ROAD THAT LEADS TO HOME," (WOODBURY, CONNECTICUT)
oil on canvas, signed lower right "W.L. Metcalf," signed faintly lower left "W.L. Metcalf," ca. 1919
26 x 29 inches
PROVENANCE
The artist; Private Collection; Spanierman Gallery, New York, New York; R.H. Love Galleries, Chicago, Illinois;
Private Collection, Illinois.
ILLUSTRATED
Robert Michael Austin, "Artists of the Litchfield Hills," (Waterbury, Connecticut: in association with the
Mattatuck Historical Society, 2003), cat. no. 36, illustrated in color p. 46.
Notes
This work will be included in the forthcoming catalogue raisonne being coordinated by Betty Krulik and
the Willard Leroy Metcalf Catalogue Raisonne Project, Inc.
Estimate $150,000—$250,000
58
61
62
There were painters in Gloucester in the old days who were more exact than he was—more
“authentic” in that they got the shape of each boat exactly right. But many of these painters, as
you looked at their work, might just as well have been painting a scene in England or Norway.
Mulhaupt got the smell of Gloucester on canvas. He captured the mood of the place—and
that’s worth all the good drawing of a hundred lesser painters.
Emile Gruppe
Frederick Mulhaupt arrived in Cape Ann around 1907 and would continue to paint there until his
death in 1938. He became a year-round resident of Gloucester in 1922. Following the legacy of
numerous notable American artists including Fritz Hugh Lane, Winslow Homer, William Morris Hunt,
John H. Twachtman and Childe Hassam, Mulhaupt summered in Gloucester painting in the
abundant light and studying the fishermen locals.
Mulhaupt was born in Rockport, Missouri in 1871 of German descent. He grew up on the southern
border of Kansas in a region largely unsettled and still Native American territory. He moved away
from the area to Kansas City, Missouri where he apprenticed with a local sign painter. Soon he
attended the Kansas City School of Design.
Although the specific dates are unknown, Mulhaupt attended the Art Institute of Chicago in the
early 1890s and became one of the founding members of the Palette and Chisel Club in 1895. In
1904 he left Chicago and took up residence at New York City’s famed Salmagundi Club. He
travelled frequently to Europe to further hone his skills as an artist visiting France and England.
In Paris, he joined the American Art Association, an expatriate group formed in 1890. Although
not expressly an Impressionist group, many American artists were influenced by the works of the
Impressionists that the encountered while in Paris. Mulhaupt incorporated the Impressionist
approach to painting in his Gloucester scenes that successfully depict the fleeting effects of light
and air.
Mulhaupt returned to States and again his address was listed at the Salmagundi Club indicating
his success as an artist. He spent his summers visiting and painting in Gloucester. There, he truly hit
his stride as an artist. He exhibited at the Gallery-on-the-Moors in five of the seven summer
exhibitions. He was a founding member of the North Shore Arts Association, formed in 1922 and
exhibited there from 1923 until his death in 1938.
Although he kept his connections to the New York City art world, Mulhaupt spent increasing
amounts of time in Gloucester. He married Agnes Leone Kinglsley in 1921 and the couple had a
son in 1922. That same year, he became a permanent resident of Gloucester buying a house on
Main Street in the center of the community.
In 1926, Mulhaupt was appointed as an Associate member of the National Academy of Design.
He received numerous other awards and recognitions and was a highly accomplished artist
during his lifetime.
59
FREDERICK J. MULHAUPT
American (1871-1938)
WINTER NEAR GLOUCESTER, MASSACHUSETTS
oil on canvas, signed lower right "Mulhaupt"
36 x 36 inches
PROVENANCE
Bonham's, New York, New York, May 21, 2008,
lot 1039; A Massachusetts estate.
Estimate $25,000—$35,000
59
63
64
Edward Moran (1829-1901) was born in Bolton, Lancashire, England in 1829. At the age of fifteen,
Moran immigrated with his family to the United States. He first studied landscape and marine
painting in Philadelphia under Paul Weber and James Hamilton and later returned to England to
study at the Royal Academy in London. In 1872 he moved to New York City, which would, except
for a brief move to France in the late 1870s, thenceforth be his primary city of residence.
Throughout the 1860s Moran exhibited at venues in New York, Boston and Philadelphia. In New
York, Moran painted the city’s harbor, then the busiest in the United States. New York Harbor
provided him with inspiration for many paintings, with the port seen at different times of day and
in a variety of weather conditions. He became known for his depictions of ships in stormy seas
and was hired for private commissions by ship owners, Captains and members of the New York
Yacht Club.
In The Journey’s End, Moran paints a boat sailing directly out towards the viewer. The land is
nearby, with a lighthouse in the background as the sun sets behind the sails. The pink sky over the
blue green water are painted in a Luminst style. The sailboats visible in the distance indicate fair
weather and good conditions. It is possible the boat is headed towards the busy New York harbor
after a long trip.
In 1888 Moran published “Hints for Practical Study of Marine Painting” in the Art Amateur. His most
ambitious endeavor was the creation of thirteen works entitled The Edward Moran Series of
Historical Paintings Representing Important Epochs in the Maritime History of the United States,
which he completed in 1898. At the time of his death in 1901, it was written that “(…) and none
[artists], perhaps, have surpassed him as a painter of marines. It is as a painter of seascapes,
doubtless, that he will live in fame.”
1
Moran’s work is represented in numerous public collections, including the Butler Institute of
American Art, Chrysler Museum, National Museum of American Art, United States Naval
Academy, Denver Art Museum, the Metropolitan Museum of Art, the Boston Museum of Fine Art
and the Smithsonian American Art Museum.
1
Hugh W. Coleman, “Passing of a Famous Artist, Edward Moran,” (Brush and Pencil, vol. 8, no. 4, July 1901), p. 188.
60
EDWARD MORAN
American (1829-1901)
THE JOURNEY'S END
oil on canvas, signed lower left "Edward Moran"
20 x 30 inches
PROVENANCE
Quester Gallery, Stonington, Connecticut; Private
Collection, Connecticut.
Estimate $15,000—$25,000
60
65
61
JAMES EDWARD BUTTERSWORTH
American/British (1817-1894)
"FRIGATE AND FISHING BOAT OFF DOVER”
oil on canvas, signed indistinctly lower right
17
1
2 x 24 inches
PROVENANCE
Richard Green, London, England; Mr. and
Mrs. Norman Blum, Maplewood, New Jersey;
By descent to the current owner, Private
Collection, New Jersey.
ILLUSTRATED
Illustrated in the Richard Green catalogue,
Exhibition of Maritime Paintings, Watercolours
and Prints, 1981, no. 30, pp. 64-65.
Estimate $20,000—$30,000
61
66
62
JAMES EDWARD BUTTERSWORTH
American/British (1817-1894)
"FRIGATE AND SAILING VESSEL OFF A COAST”
oil on canvas, signed lower right "J.E. Buttersworth”
17
1
2 x 24 inches
PROVENANCE
Richard Green, London, England; Mr. and Mrs.
Norman Blum, Maplewood, New Jersey; By descent
to the current owner, Private Collection, New Jersey.
ILLUSTRATED
Illustrated in the Richard Green catalogue, Exhibition
of Maritime Paintings, Watercolours and Prints, 1981,
no. 30, pp. 64-65.
Estimate $20,000—$30,000
62
67
68
Born in Ireland, Dennis Malone Carter immigrated to the United States with his parents in 1839 and
lived nearly all his life in New York, other than a brief stretch in New Orleans from 1845-1846.
Trained at the National Academy of Design in New York, he is best known for his figurative and
historical works. Examples include important historical moments in the Revolutionary War like
George Washington’s inauguration and ‘Molly Pitcher’ at the Battle of Monmouth, as well as
other military events like the Battle of New Orleans in 1815 and Lincoln’s April 4, 1865 visit to
Richmond at the Civil War’s end.
Carter might have looked at Coney Island as ‘history-in-the-making’ and an example of
‘progress’ as American Capitalism transformed that area of Long Island. In the second half of the
19
th
century when Carter painted the work, it was under extensive commercial development
with new hotels, attractions, and restaurants going up continuously. Its history is long and storied,
and as a New Yorker, Carter would have been deeply familiar with its shore, resorts, amusements,
and visitors.
Coney Island Bathers provides a glimpse of the Victorian-era obsession with propriety as a crowd
of summer strollers and bathers take to the shore in various states of not-so-undressed. While the
men mostly wore bathing suits like what we would view today as ‘long-johns,’ buttoned up to the
neck and with full sleeves (see man gripping the back of the boat, right foreground), women’s
fate was even more burdensome as they were required to wear complete outfits covering every
inch of their bodies (note the woman far right center of the painting wading in a black dress and
a bonnet).
Once in the collection of Billie Burke and Florenz Ziegfeld, Carter’s Coney Island Bathers likely
provided a point of amusement to Burke and Ziegfeld, whose Jazz-age role in publicly revealing
more of women’s bodies is one of the many memorable aspects of the famed, and infamous,
Ziegfeld Follies. Coney Island’s destination status for New York City dwellers of all classes meant
that Burke and Ziegfeld certainly had their own fond memories of its transformation through the
years. To modern audiences Burke is best known for her role as Glinda the Good Witch of the
North in The Wizard of Oz.
Carter was a member of the National Academy of Design, and an original member of the Artist’s
Fund Society, founded in 1859. Throughout his career, his paintings were exhibited at the National
Academy of Design, the American Art Union, the Pennsylvania Academy of Fine Arts, the Boston
Athenaeum, the Washington Art Association, and the Brooklyn Art Association. His works are held
at the Smithsonian, Crystal Bridges Museum of American Art, the National Museum of the United
States Navy to name a few.
63
DENNIS MALONE CARTER
American (1827-1881)
"CONEY ISLAND BATHERS"
oil on canvas, signed and dated lower left "D.M. Carter '78"
27
1
2 x 37
3
4 inches
PROVENANCE
Billie Burke (Wizard of Oz actress) and Florenz Ziegfeld, New
York, New York; Private Collection, Maine.
Estimate $12,000—$18,000
63
69
70
A shy, reclusive man who spent most of his career removed from any urban art center, John
Frederick Peto has emerged as one of the most romantic and enigmatic figures in late
nineteenth-century American art. Because he made no statements about his art, no personal
letters have survived, and he rarely exhibited his work, he was virtually unknown until the late
1940s when art historian Alfred Frankenstein began his comprehensive study of American trompe
l’oeil painters that culminated in the 1953 publication of his After the Hunt: William Michael
Harnett and Other American Still Life Painters, 1870-1900. In this important work, Frankenstein
recognized Peto as a distinct artistic personality whose work was frequently forged with Harnett’s
signature. While the two artists were friends, and often painted similar still-life subjects (books,
mugs, pipes, musical instruments), Peto’s work is clearly distinguished from Harnett’s by its looser
brushwork, softly diffused light, and sense of melancholy created by his use of aged and tattered
objects. Harnett’s still-life objects may be old and well-used, but they are always elegant,
sumptuous, and crisply delineated. Furthermore, Harnett’s work does not have the brooding,
introspective mood so evident in Peto’s work.
Peto’s life and work was thoroughly studied by John Wilmerding in his 1983 study, Important
Information Inside: The Art of John F. Peto and the Idea of Still-Life Painting in Nineteenth-Century
America. Born in Philadelphia in 1854, Peto may have acquired his interest in art from his father,
Thomas H. Peto, who was a dealer in picture frames. By the mid-1870s, Peto was listed as an artist
in the city’s directories, and in 1877 he enrolled at the Pennsylvania Academy of the Fine Arts.
While there he studied briefly with Thomas Eakins. His attraction to still-life painting is not surprising
considering the strong tradition of the genre in Philadelphia and the fact that he would have
been familiar with examples by the Peales, Severin Roesen, and John F. Francis. Perhaps the
greatest influence on his art was his friendship with William Michael Harnett, whom Peto met in
Philadelphia before 1880, the year Harnett left for Europe. Peto maintained various studios in
Philadelphia over the next decade, and exhibited his work on occasion at the Academy. In 1887,
while in Cincinnati working on a commission, Peto met Christine Pearl Smith, whom he married in
June of that year. The couple settled in Philadelphia, but began to spend time in the resort
community of Island Heights, New Jersey, where Peto, a talented cornetist, played for the
Methodist camp meetings. In 1889, Peto built a house and moved permanently to Island Heights,
where he and Christine raised their only daughter, Helen. He continued to paint, and also took
up photography. He ceased to exhibit his work in Philadelphia, preferring to show it from time to
time at the local drugstore. Peto died in Island Heights in 1907.
64
JOHN FREDERICK PETO
American (1854-1907)
STILL LIFE WITH PIPE, CANDLESTICK AND BOOK, C. 1890
oil on board, inscribed on the reverse
"Painted by my father John Frederick Peto, Helen Peto Smiley"
7
1
4 x 9
3
4 inches
PROVENANCE
Sotheby's, New York, New York, June 6, 1997, lot 200; Christie's,
New York, New York, November 29, 2000, lot 53; Goldman
Collection; Private Collection, New York.
Estimate $15,000—$25,000
64
71
72
Abastenia St. Leger Eberle was born in Webster City, Iowa in 1878. At the age of twenty-one, she moved to New
York, alone and with few funds, to enroll in the Art Students League where she was taught by George Gray Barnard.
Prior to this, her formal training in sculpture was limited to a couple of years with Frank Vogan at the Canton, Ohio,
YWCA. Eberle had a strong, innate talent and quickly made up for her lack of formal training. Barnard was so
impressed with her that he often left his class in her hands when he could not be there himself.
During these early years, Eberle lived with several other young women artists - two musicians and the sculptor Anna
Vaughn Hyatt (later Huntington) with whom she collaborated on at least three major pieces. In these collaborations,
Eberle completed all the human figures while Hyatt created the animals. Gutzon Borglum, Huntington’s teacher,
urged them to submit their Men and Bull for the 1904 Society of American Artists exhibit, where it was greeted with
enthusiasm by the jury, including Augustus Saint-Gaudens. Within two years, echoing the divisions in the art world,
their careers went different ways. Huntington went to Paris to study and eventually focused her career on depictions
of animals while Eberle remained in New York and became immersed in many of the progressive social issues of the
time.
Eberle’s breakthrough came as the art world began to take notice of her small figures portraying the street life of
lower Manhattan, particularly the Lower East Side. At the time, it teemed with the city’s recent Italian, Irish, and
Jewish immigrants. One of her most well-known early works of this genre, Roller Skating (1906), was acquired by the
Metropolitan Museum of Art. In 1906, Eberle was elected to the National Sculpture Society, one of only seven women
since its founding.
Like many of her contemporary female artists, Eberle struggled to be taken seriously. This was evidenced by her
reception in Naples, Italy. Looking to cast her work more inexpensively, Eberle went to Naples in 1907 and again in
1908. The foundry, never having handled the work of a woman artist before, had to be convinced that the work was
indeed hers. Once they saw her at work, they realized their mistake and became respectful assistants.
