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Fine Art Auction Paintings, Drawings, Prints and Sculpture Milford, Connecticut • May 2, 2024

Front cover illustration #55 Back cover illustration #38FINE ART AUCTION PAINTINGS, DRAWINGS, PRINTS AND SCULPTURE PREVIEW DATES & TIMES: In-person previews by appointment April 22nd - May 1st (weekdays from 11AM-6PM) Saturday, April 27th (10AM-3PM) Closed Sunday Virtual previews & additional photos are available by request. Bid by telephone, absentee or live on shannons.com.AUCTION INFORMATION Thursday, May 2, 2024 | 6:00 PM EDT

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

1 LAURENCE A CAMPBELL American (b. 1939) "STUDY IN BLUE #2 - WALL STREET" oil on board signed lower right "Laurence A Campbell", titled and signed on the reverse 10 x 8 inches PROVENANCE The artist; Private Collection, New Jersey ESTIMATE $5,000—$7,0001232 GUY CARLETON WIGGINS American (1883-1962) "FIFTH AVENUE IN SNOW" oil on board signed lower left "Guy Wiggins", titled and signed on the reverse 8 x 10 inches PROVENANCE Private Collection, London; Private Collection, Michigan ESTIMATE $6,000—$8,000

3 EUGENE GALIEN LALOUE French (1854-1941) MARCHE AUX FLEURS DE LA MADELEINE gouache on paper signed lower left "E. Galien. Laloue" 10 1⁄2 x 17 1⁄4 inches PROVENANCE Rehs Galleries, Inc., New York, New York; Private Collection, Florida ESTIMATE $5,000—$7,00034444 ANTOINE BLANCHARD French (1910-1988) CHAMPS-ÉLYSÉES oil on canvas signed lower right "Antoine Blanchard." 13 x 18 inches PROVENANCE Private Collection, Florida ESTIMATE $4,000—$6,00055 ANTOINE BLANCHARD French (1910-1988) "FLOWER MARKET, MADELEINE, PARIS" oil on canvas signed lower left "Antoine Blanchard", signed and inscribed on the reverse 13 x 18 inches PROVENANCE Private Collection, Germany NOTES A Certificate of Authenticity from Rehs Galleries accompanies this lot, catalog MDFMN1318.0005. ESTIMATE $3,000—$5,000

656 EDOUARD CORTES French (1882-1969) "LES TROIS QUARTIERS, BOULEVARD DE LA MADELEINE" oil on canvas signed lower right "Edouard Cortes" 15 x 18 1⁄4 inches PROVENANCE Private Collection, Florida NOTES This lot is accompanied by a photo-certificate by Nicole Verdier, Paris, dated 29 September 2011; the painting will be included in vol. 3 of the catalogue raisonné of the paintings by Edouard Cortes. The building depicted in the left half of the painting is the no longer existing large Parisian depart-ment store "Les Trois Quartiers". ESTIMATE $12,000—$18,000

7 YVONNE CANU French (1921-2008) SAILBOATS IN SAINT TROPEZ oil on canvas signed lower right "Canu", titled and signed on the reverse 18 x 21 3⁄4 inches PROVENANCE Private Collection, Connecticut ESTIMATE $6,000—$8,0007868 JEAN JANSEM French (1920-2013) EXERCICE AU TABOURET, 1969 oil on canvas signed and dated lower left "Jansem 69" 38 1⁄2 x 51 1⁄2 inches PROVENANCE Private Collection, Pennsylvania NOTES Madame Flora Jansem has confirmed the authenticity of this painting, which will be included in her forthcoming catalogue raisonné. ESTIMATE $8,000—$12,000

9 ANTONIO MARIA DE REYNA MANESCAU Spanish (1859-1937) VENICE oil on canvas signed lower right "De Reyna / Venezia" 14 x 29 1⁄2 inches PROVENANCE Private Collection, Kentucky NOTES This lot is sold unframed. ESTIMATE $8,000—$12,000910710 HENDRIK WILLEM MESDAG Dutch (1831-1915) SAILING IN ROUGH WATERS, 1861 oil on canvas signed and dated lower right "H. W. Mesdag. / 1861." 12 x 18 inches PROVENANCE Private Collection, New York ESTIMATE $6,000—$8,000

811 DIEGO RIVERA Mexican (1886-1957) PEASANT, 1940 ink on paper signed, inscribed, and dated lower right "Diego Rivera / To Mrs. Ch. F. Ward / Jan. 8 1940" 15 1⁄4 x 10 1⁄4 inches PROVENANCE The artist; Mr. and Mrs. Charles F. Ward; gifted from the above, Private Collection, Connecticut, 1984 NOTES A copy of a photo of Diego Rivera with the Wards accompanies this lot. ESTIMATE $8,000—$12,000111212 DIMITRIOS MYTARAS Greek (1934-2017) WOMAN WITH RED GLOVES oil on panel signed lower left "D Mytaras" 39 1⁄2 x 27 1⁄2 inches PROVENANCE Private Collection, New York ESTIMATE $7,000—$10,000

