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Fine Art Auction Paintings Drawings Prints and Sculpture Milford Connecticut May 2 2019

FINE ART AUCTION PAINTINGS DRAWINGS PRINTS AND SCULPTURE AUCTION INFORMATION Thursday May 2 2019 6 00 PM PREVIEW DATES TIMES April 22 May 1 April 27 Weekdays 11 AM 6 PM Saturday 10 AM 3 PM Closed Sundays May 2 Thursday 12 PM 5 30 PM The sale will begin at 6 00 PM EDT on Thursday May 2 2019 Shannon s Fine Art Auctioneers 49 Research Drive Milford CT 06460 www shannons com info shannons com 203 877 1711 Fax 203 877 1719 Front cover illustration 14 detail Back cover illustration 43

MAP AND DIRECTIONS Exit 40 Exit 40 FROM POINTS SOUTH I 95 North to exit 40 I 95 South to exit 40 Left at the end of the ramp Left off of the ramp onto Woodmont Road Proceed to the traffic light At the second traffic light take a left onto Turn right onto Woodmont Road At the first traffic light take a left on Research Drive 2 FROM POINTS NORTH Research Drive

TABLE OF CONTENTS Map and Directions 2 Specialist Contacts 3 Ar tist Index 156 Invitation to Consign 158 Bid Form 159 Conditions of Sale 160 Specialist Contacts Sandra Germain Owner voice 203 877 1711 fax 203 877 1719 sandra shannons com Ali Danker Specialist voice 203 877 1711 fax 203 877 1719 ali shannons com Gene Shannon Owner voice 203 877 1711 fax 203 877 1719 gene shannons com General Sale Inquiries info shannons com

1 JAMES KING BONNAR American 1883 1961 BOATS IN A HARBOR oil on canvas board 20 x 24 inches signed lower right Jack Bonnar PROVENANCE Private Collection New York Shannon s April 26 2007 lot 6 Private Collection Mclean Virginia Estimate 2 500 3 500 1 2 AMERICAN SCHOOL 20th Century VIEW OF CAPE ANN MASS oil on panel 7 7 8 x 10 inches unsigned titled on the reverse PROVENANCE Private Collection Estimate 1 500 2 500 2 3 WILLIAM LESTER STEVENS American 1888 1969 A ROCKPORT COTTAGE oil on canvas 20 x 24 inches signed lower right W Lester Stevens PROVENANCE Private Collection Massachusetts Estimate 3 000 5 000 3 4

4 4 CAMILLO ADRIANI American 20th Century HARBOR SCENE oil on canvas 26 x 32 inches signed lower left Camillo Adriani PROVENANCE Private Collection Pennsylvania Estimate 6 000 8 000 5 ANTHONY THIEME American 1888 1954 MELTING SNOW oil on canvas 25 x 30 inches signed lower left A Thieme titled and numbered on the reverse 932 PROVENANCE Sotheby s June 6 1997 Lot 25 Private Collection Greenwich Connecticut Note Inscribed on a label on the reverse Winter in Rockport First Snow Estimate 5 000 7 000 5 5

6 6 EMIL CARLSEN American 1853 1932 THE DORY POSSIBLY A STUDY FOR THE SOUTH STRAND oil on board 8 x 10 inches signed lower left Emil Carlsen PROVENANCE Private Collection New York Estimate 5 000 7 000 7 6 7 AARON GORSON American 1872 1933 A WALK ALONG THE SHORE oil on canvas 28 x 36 inches signed and dated lower right A Gorson 1911 PROVENANCE Private Collection Connecticut Estimate 4 000 6 000

8 8 ERIC SLOANE American 1905 1985 JUST SUITS oil on masonite 27 1 2 x 40 inches signed and inscribed lower left Eric Sloane Vermont Midsummer signed dated and inscribed on the reverse Old Bridge Near Cornwall VT 1890 Cornwall Bridge Conn PROVENANCE The Artist Private Collection Ohio Private Collection Arizona Estimate 15 000 25 000 7

9 9 ROBERT WILLIAM VONNOH American 1858 1933 ATTUNEMENT PLEASANT VALLEY oil on canvas 15 x 18 inches signed lower left Vonnoh titled and inscribed on stretcher Lyme CT PROVENANCE Private Collection Pasadena California Estimate 8 000 12 000 10 8 10 BRUCE CRANE American 1857 1937 GREY MORNING oil on canvas 14 x 20 inches signed and dated lower left Bruce Crane NA 1923 signed titled and dated on the reverse PROVENANCE Christie s New York March 4 2010 lot 187 Private Collection New York Estimate 4 000 6 000

11 11 BRUCE CRANE American 1857 1937 ACROSS THE MARSHES oil on canvas 20 x 30 inches signed lower right Bruce Crane PROVENANCE Henry B Holt Inc Essex Fells New Jersey Private Collection New Jersey ILLUSTRATED Zellman Michael D American Art Analog New York N Y Chelsea House Publishers in association with American Art Analog 1986 illus p 537 Estimate 10 000 15 000 9

12 12 GEORGE GARDNER SYMONS American 1863 1930 INDICATIONS OF SPRING SHELBURNE FALLS oil on canvas 20 x 25 inches signed lower left Gardner Symons PROVENANCE Private Collection Massachusetts Estimate 15 000 25 000 10

13 13 ROBERT HOGG NISBET American 1879 1961 NORTHPORT LONG ISLAND 1914 oil on panel 25 x 35 inches signed and dated lower right Robert H Nisbet 14 PROVENANCE George E Gage Gallery Cleveland Ohio From the estate of Christina and James Erwin Koegel Armonk New York Private Collection New York EXHIBITED Kent Art Association Kent Connecticut 1914 Estimate 15 000 30 000 Robert Hogg Nisbet is a noted Connecticut artist who was affiliated with the Old Lyme school and later the Kent School in Litchfield County He was a noted landscape artist figurative artist genre painter and printmaker The present canvas is a unique view of Northport Long Island Northport a secluded village in the town of Huntington has long attracted artists musicians and writers Nisbet depicted a lively summer day on the beach with children swimming a couple rowing and sailboats in the harbor The beaches in Long Island are still an attraction for visitors from nearby Connecticut Surely many of Nisbet s patrons would have been familiar with the scene As indicated by the size and the inclusion in the Kent Art Association exhibition of 1914 this was an ambitious painting for the artist and easily among his best 11

14 14 JOHANN BERTHELSEN American 1883 1972 NOCTURNE STATUE OF LIBERTY AND MANHATTAN SKY LINE oil on canvas 20 x 25 inches signed lower right Johann Berthelsen PROVENANCE Private Collection Connecticut Our thanks to Lee Berthelsen of the Johann Berthelsen Conservancy LLC son of the artist for his assistance with cataloging this work Estimate 10 000 15 000 12 Johann Berthelsen The master American Impressionist came to America in 1890 at the age of 7 His first glimpse of America was the Statue of Liberty Years later he went to New York to see if the statue was as he remembered it from his youth He spent most of his life in New York and is famous for his paintings of the city This painting of the Statue and the skyline of New York is one of only two known paintings of this subject by this artist

15 15 GUY CARLETON WIGGINS American 1883 1962 WALL ST WINTER oil on canvasboard 11 3 4 x 16 inches signed lower right Guy Wiggins N A signed and titled on the reverse PROVENANCE Private Collection Philadelphia Pennsylvania Estimate 25 000 35 000 13

16 16 JOHN FABIAN CARLSON American 1874 1945 HIGHLAND SNOWS oil on canvas 20 x 36 inches signed lower left John F Carlson titled on the reverse PROVENANCE Estate of the artist David David Gallery Philadelphia Pennsylvania Vose Galleries Boston Massachusetts Private Collection New York Estimate 12 000 18 000 14

17 17 DWIGHT WILLIAM TRYON American 1849 1925 AUTUMN TWILIGHT oil on board 7 1 8 x 11 inches signed and dated lower left D W Tryon 1921 titled signed and dated on the reverse PROVENANCE Christie s New York October 7 2015 lot 201 Private Collection New York Estimate 7 000 10 000 18 MATHIAS JOSEPH ALTEN American 1871 1938 EARLY AUTUMN FISK LAKE oil on canvas 26 x 32 inches signed lower right M Alten titled on the stretcher PROVENANCE Private Collection New Jersey Estimate 4 000 6 000 18 15

A charming watercolor created as the key illustration for the essay Pedaling on the Piscataqua in the 1883 issue of the cycling enthusiast magazine The Wheelman This was the first and best of eight works that renowned artist Childe Hassam created for the article spread into two parts over the April and July issues of the magazine The article details a three day journey made by marine bicycle along the Piscataqua River on the border of New Hampshire and Maine and out to the Isle of Shoals in the autumn of 1882 These hydro cycles or aquatic velocipedes were a recent innovation and impressive watercraft even for their day Able to move forward by sail or the use of pedal powered propellers and capable of navigating the open ocean as well as the tricky waters of the Piscataqua around Portsmouth Harbor rated as having one of the fastest tidal currents in North America Here Hassam illustrates them with the sail set as a sunshade as the cyclists pass Church Point so named for the North Church of Portsmouth New Hampshire whose spire is clearly visible in the background A historic and important landmark even in Hassam s day the church dates to the 17th century and was spiritual home to several important Americans such as Daniel Webster and John Langdon as well as welcoming then President George Washington to services Rendered on toned paper with white bodycolor used to highlight the piece and give wonderful texture to the sky Hassam created a refined design and striking composition A series of small lateen rigged sailboats sit tied to the dock near a sailor a fisherman and a small boy all of whom stare in wonder at the usual watercraft coming into view Unable to cycle on land due to poor road conditions the author and his group married their first love of boating on the river with their new passion of cycling Able to face forward while paddling was a great advantage over the rowboat and the upright seats lifted their riders high and dry on twin pontoons Masterfully rendered and styled by one of the most celebrated American artists of the period this work embodies all the wonder and optimism of the late 19th century Sophisticated and for the time modern graphic design elements are married to a fine landscape with American historic landmarks the best of old and new This excellent illustration brings to life both a specific journey and the zeal of 19th century adventurers for the sea and the latest innovations of the machine age 16

19 19 CHILDE HASSAM American 1859 1935 CHURCH POINT PORTSMOUTH ILLUSTRATION FOR PEDALING ON THE PISCATAQUA watercolor gouache and black ink on tan paper 11 1 4 x 12 3 8 inches sight signed and dated lower left F Childe Hassam 83 titled lower right PROVENANCE Private Northeast American Collection Private Collection California ILLUSTRATED The Wheelman Pedaling on the Piscataqua pub April July 1883 Estimate 30 000 50 000 17

20 20 SANFORD ROBINSON GIFFORD American 1823 1880 A SKETCH OF LAGO MAGGIORE oil on canvas 6 x 10 inches abraded signature lower left initialed on the reverse SRG PROVENANCE Private Collection Connecticut Note A copy of a letter of authenticity from Ila Weiss PhD accompanies the lot Estimate 20 000 30 000 18

21 21 WILLIAM TROST RICHARDS American 1833 1905 CASTLE ON THE CORNISH COAST oil on canvas 19 1 2 x 32 inches signed and dated lower right W T Richards 1886 PROVENANCE Chapellier Galleries New York New York 1975 Private Collection United Kingdom Private Collection Connecticut Estimate 12 000 18 000 19

22 22 WILLIAM TROST RICHARDS American 1833 1905 SEASCAPE oil on canvas 21 x 36 inches signed lower left Wm T Richards PROVENANCE Private Collection Philadelphia Pennsylvania Private Collection Buffalo New York Estimate 20 000 30 000 20

23 23 ALFRED THOMPSON BRICHER American 1837 1908 NIAGARA FALLS oil on canvas 12 3 4 x 21 5 8 inches signed lower right A T Bricher PROVENANCE A Rhode Island estate Private Collection Massachusetts Estimate 25 000 35 000 Throughout his career Bricher traveled extensively visiting the coasts of Maine Massachusetts Rhode Island New York and Canada He specialized in depicting nature particularly seascapes during the late 19th and early 20th centuries He was adept at capturing atmospheric conditions and light In 1871 A T Bricher travelled to Niagara Falls by way of the Erie Canal The Art Journal for 1880 notes under Sketches and Studies Mr Bricher was a member of the Artists Fund Society s party on their trip to Niagara Falls during the journey which was accomplished not by means of a towed canal boat but on board of a commodious and gaily equipped steam propeller he made several sketches of the scenery in the heart of New York State and a fine study of the Falls themselves Although Bricher revisited the subject on a handful of other occasions the present composition is an extremely rare finished painting of the Falls 21

24 24 JOHN JOSEPH ENNEKING American 1841 1916 PICNIC UNDER THE APPLE TREE oil on canvas 12 1 2 x 18 1 4 inches signed and dated lower left Enneking 82 PROVENANCE Private Collection Massachusetts Private Collection Connecticut Estimate 4 000 6 000 25 22 25 ARTHUR PARTON American 1842 1914 BLOSSOMING TREES BY A STREAM oil on canvas 18 x 24 inches signed lower right Arthur Parton PROVENANCE Private Collection New York Estimate 6 000 8 000

26 26 JOHN WILLIAMSON American 1826 1885 MOUNTAIN LAKE WITH CASTLE oil on canvas 20 x 27 inches initialed and dated lower left JW 60 PROVENANCE Brunk Auctions Asheville North Carolina May 12 2012 lot 36 Private Collection Connecticut Estimate 7 000 10 000 23

27 27 ALFRED THOMPSON BRICHER American 1837 1908 THE OPEN COAST oil on canvas 38 x 28 inches signed lower right A T Bricher PROVENANCE Private Collection Hirschl Adler New York New York Private Collection California Estimate 25 000 35 000 24

28 28 EDWARD MORAN American 1829 1901 SHIPPING OFF GOVERNOR S ISLAND NEW YORK HARBOR oil on canvas 16 x 22 inches signed lower left Edward Moran PROVENANCE Private Collection Ontario Canada Private Collection California Estimate 25 000 35 000 25