In 1909, Eberle built a small studio in the burgeoning artist colony in Woodstock, New York. There, she modeled one
of her most successful pieces, Windy Doorstep (1910). By 1910, Eberle was well along in a personal transition that in
some ways mirrored the larger forces moving through the art scene, and in the world beyond it. She became active
in the suffrage movement and lead a contingent of women sculptors in the 1911 women’s suffrage parade. She
organized a show of women artists in 1915 at the Macbeth Gallery to raise funds for suffrage. This event had a major
impact on New York’s 1917 state expansion of the suffrage to include women, and the state’s subsequent 1919 rat-
ification of the 19
th
Amendment.
The role of the artist, Eberle told The Survey, is to be “the specialized eye of society, just as the artisan is the hand,
and the thinker the brain…the artist must see for the people—reveal them to themselves.” According to the New
York Evening Sun, “This is her way of helping combat the injustices and evils of our system. She does not preach; she
makes us see.”
Eberle’s career flourished, and she had two pieces in the ground-breaking Armory Show of 1913. She opened a
studio in Greenwich Village and then later moved to a studio in a Lower East Side tenement. Children, particularly
girls, were favorite subjects and Girl Skipping Rope is quintessential for this period. She held the children of the
tenements in great esteem as examples of the sometimes-surprising joie de vivre of youngsters, despite their
surroundings. The barefoot child of Girl Skipping Rope is similar to the Roller Skating girl – arms akimbo, tattered dress,
enjoying the physicality of this type of play – and showcases Eberle’s mastery at evoking movement. In addition, this
focus on unselfconscious young girls playing in a physical way was emblematic of the women’s movement in the
early twentieth century. Women were gaining a sense of personal empowerment which included throwing aside all
the self-limiting, restrictive societal mores hoisted on them, particularly those coming out of the Victorian era.
Girl Skipping Rope was included in the Pennsylvania Academy of the Fine Arts 105
th
Annual Exhibition in 1910 as well
as the Buffalo Fine Arts Academy’s Contemporary American Sculpture Exhibition of 1916. It bears a label from
the Poland Spring Gallery where it was exhibited in 1910. Most notably, Girl Skipping Rope was listed in the
Panama-Pacific International Exposition catalog from 1915. This work, either a unique example or a from a small
edition size, was likely the same cast from the Pan-Pacific Exhibition. It remained in the artist’s collection and was
later given to her friends and neighbors in the house adjacent her home and studio in Westport, Connecticut.
In 1920 Eberle was elected to the NationalAcademy of Design and a year later the Macbeth Gallery gave her a
one-artist show. By this time, heart problems that had begun to plague her in 1915 became more insistent. At just
forty-three, she was forced to retire, working only when she had the strength and the means to hire help for the
heavy work sculpture demands. She died in 1942.
65
ABASTENIA ST. LEGER EBERLE
American (1878-1942)
"GIRL SKIPPING ROPE"
bronze, signed and dated "A St. L Eberle 09," stamped with foundry mark
"S. Klaber & Co. / Founders New York"
height: 14
1
2 inches
PROVENANCE
Estate of the artist; Private Collection, Westport, Connecticut; Private Collection, Virginia.
EXHIBITED
The Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania, "Annual
Exhibition," January 23 - March 20, 1910, cat. no. 801; Maine State Building, Poland Spring,
Maine, "16th Annual Exhibition Poland Spring Gallery," 1910; San Francisco, California,
"Panama-Pacific International Exposition," February 20 - December 4, 1915, cat. no. 3057;
The Buffalo Fine Arts Academy, Albright Art Gallery, Buffalo, New York, June 17 - October
2, 1916, cat. no. 202.
Estimate $20,000—$30,000
65
73
74
66
ABASTENIA ST. LEGER EBERLE
American (1878-1942)
OLD CHARWOMAN AND MOTHER AND CHILD (A PAIR)
(a) plaster, inscribed and dated "A.St.L. Eberle 1919"(b) clay maquette
height: (a) 14 inches (b) 4 inches
PROVENANCE
Estate of the artist; Private Collection, Westport, Connecticut; Private
Collection, Virginia.
Estimate $5,000—$7,000
66A
66B
The Old Charwoman (1919) explores the grittier world of women in
the immigrant and working classes, and like her Ragpicker (1911)
relates to the ‘newspaper-reporter’ style of the Ash Can school.
Charlotte Rubinstein describes The Old Charwoman as “a warm
portrayal of an Irish immigrant woman with dustpan and broom,
who cleaned business buildings.”[1] This observation hints at the
greater metaphor at work relevant to the Progressive Era that
Eberle was working in. This hardworking yet dignified woman stood
for the correlation of women and women’s suffrage with the
perceived need of ‘municipal housekeeping,’ a key tenet of
progressive politics. Rightly or wrongly, it was thought that women
were uniquely qualified to clean up some of the most apparent
societal problems like political corruption, inefficiency and waste,
public health, etc. Eberle’s The Old Charwoman seems ready and
waiting to do the job and harks back to the theme of sweeping
Eberle first introduced with Windy Doorstep. Another plaster for The
Old Charwoman resides in the Kendall Young Library in Webster
City, Iowa.
67
MICHAEL THEISE
American (b.1959)
"MONOPOLY BOX"
oil on canvas laid down on panel, signed on bottom edge "M. Theise"
10
1
4 x 20
1
4 inches
PROVENANCE
The Cooley Gallery, Old Lyme, Connecticut; Private Collection, Florida.
Estimate $6,000—$8,000
67
75
76
A member of the first generation of Abstract Expressionists, Milton Resnick was a lifelong New
Yorker after immigrating from Ukraine with his family as an infant in 1917. He was trained at the
American Artists School and participated in the WPA artist project in the 1930s. During World War
II he served five years in the U.S. Army, returning to New York in September of 1945.
After a couple of years of painting in Paris, 1946 – 1948, Resnick was back in New York and
associating with the burgeoning group of artists who evolved into the New York School. He was
also an original member of the artist group known as “The Club” in 1949 along with Franz Kline,
Willem de Kooning, Ad Reinhardt, and Jack Tworkov.
Resnick’s work was included in the ground-breaking, artist-organized 9
th
Street Art Exhibition in
1951, the debut group exhibition of Abstract Expressionism in New York City. The exhibition includ-
ed Willem de Kooning, Jackson Pollock, Helen Frankenthaler, Joan Mitchell, Grace Hartigan,
Philip Guston, Elaine de Kooning, Lee Krasner, Franz Kline, Ad Reinhardt, Robert Motherwell and
many others.
Over time, Resnick’s work evolved from abstracted and colorful forms laid down aggressively on
the canvas to an allover technique of regular brushstrokes built up in successive and relentless
impasto. The later paintings no longer have formal aspects or any residual evidence of lines.
Instead, Resnick sought to give meaning to his abstractions through the material paint alone. The
later canvases are so heavy with paint that large ones can weigh in the hundreds of pounds.
Resnick’s paintings are thus an investigation of the very nature of paint, its presence on the can-
vas and how each brushstroke, each additional dab, changes its state until it reaches a coher-
ence for Resnick.
The Milton Resnick and Pat Passlof Foundation describe his evolution, “Over his long career,
Resnick painted ‘through’ classic Abstract Expressionist action painting, to arrive at works that
gave the impression of allover monochromatic fields, although in fact comprised of myriad hues.
Through the 1970s and 1980s his paint application became increasingly dense and his palette
generally darkened, resulting in canvases of subtle, almost topographical presence.” [1]
Untitled, dates to the period of the artist’s well-received solo show in 1960 with the Howard Wise
Gallery and showcases the beginning of the work that he would become most known for. As an
earlier work, the color field is not monochromatic yet but moving in that direction, still holding a
varietal field of color. That mosaic of hues conjures an illusory 3-dimensional, geographic-like
quality to the layers of paint that in his later works Resnick’s unique process would achieve
through actual layer after layer of physical paint application.
[1] The Milton Resnick and Pat Passlof Foundation, Resnick Bio/Chronology, Retrieved March 16, 2021 from
https://www.resnickpasslof.org/new-page
68
MILTON RESNICK
American (1917-2004)
UNTITLED
oil on masonite, signed and dated lower left "Resnick 60"
32 x 20 inches
PROVENANCE
Noah Goldowsky Fine Art, New York, New York; Zolla Lieberman
Gallery, Chicago, Illinois, 1970; Private Collection, by descent in the
family; Hindman Auctioneers, Chicago, Illinois, May 16-17, 2010, lot
44; Private Collection, New York.
Estimate $20,000—$30,000
68
77
69
MILTON RESNICK
American (1917-2004)
UNTITLED
oil on paper on board, signed and dated lower left "Resnick 59"
30 x 22 inches
PROVENANCE
Howard Wise Gallery, Cleveland, Ohio; McCormick Gallery,
Chicago, Illinois; Vincent Vallarino, New York, New York (purchased
May 3, 2010); Private Collection, New York.
Estimate $15,000—$25,000
69
78
70
KENNETH NOLAND
American (1924-2010)
"GEOMETRIC SHAPES"
acrylic on embossed paper, signed and dated on the reverse "Kenneth Noland 1983"
28 x 40
1
2 inches
PROVENANCE
Private Collection, Springfield, Massachusetts; Clark's Fine Arts, Sherman Oaks,
California; Private Collection, California; Private Collection, Southampton, New York.
Estimate $15,000—$25,000
70
79
71
MARK TOBEY
American (1890-1976)
UNTITLED, 1957
ink on paper laid down on board, signed and dated lower right "Tobey
'57"
22
5
8 x 17
3
8 inches (sight)
PROVENANCE
The Jeanne and Carroll Berry Collection, Atlanta, Georgia.
Estimate $12,000—$18,000
71
80
72
VICTOR VASARELY
French (1906-1997)
"ZURR"
acrylic on paperboard, signed lower right "Vasarely," signed, titled, dated
and inscribed on the reverse "Vasarely / Tableau Non Encadré /1939"
15
3
8 x 13
3
4 inches (sight)
PROVENANCE
Circle Gallery, Atlantic City, New Jersey; Private Collection, Philadelphia,
Pennsylvania; Freeman's, Philadelphia, Pennsylvania, November 7, 2017,
lot 74; Private Collection, Southampton, New York.
Estimate $10,000—$15,000
72
81
73
MARGARETE (MARG) MOLL
German (1884-1977)
CUBIST DANCER
bronze, signed and dated "© Moll '30,"
artist label on the base
height: 11
3
4 inches
PROVENANCE
Private Collection, Maryland.
Estimate $5,000—$7,000
75
WERKSTÄTTE HAGENAUER
Austrian (Established 1898)
STANDING NUDE
nickel plated bronze, inscribed on base "Made in
Austria/ WHW / Hagenauer Wein" Circa 1928-1930
height: 17
1
2 inches
PROVENANCE
James P. Infante, Jersey City, New Jersey; Private
Collection, Connecticut.
Estimate $2,500—$3,500
73
74
WERKSTÄTTE HAGENAUER
Austrian (Established 1898)
THE DANCER
nickel plated bronze with carved wood skirt,
stamped on the base "Made in Germany"
Circa late 1930s
height: 8
1
2 inches
PROVENANCE
James P. Infante, Jersey City, New Jersey;
Private Collection, Connecticut.
Estimate $2,000—$3,000
74
75
82
76
WERKSTÄTTE HAGENAUER
Austrian (Established 1898)
WOMAN WITH LONG HAIR
nickel plated bronze, stamped on the base
"Hagenauer/ WHW/ Made in Austria"
height: 20 inches
PROVENANCE
Private Collection, Connecticut.
Estimate $15,000—$25,000
76
83
84
The following comments were written by Kevin Avery, Adjunct Professor of American Art History
at Hunter College and former Curator of American Art at the Metropolitan Museum of Art.
A richly and (evidently) rapidly executed oil sketch by Sanford Gifford, this painting may
represent an overlook, at upper left, of North Mountain in the Catskills, near the descent into the
Hudson River Valley. The work does not readily correspond to any title or size listed in the artist’s
exhibition records; in the catalogue of the 1880-81 Gifford Memorial exhibition at the
Metropolitan Museum of Art; the catalogues of the Gifford estate sale in April 1881; or in A
Memorial Catalogue of the Paintings of Sanford Robinson Gifford, N. A., published by the
Metropolitan Museum in 1881. Like the other Gifford painting in the same owner’s collection
(lot 77), this one reportedly came as a gift to the owner’s parents from the late Mrs. Robert
Wilkinson, Jr. (1876-1949), the wife of the son of Julia Gifford Wilkinson, a sister of the artist,
who lived in Poughkeepsie, New York. Neither work appears to be recorded in the
contemporaneousGiffordliterature.
The image represents, at upper left, a high ledge at overlooking a footpath, which advances into
the center of the scene from the lower left and disappears behind two evergreen trees at right.
On a sunlit portion of the path, at lower center, a small figure walks toward the evergreens. He
is dressed in a red vest, pale blouse and hat, and dark pants. At lower right rests a pyramidal
boulder, its shadowed side inscribed dimly with the initials, “SRG.” The foliage of a tree overhangs
the path at left, and a few stones border its right side. At upper right, beyond the evergreens, a
large cumulus cloud swells up, answering the thrust of the ledge at left. Looming over the ledge
is the underside of a gray, stormy-looking cloud, which trails tapers to the right.
Gifford did not often execute paintings, such as this one, with at once such apparent
spontaneity, speed, and “juiciness” of pigmentation. Still, there are a few comparable examples.
Those paintings are also quite small, and date as early as about 1852-53. The most prominent of
them may be the well-knownMist Rising at Sunset in the Catskills, usually dated about 1861, in the
Art Institute of Chicago. Though the imagery of the Chicago sketch is more rudimentary, the dab-
bing facture in the clouds is very comparable to the same features in the present painting, as are
the blockish vertical strokes of the rising mist, compared to the gray-green brushstrokes—hastily
applied on the ledge here. Other “signature” Gifford marks in the present picture are the
“broccoli-ish” contours of tree foliage and his taste for irregular pyramidal rocks with simple
illuminated planes. His staffage in sketches like this one is marked by the minute, deftly applied
impastos articulating the figure in motion. The initials on the rock seem a measure of the speed
with which the artist made this oil sketch: they appear to have been inscribed wet-on-wet with a
fairly broad brush loaded with both the pale and the light gray pigments used for the illuminated
and the shadowed sides of the rock itself.
I can only speculate, based on the paint recipe, facture, and the presumed subject of the
painting, that it was made in the same general period as Mist Rising in the Catskills. Gifford
was never more devoted to the Catskill Mountain region than during the Civil War era. Many
oil sketches of the vicinity of Kaaterskill Clove (which Gifford spelled “Kauterskill”) date from
that time.
77
SANFORD ROBINSON GIFFORD
American (1823-1880)
"A PATH IN THE MOUNTAINS"
oil on canvas mounted on paperboard, initialed lower right "SRG"
10
5
8 x 7
5
8 inches
PROVENANCE
Private Collection, Jeckell Island, Georgia; Private Collection,
Cabot Vermont; Driscoll Babcock, New York, New York.
