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Fine Art Auction Paintings, Drawings, Prints and Sculpture Milford, Connecticut • April 29, 2021

Front cover illustration #47 Back cover illustration #55FINE 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

2MAP AND DIRECTIONSFROM POINTS NORTHFROM POINTS SOUTHExit 40Exit 40• I-95 North to exit 40. • Left at the end of the ramp. • Proceed to the traffic light. • Turn right onto Woodmont Road. • At the first traffic light take a left on Research Drive.• I-95 South to exit 40. • Left off of the ramp onto Woodmont Road. • At the second traffic light take a left onto Research Drive.

TABLE OF CONTENTSMap and Directions 2 Specialist Contacts 3 Artist Index 160 Invitation to Consign 162 Bid Form 163 Conditions of Sale 164Sandra 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 ContactsGeneral 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—$6,0003 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—$6,00012 3442 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—$6,0005 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—$6,000455

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—$8,0007 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—$6,000676

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—$10,00087

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—$8,00010 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—$9,0009108

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—$10,00012 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—$8,0001112A12B9

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—$12,0001310

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—$18,0001411

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—$6,00016 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—$7,000151612

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—$15,0001713

14Eric 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—$25,0001815

1619 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—$3,50020 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—$3,00021 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—$3,500192120

1722 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—$8,00023 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—$10,0002223

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—$18,0002418

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—$18,0002520

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—$15,0002621

22Most 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—$30,0002723

2428 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—$10,00029 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—$7,0002829

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—$12,0003025

26Montague 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—$30,0003127

28Gerome 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—$15,0003229

3033 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—$8,00034 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—$6,0003334

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—$7,00036 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—$7,000353631An 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.

32Expressionism 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—$15,0003733

34Alfred 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—$30,0003835

36Alfred 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—$35,0003937

38The 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—$50,0004039

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—$12,0004140

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—$10,0004241

42Compared 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—$25,0004343

44Severin 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—$50,0004445

4645 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—$7,00046 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—$8,0004546

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—$8,0004747Paul 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 19th 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.

48Born 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—$35,0004849

5049 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—$18,00049

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—$18,0005051

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—$30,0005153

5452 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—$7,00053 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—$7,0005253

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—$12,0005455

56Trained 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—$50,0005557

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—$50,0005658

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—$10,0005759

60Willard 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—$250,0005861

62There 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—$35,0005963

64Edward 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—$25,0006065

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—$30,0006166

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—$30,0006267

68Born 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 19th 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—$18,0006369

70A 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—$25,0006471

72Abastenia 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 19th 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 105th 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—$30,0006573

7466 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—$7,00066A66BThe 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—$8,0006775

76A 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 9th 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—$30,0006877

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—$25,0006978

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—$25,0007079

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—$18,0007180

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—$15,0007281

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—$7,00075 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—$3,5007374 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—$3,000747582

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—$25,0007683

84The 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—$25,0007785

86Today 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—$22,0007887

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—$10,0007988

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—$10,0008089

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—$15,0008190

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—$15,0008291

92A 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—$25,0008393

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—$7,0008494

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—$15,0008595

96Guy 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—$30,0008697

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—$18,0008798

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—$10,00088899989 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—$7,000909110091 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—$25,00092101

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—$12,00093102

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—$18,00094103

104Lyonel 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—$25,00095105

106Diego 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—$22,00096107

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—$3,50098 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—$3,00099 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—$1,800979899108

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—$8,000101 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—$8,000100101109

110Janet 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—$25,000102111

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—$12,000104 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—$10,000103104112

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—$12,000105113

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—$15,000106114

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—$12,000107115

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—$8,000109 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—$7,000108109116

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—$25,000110117

118The 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—$18,000111119

120112ARobert 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—$3,000112D121112E112C112B

122113 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—$5,000114 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—$6,000113114B 114C114A

123115 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—$3,000116 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—$1,500117 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—$5,000115117116