John F Kensett was the leading artist of the second generation of the Hudson River School Following his father s footsteps he trained as an engraver and moved from his native Cheshire Connecticut to New York City to work for a bank note company In New York he met fellow artists Asher B Durand John W Casilear and Thomas P Rossiter The group traveled to Europe together to study painting and visit artists in their studios In 1847 when Kensett returned to New York his reputation preceded him He had been sending paintings from Europe for exhibitions in New York and was promptly elected to the National Academy of Design In 1849 he was a founding member of the Metropolitan Museum of Art His patrons included some of the most notable names in New York high society and he enjoyed a successful career as an artist Like his contemporaries Cole and Durand Kensett sympathized with the ideology of Manifest Destiny and the power of harmony in nature to promote democracy and educate the public When he returned from his artistic training in Europe in 1847 Kensett begin to experiment with various techniques in color light and composition refining and developing his own mature artistic style nearly a decade later Now renowned as one of the masters of American Luminism Kensett s paintings from this later period capture the sublimity of nature through color light and atmosphere Unlike other artists Frederic Church and Albert Bierstadt Kensett found inspiration nearby in New England and would return to his favorite locations on numerous occasions He painted Lake George the coastline near Newport Rhode Island Beverly Massachusetts and Bash Bish Falls repeatedly In the present example Kensett was pleasingly able to capture the beauty and contrast of rich bright autumnal colors against the rocks with the coastal water in the background creating a majestic scene The Coast Near Narragansett features all the highlights of Kensett s most accomplished period His training as an engraver is evident in the rich detail with which he depicts the rocks Of his untimely passing at the age of 56 the National Gallery of Art notes His passing was considered virtually a national tragedy and when the contents of his studio were auctioned in 1873 they brought more than 136 000 an astonishing sum for the period 1872 For many of his contemporaries Kensett had represented a kind of artistic epitome in landscape painting 26

29 29 JOHN FREDERICK KENSETT American 1816 1872 THE COAST NEAR NARRAGANSETT oil on canvas mounted on masonite 12 1 4 x 20 1 4 inches unsigned PROVENANCE Private Collection Chrisitie s New York New York May 25 1989 lot 48 Vareika Fine Arts Newport Rhode Island Private Collection Connecticut Private Collection Florida Note To be included in the John Frederick Kensett catalogue raisonn being prepared by Driscoll Babcock Galleries Estimate 60 000 80 000 27

30 30 LAURENCE A CAMPBELL American b 1939 TRAIN NEW HOPE GREY DAY oil on canvas 34 x 42 inches signed and dated lower left Laurence A Campbell 1990 signed titled and numbered on the stretcher 166 PROVENANCE Optique Gallery Lambertville New Jersey Private Collection Florida Estimate 15 000 25 000 28

31 31 LAURENCE A CAMPBELL American b 1939 STONEY CREEK STOCKTON NEW JERSEY oil on canvas 30 3 8 x 30 3 8 inches signed lower right Laurence A Campbell signed titled and numbered on the stretcher 162 PROVENANCE Optique Gallery Lambertville New Jersey Private Collection Florida Estimate 7 000 10 000 29

Jean Dufy was born in Le Havre France in 1888 There he discovered works by Matisse Derain Marquet and Picasso at the Le Havre Exposition in 1906 In 1912 he moved to Paris and met Derain Braque and Picasso Dufy s early watercolors are characterized by muted tones and somber browns blues and reds a technique influenced by C zanne and inherited through his brother Raoul Dufy 1 who became a mentor throughout Jean s career In 1916 Jean embarked upon a thirty year career of decorating porcelain for Th odore Haviland in Limoges He earned a gold medal at the 1925 International Exhibition of Decorative Arts for the Ch teaux de France set of porcelain Back in Paris in 1920 Jean settled in Montmartre where Georges Braque was his neighbor He was included in expositions in Paris Salon d Automne at the Grand Palais des Champs Elys es in 1920 1923 1924 1927 and 1932 Galerie Bingin 1929 and New York Balzac Galleries in 1930 Perls Galleries in 1938 where his paintings were put in the public eye for the first time Dufy travelled extensively throughout the 1950s but it is obvious through subjects of his works that France was the place he considered home and his favorite subject matter The Place de la Concorde Paris largest public square is as storied and complex as the city itself Originally named for the King Louis XV the square housed the guillotine during the Revolution In this work by Jean Dufy the iconic obelisk of Luxor is positioned at the center The H tel de Crillon can be seen on the left of the Rue Royale which was chosen in 1778 for the signing of the FrenchAmerican treaty by which France officially recognized the United States and the Declaration of Independence Of his Paris paintings historian and scholar Jacques Bailly notes In his oil paintings and watercolors Jean Dufy chose to represent the city using a constantly evolving creative process dominated by a harmony of blue tones For Jean blue was an insatiable source of inspiration for the Gates of Paris the streets the horse drawn carriages the Eiffel Tower the sky and the Seine 1 Jacques Bailly Jean Dufy Biography jeandufy com 30

32 32 JEAN DUFY French 1888 1964 PLACE DE LA CONCORDE watercolor and gouache on paper 18 7 8 x 24 7 8 inches signed lower left Jean Dufy PROVENANCE The personal collection of Mr Mrs Jeffrey C Thompson Harbor Beach Fort Lauderdale Florida By descent through his late wife by descent through her family Private Collection Pittsburgh Pennsylvania Note A copy of the letter of authenticity from Jacques Bailly dated December 12 2014 accompanies the lot To be listed in the forthcoming Catalog Raisonn under Certificate No 4457 Estimate 40 000 60 000 31

33 33 JEAN DUFY French 1888 1964 LA CHASSE COURRE oil on canvas 18 x 13 inches signed lower left Jean Dufy PROVENANCE Reverend Canon Paul Wancura Shelter Island New York Estimate 25 000 35 000 32

34 34 ABEL GEORGE WARSHAWSKY American 1883 1962 BOOKSTALLS ALONG THE SEINE oil on canvas 20 x 24 inches signed lower right A G Warshawsky PROVENANCE William Karges Fine Art Carmel California Private Collection Connecticut Shannon s May 1 2014 lot 13 Private Collection Connecticut Estimate 15 000 25 000 33

35 35 MARC CHAGALL French Russian 1887 1985 BONJOUR SUR PARIS color lithograph on paper 19 7 8 x 26 1 4 inches sheet signed in pencil lower right Marc Chagall numbered EA lower left from an edition of 35 artist proofs PROVENANCE Freeman s Philadelphia Pennsylvania November 3 2013 lot 16 Private Collection Connecticut LITERATURE Mourlot 71 Estimate 10 000 15 000 34

36 36 JEAN DUBUFFET French 1901 1985 FLICS ET VOYOUS ink and watercolor on paper 12 x 10 inches sight initialed and dated upper center JD 67 signed titled and dated on the reverse J Dubuffet 1968 PROVENANCE Willard Gallery New York New York The Dannheisser Foundation New York New York Note A label from the Dannheisser Foundation stamped Deaccessioned is on the reverse Estimate 30 000 50 000 35

37 37 ARNALDO POMODORO Italian b 1926 DISCO bronze diameter 8 1 2 inches signed and numbered on the base Arnaldo Pomodoro 6 9 PROVENANCE Private Collection Florida Estimate 12 000 18 000 36

38 38 ARNALDO POMODORO Italian b 1926 LA PROFEZIA bronze height 10 1 4 inches signed numbered and titled Arnaldo Pomodoro 9 9 on the base PROVENANCE Private Collection Florida Estimate 12 000 18 000 37

39 ANTOINE PONCET Swiss b 1928 TRAGEALILES marble height 32 3 4 inches on a 3 inch base signed and dated Poncet 80 PROVENANCE Private Collection Florida Estimate 6 000 8 000 40 ISIDORE KONTI American 1862 1938 PUSHING MEN A PAIR OF BOOKENDS bronze height 6 1 2 inches signed on the base I Konti PROVENANCE Private Collection New York Estimate 4 000 6 000 39 40 38

41 41 AUGUSTUS SAINT GAUDENS American 1848 1907 ROBERT LOUIS STEVENSON bronze diameter 11 3 4 inches signed upper right Augustus Saint Gaudens PROVENANCE Private Collection New York Estimate 12 000 18 000 39

What I strive for is a precise and honest interpretation not a mirror of reality or a personal comment about a subject They are sturdy uncomplicated buildings and homes The beauty is found in the clean forms and solid function of each architectural element Doug Brega A native of Eastern Massachusetts Brega attended Paier College of Art in nearby New Haven Connecticut He studied under the noted trompe l oeil artist Ken Davies who impressed upon him the importance of drawing as a foundation Davies would become his most important teacher and mentor A 2008 exhibition catalog from Hammer Galleries notes Brega is a realist in a revelatory sense of the word He paints not only what appears to the eye but also sees with an intensity that reveals a reality beneath the common one Though the verisimilitude and masterful technique of his work is often commented on for Brega the goal is more than an impressive accretion of detail it is a glimpse of the true structure and character of his subject whether it be a person or a building Brega is best known for his portraits New England homes sailboats and old weathered barns Regionally his motifs are familiar and well loved nationally he has become a successful American Realist Although highly photographic the appeal in Brega s compositions is that his close study reveals the essence of his subjects the warmth of a house the character of a sitter or the memories of a place or an object Inspired by Andrew Wyeth Brega often painted Monhegan Island in Maine capturing the unique light and atmosphere of the region Of the appeal of Monhegan Brega commented This island is very different from anywhere else and it has an abundance of character The lack of modernization and its protection from development harks back to a less complicated time Brega has achieved international recognition in his over 25 year career In 2001 he and his twin brother David Brega were honored with an exhibition Oil and Water A Twenty Five Year Retrospective that toured the Springfield Museum of Fine Art in Massachusetts and the AlbrechtKemper Museum of Fine Art in Missouri 40

42 42 DOUG BREGA American b 1948 MONHEGAN ISLAND VILLAGE 2007 watercolor on paper 24 x 39 inches sight signed lower left Doug Brega PROVENANCE Hammer Galleries New York New York Private Collection Greenwich Connecticut EXHIBITED Hammer Galleries New York New York Doug Brega In the New England Tradition Recent Works May 6 June 3 2008 Note A copy of the exhibition catalog from Hammer Galleries accompanies the lot Estimate 30 000 40 000 41

43 43 DOUG BREGA American b 1948 THE RED DOOR 2006 watercolor on paper 24 3 4 x 39 inches sight signed lower left Doug Brega PROVENANCE Robert Wilson Galleries Nantucket Massachusetts Private Collection Greenwich Connecticut Estimate 25 000 35 000 42

44 44 ERIC SLOANE American 1905 1985 EVENING QUIET oil on masonite 19 x 38 inches signed lower left Eric Sloane N A PROVENANCE Fenn Galleries Santa Fe New Mexico Private Collection Connecticut Estimate 10 000 15 000 43

A key figure in French Impressionism Edgar Degas work has become universally recognizable Throughout his career his favorite subject was women at their toilette and ballet dancers A skilled draftsman Degas was able to capture fleeting everyday moments He is one of the few Impressionists who bridged the gap to modernism influencing artists including Pablo Picasso and Henri Matisse Degas was born in Paris in 1834 just south of Montmartre a neighborhood he would live and work in throughout his entire career His parents encouraged his interest in painting and in 1855 he entered the cole des Beaux Arts Degas abruptly left the cole a year later to embark on a threeyear period of travel and study in Italy He immersed himself in the arts from antiquity to the Renaissance His sketchbooks from this early period indicate his mastery as a draftsman from the beginning His initial attempts to be accepted into the Paris Salon were met with indifference He met douard Manet in 1862 and the two shared an opposition to the established and the canonical subjects such as religious and historical painting In 1868 he submitted a painting of a ballerina to the Salon which would be among his last paintings exhibited there By 1870 he was aligning himself with avant garde artists who we would later come to recognize as the Impressionists Camille Pissarro Pierre Auguste Renoir and Claude Monet Despite his lukewarm reception at the Salon in the 1860s Degas career thrived in the 1870s It was during this period that he began painting his famous ballet dancers He captured the beauty and intrigue of the ballet by depicting casual moments backstage or during rehearsals Between 1874 1886 he exhibited in the eight Impressionist exhibitions so titled after critics dubbed the group the Impressionists in 1877 Unlike his contemporaries Monet Renoir and Pissarro Degas did not focus on the landscape He was fascinated with Parisian life and society His paintings were praised for their firm line a quality attributed to the classical training and study of the Old Masters The quality of line and sureness of hand evident in his paintings is even more apparent in his drawings and works on paper In Deux Danseuses the viewer gets an almost voyeuristic sense of looking at two female dancers during their rehearsal Degas characteristic bird s eye perspective almost gives the sense of looking down on the scene from the opera box Even in a quick sketch the artist conveys their soft faces and the beauty of their gestures that guide the viewer s eye in a sweeping upward motion 44

45 45 EDGAR DEGAS French 1834 1917 DEUX DANSEUSES TWO DANCERS charcoal and pastel on paper 17 7 8 x 23 1 2 inches 14 3 4 x 22 7 8 inches sight unsigned PROVENANCE Lionello Venturi Paris Riccardo Gualino Turin acquired from the above in 1935 Acquired from the above by the present owner from Sotheby s London June 23 2011 lot 196 Private Collection New York Note This work will be included in the forthcoming Catalogue Raisonn being compiled by Brame and Lorenceau Estimate 50 000 75 000 45

Max Liebermann was a key figure in 19th century German art and a leader in German Impressionism By the 1890s he was the leading artist in Berlin and a highly sought after portraitist Liebermann is credited with fostering an appreciation for Impressionism in Germany and for building an important collection of Impressionism A prolific artist Liebermann worked as both a painter and printmaker In his early works he was influenced by the French Barbizon artist Jean Francois Millet and the German Realist painter Adolph Menzel In the summer of 1873 Liebermann went to visit Barbizon south of Paris to study with Millet and other members including Camille Corot and Charles Daubigny As Liebermann continued to travel and study painting he became a realist artist painting everyday scenes of the poor elderly and working class He felt that his depictions of the working class would encourage social reform In the 1890s Liebermann influenced heavily by the French Impressionists Edouard Manet and Edgar Degas begin to champion German Impressionism His version of Impressionism favored narrative over atmosphere and composition and in that way became distinct from many of the French Impressionists During this time at the turn of the century Liebermann became a highly sought after society portrait artist Frans von Lenbach and Wilhelm Leibl were two German portrait artists from a generation before whom Liebermann admired In his portraits Liebermann captured members of the Berlin upper class with an Impressionist sensibility He used soft pastel colors broad brush strokes and heavy impasto The present lot is a portrait of Liebermann s publisher Julius Bard Bard was an important publisher of art books and periodicals In 1921 Bard published Ludwig Justi s monograph on Liebermann as part of a series of official publications of the National Gallery of Berlin Liebermann led the Berlin Secession from its founding in 1898 1911 He continued to maintain his affiliation with the Academy and became the president of the Prussian Academy of Art from 1920 1932 His works are in many major museums internationally including his own house museum in Berlin and the National Gallery of Art in Washington D C 46