Estimate $15,000—$25,000
77
85
86
Today Alfred Thompson Bricher is widely appreciated by art historians for his mastery of Luminist
realism alongside the slightly older generation of Hudson River School painters Fitz Hugh Lane,
Sanford R. Gifford, Martin Johnson Heade, and John F. Kensett. As a luminist painter, he was
predominately interested in the pictorial effects of light and translucency. It is always possible to
ascertain such specifics as the time of day, weather conditions, and geography in his work, yet
his paintings manifest a spiritual quality that was an important component of Hudson River School
painting.
Following a second marriage in 1881, Bricher built a summer home and studio at 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 showed views of rugged Montauk Point at the eastern tip 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; and further west, Freeport and Far Rockaway from 1888 to 1891, and Wantagh in
1893.”
1
He later made his home at New Dorp, Staten Island, while maintaining a studio in New York City
until the end of his life. By that date, 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. It is little wonder, then, that when Bricher died
at New Dorp on September 30, 1908, his obituary in Art News) commented, “[Bricher] did not
receive the notice in the press that the artist’s ability and reputation deserved"—a sentiment
shared by today’s finest scholars of American nineteenth-century painting.
Today works by Bricher are to be found in the permanent collections of many of America’s most
prestigious museums, the Metropolitan Museum of Art, the Brooklyn Museum of Art, The
Wadsworth Atheneum, the Smithsonian American Art Museum, the White House, the
Pennsylvania Academy of Fine Arts, and the Carnegie Museum.
1
Alfred Thompson Bricher, 1837-1908, by Jeffrey R. Brown, assisted by Ellen W. Lee, 1973
Portions of this essay courtesy of Hollis-Taggart Galleries
78
ALFRED THOMPSON BRICHER
American (1837-1908)
SUMMER POND, SOUTHAMPTON
oil on canvas, signed lower left "A.T. Bricher"
22 x 40 inches
PROVENANCE
Private Collection, Washington D.C.; Private Collection,
Connecticut; Shannon's Milford, Connecticut, May 1, 2014,
Lot 57; Private Collection, Connecticut; Shannon's, Milford,
Connecticut, October 26, 2017 lot 117; Private Collection,
Connecticut.
Estimate $18,000—$22,000
78
87
79
HERMANN HERZOG
American/German (1832-1932)
"THE ENGELHORNER, NEAR ROSENLANI (SWITZERLAND)"
oil on canvas, signed lower right "Hermann Herzog"
40 x 50 inches
PROVENANCE
Newman Gallery, Philadelphia, Pennsylvania; Private
Collection, Virginia.
Estimate $7,000—$10,000
79
88
80
CHARLES WARREN EATON
American (1857-1937)
"VALLEY AT SUNSET"
oil on canvas, signed lower right "Chas. Warren Eaton," titled on a label
on the reverse
20 x 24 inches
PROVENANCE
Private Collection, Vermont; Private Collection, New Jersey; Shannon's,
Milford, Connecticut, April 26, 2012, lot 10; Private Collection, New York.
Notes
A Grand Central Art Galleries, New York, New York label is on the reverse.
Estimate $7,000—$10,000
80
89
81
JOHN GEORGE BROWN
American (1831-1913)
"DON'T YOU LIKE BUTTER?"
oil on canvas, signed and dated lower left "J. G. Brown 1862"
22
1
2 x 16
1
2 inches
PROVENANCE
Private Collection, California; By descent in the family, Private Collection;
Private Collection, New York.
EXHIBITED
Brooklyn Art Association, New York, New York, March 1863, no. 192
Estimate $10,000—$15,000
81
90
82
JOHN FREDERICK PETO
American (1854-1907)
HOMMAGE AU CHARDIN ("WINE AND BRASS STEWING KETTLE -
PREPARATION FOR A FRENCH POTAGE")
oil on canvas, signed and titled on the stretcher "J.F. Peto"
22 x 29
3
4 inches
PROVENANCE
James and Faith Stewart-Gordon, New York; Private Collection,
Houston, Texas.
EXHIBITED
Westmoreland Museum of Art, Greensberg, Pennsylvania,
"Penn’s Promise: Still Life Painting in Pennsylvania 1795-1930,"
May 29 - July 31, 1988.
Estimate $10,000—$15,000
82
91
92
A founding member of the famed group “The Ten,” Willard Leroy Metcalf has cemented his
reputation as a leading figure in American Impressionism. Born in Lowell, Massachusetts in 1858,
Metcalf begin his artistic training at an early age. His parents, interested in the occult, divined that
their son was destined to be a painter and encouraged him in that direction. By 1875 he was
apprenticed to wood engraver, George Loring Brown.
In 1876, Metcalf was one of five students offered a scholarship to attend the new School of Art at
the Museum of Fine Arts Boston. From 1877-1876 Metcalf took artistic anatomy courses from Dr.
William Rimmer, an odd personality in the Boston artistic circle. Despite this, John La Farge, William
Morris Hunt and Frank Benson all studied with Rimmer. Metcalf’s figure drawings improved during
this period.
It was during this time, as a young artist, when Metcalf painted In the Garden. Although he had
not yet travelled to France, Metcalf was clearly absorbing a French Impressionist style and
moving away from the influence of George Loring Brown.
Elizabeth de Veer notes in Sunlight and Shadow, “Two Vermont pictures of 1878, Landscape with
Chickens, painted at Bridgewater, and In the Garden, probably done in Woodstock, strongly
reflect the French style. The figure in In the Garden is reminiscent not only of Millet, in an American
light, but also of Winslow Homer’s figure pieces of the late sixties and early seventies, although the
overall feeling is French.”
The authors go on to describe the availability of paintings by American artists emulating a
Barbizon style in Boston museums and private collections. Metcalf would have seen works
by George Inness, Winckworth Allan Gay and Thomas Robinson. William Morris Hunt was a
particularly influential figure in the Boston art scene bringing works by French Barbizon artists
Couture and Millet to his Boston home.
1
In the Garden is an important work in Metcalf’s oeuvre. It begins the story of a skilled artist who
was drawn to French Impressionism from the start. Five years after the painting was completed,
Metcalf travelled to France and immersed himself in the French Impressionist style. A decade or
so later he would return to the States and become a distinctly American artist and the
preeminent Impressionist painter of New England landscapes (see lot 58).
1
Elizabeth de Veer and Richard Boyle, Sunlight and Shadow: The Life and Art of Willard Leroy Metcalf, New York:
Abbeville Press, 1987, pp. 168-169.
83
WILLARD LEROY METCALF
American (1858-1925)
"IN THE GARDEN"
oil on canvas, signed and dated lower right "W.M Metcalf '78"
14 x 17 inches
PROVENANCE
Sewell C. Biggs Museum, Dover, Delaware; Spanierman Gallery, New York,
New York, 1996; Mrs. Alma Gilbert, 1996; Spanierman Gallery, New York, New
York; R. H. Love, Chicago, Illinois; Private Collection, Illinois.
EXHIBITED
Spanierman Gallery, New York, New York, "Willard Leroy Metcalf: An
American Impressionist," November 21, 1995 - January 27, 1996.
Notes
This work will be included in the forthcoming catalogue raisonne being
coordinated by Betty Krulik and the Willard Leroy Metcalf Catalogue
Raisonne Project, Inc.
Estimate
$15,000—$25,000
83
93
84
BERNHARD GUTMANN
American (1869-1936)
"WOMAN AND CHILD BY THE SEA (MALLORCA)"
oil on panel, unsigned
15 x 18
1
8 inches
PROVENANCE
Lucien Lefebvre-Foinet, Paris, France; R. H. Love Galleries, Chicago,
Illinois; Private Collection, Illinois.
ILLUSTRATED
Percey North, "Bernhard Gutmann, An American Impressionist,"
(New York: Abbeville Press, 1995), p. 117, pl. 75 (illus.).
Estimate $5,000—$7,000
84
94
85
DE SCOTT EVANS
American (1847-1898)
"A THOUGHTFUL MOMENT" (THE ARTIST'S DAUGHTER)
oil on canvas, signed and dated lower right "De Scott Evans 92"
16 x 24 inches
PROVENANCE
Christie's, New York, New York, September 15, 2005, lot 75;
Private Collection, Washington, D.C.
Estimate $10,000—$15,000
85
95
96
Guy C. Wiggins was born in Brooklyn, New York in 1883. His father, Carleton Wiggins, was an
accomplished landscape artist who enjoyed a successful career as an artist. According to an
article on the Wiggins family written in 2011, “He [Carleton Wiggins] pressed a palette and paints
into his young son’s hands. By age 4, Guy Carleton Wiggins was churning out watercolors that
foreshadowed a talent greater than his father’s.” (Ann Farmer, New York Times, “A Family of
Painters is Having Its Moment,” Jun. 6, 2011)
Wiggins first studied architecture at Brooklyn Polytechnic Institute then left to pursue fine arts
training at the National Academy of Design. The architectural cityscape of New York City
became his muse and he started painting famous buildings in an impressionistic style. He once
said, “If you want to sell paintings, it helps if it’s recognizable to many people.
He became highly successful in the 1920s and 30s selling views of New York City architecture,
particularly in the snow. In 1912, he became the youngest artist represented in the Metropolitan
Museum’s collection with a painting titled “Metropolitan Tower.” He painted the Executive
Mansion from the White House Lawn, a painting that hung in President Eisenhower’s Office.
The Great Depression took a toll on sales and Wiggins struggled in the years following the war. He
moved with his family permanently to Essex, Connecticut and started the Guy Wiggins Art School.
He became an active member of the Old Lyme Art Academy. He started to paint landscapes,
however, he continued to paint New York City as a preferred subject.
Wiggins’ legacy was preserved in the history of American Art and his works are included in
numerous public and private collections including the Wadsworth Athenaeum in Hartford,
Connecticut, the Metropolitan Museum of Art, the Brooklyn Museum, the National Gallery in
Washington D.C. and the Art Institute of Chicago.
86
GUY CARLETON WIGGINS
American (1883-1962)
"CITY HALL PARK"
oil on canvasboard, signed lower right "Guy Wiggins NA," titled and signed
on the reverse
15
7
8 x 20 inches
PROVENANCE
Private Collection, New York; Shannon's, Milford, Connecticut, May 4, 2017,
lot 64, Private Collection, Connecticut.
Estimate $20,000—$30,000
86
97
87
GUY CARLETON WIGGINS
American (1883-1962)
"OLD TRINITY, WINTER"
oil on canvasboard, signed lower right "Guy Wiggins NA,"
signed and titled on the reverse
11
3
4 x 7 inches
PROVENANCE
Private Collection, Palm Beach, Florida; Shannon's, Milford,
Connecticut, October 24, 2013, lot 146; Private Collection,
Connecticut.
Notes
Inscribed on a label on the reverse inscribed "To Stefanie
with Love from Irene and Cynthia."
Estimate $12,000—$18,000
87
98
88
RICHARD HAYLEY LEVER
American (1876-1958)
"SHIP UNDER BROOKLYN BRIDGE"
oil on board, signed lower right "Hayley Lever"
25 x 29
1
2 inches
PROVENANCE
Private Collection, Connecticut.
Notes
A copy of an appraisal letter from Previti
Gallery accompanies the lot.
Estimate $7,000—$10,000
88
89
99
89
ANTONIO CIRINO
American (1889-1983)
HARBOR SCENE
oil on canvas, signed lower left "A. Cirino"
25 x 30 inches
PROVENANCE
Rockport Art Association, Rockport,
Massachusetts; Collins Gallery, Bucksport,
Maine, November 9, 1987; Private
Collection, New York.
Notes
The artist's label is on the reverse.
Estimate $6,000—$8,000
90
HORACE WOLCOTT ROBBINS
American (1842-1904)
"LAZY DAY, FARMINGTON RIVER VALLEY"
oil on canvas, signed and dated lower left "H.W. Robbins 1880"
17
3
4 x 20
1
4 inches
PROVENANCE
The Cooley Gallery, Old Lyme, Connecticut; Private Collection,
Florida.
Estimate $5,000—$7,000
90
91
100
91
DWIGHT WILLIAM TRYON
American (1849-1925)
"MORNING OFF SARK, ENGLISH CHANNEL"
oil on canvas, signed lower left "D.W. Tryon," signed, titled,
inscribed and dated on the reverse "Paris, 1877"
14 x 24 inches
PROVENANCE
The Cooley Gallery, Old Lyme, Connecticut; Private
Collection, Connecticut.
Estimate $3,000—$5,000
92
ALFRED THOMPSON BRICHER
American (1837-1908)
COASTAL SCENE WITH LIGHTHOUSE
oil on canvas, signed lower left "A.T. Bricher"
13 x 24 inches
PROVENANCE
Private Collection, Los Angeles, California; Shannon's,
Greenwich, Connecticut, April 28, 2005, lot 30; Private
Collection, New York; Godel & Co. Fine Art, New York,
New York; Shannon's, Milford, Connecticut, October 28,
2010, lot 58; Private Collection, Connecticut.
Estimate $15,000—$25,000
92
101
93
EMILE A. GRUPPE
American (1896-1978)
"WINTER THAW"
oil on canvas, signed lower right "Emile A. Gruppe"
30 x 36 inches
PROVENANCE
Private Collection, Connecticut.
Estimate $8,000—$12,000
93
102
94
JOHN JOSEPH ENNEKING
American (1841-1916)
"THE SUMMER HOUSE ON THE NEPONSET RIVER"
oil on canvas, signed and dated lower right "Enneking 88"
19
1
4 x 28 inches
PROVENANCE
Private Collection, Massachusetts; Shannon's, Milford,
Connecticut, October 25, 2007, lot 115; Private
Collection, Massachusetts.
Estimate $12,000—$18,000
94
103
104
Lyonel Feininger was born in New York City on July 17, 1871 and moved to Germany with his
parents in 1887. He started his artistic training when he was just 16 years old, studying in Hamburg,
Berlin, and Paris from 1887-1892. He worked as a freelance cartoonist and illustrator in Berlin and
then moved to Paris. He completed his first oil painting in 1907 and had his first solo exhibition just
ten years later at Galerie Der Sturm in Berlin.
Feininger was part of the German avant-garde in the early twentieth century and one of the first
teachers at the influential Bauhaus school in Weimar, Germany founded by Walter Gropius in
1919. His woodcut of a cathedral with three stars decorates the cover of the famed Bauhaus
Manifesto.
Feininger exhibited his work as a member of the “Berliner Secession” group and in 1911, eleven
of his works were included in the Paris “Salon des Indépendants.” He was friends with Jules Pascin,
Robert Delaunay, Wassily Kandinsky and Paul Klee.
Hitler forced the Bauhaus closed in 1933 and by 1936 Feininger left Germany to teach at Mills
College in Oakland, California. He returned briefly to Germany and moved permanently with his
family to New York City in 1937. Under the Nazi regime, despite his critical acclaim and success,
Feininger’s art was deemed “Degenerate,” banned and removed from public view.