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—$12,000118124

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—$25,000119125

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—$7,000121 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—$6,000120121126

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—$18,000122127

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—$18,000123128Pauline 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—$12,000124129

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—$3,000126 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—$6,000127 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—$5,000125127126130

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—$6,000129 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—$7,000128129131

132130 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—$5,000131 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—$3,500132 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—$6,000130132131

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—$8,000134 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—$8,000133134133

134135 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—$6,000136 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—$2,500137 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—$5,000135137136

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—$6,000139 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—$9,000138139135

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—$5,000141 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—$5,000142 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—$12,000140142141136

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—$6,000144 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—$7,000143144137

138145 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—$5,000146 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—$6,000147 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—$5,000145147146

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—$5,000149 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—$5,000148149139

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—$15,000140

141

142151 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—$3,000152 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—$5,000153 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—$3,500151153152

143154 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—$6,000155 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—$3,500156 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—$2,500154156155

144157 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—$5,000158 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—$3,500159 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—$5,000157159158

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—$3,500161 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—$3,500162 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—$2,500160162161145

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—$5,000164 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—$3,500165 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—$3,500163165164146

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—$8,000167 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—$7,000166167147

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—$6,000169 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—$5,000170 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—$5,000168170169148

149171 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—$3,000172 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—$5,000173 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—$5,000171173172

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—$5,000175 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—$3,500176 AMERICAN SCHOOL (20th Century) SAILORS IN PORT oil on masonite, unsigned 36 x 96 inches PROVENANCE Private Collection, Connecticut. Estimate $3,000—$5,000174176175150

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—$3,000178 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—$5,000179 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—$3,000177179178151

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—$7,000181 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—$6,000182 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—$3,500180182181152

153183 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—$3,000184 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—$5,000185 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—$6,000183185184

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—$5,000187 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—$3,000188 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—$3,000186188187154

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—$5,000190 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—$3,500191 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—$5,000189191190155

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—$1,500193 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—$2,500194 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—$5,000192194193156

157195 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—$2,500196 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—$3,000197 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—$3,000195197196

158198 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—$6,000199 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—$6,000200 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—$3,500198200199

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—$3,500202 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—$3,000203 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—$3,000201203202

160INDEXA 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

161LANE, 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

162CONSIGNMENTS INVITED TESTIMONIALSOn 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, CaliforniaTo submit artwork for consideration please email photos to info@shannons.com or visit www.shannons.comJune 2021 On-Line Fine Art Auction. Consignment deadline - May 15, 2021. October 2021 Important American & European Paintings, Drawings, Prints & Sculpture. Consignment deadline - September 1, 2021.At SHANNON’S we offer personalized service and competitive commission rates to ensure you have the most profitable auction experience. For over 20 years clients have trusted us with their Fine Art, relying on our expertise, reputation and history of record prices. Since 1997 Shannon’s has sold over $100,000,000 in Fine Paintings, Drawings, Prints and Sculpture. Contact us today to see what we can do for your collection.Upcoming Auctions:

163BIDS MUST BE RECEIVED AT LEAST 24 HOURS PRIOR TO DAY OF SALE. Lot # Artist’s Name Maximum Bid (Excluding buyers premium) $ $ $ $ $ $ $ $ $Bidding Increments $1,000 – $2,000 . . . . . . . . . .$100 $2,000 – $5,000 . . . . . . . . . .$250 $5,000 – $10,000 . . . . . . . . .$500 $10,000 – $20,000 . . . . . .$1,000 $20,000 – $50,000 . . . . . .$2,000 Over $50,000 . . . . . . . . . .$5,000 Over $100,000 . . . . . . . .$10,000 The Auctioneer has the discretion to accept bids not commensurate with this pattern.EMAIL OR FAX BIDS TO: 49 Research Drive, Milford, CT 06460 P: (203) 877-1711 | F: (203) 877-1719 Email: info@shannons.com CHECK ONE: ABSENTEE BID PHONE BID I understand that Shannon's will execute my bids as a convenience, and will not be held responsible for errors, or the inadvertent failure to execute bids. On my behalf, Shannon's will try to purchase these lots for the lowest possible price. If identical absentee bids are left, Shannon's will give precedence to the first one received. I have read and agree to the Conditions of Sale on page 2. Payment for successful bids must be made within two weeks of the sale. A premium of 25% of the successful bid will be applied to the individual hammer price of all lots sold, to be paid by the buyer as part of the purchase price. Purchases made through Invaluable will be subject to an additional 5% charge (30% total buyer’s premium) and purchases made online through shannons.com will be subject to an additional 2% charge (27% buyer’s premium). Name Date Address City State Zip Country Phone # Alternate# EmailSignature (required) Date**Due to Covid-19 restrictions, we will have a limited phone bidding staff for this sale. We ask that if you request a phone line, you be prepared to bid the low estimate. If you are not willing to bid the low estimate, we kindly ask that you leave an absentee bid instead.

164Shannon’s LLC Fine Art Auctioneers acts solely as an agent for various owners and consignors. It exercises care in describing all items listed and uses judgment in attributing authorship, but offers no guarantee regarding authenticity, condition, or description. The items described in this catalog, which description may be amended by notice or announcement at sale time, are offered for sale by Shannon’s LLC as agent for various owners or others authorized to sell the items. Hereinafter, Shannon’s LLC is referred to as the Sellers agent. The owners or others authorized to sell the items are hereinafter referred to as Sellers. The person or persons acknowledged by the auctioneer to be the highest bidder on an item shall be hereinafter referred to as the Buyer or Buyers. Shannon’s LLC reserves the right to change the terms of sale by oral announcement. Any such change shall become part of the Conditions of Sale. By placing of a bid, whether present at the sale in person or by agent, by written or oral bid, by telephone or other means, the Buyer agrees to be bound by these conditions of sale. 1. The highest bidder acknowledged by the auctioneer shall be the Buyer. In the event of any dispute between bidders, the auctioneer has the absolute discretion to determine which bidder is the successful Buyer or to re-offer the item in dispute and resell it. 2. In the event of any dispute after the sale, Shannon’s LLC’s record of the final sale price and of the successful buyer shall be conclusive, Shannon’s LLC reserves the right to withdraw any item before or during the sale. 3. Shannon’s LLC reserves the right to sell items which are not listed in the catalog. 4. Items in the auction are sold subject to a reserve. Such reserve is confidential, but in no case will the reserve exceed the low estimate. The auctioneer may reject any bid or increment not commensurate with the value of the lot. 5. Order bids are accepted. A deposit may be required. Absent parties may place bids by mail, email, fax or in person prior to the sale. Order bids must be placed 24 hours prior to the day of sale. Shannon’s LLC will execute such bids up to the maximum amount specified. Phones must be reserved 24 hours prior to the day of sale. Phone bidders are encouraged to leave a cover bid in case of technical failure. Shannon’s is not responsible for errors or omissions in the execution of these bids. 6. A premium of 25% of the successful bid will be applied to the individual hammer price of all lots sold, to be paid by the buyer as part of the purchase price. Purchases made through Invaluable will be subject to an additional 5% charge (30% total buyer’s premium) and purchases made online through shannons.com will be subject to an additional 2% charge (27% buyer’s premium). Payment may be made by, check, ACH or wire transfer. Visa, MasterCard and Amex may be used up to the amount of $5,000 per auction. We currently collect sales tax in CT, 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 SALEAfter: A work of art or object made in the style of an artist or maker, but not by the artist. Sometimes refers multiples that may have used an artist’s mold or plate, but were reproduced by someone other than the artist, including posthumous works. Can also be used to describe a direct reproduction after an original work of art. Attributed (attr.): In our opinion, probably or possibly a work of art by the artist. The work is either unsigned, and/or lacks adequate 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

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