46 46 MAX LIEBERMANN German 1847 1935 PORTRAIT OF JULIUS BARD oil on canvas 33 1 4 x 27 1 4 inches signed and dated lower right M Liebermann 11 PROVENANCE Purchased from Ted Bard grand nephew of Julius Bard Private Collection Note A copy of Die Kart Erinnerungsbla tter aus der kartographischen Abteilung des stellvertretenden Generalstabes der Armee Published in Berlin in 1916 and numbered 83 accompanies the lot This volumes includes a lithographic portrait of Julius Bard and Dr Engelmann by Joseph Oppenheimer The frontispiece is engraved no 83 for Grenadier Julius Bard This work will be included in the addendum to the catalogue raisonn on the artist being compiled by Prof Dr Matthias Eberle and Drs Margreet Nouwen Berlin Germany Estimate 75 000 100 000 47

Felix Ziem was born in 1821 in Beaune France In 1842 he visited Italy for the first time and fell in love with Venice He is mostly known for his paintings of Venice where he captures the sea and city around it with sunlight and reflection Ziem s works were first exhibited in 1849 at the Paris Salon and Ziem remained a regular exhibitor there for many years 1 He was also the first artist whose works were acquired by the Louvre while he was still alive Ziem was an avid traveler in search of picturesque subjects to paint preferring areas with extraordinary atmospheric traits He owned homes in Venice the Martigues Nice and Paris The current lot is a depiction of a sunny afternoon in Venice his most compelling and sought after subject It portrays the busy seaport distinctive boats and the architecture of Venice The architecture borders the left side of the composition with the Doges Palace and Saint Mark s Plaza being the dominant features At the same time a gondola sets forth towards the right of the composition where the larger vessels are arriving and departing Not only does Ziem demonstrate that Venice is a city of beautiful historic importance but it is also linked to the wider trading world in its daily business The water and sunlit sky expand across the entire painting and create the sense of romance serenity and grandness of the canal 1 Poulet and Murphy 1979 p 45 48

47 47 FELIX ZIEM French 1821 1911 GONDOLES L ENTR E DU GRAND CANAL VENISE oil on canvas 21 x 31 1 2 inches signed lower right Ziem PROVENANCE Private Collection Pennsylvania Note A letter of authenticity from the Felix Ziem Association signed by Mathias Ary Jan and David Pluskwa accompanies the lot Estimate 40 000 60 000 49

48 LAWTON SILAS PARKER American 1868 1954 VIEW OF THE PANTHEON FROM THE LUXEMBOURG GARDENS oil on canvas 15 x 13 inches signed lower left Lawton Parker PROVENANCE Private Collection New York Private Collection Michigan Estimate 3 000 5 000 48 49 PAULINE LENNARDS PALMER American 1867 1938 THE EXHIBIT oil on masonite 18 1 2 x 21 3 7 inches signed lower right Pauline Palmer PROVENANCE Private Collection Georgia Shannon s October 24 2014 lot 26 Private Collection Connecticut Estimate 3 000 5 000 49 50 ALLEN GILBERT CRAM American 1886 1947 A DAY AT THE BEACH oil on canvas 20 x 22 inches signed lower right A G Cram PROVENANCE Private Collection Connecticut Estimate 2 000 3 000 50 50

THOMAS ALEXANDER HARRISON American 1853 1930 A painter of Tonalist coastal views and plein air scenes of women and children Thomas Alexander Harrison spent most of his career as an expatriate in Paris There he was considered the dean of American painters and his studio was a prominent gathering place for artists of many nationalities Among his friends were leading figures in the Paris art world including Ernst Meissonier Jules Bastien Lepage Puvis de Chavannes Jean Charles Cazin Jules Breton Eug ne Carrri re and James McNeill Whistler

Rendered circa 1882 Misty Morning belongs to the widespread popular genre in European art of peasant imagery This theme was extremely popular among European and American artists in the late Nineteenth Century for its evocation of nostalgia for a time in the preindustrial past and for the opportunity it provided for artists to depict figures naturalistically in the outdoors bringing out the coloristic and picturesque aspects of their traditional attire The most likely location for the work is Grez where Robert A M Stevenson a cousin of the writer observed in an article of 1894 the tree forms were more elegant than in Barbizon and the spirit of color hung about the supple stems the bowery foliage the shaded pools the long grasses the waving reeds and all the cloudy vaporous growths of river banks swamps and fields In Harrison s painting a river is subtly implied on a diagonal in the right background where it merges into the kind of cloudy vaporous growths mentioned by Stevenson while blending into a soft atmospheric light The forest of sparse birch trees is characteristic of Grez Harrison s brother Birge featured similar trees in his large Novembre 1881 Mus e des Beaux Arts de Rennes a view set in Grez that was shown at the Paris Salon of 1882 later purchased by the French government Both Harrison brothers created scenes in which fallen leaves cover the ground Like Birge Alexander chose to paint Grez in the autumn although Birge s scene in which dry brown and russet leaves form large piles depicts a later time in the year than Alexander s painting In the latter the leaves golden yellow with tints of orange are much less dense and give luminosity to the scene their scattered forms creating reflective light The attire of the young woman in Misty Morning is also typical of Grez Whereas the women of Pont Aven and Concarneau tended to wear antique costumes with embroidered skirts and plaited collars those of Grez chose simpler dresses such as those worn by the figure in the current example Her clothing consists of a plain weathered blue jacket a loose green skirt that echoes the greens in the landscape and a white bonnet Other artists in Grez depicted similarly dressed figures such as William Stott in Le Passeur The Ferry 1882 Tate Britain London and Ernest Parton in an illustration in Stevenson s article In Misty Morning Harrison followed in the mode of Bastien Lepage painting a believable scene of everyday life and treating the landscape with fresh naturalistic observation Such an approach was considered Modern in the 1880s for its avoidance of idealization sentimentality and fantasy In the leaves and grass Harrison used Impressionist brushwork applying his paint with short dabs and rhythmic dashes that let the pigment density express texture and create an active optical effect for the viewer He used a high horizon an element of Impressionist painting meant to create a sense of immediacy as the viewer s eye is held in the foreground rather than allowed to travel into a scene s depths Along with his loose open brush handling Harrison unified the work through a harmonious tonal arrangement established by luminous pinks and yellows that are blended in the background and used as accents throughout the rest of the image The painting was probably first exhibited with the title of Jeune fillle au bois Young Girl in the Woods at the new Paris Salon held at Champ de Mars from May 17 through September 17 1891 The evidence that it was the work exhibited with this title can be found in an article that appeared in the Manchester Guardian on October 29 1891 that served as a review of the Annual Exhibition of the Royal Institute of Painters in Oil Colors held in London in which the work was shown with its current title The author stated The well known American artist Mr Alexander Harrison contributes Misty Morning a delicate study of autumn tints in their more sober variety which was if we mistake not shown at the Champ de Mars this spring Based on a label on the work s verso which reads Exposition de Washington it is possible that Harrison next sent it to Tacoma Washington for inclusion in the second season of the Western Washington Industrial Exposition which opened September 2 1892 Along with its display of machinery and minerals the Exposition included an art gallery From there the painting could have gone directly to Chicago for inclusion in the World s Columbian Exposition which opened on May 1 1893 There it was one of Harrison s five works shown In an article on works by American artists at The Fair the critic William Coffin described Misty Morning as a charming wood interior of yellowish tone and commented that Mr Harrison s pictures are distinguished by genuine beauty and veracity of color In an 1898 article in the San Francisco Call the Tonalist painter Charles Rollo Peters remarked The Misty Morning a charming though little known Harrison is considered by painters to be one of the artist s best creations Harrison again exhibited Misty Morning in Chicago at the Art Institute s Thirteenth Annual Exhibition of Oil Paintings and Sculpture by American Artists held October 30 to December 9 1900 The painting was one of five works by Harrison on view that critic Frederick Morton called exquisite pieces of workmanship that are all decidedly tonal in their characteristics and show markedly the influence of Parisian associates on Harrison s style The painting was included in 1907 at the First Annual Exhibition of Oil Paintings by Contemporary American Artists It was not listed in the catalogue but its presence in the exhibition is confirmed in an article in Academy Notes published by the Buffalo Fine Arts Society The article calls Misty Morning a work of exquisite color and wonderful atmospheric quality envelopment certain writers would term it that might have been painted by Bastien Lepage The painting was also shown in March 1914 at the retrospective of the works of Alexander and Birge Harrison organized by the Corcoran Gallery of Art Washington DC Lisa N Peters Ph D To read the complete essay with citations please visit www shannons com 52

51 51 ALEXANDER HARRISON American 1853 1930 MISTY MORNING oil on canvas 27 3 4 x 39 1 2 inches signed lower right Alex Harrison PROVENANCE The artist Thomas Burke Esq Seattle Washington Private Collection Oregon By descent in the family to Private Collection Las Vegas Nevada EXHIBITED probably Paris Salon au Champ de Mars May 17 September 17 1891 no 463 as Jeune fille au bois London Royal Institute of Oil Painters October 1891 possibly Tacoma Washington Western Washington Industrial Exposition second season opened September 10 1891 Chicago World s Columbian Exposition May 1 October 30 1893 No 524 Chicago Art Institute of Chicago Thirteenth Annual Exhibition of Oil Paintings and Sculpture by American Artists October 30 December 9 1900 no 105 Washington DC Corcoran Gallery of Art First Annual Exhibition of Oil Paintings by Contemporary American Artists February 7 March 9 1907 not listed in the catalogue Washington DC Corcoran Gallery of Art Retrospective Exhibition of Oil Paintings by Alexander Harrison N A and Birge Harrison N A March 7 March 29 1914 no 13 LITERATURE The Institute of Painters in Oil Colours The Manchester Guardian England October 29 1891 p 8 William A Coffin The Columbian Exposition II Fine Arts The United States Section The Nation 57 August 10 1893 p 97 Charles Rollo Peters Alexander Harrison and His Most Successful Paintings San Francisco Call 84 November 13 1898 p 28 Frederick W Morton American Artists Exhibition at Chicago Brush and Pencil 7 December 1900 p 181 Corcoran Exhibition of Contemporary Paintings Academy Notes Buffalo Fine Arts Society April 1907 p 170 Note A label from A Guinchard Paris France is on the reverse Estimate 50 000 75 000 53

52 52 JACK ROTH American 1927 2004 UNTITLED acrylic on canvas 55 x 46 inches signed dated and estate stamped on the reverse Roth 79 PROVENANCE Estate of the artist Estimate 8 000 12 000 54

53 53 JOHN LITTLE American 1907 1984 PURPLE LIFE oil on canvas 45 x 36 1 2 inches signed and dated lower left John Little 66 signed titled and dated on the reverse PROVENANCE Estate of the artist Estimate 8 000 12 000 55

54 JACK ROTH American 1927 2004 UNTITLED acrylic on canvas 56 x 56 inches signed dated and estate stamped on the reverse Roth 77 PROVENANCE Estate of the artist Estimate 7 000 10 000 55 JOHN LITTLE American 1907 1984 FORMAL VARIATIONS oil on canvas 34 x 42 inches signed and dated lower right John Little 1950 signed titled and dated on the reverse PROVENANCE Estate of the artist Note A label from Professional Artists of Eastern Long Island Second Annual Exhibition Parish Museum of South Hampton is on the reverse Estimate 7 000 10 000 54 55 56

56 56 PAUL JENKINS American 1923 2012 PHENOMENA PRISM SHADOW acrylic on canvas 39 x 39 inches signed lower left Paul Jenkins signed titled and dated on the reverse 1986 PROVENANCE Irving Galleries Palm Beach Florida Private Collection Florida Estimate 20 000 30 000 57

57 57 ANDR LHOTE French 1885 1962 PINS AU SOLEIL oil on canvas 21 x 25 inches signed lower right LHote signed titled and dated on the reverse 1957 PROVENANCE Pocock Fine Art and Antiques Fort Lauderdale Florida Private Collection Hollywood Florida L on and Ruth Juster Miami Beach Florida by descent to their daughter Constance Juster Hollywood Florida EXHIBITED Leonard Hutton Galleries New York New York Andr Lhot Cubism October 16 December 18 1976 Weintraub Gallery New York New York Andr Lhot Cubism and Later Periods December 5 1979 January 12 1980 Note To be included in the forthcoming Catalogue Raisonn on the artist being prepared by Mme Dominique Bermann Martin Paris under Certificate N SP1557 Estimate 15 000 25 000 58

58 58 ANDR LHOTE French 1885 1962 VUE DE VENICE oil on canvas 10 3 4 x 18 1 4 inches signed upper left A LHote PROVENANCE Pocock Fine Art and Antiques Fort Lauderdale Florida Private Collection Hollywood Florida L on and Ruth Juster Miami Beach Florida by descent to their daughter Constance Juster Hollywood Florida Note To be included in the forthcoming Catalogue Raisonn on the artist being prepared by Mme Dominique Bermann Martin Paris under Certificate N SP1551 Mme Martin believes the work was painted on Lhot s first visit to Venice circa 1936 Estimate 8 000 12 000 59 ANDRE HAMBOURG French 1909 1999 A DAY AT THE BEACH oil on canvas 16 x 20 inches signed lower right A Hambourg PROVENANCE Private Collection New York Private Collection Canada Estimate 8 000 12 000 59 59

60 60 EMIL JAMES BISTTRAM American 1895 1976 SOUTHWEST LANDSCAPE watercolor on paper 16 1 2 x 23 1 2 inches sight signed and dated lower right Bisttram 58 PROVENANCE Private Collection Connecticut Estimate 10 000 15 000 60

61 61 EMIL JAMES BISTTRAM American 1895 1976 GOLD AND BLUE watercolor on paper 12 3 4 x 18 3 4 inches sight signed and dated lower right E J Bistran 28 PROVENANCE Private Collection Massachusetts EXHIBITED 26th Annual Philadelphia Watercolor Club at the Pennsylvania Academy of Fine Arts 1928 Estimate 8 000 12 000 Emile Bistran 1895 1976 considered himself a loner and a maverick After studying at several schools including the Art Students League Bistran found his early niche as a gifted art teacher first at the Parsons School of Design and between 1925 1930 at the Roerich Institute Arguably one of his most influential mentors was the Russian born artist Nicolai Roerich founder of that institution who had visited Santa Fe in 1921 and was a student of the mystical and occult On the advice of a numerologist Bistran began in the late 1920s changing the spelling of his name to Bistram and then Bisttram with Gold and Blue having the original spelling of Bistran with the Aries symbol The works from this period are infused with a spirituality and mood and reflect Bisttrams growing embrace of a mystical philosophy 61

62 62 JOSEPH DECKER American 1853 1924 STILL LIFE OF STRAWBERRIES AND BASKET oil on canvas 9 x 14 inches signed lower left J Decker PROVENANCE Private Collection Palm Beach Gardens Florida Estimate 10 000 15 000 62

63 63 SEVERIN ROESEN American 1815 1872 STILL LIFE WITH FRUIT AND CHAMPAGNE oil on canvas 20 1 4 x 30 3 4 inches signed lower right S Roesen PROVENANCE Private Collection Williamsport Pennsylvania by descent to Private Collection Lambertville New Jersey Estimate 25 000 35 000 63