Of coming to New York, he wrote, “I feel twenty-five years younger knowing that I am going to a
country where imagination in art and abstraction are not an utter crime, as they are here...”
(quoted in Ulrich Luckhardt, Lyonel Feininger, Munich, 1989, p. 44).
By the 1950s, Feininger’s primary interests were the interaction of line, form, and color. Sailboats
figure prominently in his works from this period, as seen in the example offered here. The three sails
lined up play against the geometry of the water and the sky. While there is a sense of atmosphere
and scene, the painting’s theme of color and line are evident over the subject matter.
In New York, he was invited to create murals for the 1939 World’s Fair. His work was well-received
in the United States and earned a purchase prize from the Metropolitan Museum of Art in 1942
and a retrospective with Marsden Hartley at the Museum of Modern Art (MoMA). Feininger died
in 1956 and is today noted as an important Modernist of the early 20th century.
95
LYONEL FEININGER
American/German (1871-1956)
"THREE SAILS"
ink and watercolor on paper, signed and dated lower left "Feininger 1952"
13
1
4 x 18
1
4 inches (sight)
PROVENANCE
Pace-Wildenstein, New York, New York; Private Collection, Washington.
EXHIBITED
Alan Gallery, New York, New York, "The Denman Collection," February 15 -
March 5, 1955, cat. no. 6.
Notes
A letter of authenticity from The Lyonel Feininger Project LLC accompanies
the lot.
Estimate $15,000—$25,000
95
105
106
Diego Rivera is most known for his monumental murals found throughout North America as well
as his uncompromising political beliefs, which were often a point of controversy for him. In
addition to his murals, his easel painting, drawing and watercolors form an important part of his
œuvre. The present lot, a watercolor of the Yucatan landscape created circa 1930/31 is an
excellent example of the importance of this area of Mexico to Rivera. Around the same time, he
created a portfolio of watercolor works illustrating the ancient text of the Popol Vuh – the Mayan
people’s history, origins and traditions. It was also the year that the Museum of Modern Art held
a retrospective of Rivera’s work in New York.
Rivera was a born a twin to a wealthy Mexican couple in Guanajuato, Mexico in 1886. His twin
brother died two years later and Rivera began to draw obsessively a year after that. He was
encouraged by his parents and entered the Academy of San Carlos in Mexico City at the age
of 10. After graduating, Rivera left for Europe to train in Madrid, and them moved on to Paris. He
spent several years in the Montparnasse area befriending other artists of the time such as
Amadeo Modigliani and Chaim Soutine. He studied and experimented with the Cubist style and
Cezanne’s Post-Impressionist plays with form and color. Ultimately, he returned to Mexico and
developed his own style which drew on ancient, native Mayan pictorial styles, and the simplified
figures and bold colors of the European movements. His work retained a narrative element based
on Rivera’s interest in storytelling through images – an emphasis originating from his fascination
with ancient pictorial texts.
The 1920s and early 1930s were very important in the maturing of his personal style. The politician
and philosopher Jose Vasconcelos was integral during this period of Rivera’s life. Vasconcelos
convinced him to go on an educational trip to the Yucatan region with him and other writers,
journalists, painters, and anthropologists in 1921. They visited the Mayan ruins and the indigenous
people of the area. The Colorado Springs exhibition catalog for “The Persistence of Myth and
Tragedy in Twentieth Cetnury Mexican Art,” notes, “Rivera again filled many sketchbooks,
entranced with the tall Tehuana women, their unique and beautiful costumes and with the lush
forest landscapes. Materials in the Yucatan and Tehuantepec sketchbooks were to influence
and feed Rivera’s imagination – inculcating the themes of Mexican culture and folk art first seen
in Posada’s shop – in both mural and easel painting for the rest of his life.”[1]
Of the present lot, the catalog authors note it as, “…almost certainly adapted from the early
sketching trip to that region with Vasconcelos. This amazing charcoal and watercolor provides a
bird’s-eye view of a yellow river banked with foliage created in Rivera’s “cartoon” style, topped
with seabirds flying over the river.”[2] The authors argue that Rivera’s mature Mexican style fully
emerged in the 1920s and that some of the artist’s most beautiful Mexican easel paintings and
other non-mural works come about in this great period of mural painting in the 1920s and early
1930s – perhaps Rivera’s most fertile time period.
Rivera died in 1957 in Mexico City. In addition to numerous site-specific murals, his easel paintings
and other artworks are included in the Museum of Modern Art, New York; the San Francisco
Museum of Modern Art, the Los Angeles County Museum of Art, and the Museo de Arte Moderno,
Mexico City to name only a few.
[1] and [2] Robert B. Ekelund, The Persistence of Myth and Tragedy in Twentieth-Century Mexican Art: Selections from the
Collection of Robert B. Ekelund, Colorado Springs Fine Arts Center, Colorado Springs, Colorado, 2004), 32.
96
DIEGO RIVERA
Mexican (1886-1957)
YUCATAN
watercolor, gouache, and graphite on paper, signed lower right
"Diego Rivera," ca. 1930-31
12
1
2 x 16
7
8 inches
PROVENANCE
Sotheby's, New York, New York, May 20, 1992, lot 109; Private Collection,
Alabama.
EXHIBITED
Colorado Springs Fine Art Center, Colorado Springs, Colorado, September 4 -
November 21, 2004; The Jule Collins Smith Museum of Fine Art at Auburn
University, Auburn, Alabama, April 1 - May 22, 2005; The Mobile Museum of Fine
Art, Mobile, Alabama,"The Persistence of Myth and Tragedy in Twentieth-
Century Mexican Art," June 24 - September 4, 2005, p. 24, and on the cover.
Estimate $18,000—$22,000
96
107
97
ROBERT KULICKE
American (1924-2007)
"SINGLE PEAR"
oil on board, signed and dated lower center "Kulicke 80"
8
7
8 x 6
7
8 inches
PROVENANCE
The artist; Francis Moro; By descent to Francesco P. Zuccari; Estate
of Francesco P. Zuccari.
EXHIBITED
Columbia Museum of Art, Columbia, South Carolina, October 30 -
November 27, 1983.
Estimate $2,500—$3,500
98
ROBERT KULICKE
American (1924-2007)
"FRUIT ON A TABLE TOP"
oil on canvas, signed and dated upper center "Kulicke 67",
inscribed lower left "To Francis," signed lower right "Bob
Kulicke"
4
7
8 x 9
1
2 inches
PROVENANCE
Gift from the artist to Francis Moro (a patron); By descent
to Francesco Zuccari; Estate of Francesco P. Zuccari.
Estimate $2,000—$3,000
99
ROBERT KULICKE
American (1924-2007)
FLOWERS IN A GLASS
oil on board, signed lower center "Kulicke"
9 x 6
3
4 inches
PROVENANCE
The artist; Francis Moro; By descent to Francesco P.
Zuccari; Estate of Francesco P. Zuccari.
Estimate $1,200—$1,800
97
98
99
108
100
MARK TOBEY
American (1890-1976)
"VOYAGE," 1955
tempera on paper
10
5
8 x 7
1
4 inches
PROVENANCE
Butterfield Auction, San Francisco, California, April 18,
2000, lot 2053; The Jeanne and Carroll Berry Collection,
Atlanta, Georgia.
EXHIBITED
Georgia Museum of Art, The University of Georgia,
Athens, Georgia, "Artists of the New York School," January
14 - March 19, 2017.
Estimate $6,000—$8,000
101
HILLA REBAY
American (1890 - 1967)
UNTITLED
oil on canvas, signed and dated lower right "Rebay 45"
24 x 27 inches
PROVENANCE
Private Collection, Massachusetts.
Estimate $6,000—$8,000
100
101
109
110
Janet Scudder holds an important place in the history of American sculpture, particularly of
the early twentieth century. Her ornamental fountains in the Beaux Arts style were uniquely
appealing at a time when most monumental sculpture was represented by salutes to war heroes
and other male-centric political themes. After experiencing the horrors of World War I, Scudder
noted, “I won’t add to this obsession of male egotism that is ruining every city in the United
States…My work was going to make people feel cheerful and gay, nothing more!”[1] The lauded
Beaux Arts architect Stanford White commissioned many works for his wealthy clients from
Scudder, including the Frog Fountain, Tortoise Fountain and Young Diana drawing her bow
(a monumental version of the present lot).
Scudder was born to middle-class parents in Terre Haute, Indiana in 1869. Her father was a
confectioner and her mother sadly died young when Janet was just five years old. She had a
difficult childhood losing four of her six siblings before they reached adulthood and a step-mother
who did not appreciate Scudder’s nature. Charlotte Rubinstein writes, “Scudder was a tomboy,
later recalling in her autobiography, ‘I could skin a cat, hang by my toes… As for skating on ice
in moonlight, no one could outdistance me.’[2] She remained adventurous and uninterested in
so-called female pursuits for the rest of her life.”[3] Instead, she was very interested in drawing,
painting and other crafts. She had her first artistic success, and the one that meant the most to
her, when she was still a child. She entered a hammered brass tray in the form of Medusa’s head
to the Indiana State fair and won the first prize.
Her artistic talent was evident by the time she finished high school. She enrolled in the Art
Academy of Cincinnati upon graduation. From there, she continued her studies at the Art
Institute of Chicago, worked in the studios of Lorado Taft and then Frederick MacMonnies, and
completed additional training in Paris at the Académie Vitti and the Académie Colarossi.
Returning to the States looking for work, she struggled to the point of deep despondency until
finally obtaining a commission from the New York State Bar Association. The creation of their seal
opened up additional commissions for her in portrait medallions and tablet memorials, and from
there she attained continued lifelong success.
A feminist and suffragist, Scudder was a member of the National American Woman Suffrage
Association and marched with Abastenia Eberle in suffrage parades. Her awareness of women’s
new sense of their bodies is shown in her Victory bronze, created around 1915 as a tribute to the
suffrage movement. The dancer Irene Castle modeled for the work. The slim, almost boyish figure
heralds the ‘flapper’ aesthetic that was rising to prominence as women threw aside their corsets
and other constricting garments, shortened their hair and pursued a freer sense of movement.
The youthful Diana evokes this same spirit with her powerful, athletic posture, nimbly balancing
on the bronze ball pedestal while aiming her bow.
Scudder spent most of her later years in Paris, going back and forth from Paris to New York while
handling a steady stream of commissions. She preferred Paris due to the stimulating social circle
of women she connected with there, including Gertrude Stein, Alice B. Toklas, Mildred Aldrich
and Eva Mudocci. During World War I, she turned over her villa to the YMCA to be used as a
hospital and went to work for the Red Cross. She was named a Chevalier of the French Legion of
Honor for this work. She returned to the states permanently at the outset of World War II and died
soon after of pneumonia in 1940.
Janet Scudder was elected an associate of the National Academy of Design in 1920 and her
works are held by the Metropolitan Museum of Art, the Art Institute of Chicago, the Library
of Congress, the Musée d’Art Moderne de la Ville de Paris, and Musée d’Orsay among
many others.
[1] Charlotte Streifer Rubinstein, American Women Sculptors: A History of Women Working in Three Dimensions, (G.K.
Hall, Boston, Massachusetts, 1990), 99.
102
JANET SCUDDER
American (1873-1940)
YOUNG DIANA
bronze, signed and stamped with foundry mark "Alexis Rudier Foundeur Paris"
height: 27 inches
PROVENANCE
Private Collection, Ohio; Shannon's, Milford, Connecticut, October 29, 2015 lot 121;
Private Collection, Connecticut.
Estimate $15,000—$25,000
102
111
103
MAURITZ FREDERIK HENDRICK DE HAAS
American/Dutch (1832-1895)
SAILBOATS AT SUNSET
oil on canvas, signed and dated lower left
"M.F.H de Haas 82"
13
1
2 x 22 inches
PROVENANCE
A Connecticut estate.
Estimate $8,000—$12,000
104
RICHARD LANE
American (20th Century)
"USS ESSEX & USS CONSTITUTION TAKING DOWN THE TRIPOLI PIRATES"
oil on canvas, signed and dated lower right "Richard Lane 2003"
32 x 48 inches
PROVENANCE
The artist; Private Collection, North Carolina; Shannon's, Milford,
Connecticut, October 23, 2014, lot 209; Private Collection,
Connecticut.
Estimate $7,000—$10,000
103
104
112
105
JOHN FERGUSON WEIR
American (1841-1926)
NIAGARA FALLS
oil on canvas, signed lower left "J.F. Weir"
30 x 25 inches
PROVENANCE
Sotheby's New York, New York, July 1, 1982, lot 59; Coe Kerr Gallery,
New York, New York, ca. 1994; Private Collection, New York.
Estimate $8,000—$12,000
105
113
106
ALEXANDER HARRISON
American (1853-1930)
IN THE DUNES
oil on canvas, signed lower left "Alex Harrison"
21
3
4 x 39
1
2 inches
PROVENANCE
Private Collection, Connecticut.
EXHIBITED
The New Britain Museum of American Art,
New Britain, Connecticut, "Innocence," June
25th - September 18, 2005.
Estimate $10,000—$15,000
106
114
107
CHARLES COURTNEY CURRAN
American (1861-1942)
"WEST FROM BEAR CLIFF"
oil on board, signed and dated lower right
"Charles C. Curran N.A. 1930," signed,
titled, numbered and inscribed on the
reverse "Record No. 238-4 C.C.C"
18 x 39 inches
PROVENANCE
Private Collection, Massachusetts.
Estimate $8,000—$12,000
107
115
108
WILLIAM ARBER BROWN KIRKPATRICK
American (b. 1880)
WOMAN HOLDING VASE
oil on canvas, signed lower right "W. AB
Kirkpatrick"
33
1
4 x 30
1
4 inches
PROVENANCE
Weiss Auctions, Lynbrook, New York, April 24,
2009, lot 52; Private Collection, Connecticut.
Estimate $6,000—$8,000
109
RUTHERFORD BOYD
American (1884-1951)
AFTER TENNIS, C. 1925
oil on board, unsigned
20
1
2 x 27
3
4 inches
PROVENANCE
David R. Boyd, St. Leonia, New Jersey, until 1986; Christie’s,
New York, New York, September 22, 1994, lot 123; Property of
an American Collection; Shannon's, Milford, Connecticut,
October 19, 2015, lot 12; Private Collection, Connecticut.
Notes
According to David R. Boyd, the artist’s son, "After Tennis" was
painted circa 1921-1925 on the sun porch of his home and stu-
dio in Leonia, New Jersey. The models are the artist’s friends
and neighbors, and the male figure bears resemblance to the
artist himself.
Estimate $5,000—$7,000
108
109
116
110
WILLIAM GROPPER
American (1897-1977)
THE JURORS
oil on canvas, signed lower right "Gropper"
16
1
2 x 52 inches
PROVENANCE
ACA Galleries, New York, New York; Private
Collection, New York; Private Collection,
Connecticut.