913 DIMITRIOS MYTARAS Greek (1934-2017) TWO WOMEN oil on panel signed lower left "D. Mytaras", signed on the reverse 27 1⁄2 x 19 3⁄4 inches PROVENANCE Private Collection, New York ESTIMATE $6,000—$8,000131414 DIMITRIOS MYTARAS Greek (1934-2017) LOOK AWAY oil on panel signed lower left "D Mytaras" 27 1⁄2 x 19 3⁄4 inches PROVENANCE Private Collection, New York ESTIMATE $6,000—$8,000

1015 ANGELOS PANAYOTOU Greek (b. 1943) UNTITLED, 1985 oil on canvas signed and dated in Greek lower right "1985" 31 3⁄4 x 23 3⁄4 inches PROVENANCE Private Collection, New York ESTIMATE $10,000—$15,000151616 ANGELOS PANAYOTOU Greek (b. 1943) BACCHUS, 1985 oil on canvas signed and dated in Greek lower right "85" 27 1⁄2 x 19 3⁄4 inches PROVENANCE Private Collection, New York ESTIMATE $8,000—$12,000

1117 PHILIP TSIARAS Greek (b. 1952) EMPTY (LIQUID) HEADS (GRID), 1988 oil on double canvas each signed and numbered on the reverse, with an installation diagram on the reverse of #9 22 x 22 inches PROVENANCE The artist; Greene Gallery, Florida; Private Collection, Florida NOTES The Empty [Liquid] Heads series created in 1988 consisted of four unique works, each comprised of nine images installed in the configuration preferred for the work illustrated above. Aside from the Empty [Liquid] Heads (Grid) shown above the other three works in the series are in 1) the Permanent Collections of the Colby College Museum of Art, 2) a private collection in Mykonos, Greece, and 3) a private collection in Milan, Italy. ESTIMATE $25,000—$35,00017

181218 JOAN MIRO Spanish (1893-1983) L'AIGRETTE ROUGE, 1976 etching and aquatint printed in colors with carborundum signed in pencil lower right "Miro", numbered in pencil lower left "7/50" 45 x 29 inches PROVENANCE Private Collection, Connecticut ESTIMATE $10,000—$15,000

191319 FRANÇOIS POMPON French (1855-1933) COQ DORMANT bronze signed and numbered on the base "Pompon / (A7)", with A.A. Hebrard, Paris foundry mark, inscribed on the base "France" h. 8 1⁄2 inches PROVENANCE Tiffany, New York, New York; Private Collection, Florida LITERATURE Catherine Chevillot, "François Pompon", (Paris: Gallimard / Electa, 1994), p. 194, no. 52; Robert Rey, "Deux Sculpteurs Animaliers: Pompon," Art et Décoration, January 1922, p. 85. NOTES Coq Dormant was designed by Pompon in 1914, before he found success as an independent sculptor (he had served as a studio assistant for Auguste Rodin from 1890-1897). Between 1918 and 1932, Fonderie Hébrard cast Coq Dormant in five editions, numbered 1 to 10, A1 to A10, B1 to B10, C1 to C10, and D1 to D6, for a total of 46. A7 is recorded in Chevillot's catalog as being made on October 13, 1926 and sold to Tiffany, New York on December 5th, 1927. ESTIMATE $15,000—$25,000

1420 ESTEBAN VICENTE American (1903-2001) UNTITLED, 1953 collage signed lower right "Esteban Vicente" 28 1⁄4 x 22 1⁄4 inches PROVENANCE Berry-Hill Galleries, Inc., New York, New York; Private Collection, Idaho; Private Collection, California ESTIMATE $40,000—$60,000Esteban Vicente’s collage, Untitled from 1953, stands as a remarkable piece within the realm of abstract expressionist collage works. Collage, as a medium, presents a unique avenue for artistic expression, blending various materials and textures to create layered compositions that challenge traditional notions of producing art. Vicente’s venture into abstract expressionist collage signifies the broader evolution in the art world during the postwar era. Abstract expressionism, known for its spontaneity, emotional intensity, and gestural techniques, was a prevailing movement during this time. Vicente’s embrace of this style in his collage work showcases the movement’s profound impact on artists of that era. Choosing to leave the collage untitled is a prevalent approach in abstract expressionism. This decision encourages viewers to engage with the artwork on a personal and emotional level. By refraining from assigning a specific title or narrative, Vicente allows viewers to interpret the collage based on their own emotions and experiences, cultivating a deeper connection between the artwork and its audience. Vicente’s adept use of color and the dynamic interplay of textures in this collage are hallmarks of abstract expressionism. The vibrant palette, featuring a mix of cool and warm hues, creates a visually captivating and emotionally charged composition. The juxtaposition of various materials and the spontaneous layering of elements add a sense of movement, depth, and energy to the collage, amplifying the emotional resonance of the piece. The absence of recognizable forms or objects in Vicente’s collage aligns with the non-representational essence of abstract expressionism. Rather than imposing specific images, the artist allows various shapes, textures, and lines to interact in a harmonious yet unpredictable manner. This open-ended composition encourages viewers to find their own meaning within the collage, highlighting the subjective nature of art interpretation. A defining characteristic of abstract expressionism is its capacity to actively engage viewers in the interpretation of the artwork. Vicente’s untitled collage serves as a reflective surface for the emotions and experiences of each individual viewer. This participatory aspect of art appreciation resonates with the ethos of abstract expressionism, fostering a personal connection between the viewer and the artwork. The enduring allure of Vicente’s untitled collage lies in its ability to resonate with audiences across generations. The emotional depth, intricate layering, and open-ended nature of the work allow it to remain relevant and continue to elicit powerful responses from viewers, solidifying its status as a timeless masterpiece within the abstract expressionist collage tradition.