64 64 BRUCE CRANE 65 JOHN FABIAN CARLSON American 1857 1937 American 1874 1945 AUTUMN WOODLANDS oil on canvas 18 x 24 inches signed and dated lower right Bruce Crane 1919 PROVENANCE Private Collection New Jersey Estimate 4 000 6 000 SILENT WOODS oil on canvas 12 x 16 inches signed lower right John F Carlson signed and titled on the stretcher PROVENANCE Private Collection Vermont Estimate 5 000 7 000 65 64

66 66 EDMUND DARCH LEWIS American 1832 1928 RIVER LANDSCAPE LAKE GEORGE oil on canvas 30 x 40 inches signed and dated lower right Edmund D Lewis 1883 PROVENANCE Cooley Gallery Old Lyme Connecticut Private Collection Connecticut Estimate 8 000 12 000 65

67 67 GEORGE LORING BROWN American 1814 1889 SEPTEMBER AFTERNOON VIEW ON THE PEMIGEWASSET RIVER AT WEST CAMPTON oil on canvas 15 x 24 inches signed titled dated and inscribed on the reverse Geo L Brown 1867 8 9 N Hampshire titled on the stretcher PROVENANCE Private Collection Eldred s Auction East Dennis Massachusetts August 1 2008 lot 1080 Private Collection Connecticut Estimate 5 000 7 000 68 66 68 WORTHINGTON WHITTREDGE American 1820 1910 HOMESTEADERS CLEARING THE LAND oil on canvas 8 1 2 x 12 3 8 inches initialed lower right W W PROVENANCE Cooley Gallery Old Lyme Connecticut Private Collection Connecticut Estimate 7 000 10 000

69 69 HARRISON BIRD BROWN American 1831 1915 MOUNT WASHINGTON oil on canvas 25 x 42 1 4 inches signed lower right center H B Brown PROVENANCE Eldred s Auction East Dennis Massachusetts November 27 2012 lot 1427 Private Collection Connecticut Estimate 12 000 18 000 67

70 JOHN W CASILEAR American 1811 1893 SHEEP IN A MEADOW oil on canvas 19 1 4 x 16 inches initialed lower right JWC PROVENANCE Cooley Gallery Old Lyme Connecticut Private Collection Connecticut Estimate 8 000 12 000 70 71 ESTEBAN CHARTRAND Cuban 1840 1884 CUBAN LANDSCAPE oil on canvas 18 1 4 x 12 inches signed and dated lower center Chartrand 18 2 PROVENANCE A Connecticut estate Estimate 5 000 7 000 71 68

72 72 JAMES BRADE SWORD American 1839 1915 THE NARROWS LAKE GEORGE oil on canvas 18 x 30 inches signed and dated lower right J B Sword 73 PROVENANCE Private Collection Connecticut LITERATURE Coe Erin B and Gwendolyn Owens Painting Lake George 1774 1900 Glens Falls NY Hyde Collection 2005 p 86 Estimate 8 000 12 000 69

73 73 WILLIAM MASON BROWN American 1828 1898 AUTUMN LANDSCAPE oil on canvas 10 1 4 x 14 inches initialed lower left WMB PROVENANCE Doyle New York New York April 6 2016 lot 7 Private Collection Connecticut Estimate 4 000 6 000 74 70 74 JOHN BUNYAN BRISTOL American 1826 1909 LARRABEE S POINT LAKE CHAMPLAIN oil on canvas 18 x 30 inches signed lower right J B Bristol PROVENANCE Private Collection New York Shannon s April 29 2010 lot 113 Oxford Gallery Buffalo New York Private Collection Connecticut Estimate 6 000 8 000

75 75 RALPH ALBERT BLAKELOCK American 1847 1919 IN THE ADIRONDACKS oil on canvas 19 3 4 x 36 inches signed lower right Blakelock PROVENANCE M A Newhouse Sons St Louis Missouri Dr Seymour and Phyliss Lifschutz Collection Princeton New Jersey Private collection Knoxville Tennessee Note A label from University of Nebraska Blakelock Inventory no 199 is on the reverse An email from Katherine L Walter Professor and Chair Digital Initiatives and Special Collections University of Nebraska Lincoln discussing this work and indicating that it was assigned a category II designation by Norman Geske accompanies the lot A label on the reverse is signed and titled from Newhouse Gallery Estimate 20 000 30 000 71

William Chadwick emigrated to New York City from England and at the age of twenty three There he was introduced to Old Lyme by his colleagues Joseph DeCamp John H Twachtman and others at the Ar t Students League in New York During the first of his many summers spent in Old Lyme Chadwick began experimenting with landscape painting influenced by the established landscape ar tists already working there including Willard L Metcalf and Walter Griffin He purchased a home in Old Lyme in 1915 and lived there for the next forty years While in Old Lyme Chadwick developed his own impressionistic style marked by delicate and subtle tones Although Chadwick never had great commercial success he was well respected by his ar tist colleagues Following his death in 1962 The Lyme Ar t Association held a memorial show of Chadwick s paintings in 1963 A major retrospective of his work William Chadwick 1879 1962 An American Impressionist opened at the Lyme Historical Society in August 1978 and circulated to several museums in the eastern United States That exhibition was organized by R H Love Galleries of Chicago The current example Along the Hillside Old Lyme is a magnificent example of Chadwick s use of color light and broken brushwork style Chadwick s work is represented in the Lyme Historical Society the Lyman Allyn Museum and the National Collection of Fine Ar ts 72

76 76 WILLIAM CHADWICK American 1879 1962 ALONG THE HILLSIDE OLD LYME oil on canvas 35 x 39 1 4 inches signed lower right W Chadwick PROVENANCE R H Love Galleries Chicago Illinois The Hainsworth Collection Nashville Tennessee Estimate 20 000 30 000 73

77 77 THOMAS DOUGHTY American 1793 1856 THE HUDSON HIGHLANDS FROM WEST POINT oil on board 13 5 8 x 17 3 4 inches signed lower left Doughty inscribed on the reverse West Point Hudson River PROVENANCE Northeast Auctions Portsmouth New Hampshire August 20 2016 lot 764 Private Collection Connecticut Estimate 5 000 7 000 78 74 78 GEORGE LAFAYETTE CLOUGH American 1824 1901 SAILING ON THE HUDSON oil on board 12 x 18 inches signed lower left G L Clough PROVENANCE Private Collection Connecticut Estimate 4 000 6 000

79 79 ANTONIO JACOBSEN 80 RICHARD LANE American 1850 1921 American 20th Century BRITISH HERMAPHRODITE BRIG SARAH CROWELL oil on canvas 22 x 36 inches signed dated and inscribed lower right A Jacobsen 1882 705 Palisades Ave West Hoboken NJ PROVENANCE Quester Gallery Stonington Connecticut Private Collection Florida Estimate 8 000 12 000 VIGILANT VS BRITANNIA 1894 oil on canvas 36 x 60 inches signed and dated lower right Richard Lane 97 PROVENANCE The artist Private Collection New Jersey Estimate 4 000 6 000 80 75

81 JACK LORIMER GRAY American 1927 1981 FISHERMEN AT SEA oil on canvas 22 x 30 inches signed and dated lower right Jack L Gray 52 PROVENANCE Private Collection California Estimate 8 000 12 000 81 82 HENRY BAYLEY SNELL American 1858 1943 MEN AT THE SHORE REFLECTIONS A PAIR oil on canvas laid down on board a 13 1 2 x 10 3 4 inches b 11 1 2 x 13 3 8 inches both signed lower right Henry B Snell PROVENANCE Private Collection Massachusetts Estimate 3 000 5 000 82A 76 82B

83 83 CHARLES PAUL GRUPPE American 1860 1940 EARLY MORNING ROCKPORT WHARF oil on canvas 28 x 36 inches signed lower left Chas P Gruppe PROVENANCE Private Collection Massachusetts Estimate 8 000 12 000 77

84 84 JOHN ROSS KEY American 1837 1920 CALIFORNIA COAST oil on canvas 11 1 4 x 20 inches signed and dated lower left John R Key 78 PROVENANCE Private Collection Colorado Estimate 8 000 12 000 85 78 85 PROSPER LOUIS SENAT American 1852 1925 ROAD TO THE NORTH SHORE BERMUDA watercolor and gouache on paper 19 x 27 inches sight signed lower left Prosper Senat signed Prosper Senat faintly lower right PROVENANCE Private Collection New York New York Private Collection Long Island New York Private Collection New York Estimate 5 000 7 000

86 86 FREDERICK JUDD WAUGH American 1861 1940 AFTER THE STORM oil on canvas 30 1 4 x 40 1 4 inches signed lower right F Waugh signed and titled on a label on the reverse PROVENANCE Sotheby s New York New York June 29 2004 lot 231 Private Collection Allentown Pennsylvania Estimate 10 000 15 000 79

87 87 ERIC SLOANE American 1905 1985 COVERED BRIDGE IN WINTER oil on masonite 21 x 31 1 2 inches signed lower right Sloane PROVENANCE Private Collection New York New York Estimate 10 000 15 000 80

88 88 ERIC SLOANE American 1905 1985 THE KITCHEN PUMP oil on masonite 18 1 2 x 35 inches signed lower left Eric Sloane signed and titled on the reverse PROVENANCE Hammer Galleries New York New York Private Collection Connecticut Estimate 10 000 15 000 81

89 89 JOHN GEORGE BROWN American 1831 1913 A YOUNG WOMAN PARING APPLES oil on panel 30 x 25 inches signed lower right J G Brown N A PROVENANCE Private Collection Connecticut Estimate 20 000 30 000 82

90 90 JOHN GEORGE BROWN American 1831 1913 A BOY AND HIS COMPANION oil on canvas 24 x 16 inches signed and inscribed lower left J G Brown N A copyright PROVENANCE Shannon s October 20 2005 lot 49 Private Collection New Jersey Note A label from Lapham Dibble Gallery Inc New York New York is on the reverse Estimate 15 000 25 000 83

91 WILLIAM HART American 1823 1894 MOUNTAIN LANDSCAPE WITH COWS oil on canvas 21 x 17 inches signed lower right WM Hart PROVENANCE Collection of Charles Henry Hulburd Chicago Illinois descended in the family Winter Auctions Plainville Connecticut June 9 2014 lot 192 Private Collection Connecticut Estimate 4 000 6 000 91 92 WILLIAM LOUIS SONNTAG SR American 1822 1900 IN THE WHITE MOUNTAINS oil on canvas 12 x 10 inches signed lower right W Sonntag NA PROVENANCE Eldred s East Dennis Massachusetts November 24 2015 lot 1327G Private Collection Connecticut Estimate 4 000 6 000 92 84

93 93 WILLIAM LOUIS SONNTAG SR American 1822 1900 MOUNTAIN VISTA WITH CABINS oil on canvas 36 x 56 inches signed lower center W L Sonntag PROVENANCE Collection of a Massachusetts Educational Institution Skinner Boston Massachusetts May 13 2016 lot 257 Private Collection Connecticut Estimate 12 000 18 000 85

94 JULIE HART BEERS American 1835 1913 BIRCHES BY A WOODLAND STREAM oil on board 26 1 2 x 16 3 4 inches signed and dated lower left Julie H Beers 1908 PROVENANCE Private Collection Connecticut Note A label from Meridian Gallery Saratoga Springs New York is on the reverse Estimate 4 000 6 000 95 DAVID JOHNSON American 1827 1908 LAKE GEORGE oil on board 5 7 8 x 8 1 2 inches monogrammed lower left DJ PROVENANCE Private Collection Eldred s East Dennis Massachusetts April 4 2015 lot 1234 Private Collection Connecticut Estimate 6 000 8 000 94 95 86

96 96 GEORGE INNESS American 1825 1894 SUNSET oil on canvas 9 7 8 x 13 5 8 inches unsigned PROVENANCE Mrs James M McKaye Private Collection Massachusetts LITERATURE To be included in the supplement to the Catalogue Raisonn on the artist being compiled by Michael Quick Note A copy of a letter of authenticity from Michael Quick accompanies the lot The work was painted in 1861 1862 and depicts Medfield Massachusetts where the artist lived at the time Estimate 10 000 15 000 87

97 AARON DRAPER SHATTUCK American 1832 1928 SUMMER LANDSCAPE WITH CATTLE GRAZING oil on canvas 14 3 8 x 21 1 2 inches signed lower left A D Shattuck PROVENANCE Private Collection Private Collection Connecticut Shannon s May 1 2014 lot 155 Private Collection Connecticut Estimate 3 000 5 000 97 98 ALVAN FISHER American 1792 1863 AUTUMNAL FARM SCENE oil on canvas 24 x 33 inches signed lower right Fisher PROVENANCE A Connecticut estate Estimate 3 000 5 000 98 99 WILLIAM HART American 1823 1894 COWS GRAZING IN A FIELD oil on canvas 14 x 24 inches signed and dated lower left W M Hart 79 PROVENANCE A Connecticut estate Estimate 2 500 3 500 99 88

100 100 JASPER FRANCIS CROPSEY American 1823 1900 VIEW OF A LAKE oil on canvas 12 x 20 inches signed lower left J F Cropsey PROVENANCE Sloan and Roman Gallery New York New York The Marbella Gallery New York New York Private Collection Michigan Estimate 25 000 35 000 89

101 101 PEPPINO MANGRAVITE American 1896 1978 YOUNG COUPLE READING oil on canvas 29 x 39 inches signed lower left Mangravite signed and dated on the reverse 1937 PROVENANCE Estate of the artist Bronxville New York D Wigmore Fine Art Inc New York New York Private Collection San Francisco California EXHIBITED American Art Today New York World s Fair New York 1939 illus p 122 D Wigmore Fine Art American Scene Painting and Sculpture Dominant Style of the 1930s and 1940s Estimate 10 000 15 000 90

102 102 FAIRFIELD PORTER American 1907 1975 PORTRAIT OF JAMES SCHUYLER casein on canvas 24 x 22 inches signed and dated lower right Fairfield Porter 1961 inscribed on the reverse Portrait of J S Casein PROVENANCE The artist Tibor de Nagy Gallery New York New York Dr Thomas Mathews Washington D C Estate of Thomas Mathews EXHIBITED Forum Gallery New York New York Artists by Artists The Artist as Subject January 20 January 24 2018 Estimate 10 000 15 000 91