Estimate $15,000—$25,000
110
117
118
The Woman became compulsive in the sense of not being able to get a hold of it—it really is very
funny to get stuck with a woman’s knees, for instance. You say, “What the hell am I going to do
with that now?”, it’s really ridiculous. It may be that it fascinates me, that it is not supposed to be
done. A lot of people paint a figure because they feel it out to be done, because since they’re
human beings themselves, they feel they ought to make another one, a substitute. I haven’t got
that interest at all. I really think it’s sort of silly to do it. But the moment you take this attitude it’s
just as silly not to do it.
-Willem de Kooning, Excerpt from an interview with David Sylvester (BBC), Spring 1963
Willem de Kooning arrived in the United States as a young man snuck aboard a ship from the
Netherlands. He skirted immigration in Virginia and made his way to New Jersey. There, he
worked as a house painter, carpenter, and sign maker. He made his way to New York where he
befriended Arshile Gorky and John Graham who quickly brought de Kooning into the fold of the
downtown New York City art scene.
In 1929, he worked with Fernand Leger on a mural project for the WPA. By 1936 he was a full-time
artist. A few years later, by the end of the 1930s and early 40s de Kooning together with Gorky
had become the underground leaders of the New York art scene, de Kooning was known as an
“artist’s artist” among his peers. In 1945, his work was included in Peggy Guggenheim’s show “Art
of this Century” alongside his contemporaries Hans Hofmann, Jackson Pollock, and Robert
Motherwell.
In 1948 Charles Egan Gallery hosted de Kooning’s first one-man show. Three years later he was
awarded the Logan Medal and Purchase Prize from the Art Institute of Chicago for Excavation
(1950) an icon of American Modernism. Critic Clement Greenberg begin to champion his work
during this period and later Harold Rosenberg a rivaling critic also supported de Kooning’s style.
In 1953, de Kooning shocked the art world by exhibiting his “Women” paintings. These
aggressively painted figural works were seen by some as a betrayal of Abstract Expressionist
principles. The Women paintings represented a commitment to the figurative tradition when
artists like Pollock and Kline were moving away from representational imagery to pure
abstraction. He lost the support of Greenberg, but Rosenberg continued to laud his works. MoMA
purchased Woman I in 1953, a validation of de Kooning’s new experiment.
The present composition on paper relates closely to Woman in the Water, a 1967 oil on paper
mounted on canvas, illustrated in Thomas B. Hess’ Willem de Kooning (MoMA, 1968). De Kooning
was fond of working on paper, as it allowed for an immediacy that appealed to him. Woman
presented here, is primarily a drawing on paper, but there are numerous places where the artist
applied color and surface texture to the composition.
Inscribed on the lower right the drawing reads “To Max for Old Times Sake” Bill / de Kooning.” Max
likely refers to Max Margulis, a friend, musician, and writer in the downtown New York milieu of
artists and intellectuals in the post-war period. Margulis was known as affectionately as “Max the
Owl” for his horn-rimmed glasses.
111
WILLEM DE KOONING
American/Dutch (1904-1997)
WOMAN, CA. 1954-1974
oil, charcoal and gouache on paper laid down on canvas, signed and inscribed lower
right "To Max, for old times' sake /Bill / de Kooning"
23
1
4 x 18
1
4 inches (sight)
PROVENANCE
The artist; Private Collection, New York, New York; by descent; Sotheby's, New York, New
York, November 13, 2002, lot 227; The Jeanne and Carroll Berry Collection, Atlanta,
Georgia.
EXHIBITED
Ackland Art Museum, University of North Carolina, Chapel Hill, North Carolina, March 4 -
May 31, 2007; Georgia Museum of Art, University of Georgia, Athens, Georgia, “Advanced
and Irascible: Abstract Expressionism from the Collection of Jeanne and Carroll Berry,” Jan.
14 - Apr. 30, 2017.
ILLUSTRATED
Stevens, Mary and Annalyn Swan, "de Kooning - An American Master," (New York, New
York: Knopf, 2006), p. 145.
Estimate $12,000—$18,000
111
119
120
112A
Robert Beverly Hale most notably founded the
Contemporary American Art Department at the
Metropolitan Museum of Art in 1948. He retired from
that post in 1966 as curator emeritus. In 1979, an
exhibition celebrating works Hale brought to the
museum included Edward Hopper, Ivan Albright,
Stuart Davis, Josef Albers, Ben Shahn, Burgoyne Diller
and Ellsworth Kelly. He introduced Abstract
Expressionism to the museum despite considerable
opposition from the museum’s trustees.
Hale graduated from Columbia College in 1923 and
continued his studies in Paris at La Sorbonne and in
private art academies and studios. In 1937, he studied
at the Art Students League in New York and later
served as the school’s Vice President on the board of
control from 1939-1943. At the Art Students League
Hale taught drawing and anatomy while also
lecturing in drawing at Columbia and anonymously
reviewing shows for Art News Magazine.
As an abstract expressionist, his works were featured
in exhibitions at the Stamford Museum and the
Staempfli Gallery in NewYork. He also published
poetry in The New Yorker.
In a 1960 review of Hale’s drawings in Time magazine
a critic wrote:
“Good drawing has declined tremendously in recent years, because if anyone draws well he is
attacked as being sentimental or anecdotal. The result is that many teachers cannot draw well
and neither can their pupils. Therefore they are doomed to create what I call geometrical or
biological abstractions—Scotch plaid or turkey-dinner paintings.” Hale’s own drawings look
rather like Rorschach tests that the doctor never thought of. Using India ink and a very long brush,
Hale sketches in the shadows of ideas. These blotlike shadows have sensitivity and boldness—a
happy combination—but what do they signify? Plenty, he says: “In some cases I think I have
achieved negative realism. In a few years I think it will be possible to communicate with life on
other planets around the sun. I suspect we will learn more about negative realism from the beings
on other planets. Negative realism is in the subconscious. New artists must break a hole in the
subconscious and go fishing there.”
In 1948, Metropolitan Museum director Francis Henry Taylor asked Hale to organize the Department of
Contemporary American Art. In 1950, Hale was caught in the middle between the “Irascible 18” artists
and their protest that the juries were “notoriously hostile to advanced art.” Hale defended himself by
stating that “certain advanced artists refrained from entering the competition.” Hale facilitated the
Met’s acquisition of Jackson Pollock’s monumental poured painting Autumn Rhythm, 1950, despite
much resistance from the museum’s trustees. He retired as curator emeritus in 1966 and continued
teaching at the Art Students League until 1982.
Hale’s parents collected avant-garde 20th century art. His aunt Ellen Day Hale (1855-1940), uncle Phillip
Leslie Hale (1865-1931) and cousin Buckminster Fuller (1895-1983) were all artists.
Hale died at 84 years old at his home in Newburyport, Massachusetts, he was also a resident of Hydra,
Greece.
1
1
William R. Greer, “Robert Hale Dies; A Former Curator; Founder of Met’s Department of Modern American Art —Celebrated in
‘79 Show,” The New York Times, November 15, 1985.
112
ROBERT BEVERLY HALE
American (1901-1985)
UNTITLED (FIVE WORKS)
India ink on paper, (a,b,c) signed and dated lower right
"Robert B. Hale '59" (d) signed lower left "Robert B. Hale" (e) unsigned
(a) 40 x 30 inches (b,c,d,e) 22 x 29 inches
PROVENANCE
Estate of the artist; Private Collection, Massachusetts.
Estimate $2,000—$3,000
112D
121
112E
112C
112B
122
113
JIMMY ERNST
American / German (1920-1984)
BLACK ON BLACK #4, 1962
oil and enamel on fiberboard,
signed and dated lower right "Jimmy Ernst 62"
13
7
8 x 19
7
8 inches
PROVENANCE
Grace Borgenicht Gallery, New York, New York; Joseph
H. Hirshhorn, New York and Washington, D.C.
(acquired from the above in 1966); Joseph H. Hirshhorn
bequest, Hirshhorn Museum, Washington, D.C., 1981;
Sotheby's Arcade, New York, New York, February 24,
1995, lot 331; The Jeanne and Carroll Berry Collection,
Atlanta, Georgia.
EXHIBITED
Kolnischer Kunstverein, Cologne, Germany, "Jimmy
Ernst, " May 17 - June 23, 1963, no. 15; Grace
Borgenicht Gallery, New York, New York, "Jimmy Ernst:
A selection of Black on Black Paintings 1952-1966," April
19 - May 1966, no. 7; Ackland Art Museum, University of
North Carolina, Chapel Hill, North Carolina, March 4 -
May 31, 2007.
Estimate $3,000—$5,000
114
ROBERT MANGOLD
(American, b. 1937)
"
1
2 GRAY CURVED AREA SERIES X"
"
1
2 MANILA CURVED AREA SERIES W"
"
1
2 BROWN CURVED AREA SERIES V"
(GROUP OF THREE)
three color screenprints with linear screen hand-cut by
the artist in colors on white rag paper with full-margins,
each titled lower left center, numbered lower center
"47/50," signed and dated lower right "R. Mangold '68"
14 x 26 inches, each (sheet)
PROVENANCE
Private Collection, Connecticut.
Estimate $4,000—$6,000
113
114B 114C
114A
123
115
ROBERT MOTHERWELL
American (1915-1991)
UNTITLED
lithograph on arches paper, printed and published by
Hollander's Workshop, New York from "Portfolio 9," 1966
with publisher's blind stamp, initialed in pencil lower left
"RM," numbered in pencil lower right "72/100"
22
1
4 x 16
3
4 inches (sheet)
PROVENANCE
Private Collection, Massachusetts.
Estimate $2,000—$3,000
116
THEODOROS STAMOS
American (1922 - 1997)
UNTITLED, 1950
black pen, ink and gouache on board, signed and
dated lower left "Stamos 1950"
10
3
4 x 15
3
4 inches (sight)
PROVENANCE
Kouros Gallery, New York, New York, February 26, 2005;
The Jeanne and Carroll Berry Collection, Atlanta,
Georgia.
EXHIBITED
Georgia Museum of Art, University of Georgia, Athens,
Georgia, "Advanced and Irascible: Abstract
Expressionism from the Collection of Jeanne and Carroll
Berry," Jan. 14 - Apr. 30, 2017.
Estimate $1,000—$1,500
117
RICHARD SERRA
American (b. 1938)
"BALLAST II"
etching on Hahnemuhle Copperplate 300 gsm paper,
signed, dated, numbered and inscribed on the reverse
with publisher stamp Gemini G.E.L., Los Angeles, "R. Serra
2011, 33/95"
30 x 23
3
4 inches
PROVENANCE
International Art Resources Inc., Calabasas, California;
AC Fine Arts, Inc., New York, New York; Private Collection,
Virginia.
Estimate $3,000—$5,000
115
117
116
118
CLYDE ASPEVIG
American (b. 1951)
"FROSTY MORNING, SWAN LAKE (MONTANA)"
oil on canvasboard, signed and dated lower left "C. Aspevig 07"
24 x 30 inches
PROVENANCE
The artist; Private Collection, California.
EXHIBITED
Santa Barbara Historical Museum, Santa Barbara, California,
"America's Grandeur, Landscapes of Clyde Aspevig," October 22,
2010 - January 31, 2011, cat. no. 14 (illustrated in color).
Estimate $8,000—$12,000
118
124
119
CLYDE ASPEVIG
American (b. 1951)
"VINEYARD SOUND MOONRISE"
oil on canvas mounted on board, signed and dated lower left "C. Aspevig '09"
24 x 30 inches
PROVENANCE
The artist; Private Collection, California.
EXHIBITED
National Arts Club, New York, New York, "Clyde Aspevig - One Man Exhibition,"
May 5 - May 17, 2009.
Notes
A letter from the artist dated 2017 describes this work as a "...View painted
from Naushon Island (part of the Elizabeth Islands just off Cape Cod) of a
moonrise over Martha's Vineyard to the east...This painting was done one
evening after a long hike. The light was seaward, and the boardwalk was an
invitation to enjoy the moon in all its glory."
Estimate $15,000—$25,000
119
125
120
EMILE A. GRUPPE
American (1896-1978)
"BIRCH TREES IN WINTER, VERMONT"
oil on canvas,
signed lower left "Emile A. Gruppe"
30 x 36 inches
PROVENANCE
Private Collection, Hollywood, Florida.
Estimate $5,000—$7,000
121
EMILE A. GRUPPE
American (1896-1978)
WINTER SUNLIGHT THROUGH THE TREES
oil on canvas,
signed lower right "Emile A. Gruppe"
25 x 30 inches
PROVENANCE
Private Collection, Hollywood, Florida.
Estimate $4,000—$6,000
120
121
126
122
MILTON AVERY
American (1885-1965)
"BLUE AND GOLD" (THE EAST HARTFORD MEADOWS)
oil on panel, signed lower right "Milton Avery"
11
1
4 x 15 inches
PROVENANCE
Private Collection, West Hartford, Connecticut; Private
Collection, Ft. Lauderdale, Florida; Private Collection,
Hollywood, Florida.
Notes
A letter of authenticity from The Milton and Sally Avery Arts
Foundation, Inc. accompanies the lot.
Estimate $12,000—$18,000
122
127
123
PAULINE LENNARDS PALMER
American (1867-1938)
"BACKSTREET, PROVINCETOWN," CA. 1924
oil on board, signed lower right "Pauline Palmer"
20 x 24 inches
PROVENANCE
D. Clinton Hynes Fine Art, Chicago, Illinois; Private
Collection, Illinois; Private Collection, Rhode Island;
Shannon's, Milford, Connecticut, October 27, 2016, lot 64;
Private Collection, Connecticut.
EXHIBITED
Lakeview Museum of Arts and Sciences, Peoria, Illinois,
"Pauline Palmer: American Impressionist, 1867-1938," Peoria,
Illinois, 1984, cat. no. 16.
Estimate $12,000—$18,000
123
128
Pauline Palmer was a highly successful Chicago artist and also
a tireless supporter of arts and women’s organizations. Palmer
stayed committed to Impressionism throughout her career and
trained with many important American Impressionists including
William Merritt Chase, Frank Duveneck and Charles Webster
Hawthorne. She completed her early training at the School of
the Arts Institute of Chicago in the 1890s with Chase and
Duveneck. Subsequently, Palmer spent a great deal of time
traveling in Europe and staying at artist colonies like Giverny. In
her later years, she mainly stayed stateside in Chicago and
Provincetown, spending time with Hawthorne at his
Provincetown school as of 1915. Significant awards and recog-
nition came regularly throughout her career, and the Art
Institute of Chicago held a memorial exhibition of her work in
1939.
The Provincetown Art Colony is one of the longest continuing
artist colonies in the world and played an important role in the
development of American Impressionism. Its’ first two summer
schools were opened by Impressionists Charles Webster
Hawthorne in 1899 and E. Ambrose Webster in 1900. It swelled
during World War I when many expats who had been living in
European artist colonies like Giverny returned to the States.
Palmer’s paintings of its summer streets are emblematic of the
time, highlighting the bright summer light that the town was
hailed for as well as its quaintness, before it became the tourist
mecca it’s known for today.