WILL HUTCHINS American 1878 1945 With deeply rooted New England origins Hutchins narrative unfolds from quaint village life into cosmopolitan travel and international sophistication Hutchins was born in 1878 in Colchester Connecticut He studied at Yale and went to Paris to complete his formal artistic training There he studied in the atelier of Jean Paul Laurens Back in the states he studied with Augustus Vincent Tack In 1905 Tack and Hutchins exhibited together in a tonalist exhibition at Deerfield All of Hutchins works in that show were classified as Nocturnes In 1907 Hutchins had his own show at F W Tiernan Gallery in New Haven titled Landscapes in Oil by Will Hutchins The following paintings were probably exhibited in that show They demonstrate Hutchins unique style a blend of tonalism and American Impressionism 103 WILL HUTCHINS American 1878 1945 NOCTURNAL LANDSCAPE oil on canvas 18 x 24 inches signed and dated lower left W Hutchins 1912 estate stamped on the reverse PROVENANCE Private Collection Connecticut Estimate 3 000 5 000 103 92

104 105 105 WILL HUTCHINS 104 WILL HUTCHINS 106 American 1878 1945 American 1878 1945 AUTUMN LANDSCAPE oil on canvas 16 x 13 inches signed and dated lower left Will Hutchins 1905 signed dated and estate stamped on the reverse PROVENANCE Private Collection Connecticut Estimate 1 500 2 500 VIEW FROM THE TOP oil on canvas 16 x 13 inches signed lower right Will Hutchins dated lower left 1906 estate stamped on the reverse PROVENANCE Private Collection Connecticut Estimate 1 500 2 500 106 WILL HUTCHINS 107 WILL HUTCHINS American 1878 1945 American 1878 1945 CABIN AT DUSK oil on canvas 8 x 12 inches unsigned estate stamped on the reverse PROVENANCE Private Collection Connecticut Estimate 1 200 1 800 MARCH CEDARS oil on canvas 8 x 12 inches unsigned estate stamped on the reverse PROVENANCE Private Collection Connecticut Estimate 1 200 1 800 107 93

Larry Rivers art eludes definition He is considered a founding father of Pop Art but also an Abstract Expressionist artist two artistic styles that seem in direct opposition of each other Andy Warhol said of Rivers Larry s painting style was unique it wasn t Abstract Expressionism and it wasn t Pop it fell into the period in between But his personality was very Pop Not only was Rivers a diverse artist he was extremely prolific in a career that started with his first solo exhibition at Jane Street Gallery in Greenwich Village in 1949 From there he continued to show annually at Tibor de Nagy from 1952 1962 and in 1963 joined the Marlborough Gallery who would represent him until his death In the early 1940s Rivers was a professional Jazz saxophonist working in New York City and studying at the Julliard School of Music where he befriended Miles Davis and Charlie Parker In 1945 Jack Feilicher a fellow musician introduced Rivers to Cubism through the paintings of George Braque That year Rivers started painting He studied at Hans Hofmann s School of painting and continued at NYU to earn a BA in art education In 1955 the Museum of Modern Art in New York City MoMA acquired his seminal painting Washington Crossing the Delaware In 1965 his first comprehensive retrospective toured five U S museums By the 1980s Rivers was a well established artist working internationally but with a New York City focus It was during the 1980s that he started creating three dimensional relief paintings Neither collage nor assemblage these works are composed of a shaped support that Rivers custom designs for each composition In the case of All About the Zoo Rivers reinterpreted his 1983 print of the Bronx Zoo but creating a shaped support pasting cut out sections of the lithograph to the board and then painting over the entire work to create a unique composition David Joel Executive Director of the Larry Rivers Foundation notes It wasn t unusual for Larry to take an unnumbered print from an edition and then hand work over it to make a unique piece It appears to me that this is what was done with All about the Zoo he really did do a lot of hand work over the print He painted quite a bit over it and then he went further than he usually would when making a print into a unique work he then three dimentionalized it So it s a unique piece The print of the Bronx Zoo is widely collected including an example at the Metropolitan Museum of Art in New York City Rivers works are collected in numerous public and private collections worldwide 94

108 108 LARRY RIVERS American 1923 2002 ABOUT THE ZOO mixed media 23 x 30 inches signed and dated lower right Larry Rivers 85 PROVENANCE Irving Galleries Palm Beach Florida Private Collection Florida Note This work is a mixed media collage composed of a lithograph and silkscreen print The Bronx Zoo made by Larry Rivers and published by the New York Graphic Society in 1983 He cut and three dimensionalized the wood then extensively reworked and painted over it to create a unique piece Special thanks to David Joel Executive Director of the Larry Rivers Foundation for his assistance in cataloging this lot Estimate 25 000 35 000 95

109 JOHN STEPHAN American 1906 1995 DISC 4 acrylic on canvas 58 1 4 x 54 1 4 inches signed dated inscribed and estate stamped on the reverse John Stephan 69 acry PROVENANCE Estate of the Artist Estimate 7 000 10 000 109 110 NANCY GRAVES American 1939 1995 PALMATE encaustic oil and glitter on masonite 30 x 30 inches signed titled and dated on the reverse N Graves 7 84 PROVENANCE Private Collection Florida Estimate 8 000 12 000 110 96

111 111 NICHOLAS KRUSHENICK American 1929 1999 UNTITLED acrylic on canvas 22 x 22 inches signed and dated on the reverse Nicholas Krushenick Aug 1993 PROVENANCE Private Collection Paris Estimate 15 000 25 000 97

112 EASTMAN JOHNSON American 1824 1906 MASTER TRASK oil on canvas 18 x 14 inches initialed lower right E J PROVENANCE Christie s New York New York December 9 1983 lot 21 Marbella Gallery New York New York Private Collection New Haven Connecticut Shannon s April 28 2005 lot 145 Private Collection New Jersey Estimate 5 000 7 000 113 RICHARD EDWARD MILLER American 1875 1943 LITTLE GIRL WITH A CAT C 1899 oil on board 5 3 8 x 8 15 16 inches signed lower left Miller PROVENANCE Hollis Taggart Galleries New York New York Shannon s October 26 2000 lot 78 Private Collection New York Note A copy of a letter from Mary Louise Kane accompanies the lot Estimate 7 000 10 000 112 113 98

114 HOWARD HILDEBRANDT American 1872 1958 IN THE GARDEN oil on canvas 20 x 16 inches signed lower left H L Hildebrandt PROVENANCE Private Collection Greenwich Connecticut EXHIBITED Milch Galleries New York New York Estimate 2 500 3 500 114 115 LAURENCE A CAMPBELL American b 1939 EVIE GIRL WITH A BOOK oil on canvas 24 x 20 inches signed lower right Laurence A Campbell signed titled and numbered on the reverse 189 PROVENANCE Private Collection Greenwich Connecticut Estimate 3 000 5 000 115 99

116 116 FRANCIS LUIS MORA American 1874 1940 THE WANDERER oil on canvas 36 x 40 inches signed lower right F Luis Mora signed on the reverse PROVENANCE Kodner Gallery St Louis Missouri Private Collection Colorado Estimate 10 000 15 000 100

117 117 HANS THOMA German 1839 1924 SPRING oil on canvas 46 x 34 inches signed with monogram lower right dated lower right 1877 PROVENANCE An Arizona estate Private Collection Massachusetts Estimate 10 000 15 000 101

118 FRANK STELLA American b 1936 SHARDS III color lithograph and screenprint on Arches paper published by Petersburg Press New York 45 3 8 x 39 1 2 inches signed dated and numbered lower right F Stella 82 57 100 PROVENANCE Klabal Gallery Minneapolis Minnesota Private Collection Minnesota Private Collection Naples Florida LITERATURE Axsom 146 Estimate 5 000 7 000 118 119 FRANK STELLA American b 1936 SHARDS V color lithograph and screenprint on Arches paper published by Petersburg Press New York 39 1 2 x 45 1 4 inches signed dated and numbered in pencil lower left F Stella 82 51 100 PROVENANCE Klabal Gallery Minneapolis Minnesota Private Collection Minnesota Private Collection Naples Florida LITERATURE Axsom 148 Estimate 5 000 7 000 119 102

120 120 BRUCE BRAITHWAITE 121 BRUCE BRAITHWAITE American b 1950 American b 1950 GANSEVOORT PLAZA NEW YORK CITY oil on canvas 18 x 24 inches signed lower right Bruce Braithwaite signed titled dated numbered and inscribed on the reverse 559 NYC Princeton NJ 2019 Estimate 2 500 3 500 CENTRAL PARK STROLL oil on canvas 16 x 20 inches signed lower right Bruce Braithwaite signed titled dated numbered and inscribed on the reverse 556 NYC Princeton NJ 2019 Estimate 2 000 3 000 121 103

122 MILTON AVERY American 1885 1965 LANDSCAPE watercolor on paper 7 1 4 x 9 1 2 inches sight signed and inscribed lower left To Cindy with Love Milton Avery PROVENANCE Swann Galleries June 15 2017 lot 176 Private Collection Vermont Note According to a note attached to the reverse In exchange for a crayon drawing 3 year old Cindy brought to his Colony studio Milton Avery let her choose one of a pile of his sketches and signed it Estimate 1 500 2 500 122 123 123 ANDREW NEWELL WYETH American 1917 2009 CHRISTMAS GREETING letterpress print in black with handcoloring in watercolor on cardstock 5 x 8 inches sight inscribed lower right Merry Christmas from Betsy and Andy PROVENANCE Munson Gallery New Haven Connecticut Private Collection New York Estimate 1 500 2 500 124 RAMON CASIS Y CARBO Spanish 1866 1932 ELEGANT WOMAN pencil and crayon on paper 12 1 2 x 9 inches sight signed lower right R Carbo blindstamp lower right PROVENANCE Private Collection Wilmington Delaware Estimate 6 000 8 000 124 104

125 CHARLES DEMUTH American 1883 1935 WOMAN IN AN EVENING DRESS watercolor and ink on paperboard 8 3 8 x 5 1 2 inches sight initialed and dated lower left C D 1912 PROVENANCE Downtown Gallery New York New York William T Kemper Charitable Trust Christie s New York December 1 1989 lot 239 Private Collection Alabama EXHIBITED Demuth Foundation and Museum Lancaster Pennsylvania Demuth 25 Years of Demuth Homage and Hurrah September 15 November 30 2006 Demuth Museum Lancaster Pennsylvania Demuth in the City of Lights July 8 August 28 2011 Jule Collins Smith Museum of Fine Art Auburn University The Greatest Poem American Art from the Robert B Ekelund Jr and Market Thornton Collection May 23 September 6 2015 illustrated Estimate 6 000 8 000 125 126 REGINALD MARSH American 1898 1954 THREE DRAWINGS AND TWO LETTERS Chinese ink and monochrome wash on Whatman paper a 10 1 2 x 8 1 2 inches sheet b 11 x 9 inches sheet c 9 1 4 x 7 inches sight a and b inscribed signed and dated lower right New York City Reginald Marsh 1950 c ink and wash on fine tissue paper unsigned PROVENANCE Private Collection South Africa Note The two letters that accompany the lot are written from the artist to Mr Levitsky the buyer in South Africa The first letter dated Feb 2 1949 offers the drawings for sale and in the second letter dated Aug 9 1950 Marsh explains his artistic process for the drawings included in this lot Read the full letters at www shannons com Estimate 6 000 8 000 126A 126B 126C 105

127 JOSEPH FLOCH American 1895 1977 ABSTRACT STILL LIFE oil on canvas 18 x 14 inches signed lower right Floch PROVENANCE A Massachusetts estate Private Collection Massachusetts Estimate 4 000 6 000 128 MAURICE FREEDMAN American 1904 1985 DOLOMITES AT BOLZANO oil on canvas 30 x 50 inches signed lower left Maurice Freedman signed and titled on the reverse PROVENANCE Margie Wolcott May St Louis Missouri married to Morton D May head of May department stores By descent to her daughter Private Collection Estimate 6 000 8 000 127 128 106

129 129 KONRAD CRAMER American German 1888 1963 HOLLYHOCKS oil on canvasboard 31 1 8 x 20 1 8 inches signed and dated lower right Konrad Cramer 1928 PROVENANCE Zabriskie Gallery New York New York Gerald Peters Gallery New York New York The Collection of Meyer Vivian Potamkin Sotheby s New York New York May 21 2003 lot 41 Private Collection New York Private Collection Massachusetts EXHIBITED Zabriskie Gallery Konrad Cramer Still Lifes of the 1920 s and 30s November 1981 January 1982 Estimate 15 000 25 000 In 1928 Konrad Cramer painted a series of still lifes that were both realistic and three dimensional As the catalog for his retrospective exhibition in 1982 notes of his still lifes This style which respects the visual wholeness of the central object but fragments its surroundings into abstract and decorative forms represents one of Cramer s more individual contributions to modern American Art Cramer was born in Wurtzurg Germany and was influenced early on by Kandinsky and other artists later associated with Der Blaue Reiter In 1911 he married Florence Ballin an American artist he met while she was studying in Munich The couple moved to New York where they became friends with Alfred Stieglitz among other New York modernists The couple eventually settled in the artistic colony of Woodstock New York Cramer founded and directed the Woodstock New York Art Association and the Woodstock School of Painting In Hollyhocks the K and F carved within a heart on the tree represent Konrad and Florence 107

130 ELIZABETH O NEILL VERNER American 1883 1979 FLOWER SELLER WITH PIPE oil on silk wrapped on board 9 x 8 3 4 inches signed lower right Elizabeth O Neill Verner PROVENANCE Private Collection New Jersey Estimate 6 000 8 000 130 131 LILLA CABOT PERRY American 1848 1933 OTSUNE SAN oil on canvas 35 x 25 1 2 inches unsigned PROVENANCE Miss Margaret Perry daughter of the artist by descent to her children Hirschl Adler Galleries New York New York Private Collection Scottsdale Arizona EXHIBITED Herbert F Johnson Museum of Art Ithaca New York Crocker Art Museum Sacramento California America Points of Contact 1876 1970 August 2016 May 2017 no 95 Japan Avery Galleries American Women Artists 1860 1960 October 13 November 10 2017 exh cat Literature Nancy E Green and Christopher Reed Japan America Points of Contact 1876 1970 2016 illustrated p 211 no 95 GC 3213 Note A note on the Hirschl and Adler label on the reverse states According to the Perry estate this painting depicts Otsune San the Perry s Japanese maid while they lived in Japan A copy of a photo certificate from Hirschl and Adler Galleries certifying the provenance of this work accompanies the lot Estimate 8 000 12 000 131 108

132 132 GEORGE HITCHCOCK American 1850 1913 PANDORA oil on canvas 26 3 8 x 22 inches signed lower left G Hitchcock PROVENANCE Private Collection Rhode Island Skinner Boston Massachusetts May 14 2004 lot 343 Private Collection New York Estimate 8 000 12 000 109

133 133 CLARK HULINGS American 1922 2011 PALMAR 2 PROVINCE OF VALENCIA SPAIN oil on canvas 20 x 30 inches signed lower left Hulings PROVENANCE Grand Central Art Galleries New York New York 1968 Private Collection Connecticut Estimate 10 000 15 000 110

134 134 CLARK HULINGS American 1922 2011 MARKET SKOPJE YUGOSLAVIA oil on canvas 24 x 36 inches signed and dated lower center Hulings 1968 PROVENANCE Grand Central Art Galleries New York New York Private Collection Connecticut Estimate 12 000 18 000 111

135 VICTORIAN SCHOOL 19th Century VICTORIAN INTERIOR oil on canvas 14 x 21 1 2 inches monogrammed lower right PROVENANCE Skinner s Boston Massachusetts September 24 1999 lot 271 Private Collection New York Estimate 3 000 5 000 135 136 GEORGE W SEAVEY American 1841 1916 STILL LIFE WITH FLOWERS oil on canvas 8 x 16 inches signed lower right G W Seavey PROVENANCE Private Collection St Louis Missouri Estimate 2 000 3 000 136 137 LEON MORAN American 1864 1941 THE COURTSHIP oil on canvas 22 x 36 inches signed and dated lower left Leon Moran 86 PROVENANCE Private Collection Kentucky Shannon s April 20 2005 lot 46 Private Collection New Jersey Estimate 3 000 5 000 137 112

138 138 LOUIS CHARLES MOELLER American 1855 1930 THE GOSSIPS oil on canvas 18 x 24 inches signed lower right Louis Moeller PROVENANCE Private Collection New York Private Collection New York Estimate 10 000 15 000 113

139 CLARA DEIKE American 1881 1964 FLORAL STILL LIFE oil on canvas 26 x 24 inches signed and dated lower right Clara Deike 1922 PROVENANCE Private Collection Cleveland Ohio Estimate 3 000 5 000 140 GEORGE J MARINKO American 1908 1989 STILL LIFE WITH WEDGEWOOD AND MIRROR oil on masonite 29 1 2 x 23 1 2 inches signed lower right Marinko PROVENANCE Private Collection Connecticut Estimate 2 500 3 500 139 141 RICHARD LA BARRE GOODWIN American 1840 1910 STILL LIFE WITH IRISES AND HYDRANGEA oil on canvas 24 x 18 inches signed lower right R La Barre Goodwin PROVENANCE Private Collection Connecticut Estimate 3 000 5 000 140 141 114

142 ROBERT KULICKE American 1924 2007 ZINNIAS IN A GLASS JAR oil on board 9 1 4 x 9 3 8 inches signed and dated upper center Kulicke 03 PROVENANCE Davis and Langdale Co Inc New York New York Private Collection Pennsylvania Estimate 4 000 6 000 143 ALEXIS KREYDER French 1839 1912 ROSES IN A COBALT VASE oil on canvas 35 x 31 1 4 inches signed lower left A Kreyder PROVENANCE Private Collection Greenwich Connecticut Estimate 5 000 7 000 142 143 115

144 SARAH S STILWELL WEBER American 1878 1939 HARMONY IN THE LIGHT OF THE MOON oil on canvas 36 x 18 inches signed faintly lower right PROVENANCE Private Collection New York Estimate 8 000 12 000 145 TELEMACO SIGNORINI Italian 1835 1901 CONTEMPLATION oil on panel 9 7 8 x 6 1 4 inches monogrammed lower right PROVENANCE Private Collection Connecticut Estimate 4 000 6 000 144 145 116

146 146 MARY STEVENSON CASSATT American 1844 1926 THE CROCHETING LESSON drypoint on pale blue laid paper c 1902 17 1 2 x 10 1 2 inches plate signed lower left in the plate signed in pencil lower right Mary Cassatt numbered in pencil lower left 35 50 and inscribed in pencil Papier bleu ancien 5 preuves PROVENANCE Private Collection France LITERATURE Breeskin Adelyn D Mary Cassatt A Catalogue Raisonn of the Graphic Work Washington Smithsonian Institution 1979 B 179 Estimate 12 000 18 000 117

147 GEORGE GARDNER SYMONS American 1863 1930 WINTER SUNSET oil on board 4 3 8 x 6 inches initialed lower left G S PROVENANCE The Redfern Gallery Laguna Beach California Private Collection Vermont Estimate 1 500 2 500 147 148 WILSON HENRY IRVINE American 1869 1936 STREAM DRIFT oil on canvas 25 x 30 inches signed lower right Irvine PROVENANCE The Artist Private Collection Private Collection New York In a Newcomb Macklin Frame Estimate 3 000 5 000 148 149 CARL WUERMER American 1900 1981 VALLEY FROM A HILLSIDE oil on linen 24 x 31 inches signed lower right Carl Wuermer signed on a label on the reverse PROVENANCE Private Collection New Jersey Shannon s October 20 2015 Lot 283 Private Collection Connecticut Estimate 2 500 3 500 149 118

150 150 ERIC SLOANE American 1905 1985 THE WILLOW oil on panel 18 x 24 inches signed lower right Sloane titled lower left PROVENANCE Michael J Wigley Oklahoma City Oklahoma Quail Hollow Galleries Oklahoma City Oklahoma Alterman and Morris Galleries Private Collection Connecticut Notes The artist estate stamp is on the reverse with catalog number SL 2 Estimate 4 000 6 000 151 CHAUNCEY FOSTER RYDER American 1868 1949 THE COVERED BRIDGE oil on canvas 28 x 36 inches signed lower left Chauncey F Ryder PROVENANCE Private Collection New York Private Collection Florida Estimate 8 000 12 000 151 119

152 GEORGE LAFAYETTE CLOUGH American 1824 1901 COWS GRAZING ALONG THE STREAM oil on canvas 16 x 20 inches signed lower left G L Clough PROVENANCE Private Collection Pennsylvania Estimate 3 000 5 000 152 153 J ANTONIO HEKKING American 1830 1903 AFTER THE STORM oil on canvas 10 x16 inches signed lower right J A Hekking PROVENANCE Shannon s May 1 2014 lot 154 Private Collection Connecticut Estimate 2 000 3 000 153 154 AMERICAN SCHOOL 19th Century VIEW OF THE ITALIAN COAST POSSIBLY NAPOLI oil on canvas 22 x 42 inches unsigned PROVENANCE Private Collection Connecticut Estimate 2 000 3 000 154 120

155 155 FRANK HENRY SHAPLEIGH 156 RICHARD WILLIAM HUBBARD American 1842 1906 American 1817 1888 FORT MARION ST AUGUSTINE FLORIDA FROM THE NORTH oil on slate board 7 1 2 x 12 1 4 inches signed and dated lower right F H Shapleigh 1890 signed and titled on the reverse PROVENANCE Private Collection Pennsylvania Estimate 5 000 7 000 A BUSY DAY ON THE FARM oil on panel 9 x 20 3 4 inches monogrammed and dated lower right 74 PROVENANCE Private Collection Massachusetts Shannon s October 20 2015 lot 153 Private Collection Connecticut Estimate 4 000 6 000 156 121

157 CHARLES WILSON KNAPP American 1823 1900 FARM ALONG THE RIVER VALLEY oil on canvas 18 x 30 inches signed and dated lower right C W Knapp 69 PROVENANCE Private Collection New York Estimate 2 500 3 500 157 158 SAMUEL L GERRY American 1813 1891 AFTERNOON CANOEING IN THE VALLEY oil on canvas 12 x 20 inches unsigned PROVENANCE Private Collection Maine Estimate 3 000 5 000 158 159 SAMUEL L GERRY American 1813 1891 CABIN BY THE RIVER oil on canvas 12 x 20 inches signed lower left S L Gerry PROVENANCE Private Collection Maine Estimate 2 500 3 500 159 122

160 160 ALEXANDER HELWIG WYANT 161 WILLIAM FREDERICK DE HAAS American 1836 1892 American 1830 1880 ON THE HUDSON oil on canvas mounted on wood 14 x 22 inches signed lower center A H Wyant circa 1860 1863 PROVENANCE Christie s New York New York May 22 1991 lot 61 Private Collection New York Notes This work is included in the online Catalogue Raisonn for the artist alexanderwyant org compiled by Mr Anthony E Battelle and listed under ref 102 002 A label from Bernard Danenberg Galleries New York New York is on the reverse Estimate 7 000 10 000 LIGHTHOUSE oil on canvas 15 x 26 inches signed and dated lower right Wm F de Haas 72 signed and dated on the reverse PROVENANCE Private Collection Massachusetts Estimate 4 000 6 000 161 123

162 AARON DRAPER SHATTUCK American 1832 1928 PASTORAL SCENE oil on canvas 12 x 16 inches signed lower right A D Shattuck PROVENANCE Private Collection Eldred s East Dennis Massachusetts August 1 2008 lot 1012 Private Collection Connecticut Estimate 3 000 5 000 162 163 GEORGE W KING American 1836 1922 THE RIGHT SPOT oil on canvas 24 x 36 inches signed lower left G W King titled on the stretcher PROVENANCE Private Collection Connecticut Estimate 3 000 5 000 163 164 BENJAMIN CHAMPNEY American 1817 1907 THE ELLIS RIVER WHITE MOUNTAINS oil on canvas 14 x 10 inches signed lower left B Champney PROVENANCE Eldred s East Dennis Massachusetts August 3 2006 lot 874 Private Collection Connecticut Estimate 2 000 3 000 164 124

165 EDWARD HILL American 1843 1923 CANOEING AT SUNSET oil on canvas 16 x 24 inches signed lower left Edward Hill PROVENANCE Private Collection Colorado Estimate 2 500 3 500 165 166 JOHN LEE FITCH American 1836 1895 STREAM IN THE WOODS oil on canvas 14 5 8 x 16 1 2 inches signed lower left J Fitch PROVENANCE A New Jersey estate Shannon s October 27 2016 lot 177 Private Collection Connecticut Estimate 2 000 3 000 166 167 HORACE WOLCOTT ROBBINS American 1842 1904 ALONG THE FARMINGTON RIVER oil on canvas 25 x 30 inches signed lower right H W Robbins titled on the stretcher PROVENANCE R H Love Gallery Chicago Illinois Mongerson Wunderlich Galleries Chicago Illinois Private Collection Connecticut Note A label from the Pennsylvania Academy of Fine Art is on the reverse Estimate 4 000 6 000 167 125

168 ALFREDO ZALCE Mexican 1908 2003 TREES ON THE HILLSIDE oil on canvas 12 x 24 inches signed and dated lower right Alfredo Zalce 1971 PROVENANCE Private Collection Connecticut Estimate 2 500 3 500 168 169 RENE AUGUSTE SEYSSAUD French 1867 1952 TREES ALONG THE HILLS oil on board 12 1 2 x 16 inches signed lower left Seyssaud 36 PROVENANCE Private Collection South Carolina Estimate 2 500 3 500 169 170 VICTOR VIGNON French 1847 1909 VILLAGE IN WINTER oil on panel 7 x 9 1 2 inches signed lower right V Vignon inscribed illegibly on the reverse PROVENANCE Christie s East New York New York November 12 1996 lot 21 Private Collection Greenwich Connecticut Estimate 3 000 5 000 170 126

171 171 ROBERT SPENCER 172 L ON L HERMITTE American 1879 1931 French 1844 1925 A FIELD IN FRANCE oil on canvas 12 x 14 inches signed lower left Robt Spencer PROVENANCE David David Art Gallery Philadelphia Pennsylvania Private Collection Pennsylvania Estimate 7 000 10 000 VUE PRISE WISSANT A VIEW OF WISSANT pastel on paper mounted on canvas 13 1 4 x 17 1 4 inches signed lower right L LHermitte PROVENANCE Galerie Allard Paris The French Gallery London A Tooth Sons London H S Nienhuis Amsterdam 10 Nov 1970 lot 159 Christie s New York New York May 25 1994 lot 199 Schiller and Bodo LLC New York New York Private Collection Greenwich Connecticut EXHIBITED A Tooth Sons Annual exhibition of pictures pastels and water colours drawings by French and Dutch artists London 1923 no 8 A Tooth Sons London 1923 no 7 A Tooth Sons Christmas exhibition of water colours and pastels London 1925 no 17 LITERATURE Le Pelley F M and Jacques Thuillier L on Augustin L hermitte 1844 1925 catalogue raisonn Paris Cercle d art 1991 p 276 no 676 Estimate 5 000 7 000 172 127

173 BOB ROBERT LOUIS THOMPSON American 1937 1966 UNTITLED oil on masonite 17 3 4 x 36 inches signed lower right R Thompson PROVENANCE Private Collection New York Estimate 8 000 12 000 173 174 JACK ROTH American 1927 2004 UNTITLED acrylic on paper 30 x 22 1 4 inches sight signed and dated lower right Roth 81 PROVENANCE Estate of the artist Estimate 2 000 3 000 174 175 JACK ROTH American 1927 2004 UNTITLED acrylic on paper 30 x 22 inches sight signed and dated lower left Roth 81 PROVENANCE Estate of the artist Estimate 2 000 3 000 175 128

176 176 MARTIN LEWIS American 1881 1962 SHADOWS ON THE RAMP drypoint and sand ground 8 5 8 x 10 1 4 inches plate signed in pencil lower right Martin Lewis PROVENANCE Private Collection Alabama LITERATURE McCarron Paul The Prints of Martin Lewis Bronxville New York Hausberg 1995 Note There are 75 recorded impressions Lewis delivered 67 prints to his dealer Kennedy of which 29 were returned with Lewis destroying 13 leaving only 62 in existence Estimate 8 000 12 000 129

177 177 JAMES FAIRMAN American 1826 1904 JERUSALEM oil on canvas 32 x 45 inches signed lower left J Fairman PROVENANCE Private Collection New York LITERATURE Ackerman Gerald M American Orientalists Paris ACR 1994 pp 80 81 similar views illustrated Estimate 15 000 25 000 130

178 178 HERMAN CORRODI Italian 1844 1905 ARRIVAL AT THE PORT oil on canvas 24 x 48 inches signed and inscribed lower left H Corrodi Rome PROVENANCE Private Collection Florida Estimate 20 000 30 000 131