124
PAULINE LENNARDS PALMER
American (1867-1938)
"AFTERNOON SUN," PROVINCETOWN
oil on board, signed lower right "Pauline Palmer"
19
1
2 x 23
7
8 inches
PROVENANCE
Private Collection, Connecticut; Shannon's, Milford, Connecticut,
October 27, 2016, lot 64; Private Collection, Connecticut.
EXHIBITED
Provincetown Art Association, Inc., Annual Exhibit, 1936, no. 21.
Estimate $8,000—$12,000
124
129
125
ALFRED HEBER HUTTY
American (1877-1954)
"GOLDEN MAPLES"
oil on board, signed lower left "Alfred Hutty," titled and
inscribed on the reverse "Woodstock, NY"
12 x 16 inches
PROVENANCE
Private Collection, Connecticut.
Estimate $2,000—$3,000
126
WALTER LAUNT PALMER
American (1854-1932)
"RAVINE AT ARKVILLE, NEW YORK"
watercolor on paper, signed lower right
"Walter Launt Palmer"
17
1
2 x 23
1
4 inches (sight)
PROVENANCE
Mr. Frederick W. Kelley, Loudonville, New York; Shannon's,
Milford, Connecticut, April 30, 2009, lot 129; Private
Collection, Alabama; Shannon's, Milford, Connecticut, April
30, 2020, lot 34; Private Collection, Connecticut.
ILLUSTRATED
Maybelle Mann, "Walter Launt Palmer, Poetic Reality: A
Catalogue Raisonne," (Exton, Pennsylvania: Schiffer Pub.
Ltd., 1984), p. 123, cat. no. 292.
Estimate $4,000—$6,000
127
GUY CARLETON WIGGINS
American (1883-1962)
ROCKS AND TREES
oil on canvasboard, signed lower left "Wiggins"
12 x 16 inches
PROVENANCE
Private Collection, New York; Shannon's,
Greenwich, Connecticut, May 4, 2006, lot 184;
Private Collection, Mississippi; Shannon's, Milford,
Connecticut, October 24, 2019, lot 171; Private
Collection, Connecticut.
Estimate $3,000—$5,000
125
127
126
130
128
WILLIAM BLISS BAKER
American (1859-1887)
SUMMER PASTURE
oil on canvas, signed lower right
"Wm. Bliss Baker"
17 x 21 inches
PROVENANCE
Private Collection, Connecticut.
Estimate $4,000—$6,000
129
LEONARD OCHTMAN
American (1854-1935)
SUMMER IN THE VALLEY
oil on canvas, signed lower left
"Leonard Ochtman"
24 x 30 inches
PROVENANCE
Private Collection, Connecticut.
Estimate $5,000—$7,000
128
129
131
132
130
ALEXANDER HELWIG WYANT
American (1836-1892)
FIELD BROOK
oil on canvas, signed lower right "A. H. Wyant"
10 x 14 inches
PROVENANCE
Sotheby's, New York, New York, September 24, 2008,
lot 92; Private Collection, California.
Notes
This work is included in the online Catalog Raisonné
for the artist, alexanderwyant.org, compiled by Mr.
Anthony E. Battelle and listed under ref. 121.007
(http://www.alexanderwyant.org/browse/121/007).
Estimate $3,000—$5,000
131
EDWARD GAY
American (1837-1928)
"SUNSET" EAST CHESTER MARSHES, NEW YORK
oil on panel, signed on a label on the reverse
12 x 16 inches
PROVENANCE
Private Collection, Connecticut; Shannon's,
Milford, Connecticut, April 23, 2015, lot 176; Private
Collection, New York.
Notes
Inscribed on a label on the reverse from the artist
"Sunset on the East Chester Marshes, Westchester
Co. NY. I consider this panel one of the best things
I have done. Signed Edward Gay"
Estimate $2,500—$3,500
132
REGIS FRANCOIS GIGNOUX
American/French (1816-1882)
"RAPIDS, ROCKS AND TREES"
oil on canvas, numbered on a label on the stretcher "267"
12
5
8 x 16 inches
PROVENANCE
The artist; Descended in the family to the artist's grandson
Marc de St. Maurice; Concept Gallery, Pittsburgh,
Pennsylvania; Private Collection, Pennsylvania.
Notes
A copy of the artist's journal entry corresponding to the
label number accompanies the lot. A copy of a letter
from the artist's grandson, Marc de St. Maurice discussing
the provenance accompanies the lot.
Estimate $4,000—$6,000
130
132
131
133
JERVIS MCENTEE
American (1828-1891)
"WOODLAND INTERIOR"
oil on canvas, dated lower right
"Aug. 9.88"
11 x 15
1
2 inches
PROVENANCE
Alexander Gallery, New York, New
York; Private Collection, New Haven,
Connecticut; Private Collection,
New York.
Estimate $6,000—$8,000
134
OTTO SOMMER
American/German (1811-1911)
CROSSING THE BRIDGE
oil on canvas, signed, inscribed
and dated lower left "Otto
Sommer, N.Y. 1868"
27
1
4 x 40
3
4 inches
PROVENANCE
Insurance Company of North
America, Philadelphia,
Pennsylvania; Private Collection,
Connecticut.
Notes
A label inscribed "Purchased by
the Insurance Company of North
America, November 30, 1937" is
on the reverse. A label from Cigna
Museum and Art Collection is on
the reverse.
Estimate $6,000—$8,000
133
134
133
134
135
ALEXIS JEAN FOURNIER
American (1865-1948)
"LOW TIDE, LYME COVE"
oil on canvas, signed lower left "Alexis Fournier,"
signed and titled on the reverse
20 x 24 inches
PROVENANCE
Dana Tillou Fine Arts, Buffalo, New York; Private
Collection, Grand Island, New York; A.J. Kollar Fine
Paintings LLC, Seattle, Washington; Private
Collection, Seattle, Washington.
EXHIBITED
A.J. Kollar Fine Paintings LLC, Seattle, Washington,
October 10, 2016 - December 10, 2016, illustrated
in the catalog, p. 6.
Estimate $4,000—$6,000
136
ELIOT CANDEE CLARK
American (1883-1980)
"FOOT BRIDGE AT MR. OGDEN'S PLACE"
oil on canvasboard, signed lower left "Eliot Clark N.A.,"
titled on a label on the reverse
20 x 16 inches
PROVENANCE
Estate of the artist; Mrs. Eliot Clark; Private Collection,
New York, New York.
Notes
A label from E.H. and A.C. Friedrichs Co. New York,
New York is on the reverse.
Estimate $1,500—$2,500
137
JOHN R. GRABACH
American (1886-1981)
"STREAM IN WINTER" (POSSIBLY CENTRAL PARK)
oil on canvas, signed lower left "John R. Grabach,"
signed and titled on a label on the reverse
24 x 30 inches
PROVENANCE
Private Collection, Connecticut.
Estimate $3,000—$5,000
135
137
136
138
ABBOTT FULLER GRAVES
American (1859-1936)
SOUTHERN BALCONY (PROBABLY NEW ORLEANS)
oil on canvasboard, signed lower left "Abbott Graves"
15
3
4 x 11
7
8 inches
PROVENANCE
Private Collection, California; Shannon's, Milford,
Connecticut, October 26, 2017, lot 42;
Private Collection, Connecticut.
Estimate $4,000—$6,000
139
ROBERT REID
American (1862-1929)
A SUMMER AFTERNOON ALONG THE STREAM
oil on canvas, signed lower left "R. Reid"
29 x 26 inches
PROVENANCE
M. Knoedler & Co. Inc. New York, New York;
Private Collection, New York.
Estimate $7,000—$9,000
138
139
135
140
ARTHUR RACKHAM
British (1867-1939)
"THE GARDENER"
watercolor on board, signed lower right "Arthur Rackham"
10 x 8
1
2 inches
PROVENANCE
A Greenwich, Connecticut estate; Private Collection, New York.
Notes
This is an original illustration for “Some British Ballads” illustrated by
Arthur Rackham.
Estimate $3,000—$5,000
141
ARTHUR RACKHAM
British (1867-1939)
"DUKE OF GORDON'S DAUGHTER"
watercolor on board, signed lower left "A. Rackham"
10
1
2 x 8
1
8 inches
PROVENANCE
A Greenwich, Connecticut estate; Private Collection, New York.
Notes
This is an original illustration for “Some British Ballads” illustrated by
Arthur Rackham.
Estimate $3,000—$5,000
142
JOHN CONSTABLE
British (1776-1837)
STUDY OF A MALE NUDE
black and white chalk on blue paper
13
3
4 x 21
1
4 inches (sheet)
PROVENANCE
Sotheby's, London, England, December 11, 1946,
lot 143; Malcolm Stearns Jr.; Private Collection,
Connecticut.
ILLUSTRATED
Charles Rhyne, "Constable Drawings and
Watercolours in the Collections of Mr. And Mrs.
Paul Mellon and the Yale Center for British Art:
Part I;" Authentic Works, "Master Drawings, No. 2,"
Summer 1981, p.133, 135 is entry for his No. 25, pp.
142-43, notes 19, 20 and reproduced fig. 7;
Graham Reynolds, "The Early Paintings and
Drawings of John Constable," 1996, p. 126, no.
08.49, pl. 729.
Estimate $8,000—$12,000
140
142
141
136
143
LEONARD TSUGUHARU FOUJITA
French/Japanese (1886-1968)
TWO RECLINING NUDES
etching with roulette and stipple,
signed in pencil lower right "Foujita"
and numbered lower left "73/100"
15
3
4 x 23
3
8 inches (plate)
PROVENANCE
Private Collection, Pennsylvania.
Estimate $4,000—$6,000
144
JOSEF ISRAELS
Dutch (1824-1911)
MOTHER AND CHILD
oil on canvas, signed lower left
"Josef Israels"
13 x 15 inches
PROVENANCE
Private Collection, New York.
Estimate $5,000—$7,000
143
144
137
138
145
BRUCE CRANE
American (1857-1937)
"OCTOBER DAY"
oil on canvas, signed lower right "Bruce Crane N.A.,"
signed and titled on the stretcher
18 x 24 inches
PROVENANCE
A Connecticut Estate; Private Collection, New York.
Estimate $3,000—$5,000
146
JOHN FRANCIS MURPHY
American (1853-1921)
EARLY SPRING
oil on canvas, signed and dated lower left
"J. Francis Murphy 1901"
24
1
4 x 36 inches
PROVENANCE
Private Collection, Massachusetts.
Estimate $4,000—$6,000
147
FRANK ANDERSON
American (1844-1891)
"CEDARS"
oil on canvas, initialed lower right "F.A.,"
signed and titled on the stretcher
8
1
4 x 6
1
4 inches
PROVENANCE
Hawthorne Fine Art, New York, New York;
Private Collection, Connecticut.
Estimate $3,000—$5,000
145
147
146
148
FIDELIA BRIDGES
American (1834-1923)
MORNING GLORIES
oil on canvas, signed lower left "F. Bridges"
8
3
4 x 6
1
2 inches
PROVENANCE
Private Collection, Connecticut.
Estimate $3,000—$5,000
149
FIDELIA BRIDGES
American (1834-1923)
MYRTLE AND LILIES
oil on canvas, signed lower right "F. Bridges"
8
1
2 x 6
1
2 inches
PROVENANCE
Private Collection, Connecticut.
Estimate $3,000—$5,000
148
149
139
150
WALTER JOSEPH PHILLIPS
Canadian (1884-1963)
"WINTER WOOD CUTS"
fifteen woodcuts printed in colors, twelve signed with monogram in the plate,
each signed and one numbered "69" in pencil, in the original folio
15
1
8 x 11
1
2 inches (sheet, each) plate sizes vary
PROVENANCE
A Hagerstown, Pennsylvania estate; Private Collection, Virginia.
Estimate $10,000—$15,000
140
141
142
151
ALLEN BUTLER TALCOTT
American (1867-1908)
LANDSCAPE WITH SHEEP GRAZING
oil on canvas, signed and dated lower left "Allen B. Talcott 1901"
20 x 30 inches
PROVENANCE
Private Collection, Connecticut; Shannon's, Milford, Connecticut,
April 28, 2016, lot 240; Private Collection, New York.
Estimate $2,000—$3,000
152
ARTHUR FITZWILLIAM TAIT
American (1819-1905)
SHEEP ON A HILLSIDE
oil on panel, signed and dated "A.F. Tait 1896"
8 x 10 inches
PROVENANCE
Private Collection, Connecticut.
Estimate $3,000—$5,000
153
HENRY PEMBER SMITH
American (1854-1907)
REFLECTIONS ON THE RIVER
oil on canvas, signed lower left "Henry P. Smith"
20 x 28 inches
PROVENANCE
Property of a Southern Gentleman; Shannon's,
Milford, Connecticut, April 23, 2015, lot 154;
Private Collection, New York.
Estimate $2,500—$3,500
151
153
152
143
154
WILLIAM RICKABY MILLER
American (1818-1893)
"VIEW OF STATEN ISLAND FROM UNION HILL, NJ"
oil on canvas, signed and dated lower right
"W.R. Miller 1885"
12 x 18 inches
PROVENANCE
Lawrence W. Cramer, Governor, Virgin Islands; Cramer
Estate; Lawrence W. Cramer, Jr.; Barridoff Galleries,
Portland, Maine, July 31, 2002, lot 191;
Private Collection, New York.
Estimate $4,000—$6,000
155
CHARLES H. CHAPIN
American (1830-1889)
RIVER VALLEY LANDSCAPE
oil on canvas, signed lower left "C.H. Chapin"
12 x 20 inches
PROVENANCE
Private Collection, Florida.
Estimate $2,500—$3,500
156
GEORGE HENRY SMILLIE
American (1840-1921)
"A RIVER GLIMPSE"
oil on canvas, signed and dated lower right
"Geo. H. Smillie 66," signed, titled and dated on the
reverse "Geo. H. Smillie May 1866"
6 x 10 inches
PROVENANCE
Private Collection, New York.
Estimate $1,500—$2,500
154
156
155
144
157
ROBERT VICKREY
American (1926-2011)
"SANTORINI CAT"
egg tempera on masonite, signed lower left "Robert Vickrey"
14 x 19 inches
PROVENANCE
Harmon Meek Gallery, Naples, Florida; Private Collection,
Massachusetts; Vose Galleries, Boston, Massachusetts; Private
Collection, Massachusetts.
Estimate $3,000—$5,000
158
JANE WILSON
American (1924-2015)
"MORNING IN SABAUDIA"
oil on canvas, signed, dated and titled on the stretcher
"Jane Wilson 1966"
42 x 50 inches
PROVENANCE
Tibor DeNagy Gallery, New York, New York; A New Jersey
estate; Shannon's, Milford, Connecticut, October 24, 2012,
lot 141; Collection of Contemporary Women Artists,
Connecticut.
Estimate $2,500—$3,500
159
MARCEL DYF
French (1899-1985)
"VERGER À BOIS D'ARCY"
oil on canvas, signed lower right "Dyf"
18 x 21
3
4 inches
PROVENANCE
Private Collection, Washington, D.C.