Li Chen is a living artist working in Taiwan and China He is best known for his monumental sculptures of the Buddha that appear to float despite their weight and size Li Chen s sculptures are exhibited internationally and in 2007 he was invited to the 52nd Venice Biennale becoming the first Asian artist to hold his own independent exhibition there Early in his career a Buddhist person complimented Chen s realist painting encouraging him to explore other media It was shortly after that he made his first sculpture of a Buddha He studied art at the National Dajia Industrial Senior High School and was influenced by contemporary Taiwanese artists including Chen Hsin wan Cheng Chiung ming Lee Chin hsiu and Huang Pu ching After finishing his required military service Chen took a position in the workshop of sculptor Hsieh Tung liang where he studied figurative sculpture His monumental figurative sculptures refer to Buddhist philosophy and contemporary art He uses the finish of the bronze to create a mylar balloon like surface evoking the softness of the figure The figures have a heavy yet light presence enhanced by their joyful approachable appearance and monumental size In 2008 the National Art Museum of China hosted In Search of Spiritual Space Chen s first solo exhibition in Beijing China including representative works from Chen s career since 1998 A nearly 30 foot version of Harmonize without Compromise from 2000 was included As in the present example the Buddah is wearing silver headphones while standing on clouds His closed eyes and soft smile indicate a state of peaceful meditation a classic subject in Asian art In 2012 the Frye Art Museum in Seattle presented the first United States museum exhibition of Chen s work Li Chen Eternity and Commoner This exhibition brought Chen s objective of spreading Eastern culture through sculpture to American audiences A year later the Discovery Channel aired a series titled Chineseness featuring Chen as one of four artists profiled in the four part series 132

179 179 LI CHEN Taiwanese b 1963 HARMONIZE WITHOUT COMPROMISE bronze height 24 inches signed numbered and dated Li Chen 3 8 2000 PROVENANCE A Florida estate Estimate 60 000 80 000 133

180 MATSUMI MIKE KANEMITSU American 1922 1992 SINKING BIRD 1957 oil on canvas 50 1 2 x 30 inches signed upper right Kanemitsu signed and dated on the reverse 57 PROVENANCE Fletcher Gallery Woodstock New York Private Collection Connecticut Estimate 3 000 5 000 181 KAORU YAMAGUCHI Japanese 1907 1968 APPLES oil on canvas 12 x 14 inches signed lower left Kaoru Yamaguchi inscribed with Japanese characters on the reverse PROVENANCE Private Collection Connecticut Estimate 5 000 7 000 180 181 134

182 182 HONGNIAN ZHANG Chinese b 1947 MOTHERS AND CHILDREN SHARING MILK oil on canvas 30 x 48 inches signed lower right Zhang PROVENANCE The artist Private Collection Connecticut Estimate 15 000 25 000 135

183 183 LE PHO French Vietnamese 1907 2001 LE TH TEA TIME oil on canvas 32 x 39 1 2 inches signed lower right Le Pho PROVENANCE Wally Findlay Galleries New York New York Private Collection Florida Note Wally Findlay Galleries inventory number 87923 is inscribed on the stretcher Estimate 40 000 60 000 136

184 184 LE PHO French Vietnamese 1907 2001 HARMONIE JAUNE HARMONY IN YELLOW oil on canvas 29 x 29 1 2 inches signed lower right Le Pho PROVENANCE Wally Findlay Galleries New York New York Private Collection California Private Collection Florida Note Wally Findlay Galleries inventory number 64805 is on the inscribed on the stretcher Estimate 40 000 60 000 137

185 185 ROLAND STRASSER Austrian 1895 1974 PENARI BALI oil on canvas 31 x 23 inches signed and inscribed lower left Strasser Bali signed and inscribed on the reverse Strasser Bali PROVENANCE Private Collection California Private Collection Florida Estimate 30 000 50 000 138

186 VERA ROCKLINE Russian 1896 1934 SEATED NUDE oil on canvas 30 x 25 inches signed lower right Vera Rockline PROVENANCE Private Collection Connecticut Note There is an abstract painting on the reverse Estimate 3 000 5 000 187 LAWTON SILAS PARKER American 1868 1954 WOMAN READING oil on canvas 25 x 30 inches unsigned PROVENANCE De Ru Gallery Bellflower California Private Collection California Note A copy of a letter of authenticity from DeWitt C McCall II of De Ru s Fine Arts accompanies the lot A copy of a letter from Bill Gerdts discussing the painting also accompanies the lot Estimate 3 000 5 000 186 187 188 GEORGIA CRITTENDEN BEMIS American 1908 2008 DRESSED UP FOR THE PARTY oil on canvas 30 x 32 inches signed lower right Georgia Crittenden Bemis PROVENANCE Private Collection Connecticut Estimate 2 500 3 500 188 139

189 CHARLES WARREN EATON American 1857 1937 QUEEN ANNE S LACE AT SUNSET watercolor on paper 13 x 18 inches signed and dated lower right Chas Warren Eaton 1895 PROVENANCE Private Collection New York Note In a Newcomb Macklin frame Estimate 2 000 3 000 189 190 LAWRENCE MAZZANOVICH American 1871 1959 LANDSCAPE IN SHADES OF BLUE oil on canvas 22 x 26 inches signed lower left Mazzanovich PROVENANCE Private Collection Scottsdale Arizona Estimate 3 000 5 000 190 191 JOHN FRANCIS MURPHY American 1853 1921 LANDSCAPE WITH STREAM oil on canvas 16 x 22 inches signed and dated lower right J Francis Murphy 1902 PROVENANCE Private Collection New York Estimate 3 000 5 000 191 140

192 IRVING RAMSEY WILES American 1861 1948 IN THE HARBOR watercolor on paper 17 x 11 inches sight signed and dated lower right Irving R Wiles 1884 PROVENANCE Private Collection New York Estimate 4 000 6 000 192 193 LAURA WOODWARD American 1834 1926 A VIEW THROUGH THE TREES watercolor on paper 13 3 4 x 8 1 2 inches sight signed lower left L Woodward PROVENANCE Private Collection New York Estimate 6 000 8 000 193 141

194 EMILE ALBERT GRUPPE American 1896 1978 BASS ROCKS oil on canvas 18 1 2 x 20 1 4 inches signed lower right Emile Gruppe PROVENANCE Private Collection Connecticut Estimate 2 500 3 500 195 FRANK HENRY SHAPLEIGH American 1842 1906 LATHROPE S POINT SANDY COVE COHASSET oil on canvas 10 x 18 inches signed and dated lower left F H Shapleigh 1877 titled and signed on the reverse PROVENANCE Private Collection New York Estimate 3 000 5 000 194 195 196 GEORGE HOUSTON British 1869 1947 CAIRNDOW oil on canvas 28 x 36 inches signed titled and dated lower left George Houston 1917 PROVENANCE Private Collection New Jersey Shannon s October 25 2007 lot 191 Private Collection Mclean Virginia Estimate 2 000 3 000 196 142

197 197 GEORGE OBERTEUFFER American 1878 1940 SUMMER STORM BOOTHBAY HARBOR oil on board 14 x 17 inches signed lower right Oberteuffer PROVENANCE James Graham and Sons New York New York Wallace Gallery East Hampton New York Private Collection New York EXHIBITED James Graham and Sons George Oberteuffer Nov 2001 Jan 2002 Estimate 4 000 6 000 198 JACK WILKINSON SMITH American 1873 1949 PINE BORDERED LAKE HIGH SIERRA oil on panel 16 1 4 x 20 inches signed lower left Jack Wilkinson Smith signed titled and inscribed on the reverse 16 Champion Place Alhambra Calif PROVENANCE Private Collection Scottsdale Arizona Estimate 7 000 10 000 198 143

199 ANDREW WINTER American 1893 1958 PASSING HOMEWARD BOUNDER oil on board 12 x 16 inches signed lower right A Winter PROVENANCE Private Collection Massachusetts EXHIBITED Salmagundi Club New York New York Estimate 2 500 3 500 199 200 ALBERT BERG German 1825 1884 WINTER CAMP IN THE ARCTIC oil on canvas 23 x 40 1 2 inches signed and dated lower right Albert Berg 71 PROVENANCE Private Collection Connecticut Estimate 3 000 5 000 200 201 HENRY EDWARD SCOTT British 1911 2005 SUNSET NORTH ATLANTIC LEANDER AND SPINDRIFT oil on canvas 20 x 30 inches signed lower left Henry Scott PROVENANCE Quester Gallery Stonington Connecticut Note A label from MacConnal Mason Sons Ltd London England is on the reverse Estimate 3 000 5 000 201 144

202 202 LOUIS BOSWORTH HURT Scottish 1856 1929 HIGHLAND CATTLE WATERING oil on canvas 24 x 40 inches signed lower left Louis B Hurt PROVENANCE Private Collection Connecticut Estimate 7 000 10 000 203 ALESSANDRO GUACCIMANNI Italian 1864 1927 MADISON SQUARE oil on canvas 16 x 22 inches signed dated and inscribed lower right AGuaccimanni 94 New York PROVENANCE Collection of George Achilles Harder New York by descent in the family to his granddaughter until 2009 Private Collection New York Estimate 7 000 10 000 203 145

204 STEVEN ASSAEL American b 1957 ALISON SOLOMON oil on board 11 x 14 inches signed lower right Assael PROVENANCE The artist Tatistcheff Gallery New York Dr Thomas Mathews Washington D C Estate of Dr Thomas Mathews Estimate 2 500 3 500 204 205 JOSEPH HIRSCH American 1910 1981 VISIT oil on canvas 21 3 4 x 15 inches signed lower right Joseph Hirsch PROVENANCE The artist Forum Gallery New York New York Dr Thomas Mathews Washington D C Estate of Thomas Mathews EXHIBITED Forum Gallery New York New York Five Decades Art and Artists of Forum Gallery 1962 2012 June 28 August 31 2012 Estimate 3 000 5 000 205 206 DAVID LEVINE American 1926 2009 THE LARGE BERET 1982 BLACK AND BLUE 1978 A PAIR watercolor on paper a 7 3 4 x 7 inches sight b 14 1 8 x 9 1 4 inches sight signed and dated lower right a D Levine 82 b D Levine 78 PROVENANCE The artist Forum Gallery New York New York Dr Thomas Mathews Washington D C Estate of Thomas Mathewas Estimate 2 500 3 500 206A 146 206B

207 CHRISTO COETZE South African 1929 2001 CELESTIAL BICYCLE NUMBER III 1961 mixed media with oil coins spoons bicycle frame and branch on cut and molded canvas 71 x 51 inches canvas signed titled dated and inscribed on the reverse Christo Coetzee 16 9 61 Paris France PROVENANCE Collection of Mr and Mrs Robert B Mayer Chicago Illinois Galerie Stadler Paris Private Collection New Jersey Estimate 5 000 7 000 208 HUNT SLONEM American b 1951 RED BUTTERFLIES oil on canvas 30 x 40 1 4 inches signed titled and dated on the reverse Hunt Slonem 1997 PROVENANCE Private Collection Connecticut Estimate 7 000 10 000 207 208 147

209 ARTHUR BOWEN DAVIES American 1862 1928 NYMPHS IN A LANDSCAPE oil on canvasboard 20 x 25 inches signed lower left A B Davies PROVENANCE Questroyal Fine Art New York New York Private Collection Pennsylvania Estimate 3 000 5 000 209 210 ARTHUR BOWEN DAVIES American 1862 1928 THE GOLDEN STREAM oil on canvas 17 x 22 1 4 inches unsigned PROVENANCE Rosenfeld Fine Art New York New York Mr John Horton Pennsylvania James A Michener Art Museum Doylestown Pennsylvania Private Collection New York EXHIBITED The Armory Show International Exhibition of Modern Art 1913 Volume III Contemporary and Retrospective Documents Arno Press New York p 161 Estimate 3 000 5 000 210 211 JULIUS ZUBER American 1861 1910 PORTRAIT OF GOETHE oil on canvas 15 x 11 1 2 inches signed upper right J Zuber PROVENANCE Private Collection Connecticut Estimate 2 000 3 000 211 148

212 ROGER SELCHOW American 1911 1994 ABSTRACT oil on canvas 39 x 31 1 2 inches signed lower right Selchow PROVENANCE A Connecticut Estate Estimate 3 000 5 000 212 213 DAVID BURLIUK American Russian 1882 1967 PORTRAIT OF A MAN oil on canvas 24 x 20 inches signed lower left Burliuk PROVENANCE Private Collection Connecticut Estimate 3 000 5 000 213 214 CHARLES GREEN SHAW American 1892 1974 DRIP PAINTING oil on canvas 3 7 8 x 4 3 4 inches signed and dated on the reverse Charles Shaw 1952 PROVENANCE Private Collection New York Estimate 1 500 2 500 214 149

215 KON TRUBKOVICH American Russian b 1979 UNTITLED 2014 mixed media collage 41 3 4 x 29 7 8 inches signed and dated on the reverse Trubkovich 2014 PROVENANCE Marianne Boesky Gallery New York New York Private Collection Connecticut Estimate 3 000 5 000 215 216 HOWARD HODGKIN British 1932 2017 HERE WE ARE IN CROYDON lithograph printed in colors with hand coloring by John Hutcheson and Jim Welty 22 x 29 3 4 inches signed dated and inscribed lower center AP Hodgkin 79 PROVENANCE Private Collection Naples Florida Estimate 2 000 3 000 216 217 JENNY HOLZER American b 1950 10 PORTFOLIOS OF INFLAMMATORY ESSAYS lithographs on paper 17 x 17 inches each one signed lower right Jenny Holzer unnumbered editions of 102 essays PROVENANCE The artist Private Collection New York Visit www shannons com to view photos of the remaining essays Estimate 2 500 3 500 217 150

219 218 218 MICHI RAPHAEL 219 JACOB EPSTEIN American 20th Century American British 1880 1959 LA VALSE bronze height 15 1 4 inches signed dated and numbered Michi Raphael 78 2 8 PROVENANCE A Florida estate Estimate 2 500 3 500 ANNE FREUD bronze height 7 1 4 inches numbered 3 PROVENANCE Bloomsbury Auctions London England June 20 2013 lot 28 Private Collection Connecticut Estimate 3 000 5 000 220 ANDY WARHOL American 1928 1987 ATLAS unique gelatin silver print artist s estate stamped 8 x 10 inches Andy Warhol Foundation for the Visual Arts Inc stamped and dated on the reverse June 19 1984 PROVENANCE Christie s New York New York March 13 2014 lot 1 Private Collection Connecticut Note A certificate of provenance indicating the work originated from the Andy Warhol Foundation for the Visual Arts accompanies the lot Estimate 2 500 3 500 220 221 VARUJAN BOGHOSIAN American b 1926 THE PUPPET wood and metal 20 1 2 x 25 3 8 inches signed and dated on the reverse Varujan Boghosian 1990 PROVENANCE A Florida estate Estimate 2 000 3 000 221 151

222 CHARLES ROBERT KNIGHT American 1874 1953 LION pastel on canvas 11 1 4 x 14 7 8 inches sight signed center right Chas R Knight PROVENANCE Private Collection New Jersey Note A portion of the sale proceeds will be donated to tigers4ever org Estimate 4 000 6 000 222 223 ROBERT CHILDRESS American 1915 1983 DICK JANE MOTHER FATHER SPOT AND PUFF oil on canvas 24 x 20 1 8 inches signed lower right Bob Childress PROVENANCE Private Collection New York Estimate 2 000 3 000 223 224 JESUS REYES FERREIRA Mexican 1882 1977 HORSE ROOSTER A PAIR aniline on paper a 29 3 8 x 18 5 8 inches b 29 1 2 x 19 5 8 inches signed lower left J Reyes Ferreira PROVENANCE Private Collection Connecticut Estimate 3 000 5 000 224A 152 224B

225 WALT KUHN American 1877 1949 STUDY FOR TIGER TRAINER pencil pen and ink wash on paper 21 3 4 x 14 1 2 inches sight signed titled and dated lower right Walt Kuhn 1932 PROVENANCE Private Collection Alabama Estimate 3 000 5 000 226 CHRISTIAN JORGENSEN American 1860 1935 PORTRAIT OF A YOUNG GIRL watercolor on paper 17 1 2 x 11 3 8 inches sight signed lower left Chris Jorgensen PROVENANCE Private Collection Florida Estimate 2 000 3 000 226 225 227 REGINALD MARSH American 1898 1954 A COUPLE oil on masonite 5 x 4 inches signed lower right Marsh PROVENANCE Friends of Olana Art Auction September 1997 Private Collection New York Estimate 3 000 5 000 227 228 HENRI MATISSE French 1869 1954 ODALISQUE lithograph on Arches paper 16 1 2 x 21 1 2 inches sheet signed lower right Henri Matisse and numbered lower left 6 28 PROVENANCE Private Collection Connecticut Note A label from Galerie Moderne of Brentano s New York New York is on the reverse Estimate 3 000 5 000 228 153

229 DOUG BREGA American b 1948 CLESSON watercolor and gouache on paper 25 1 2 x 14 1 4 inches sight signed lower right Doug Brega PROVENANCE The Artist Private Collection Connecticut Estimate 2 000 3 000 229 230 KEN DAVIES American 1925 2017 UNDERCOVER oil on paper board 9 1 4 x 10 3 4 inches signed lower center Ken Davies PROVENANCE Hirschl Adler Galleries Inc New York New York Private Collection Connecticut Estimate 3 000 5 000 230 231 DOUG BREGA American b 1948 CLESSON S HOUSE MAINE watercolor and gouache on paper 11 7 8 x 18 7 8 inches sight signed lower right Doug Brega PROVENANCE The Artist Private Collection Connecticut Estimate 2 000 3 000 231 154

232 CHARLES WARREN EATON American 1857 1937 VERDANT LANDSCAPE oil on canvas 20 x 24 inches signed lower left Chas Warren Eaton PROVENANCE Private Collection Alabama Estimate 2 500 3 500 232 233 JOHANN BERTHELSEN American 1883 1972 RIVERSIDE DRIVE NYC oil on canvas 16 x 12 inches signed lower right Johann Berthelsen signed and titled on the reverse PROVENANCE Private Collection New York Estimate 3 000 5 000 233 234 CARL WUERMER American 1900 1981 VILLAGE IN WINTER oil on canvas 30 x 36 inches signed lower left Carl Wuermer PROVENANCE Grand Central Art Galleries Inc New York New York Private Collection Buffalo New York Shannon s May 4 2017 lot 214 Private Collection Connecticut Estimate 3 000 5 000 234 END OF SALE 155

INDEX A Adriani Camillo 4 Alten Mathias Joseph 18 American School 2 154 Assael Steven 204 Avery Milton 122 B Beers Julie Hart 94 Bemis Georgia Crittenden 188 Berg Albert Childress Robert 223 Gruppe Charles Paul 83 Clough George Lafayette 78 152 Gruppe Emile Albert 194 Coetze Christo 207 Guaccimanni Alessandro 203 Corrodi Herman 178 Cram Allen Gilbert 50 H Cramer Konrad 129 Hambourg Andre 59 Crane Bruce 10 11 64 Harrison Alexander 51 Cropsey Jasper Francis 100 Hart William 91 99 Hassam Childe 19 Hekking J Antonio 153 D Davies Arthur Bowen 209 210 Hildebrandt Howard 114 200 Davies Ken 230 Hill Edward 165 Berthelsen Johann 14 233 De Haas William Frederick 161 Hirsch Joseph 205 Bisttram Emil James 60 61 Decker Joseph 62 Hitchcock George 132 Blakelock Ralph Albert 75 Degas Edgar 45 Hodgkin Howard 216 Boghosian Varujan 221 Deike Clara 139 Holzer Jenny 217 Bonnar James King 1 Demuth Charles 125 Houston George 196 Braithwaite Bruce 120 121 Doughty Thomas 77 Hubbard Richard William 156 Brega Doug 42 43 Dubuffet Jean 36 Hulings Clark 133 134 229 231 Dufy Jean 32 33 Hurt Louis Bosworth 202 Hutchins Will 103 104 105 Bricher Alfred Thompson 23 27 Bristol John Bunyan 74 E Brown George Loring 67 Eaton Charles Warren 189 232 Brown Harrison Bird 69 Enneking John Joseph 24 I Brown John George 89 90 Epstein Jacob 219 Inness George 96 Brown William Mason 73 Irvine Wilson Henry 148 Burliuk David 213 C 106 107 F Fairman James 177 J Ferreira Jesus Reyes 224 Jacobsen Antonio 79 Fisher Alvan 98 Jenkins Paul 56 Campbell Laurence A 30 31 115 Fitch John Lee 166 Johnson David 95 Carbo Ramon Casis Y 124 Floch Joseph 127 Johnson Eastman 112 Carlsen Emil 6 Freedman Maurice 128 Jorgensen Christian 226 Carlson John Fabian 16 65 Casilear John W 70 G Cassatt Mary Stevenson 146 Gerry Samuel L 158 159 Kanemitsu Matsumi Mike 180 Chadwick William 76 Gifford Sanford Robinson 20 Kensett John Frederick 29 Chagall Marc 35 Goodwin Richard La Barre 141 Key John Ross 84 Champney Benjamin 164 Gorson Aaron 7 King George W 163 Chartrand Esteban 71 Graves Nancy 110 Knapp Charles Wilson 157 Chen Li 179 Gray Jack Lorimer 81 Knight Charles Robert 222 156 K

Konti Isidore 40 Pomodoro Arnaldo 37 38 Kreyder Alexis 143 Poncet Antoine 39 Krushenick Nicholas 111 Porter Fairfield 102 Kuhn Walt 225 Kulicke Robert 142 L L hermitte L 172 Lane Richard 80 Levine David 206 Lewis Edmund Darch 66 Lewis Martin 176 Lhote Andr 57 58 Liebermann Max Little John R 5 Thoma Hans 117 Thompson Bob Robert Louis 173 218 Trubkovich Kon 215 Richards William Trost 21 22 Tryon Dwight William 17 Rivers Larry 108 Robbins Horace Wolcott 167 V Rockline Vera 186 Verner Elizabeth 130 Roesen Severin 63 Victorian School 135 Roth Jack 52 54 174 Vignon Victor 170 Vonnoh Robert William 9 175 Ryder Chauncey Foster 151 W S M Thieme Anthony Raphael Michi 46 53 55 T Warhol Andy 220 Warshawsky Abel George 34 Waugh Frederick Judd 86 212 Weber Sarah S Stilwell 144 Senat Prosper Louis 85 Whittredge Worthington 68 113 Seyssaud Rene Auguste 169 Wiggins Guy Carleton 15 Moeller Louis Charles 138 Shapleigh Frank Henry 155 195 Wiles Irving Ramsey 192 Mora Francis Luis 116 Shattuck Aaron Draper 97 162 Williamson John 26 Moran Edward 28 Shaw Charles Green 214 Winter Andrew 199 Moran Leon 137 Signorini Telemaco 145 Woodward Laura 193 Murphy John Francis 191 Sloane Eric 8 44 87 88 Wuermer Carl 149 234 Wyant Alexander Helwig 160 Wyeth Andrew Newell 123 Saint Gaudens Augustus 41 Scott Henry Edward 201 126 227 Seavey George W 136 Matisse Henri 228 Selchow Roger Mazzanovich Lawrence 190 Miller Richard Edward Mangravite Peppino 101 Marinko George J 140 Marsh Reginald 150 N Nisbet Robert Hogg 13 O Oberteuffer George 197 P Slonem Hunt 208 Smith Jack Wilkinson 198 Snell Henry Bayley 82 Sonntag Sr William Louis 92 93 Spencer Robert 171 Stella Frank 118 119 Y Yamaguchi Kaoru Palmer Pauline Lennards 49 Stephan John 109 Parker Lawton Silas 48 187 Stevens William Lester 3 Parton Arthur 25 Strasser Roland Perry Lilla Cabot 131 Pho Le 183 184 181 Z Zalce Alfredo 168 185 Zhang Hongnian 182 Sword James Brade 72 Ziem Felix 47 Symons George Gardner 12 147 Zuber Julius 211 157

CONSIGNMENTS INVITED At SHANNON S we offer personalized service and competitive commission rates to ensure you have the most profitable auction experience For over 20 years clients have trusted us with their Fine Art relying on our expertise reputation and history of record prices Since 1997 Shannon s has sold over 100 000 000 in Fine Paintings Drawings Prints and Sculpture Contact us today to see what we can do for your collection Upcoming Auctions June 20 2019 On Line Fine Art Auction Consignment deadline May 31 2019 October 2019 Fine Art Auction Paintings Drawings Prints Sculpture Consignment deadline September 6 2019 To submit artwork for consideration please email photos to info shannons com or visit www shannons com TESTIMONIALS On behalf of my mother and sister I d like to express to you our appreciation for the way you conducted the sale of my mother s oil painting by M J Heade Being complete novices with a valuable oil painting on our hands we could have made any number of wrong decisions Thanks to the guidance and the hard work of your firm we were able to realize what was probably the maximum price for the painting Our experience working with Shannon s was completely enjoyable and satisfying from start to finish Bill New Jersey Approximately three months ago I walked into your gallery with a somewhat damaged soiled painting Since that time I ve experienced a once in a lifetime journey Your expertise honesty and candor were evident throughout this time I thank you for your guidance and professionalism John Connecticut Thank you for your succinct handling of my five offerings in your April auction I was more than pleased with the final financial transactions but even more so with the personal warmth not condescending professional aloofness as evidenced by many auction houses and galleries and willingness to inform the uninitiated to further appreciation of a genuine treasure Your enthusiasm is evident and infectious Luther California 158

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 Name Date Address City State Zip Country Phone Alternate Fax Email Bidding Increments Lot Artist s Name Maximum Bid Excluding buyers premium 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 BIDS MUST BE RECEIVED AT LEAST 24 HOURS PRIOR TO DAY OF SALE I understand that Shannon s will execute my bids as a convenience and will not be held responsible for errors or the inadvertent failure to execute bids On my behalf Shannon s will try to purchase these lots for the lowest possible price If identical absentee bids are left Shannon s will give precedence to the first one received I have read and agree to the Conditions of Sale printed in this catalog Payment for successful bids must be made within two weeks of the sale A premium of 25 of the successful bid up to and including 200 000 and 20 on any amount exceeding 200 000 will be applied to the hammer price of all lots sold to be paid by the buyer as part of the purchase price Signature required Date 159

CONDITIONS OF SALE Shannon s LLC Fine Art Auctioneers acts solely as an agent for various owners and consignors It exercises care in describing all items listed and uses judgment in attributing authorship but offers no guarantee regarding authenticity condition or description The items described in this catalog which description may be amended by notice or announcement at sale time are offered for sale by Shannon s LLC as agent for various owners or others authorized to sell the items Hereinafter Shannon s LLC is referred to as the Sellers agent The owners or others authorized to sell the items are hereinafter referred to as Sellers The person or persons acknowledged by the auctioneer to be the highest bidder on an item shall be hereinafter referred to as the Buyer or Buyers 7 Limited Warrantee Although Shannon s LLC exercises due care in describing 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 B The items must be returned within 28 days of the sale the items listed and use good judgment in attributing authorship it does not make any express or implied warrantee as to such authorship Notwithstanding Shannon s LLC may but shall have no obligation to consider any reasonable request for refund on the grounds of authenticity of authorship only and only under the following conditions A Notification must be made to Shannon s in writing within 7 days of receipt of the item 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 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 attributions school circle manner or after D The limited warrantee is applicable only to the original Buyer 8 All property is sold as is 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 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 3 Shannon s LLC reserves the right to sell items which are not listed in the catalogue assumes no responsibility for the items or the timing of delivery Insurance for 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 within 30 days post sale or a fee of up to 20 per day will be charged for 5 Order bids are accepted A deposit may be required Absent parties may place bids by mail email fax or in person prior to the sale Order bids must be placed 24 hours prior to the day of sale Shannon s LLC will execute such bids up to the maximum amount specified Phones must be reserved 24 hours prior to the day of sale Phone bidders are encouraged to leave a cover bid in case of technical failure Shannon s is not responsible for errors or omissions in the execution of these bids 6 A premium of 25 of the successful bid up to and including 200 000 and 20 on any amount exceeding 200 000 per lot will be applied to the individual hammer price of all lots sold to be paid by the buyer as part of the purchase price Payment may be made by cash check or wire transfer Visa MasterCard and Amex may be used up to the amount of 5 000 per auction We currently collect sales tax in CA CT NJ and OK 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 use tax on your purchases ALL ITEMS MUST BE PAID FOR WITHIN 14 DAYS OF THE SALE AT WHICH POINT THEY WILL BE RELEASED FOR SHIPMENT OR DELIVERY in transit items is the responsibility of the buyer All items must be removed storage Items not collected within twelve months of a sale will become the property of Shannon s 10 Shannon s has retained the Ar t 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 G L O S S A RY O F T E R M S After A work of art or object made in the style of an artist or maker but not by the artist Sometimes refers multiples that may have used an artist s mold or plate but were reproduced by someone other than the artist including posthumous works Can also be used to describe a direct reproduction after an original work of art Attributed attr In our opinion probably or possibly a work of art by the artist The work is either unsigned and or lacks adequate provenance or authentication by experts in the field Bears Signature The work is signed but the work and signature may not be by the hand of the artist Manner of Made in the likeness or style of an artist with a slight possibility that it was made by the artist or by a follower or student of the artist Also see After and Attributed Possibly Being something that may or may not be true or actual without guarantee Probably Supported by evidence strong enough to establish presumption but not proof We do not guarantee it to be true School Usually relates to a particular artistic or aesthetic movement It can also relate to an actual school or to followers of a particular artist or maker Also see Manner of Style Attributed to and After Style After the time period in which the style originated or a more recent reproduction ie Style of Pablo Picasso or Cubist Style used to refer to the style of a particular artist or artistic movement generally made long after that time period 160

49 Research Drive Milford CT 06460 203 877 1711 Fax 203 877 1719 info shannons com