Notes
This painting is registered in the Marcel Dyf Catalog
Raisonné as catalog N°ID 3644.
Estimate $3,000—$5,000
157
159
158
160
PETER SCOTT
British (1909-1989)
GEESE IN FLIGHT
oil on canvas, signed and dated lower right
"Peter Scott 1974"
20 x 30 inches
PROVENANCE
Private Collection, Pennsylvania.
Estimate $2,500—$3,500
161
KEITH SHACKLETON
British (1923-2015)
MARCH OF THE PENGUINS
oil on masonite, signed and dated lower right
"Keith Shackleton 72"
17
3
4 x 29
3
4 inches
PROVENANCE
Private Collection, Pennsylvania.
Estimate $2,500—$3,500
162
AMERICAN SCHOOL
(19th/20th Century)
"PILOT BOAT NETTLE" (N.Y. HARBOR)
oil on board, monogrammed "C.B."
19 x 27 inches
PROVENANCE
Forbes Collection, White Plains, New York; Private
Collection, Maine.
Estimate $1,500—$2,500
160
162
161
145
163
ALBERT KOTIN
American (1907-1980)
COUPLE DANCING
oil on canvas, artist's estate stamp on the reverse with inventory "no. 0192"
49 x 36 inches
PROVENANCE
Estate of the artist; Michael F. McClintock, Lambertville, New Jersey; Private
Collection, Connecticut.
Notes
A copy of a letter of authenticity from Michael F. McClintock accompanies
the lot.
Estimate $3,000—$5,000
164
JOHN R. GRABACH
American (1886-1981)
"THE FAN DANCER"
oil on canvas laid down on board, signed lower left
"John R. Grabach," signed and titled on a label on
the reverse
12 x 15
7
8 inches
PROVENANCE
Private Collection, Connecticut.
Estimate $2,500—$3,500
165
PETER HOPKINS
American (1911-1999)
"HEALTH FOOD STORE"
oil on canvas, signed lower right
"Peter Hopkins," signed and titled on the stretcher
20 x 24 inches
PROVENANCE
The artist; Private Collection, Connecticut.
Notes
A copy of the purchase receipt from the artist
accompanies the lot.
Estimate $2,500—$3,500
163
165
164
146
166
JOSEPH HIRSCH
American (1910-1981)
"SAUNA"
oil on canvas, signed and dated lower left
"Joseph Hirsch"
50 x 60 inches
PROVENANCE
Kennedy Galleries, New York, New York;
Shannon's, Milford, Connecticut, October 28,
2010, lot 191; Private Collection, Connecticut.
EXHIBITED
Kennedy Galleries, New York, New York, "Joseph
Hirsch Recent Paintings", April 7-24, 1976, n. 4,
illus.
Estimate $6,000—$8,000
167
JACQUES CANCARET
French (19th/20th Century)
"NU AUX COLLIERS" (NUDE WITH A NECKLACE)
oil on canvas, signed lower left "J. Cancaret"
32 x 39
1
2 inches
PROVENANCE
Sotheby's, New York, New York, June 5, 2001,
lot 418; Private Collection, Connecticut.
Notes
A Sotheby's France label is on the reverse.
A Jules Claretie, Paris label is on the reverse.
Estimate $5,000—$7,000
166
167
147
168
GEORGE BENJAMIN LUKS
American (1867-1933)
A DAY AT THE ZOO
watercolor and pencil on paper, signed upper right "George Luks"
9
3
4 x 7
1
2 inches (sight)
PROVENANCE
ACA Gallery, New York, New York; Private Collection, New York; Davis
Galleries, New York, New York; Mr. and Mrs. Sanford I. Feld, New Jersey;
Private Collection, New York; Swann Galleries, New York, New York, June 14,
2018, lot 33; Private Collection, Alabama.
EXHIBITED
The Pennsylvania State University Museum of Art,, State College,
Pennsylvania, "Selections from the Collection of Mimi and Sanford Feld,"
March 22 - May 24, 1981, catalog number 13 (illustrated); Aspen Center for
the Visual Arts, Aspen, Colorado, "Selections from the Collection of Sanford
and Mimi Feld," October 10 - November 22, 1981; Sordoni Art Gallery, Wilkes
College, Wilkes-Barre, Pennsylvania, "George Luks: An American Artist," May
3-June 14, 1987; Canton Art Institute, Canton, Ohio, "George Luks:
Expressionist Master of Color-The Watercolors Rediscovered," November 25,
1994-January 29, 1995, catalog page 28 (illustrated).
Estimate $4,000—$6,000
169
CHARLES DEMUTH
American (1883-1935)
"FISH SERIES, NUMBER EIGHT"
watercolor and pencil on paper, signed, numbered
and inscribed on the reverse " Demuth / No. 1 /
"Cette aquarelle a été acheté a Demuth par fin mon
mari Henri Pierre Roché / Denise Roché"
9
3
4 x 7
3
4 inches
PROVENANCE
The artist (c. 1917-1919); Henri Pierre Roché; Denise
Roché (wife of the above); DC Moore Gallery, New
York, New York; Salander-O'Reilly Galleries, New York,
New York; Richard York Gallery, New York, New York;
Private Collection; Sotheby’s, New York, New York;
June 9, 2016, lot 56; Private Collection, Alabama.
Estimate $3,000—$5,000
170
RAPHAEL SOYER
American (1899-1987)
SELF PORTRAIT WITH MODEL
oil on paper on canvas, signed lower center
"Raphael Soyer"
15
1
2 x 19
1
2 inches
PROVENANCE
Forum Gallery, New York, New York;
Collection of Dr. and Mrs. Michael
Schlossberg, Christie's, New York, New York,
February 1, 1989, lot 296; Private Collection,
Alabama.
Estimate $3,000—$5,000
168
170
169
148
149
171
BRIAN CLARKE
British (b. 1953)
UNTITLED
acrylic and paper collage on paper, signed on the
reverse "Brian Clarke"
41
5
8 x 41
5
8 inches
PROVENANCE
Private Collection, Massachusetts.
Notes
Brian Clarke Studio no. 84-112.
Estimate $2,000—$3,000
172
VICTOR VASARELY
French (1906-1997)
"SINLAG II - BLUE WITH RED AND GREEN"
collage on paper, signed lower right "Vasarely" and
numbered lower left "86/120"
29
1
2 x 30
1
2 (sight)
PROVENANCE
Private Collection, New Jersey; Shannon's, Milford,
Connecticut, April 23, 2015, lot 55; Private Collection,
Connecticut.
Estimate $3,000—$5,000
173
HILLA REBAY
American (1890 - 1967)
"LARGHETTO"
watercolor and colored pencil on paper,
signed lower right "Rebay," signed, dated and titled on
the original paper liner (now removed) attached to
the reverse "Hilla Rebay 1944"
14
1
4 x 15
1
2 inches
PROVENANCE
Private Collection, Massachusetts.
Estimate $3,000—$5,000
171
173
172
174
ROMEO V. TABUENA
Filipino (1921-2015)
WOMEN AND CHILDREN
oil on masonite, signed and dated upper
left "Tabuena 1963"
23
1
4 x 35
3
4 inches
PROVENANCE
Private Collection, Connecticut.
Estimate $3,000—$5,000
175
JACQUES WOLF
French (1896-1956)
LE TOILETTE
oil on canvas, signed lower right "Jacques Wolf," inscribed on the
reverse "Interprete Par Troubetzkoy"
50
1
4 x 50
1
4 inches
PROVENANCE
Jack-Philippe Ruellan, S.A.R.L., Vannes, France, April 8, 2017, lot 35;
Private Collection, Connecticut.
Estimate $2,500—$3,500
176
AMERICAN SCHOOL
(20th Century)
SAILORS IN PORT
oil on masonite, unsigned
36 x 96 inches
PROVENANCE
Private Collection, Connecticut.
Estimate $3,000—$5,000
174
176
175
150
177
ISIDORE KONTI
American (1862-1938)
FEMALE FIGURE (THE BROOK)
bronze, signed and inscribed "I. Konti,
Roman Bronze Works N.Y. "
height: 10
1
2 inches
PROVENANCE
Private Collection, Maryland.
Estimate $2,000—$3,000
178
ALLAN CLARK
American (1896-1950)
CHARMION
bronze, signed "Allan Clark" and stamped
"Roman Bronze Works N.Y."
height: 14
1
8 inches
PROVENANCE
Private Collection, Connecticut.
Estimate $3,000—$5,000
179
ALLAN CAPRON HOUSER
American (1914-1994)
SEATED DRUMMER
bronze, signed, dated and numbered "Houser 67, 8/29"
height: 7
3
4 inches
PROVENANCE
A Western Collection.
Estimate $2,000—$3,000
177
179
178
151
180
KARL WITKOWSKI
American (1860-1910)
THE LITTLE HUNTER
oil on canvas, signed lower right "K. Witkowski"
24 x 20 inches
PROVENANCE
Sotheby's, New York, New York, December 12, 2006, lot 8;
Private Collection, California.
Estimate $5,000—$7,000
181
DOUGLAS VOLK
American (1856-1935)
"PORTRAIT OF A YOUNG GENTLEMAN"
oil on canvas, signed lower right "Douglas Volk"
45 x 34 inches
PROVENANCE
Grand Central Art Galleries, New York, New York;
Private Collection, New York.
Estimate $4,000—$6,000
182
MARGUERITE STUBER PEARSON
American (1898-1978)
"HOLIDAY PASTIME"
oil on canvas, signed lower left "Marguerite S.
Pearson"
25 x 30 inches
PROVENANCE
Rockport Art Association, Rockport,
Massachusetts; Private Collection, New York.
Estimate $2,500—$3,500
180
182
181
152
153
183
NICOLA SIMBARI
Italian (1927-2012)
"INTERLUDE"
oil on canvas, signed and dated lower right "Simbari '64"
40 x 43
1
2 inches
PROVENANCE
Country Art Gallery, Locust Valley, New York; Private
Collection, New York; Shannon's, Milford, Connecticut, April
28, 2016, lot 127; Private Collection, Connecticut.
Estimate $2,000—$3,000
184
MARCEL DYF
French (1899-1985)
"CLAUDINE À LA LECTURE," 1975
oil on canvas, signed lower right "Dyf"
21
3
4 x 18 inches
PROVENANCE
Private Collection, Washington, D.C.
Notes
This painting is registered in the Marcel Dyf Catalog
Raisonné as catalog N°ID1986.
Estimate $3,000—$5,000
185
FRANCESCO PAOLO MICHETTI
Italian (1851-1929)
CHILD WITH DOLL
oil on panel, signed lower right "Michetti"
12
1
4 x 6 1⁄4 inches
PROVENANCE
Private Collection, Pennsylvania.
Estimate $4,000—$6,000
183
185
184
186
WILL HICOCK LOW
American (1853-1932)
"CHLOE"
oil on panel, signed and dated lower center
"Will H. Low 1883," titled and signed on the reverse
14 x 10 inches
PROVENANCE
Berry-Hill Galleries, New York, New York; Sotheby's, New York,
New York, June 9, 2016, lot 186; Private Collection, New York.
Estimate $3,000—$5,000
187
JAMES CARROLL BECKWITH
American (1852-1917)
PORTRAIT OF A FRENCH GIRL
oil on canvas, signed, dated and inscribed left center "To
Mr. Sherwood, from his affectionate nephew, Carroll
Beckwith, Paris, 1870"
12 x 12 inches
PROVENANCE
Private Collection, Connecticut.
EXHIBITED
The New Britain Museum of American Art, New Britain,
Connecticut, "Innocence," June 25 - September 18, 2005.
Estimate $2,000—$3,000
188
JOHN O'BRIEN INMAN
American (1828-1896)
OUTDOOR STILL LIFE WITH ROSES
oil on canvas, signed and dated lower center
"J. O'b Inman 1892"
14 x 24 inches
PROVENANCE
Private Collection, Massachusetts.
Estimate $2,000—$3,000
186
188
187
154
189
CARL REICHERT
Austrian (1836-1918)
PORTRAIT OF A DACHSHUND
oil on panel, signed and dated upper left
"C. Reichert 1896"
12
1
4 x 15
5
8 inches
PROVENANCE
Private Collection, New York.
Estimate $3,000—$5,000
190
HENRY KOEHLER
American (b. 1927)
"STAGE DOOR JOHNNY IN THE BELMONT PADDOCK"
oil on canvas, signed lower left "Henry Koehler,"
signed, titled and dated on the reverse "1968"
18 x 24 inches
PROVENANCE
Private Collection, New York.
Notes
The artist painted this as a gift to the jockey
Heliodoro Gustines after Stage Door Johnny's win of
the Triple Crown Series.
Estimate $2,500—$3,500
191
FRITZI MIKESCH
Austrian (1853-1891)
STILL LIFE, A HUNTER'S BOUNTY
oil on panel, signed and dated lower center
"Fritzi Mikesch1884"
14
1
8 x 10
7
8 inches
PROVENANCE
Christie's, New York, New York, February 15, 1994, lot
78; Jordan-Volpe Gallery, Inc., New York, New York;
Sotheby’s, New York, New York, November 1, 1998,
Lot 222; Property of an American Collection;
Shannon's, Milford, Connecticut, October 29, 2015,
lot 19; Private Collection, Connecticut.
Estimate $3,000—$5,000
189
191
190
155
192
NIKOLAY LEGANGER
American (1832-1905)
"AFTER A STORM, COHASSET, MASS."
oil on canvas, signed lower left "N.T. Leganger,"
initialed, titled and dated on the reverse "1890"
18 x 30 inches
PROVENANCE
Skinner Inc., Marlborough, Massachusetts,
September 12, 2003, lot 286; Private Collection,
Massachusetts.
Estimate $1,000—$1,500
193
EDMUND DARCH LEWIS
American (1832-1928)
RHODE ISLAND COASTLINE
watercolor and gouache on board,
signed and dated lower right
"Edmund D. Lewis 1905"
9 x 20 inches
PROVENANCE
Northeast Auctions, Portsmouth, New
Hampshire, March 1, 2003, lot 724;
Private Collection, Massachusetts.
Estimate $1,500—$2,500
194
REYNOLDS BEAL
American (1867-1951)
"NOANK, CONNECTICUT FROM GROTON LONG POINT"
oil on board, signed and dated lower left
"Reynolds Beal 1905"
12
1
4 x 16 inches
PROVENANCE
The estate of the artist; Royal Galleries, Englewood,
New Jersey; Private Collection, New York, New York.
EXHIBITED
South Street Seaport Museum, New York, New York,
May 1973.
ILLUSTRATED
Sidney Brassler, "Reynolds Beal Impressionist
Landscapes and Seascapes," (British Columbia,
Canada; Farleigh Dickinson University Press, 1989)
p. 66, cat. no. 105.
Notes
A copy of the South Street Seaport Museum
exhibition page accompanies the lot.
Estimate $3,000—$5,000
192
194
193
156
157
195
GEORGE HERBET MCCORD
American (1848-1909)
SHIPYARD
oil on canvas, signed lower right
"G.H. McCord A.N.A."
18 x 29
1
2 inches
PROVENANCE
Private Collection, Connecticut.
Estimate $1,500—$2,500
196
EMILE A. GRUPPE
American (1896-1978)
ROCKPORT
oil on canvas, signed lower right "Emile A. Gruppe"
20 x 24 inches
PROVENANCE
A New York, New York estate; Shannon's, Milford,
Connecticut, April 26, 2018, lot 9; Private Collection,
Connecticut.
Estimate $2,000—$3,000
197
LIONEL WALDEN
American (1861-1933)
FISHING BOATS ALONG THE PIER
oil on canvas, signed lower left "Lionel Walden"
25
1
2 x 36 inches
PROVENANCE
Bonhams, New York, New York, November 28,
2012, lot 69; Private Collection, New York.
Estimate $2,000—$3,000
195
197
196
158
198
EUGENE SAVAGE
American (1883-1978)
"MESSENGER OF SYMPATHY AND LOVE"
(MURAL STUDY FOR THE POST OFFICE BUILDING, D.C.) 1933
oil on board, signed and titled lower left "Eugene
Savage," inscribed lower center "Servant of Parted Friends
/ Consoler of the Lonely / Bond of the Scattered Family /
Enlarger of the Common Life"
20
1
4 x 30
3
8 inches
PROVENANCE
Private Collection, New York, New York.
EXHIBITED
D. Wigmore Fine Art, Inc., New York, New York, "American
Art for the Public: Mural Studies and Paintings, 1930-1945,"
October 22, 2020 - February 12, 2021.
Estimate $4,000—$6,000
199
YVONNE TWINING
American (1907-2004)
BOSTON ROOF TOPS
oil on canvas, signed and dated lower right
"Yvonne Twining 41"
28 x 24 inches
PROVENANCE
Private Collection, Massachusetts.
Estimate $4,000—$6,000
200
JOHN LANDRY
American (20th Century)
CONNIE'S LUNCH, PHILADELPHIA
oil on canvas, signed "Landry" lower right
30 x 24 inches
PROVENANCE
Private Collection, Connecticut.
Estimate $2,500—$3,500
198
200
199
159
END OF SALE
201
JOHANN BERTHELSEN
American (1883-1972)
23RD STREET TO EMPIRE STATE BUILDING
oil on canvasboard, signed lower right "Johann Berthelsen"
15
3
4 x 11
3
4 inches
PROVENANCE
A San Francisco estate; Private Collection, California.
Estimate $2,500—$3,500
202
BRUCE BRAITHWAITE
American (b. 1950)
"REFLECTING TIMES" (TIMES SQUARE, NYC)
oil on canvas, signed lower left "Bruce Braithwaite,"
signed, titled, dated, numbered and inscribed on
the reverse "#443 Princeton, NJ 2013"
18 x 24 inches
PROVENANCE
The artist; Private Collection, Connecticut.
Estimate $2,000—$3,000
203
BRUCE BRAITHWAITE
American (b. 1950)
"GLOUCESTER SUNRISE" (GLOUCESTER, MA)
oil on canvas, signed lower right "Bruce Braithwaite,"
signed, titled, numbered, dated and inscribed on the
reverse "#547 Princeton, NJ 08/05/2018"
24 x 30 inches
PROVENANCE
The artist; Private Collection, Connecticut.
Estimate $2,000—$3,000
201
203
202
160
INDEX
A
ADAMS, JOHN QUINCY 24
AMERICAN SCHOOL 162, 176
ANDERSON, FRANK 147
ASPEVIG, CLYDE 118, 119
AVERY, MILTON 122
B
BAKER, WILLIAM BLISS 128
BEAL, REYNOLDS 194
BECKWITH, JAMES C. 187
BEMELMANS, LUDWIG 10
BENKERT, JOSEF ALBERT 37
BERTHELSEN, JOHANN 1, 201
BOYD, RUTHERFORD 109
BRAITHWAITE, BRUCE 202, 203
BRICHER, ALFRED T. 38, 39, 78,
92
BRIDGES, FIDELIA 25, 26, 148,
149
BROWN, JOHN GEORGE 81
BUTTERSWORTH, JAMES E. 61, 62
C
CAMPBELL, LAURENCE A. 53
CANCARET, JACQUES 167
CARTER, DENNIS MALONE 63
CHADWICK, WILLIAM 20
CHAPIN, CHARLES H. 155
CHAPMAN, JOHN GADSBY 27
CIRINO, ANTONIO 89
CLARK, ELIOT CANDEE 136
CLARK, ALLAN 178
CLARKE, BRIAN 171
COLEMAN, GLENN O. 3
CONSTABLE, JOHN 142
COOPER, COLIN C. 52, 54
CRANE, BRUCE 145
CURRAN, CHARLES C. 107
D
DAVIS, CHARLES HAROLD 19
DAWSON, MONTAGUE 31
DE HAAS, MAURITZ F. H. 103
DE KOONING, WILLEM 111
DEMUTH, CHARLES 169
DUFY, JEAN 9
DYF, MARCEL 6, 7, 8,
159, 184
E
EATON, CHARLES WARREN 80
EBERLE, A. ST. LEGER 65, 66
ENNEKING, JOHN JOSEPH 94
ERNST, JIMMY 113
EVANS, DE SCOTT 85
F
FEININGER, LYONEL 95
FOUJITA, LEONARD T. 143
FOURNIER, ALEXIS JEAN 135
G
GAY, EDWARD 131
GIFFORD, SANFORD R . 40, 77
GIGNOUX, REGIS F. 132
GRABACH, JOHN R. 137, 164
GRAVES, ABBOTT FULLER 138
GROPPER, WILLIAM 110
GRUPPE, EMILE A. 16, 93, 120,
121, 196
GUTMANN, BERNHARD 84
GUY, JAMES MEIKLE 36
H
HAGENAUER, WERKSTÄTTE 14, 74, 75,
76
HALE, ROBERT BEVERLY 112
HARRISON, ALEXANDER 106
HERZOG, HERMANN 79
HIBBARD, ALDRO T. 17
HILL, THOMAS 50
HIRSCH, JOSEPH 166
HOPKINS, PETER 4, 5, 165
HOUSER, ALLAN CAPRON 179
HUTTY, ALFRED HEBER 125
I
INMAN, JOHN O’BRIEN 188
ISRAELS, JOSEF 144
H
KAMROWSKI, GEROME 32, 33, 34
KIRKPATRICK, WILLIAM A. B. 108
KOCH, JOHN 30
KOEHLER, HENRY 190
KONTI, ISIDORE 177
KOTIN, ALBERT 163
KULICKE, ROBERT 97, 98, 99
L
LACROIX, PAUL 46, 47
LANDRY, JOHN 200
161
LANE, RICHARD 104
LEGANGER, NIKOLAY 192
LEVER, RICHARD HAYLEY 88
LEWIS, EDMUND DARCH 193
LOW, WILL HICOCK 186
LUKS, GEORGE BENJAMIN 168
M
REYNA MANESCAU, A. M. 28, 29
MANGOLD, ROBERT 114
McCORD, GEORGE HERBET 195
MCENTEE, JERVIS 133
MCILHENNEY, CHARLES M. 43
METCALF, WILLARD LEROY 58, 83
MICHETTI, FRANCESCO P. 185
MIKESCH, FRITZI 191
MILLER, WILLIAM RICKABY 154
MOLL, MARGARETE (MARG)73
MORA, FRANCIS LUIS 57
MORAN, EDWARD 60
MOTHERWELL, ROBERT 115
MULHAUPT, FREDERICK J. 59
MURPHY, JOHN FRANCIS 146
N
NICHOLS, DALE 51
NOLAND, KENNETH 70
O
OCHTMAN, LEONARD 129
OSTHAUS, EDMUND HENRY 49
P
PALMER, PAULINE L. 123, 124
PALMER, WALTER LAUNT 126
PASHA, HALIL 12
PEARSON, MARGUERITE S. 182
PETO, JOHN FREDERICK 64, 82
PHILLIPS, WALTER JOSEPH 150
PICKHARDT JR., CARL 35
PORTER, CHARLES ETHAN 45
R
RACKHAM, ARTHUR 140, 141
REBAY, HILLA 101, 173
REICHERT, CARL 189
REID, ROBERT 139
RESNICK, MILTON 68, 69
RICHARDS, WILLIAM TROST 41
RIVERA, DIEGO 96
ROBBINS, HORACE W. 90
ROESEN, SEVERIN 44
ROSSEAU, PERCIVAL 48
RYLAND, ROBERT KNIGHT 2
S
SAVAGE, EUGENE 198
SCOTT, PETER 160
SCUDDER, JANET 102
SERRA, RICHARD 117
SHACKLETON, KEITH 161
SHEPPARD, WARREN W. 42
SIMBARI, NICOLA 183
SLOANE, ERIC 18, 22
SMILLIE, GEORGE HENRY 156
SMITH, HENRY PEMBER 153
SOMMER, OTTO 134
SOYER, RAPHAEL 170
STAMOS, THEODOROS 116
STEVENS, WILLIAM LESTER 21
T
TABUENA, ROMEO V. 174
TAIT, ARTHUR FITZWILLIAM 152
TALCOTT, ALLEN BUTLER 151
THEISE, MICHAEL 67
TOBEY, MARK 71, 100
TRYON, DWIGHT WILLIAM 91
TURNER, HELEN MARIA 55, 56
TWINING, YVONNE 199
V
VASARELY, VICTOR 72, 172
VENARD, CLAUDE 13
VICKREY, ROBERT 157
VOLK, DOUGLAS 181
W
WALDEN, LIONEL 197
WARNER, EVERETT L. 15
WAUGH, FREDERICK JUDD 23
WEIR, JOHN FERGUSON 105
WIGGINS, GUY CARLETON 86, 87, 127
WILSON, JANE 158
WITKOWSKI, KARL 180
WOLF, JACQUES 175
WYANT, ALEXANDER H.G 130
Z
ZATZKA, HANS 11
162
CONSIGNMENTS INVITED
TESTIMONIALS
On behalf of my mother and sister, I’d like to express to you our appreciation for the way you conducted the sale of my mother’s oil
painting by M.J. Heade. Being complete novices with a valuable oil painting on our hands, we could have made any number of wrong decisions.
Thanks to the guidance and the hard work of your firm we were able to realize what was probably the maximum price for the painting.
Our experience working with Shannon’s was completely enjoyable and satisfying from start to finish.
-Bill, New Jersey
Approximately three months ago, I walked into your gallery with a somewhat damaged, soiled painting. Since that time, I’ve experienced a
once in a lifetime journey. Your expertise, honesty, and candor were evident throughout this time. I thank you for your guidance and
professionalism.
-John, Connecticut
Thank you for your succinct handling of my five offerings in your April auction. I was more than pleased with the final financial transactions but
even more so with the personal warmth (not condescending professional aloofness as evidenced by many auction houses and galleries) and
willingness to inform the uninitiated to further appreciation of a genuine treasure. Your enthusiasm is evident and infectious.
-Luther, California
To submit artwork for consideration please email photos to
info@shannons.com or visit www.shannons.com
June 2021
On-Line Fine Art Auction.
Consignment deadline - May 15, 2021.
October 2021
Important American & European Paintings, Drawings, Prints & Sculpture.
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163
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(Excluding buyers premium)
$
$
$
$
$
$
$
$
$
Bidding Increments
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164
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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, KS, MA, MI, NE, NJ, NY, OH, OK, PA, RI and
VA and remit the appropriate sales tax. If we do not collect sales
tax in your state, it is still your responsibility to pay the proper 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 attribut-
ing authorship; it does not make any express or implied warran-
tee as to such authorship. Notwithstanding, Shannon’s LLC may,
but shall have no obligation to, consider any reasonable request
for refund on the grounds of authenticity of authorship only and
only under the following conditions:
A. Notification must be made to Shannon’s in writing within
7 days of receipt of the item.
B. The items must be returned within 28 days of the sale,
accompanied by written testimony from a recognized
authority that the lot in question is a forgery.
C. The limited warrantee does not extend to the lots identified
as attributions, school, circle, manner, or after.
D. The limited warrantee is applicable only to the original Buyer.
8. All property is sold "as is".
9. As a convenience to the Buyer, Shannon’s LLC will make a
referral for packing and shipping. This is at the request, expense,
and risk of the Buyer, and Shannon’s assumes no responsibility for
the items or the timing of delivery. Insurance for in transit items is
the responsibility of the buyer. All items must be removed within
30 days post sale or a fee of up to $20 per day will be charged
for storage. Items not collected within twelve months of a sale
will become the property of Shannon’s.
10. Shannon's has retained the Art Loss Register to check all
uniquely identifiable items offered for sale in the catalog that
are estimated for $5,000 or more against the computerized
database of stolen or lost artwork maintained by the Art Loss
Register. A search certificate can be provided by the Art Loss
Register for an additional fee. The Art Loss Register does not
guarantee the provenance or title of any catalogued item
against which they search, and will not be liable for any direct
or consequential losses of any nature howsoever arising. The
statement is not to affect, detract from, or override Shannon's
Conditions of Sale, and in the event of any conflict, Shannon's
Conditions of Sale will take priority to the terms of this statement.
BIDDING AT THIS AUCTION, WHETHER IN PERSON, BY AGENT, ORDER
BID, TELEPHONE, INTERNET OR OTHER MEANS, CONSTITUTES YOUR
ACKNOWLEDGEMENT AND ACCEPTANCE OF THESE "CONDITIONS
OF SALE".
CONDITIONS OF SALE
After: A work of art or object made in the style of an artist or maker, but not by the artist. Sometimes refers multiples that may have used an
artist’s mold or plate, but were reproduced by someone other than the artist, including posthumous works. Can also be used to describe a
direct reproduction after an original work of art.
Attributed (attr.): In our opinion, probably or possibly a work of art by the artist. The work is either unsigned, and/or lacks adequate prove-
nance or authentication by experts in the field.
Bears Signature: The work is signed, but the work and signature may not be by the hand of the artist.
Manner of: Made in the likeness or style of an artist, with a slight possibility that it was made by the artist or by a follower or student of the
artist. Also see “After” and “Attributed”.
Possibly: Being something that may or may not be true or actual without guarantee.
Probably: Supported by evidence strong enough to establish presumption but not proof. We do not guarantee it to be true.
School: Usually relates to a particular artistic or aesthetic movement. It can also relate to an actual school or to followers of a particular artist
or maker. Also see: “Manner of”, “Style”, “Attributed to” and “After”.
Style: After the time period in which the style originated, or a more recent reproduction (ie: Style of Pablo Picasso or Cubist Style), used to
refer to the style of a particular artist or artistic movement, generally made long after that time period.
GLOSSARY OF TERMS
49 Research Drive, Milford, CT 06460 • (203) 877-1711 • Fax (203) 877-1719 • info@shannons.com