2015

162121 LYNNE MAPP DREXLER American (1928-1999) "FOLIAGE STUDY", 1962 watercolor and gouache on board titled, dated and signed on the reverse "Foliage Study / 1962 / Lynne Drexler" 16 1⁄4 x 13 inches PROVENANCE The artist; Private Collection, Connecticut ESTIMATE $30,000—$50,000

172222 LYNNE MAPP DREXLER American (1928-1999) DANCERS, CA. 1959 oil on paper unsigned 8 1⁄2 x 11 1⁄2 inches PROVENANCE Lupine Gallery, Monhegan, Maine; Private Collection, Maine ESTIMATE $20,000—$30,000

1823 ALICE BABER American (1928-1982) "THE RINGING AND THE RINGING", 1967 acrylic on canvas signed lower left "Baber", signed, dated, titled, and inscribed on the reverse "1967 Alice Baber New York", inscribed on the reverse "For Charles Craig April 1969" 30 x 50 inches PROVENANCE Private Collection, Washington NOTES This work is included in the The Alice Baber Project working towards an online catalogue raisonné of the artist’s work at alicebaber.com. ESTIMATE $60,000—$80,000Renewed interest and emerging scholarship on 20th century women artists continues to bring important paintings into the limelight. Such is the case with The Ringing and the Ringing by American Abstract Expressionist, Alice Baber. Previously overlooked in a private collection, this impressive, large canvas is representative of Baber’s mature style. Baber is best known for organic, biomorphic forms painted using a staining technique which allowed her to explore pure color and elicit a sense of radiant light. In 1958, after her first solo exhibition and first residency, she began working on a painting titled Battle of the Oranges. A work that emerged from a series of still-life paintings filled with circular shapes of fruit. According to writer and historian Sylvia Moore, this painting was the moment when Baber “first perceived that the circle possessed an infinite range of possibilities for exploration of color and light” thus forming her unique artistic style. Beginning in 1958, she spent 6-months each year in Paris. At the time Paris was home to other American artists including Sam Francis, Joan Mitchell and Shirley Jaffe, among others. One year later, Baber was chosen to participate in the Jeune Biennale along with Helen Frankenthaler. Over the course of the following years, her work was exhibited regularly in Paris, London, Edinburgh and Hamburg. In 1964, Baber married Paul Jenkins who was also an American expatriate living in Paris. After the wedding, the couple traveled to Japan for a double-exhibition at the Osaka Pinacotheca Museum. In 1970, their short-lived marriage ended and they parted ways. From 1958 to the mid-1970s, her experiments with color and technique morphed into a unique style. She turned to abstraction in 1958, followed by a period of using yellows, greens, reds and lavender in the 1960s adding black by the mid-1970s. She became known for her interest in color and lectured on the subject during her career. Baber was an active feminist and participated in exhibitions that were dedicated to women artists. She participated in “Women Choose Women,” the 1972 exhibition at the New York Cultural Center curated by Lucy Lippard. Her works are today included in numerous museums and private collections around the world including the Metropolitan Museum of Art, the Solomon R. Guggenheim Museum, the Whitney Museum of American Art, the Museum of Modern Art, New York, the Albertina Museum, Vienna and the Stedeljik Museum, Amsterdam.

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2024 ANNA HELD AUDETTE American (1938-2013) "SCRAP METAL VIII", 1992 oil on canvas signed and dated lower right "Anna Held Audette © 1992", signed and titled on the stretcher 28 1⁄2 x 61 inches PROVENANCE The artist; Private Collection, Connecticut EXHIBITED Washington Depot, Connecticut, Washington Art Association, "Urban Landscapes", May 18 - June 16, 2013 ESTIMATE $3,000—$5,00025 ANNA HELD AUDETTE American (1938-2013) "SHREDDER DECK", 2004 oil on canvas signed and dated lower left "Anna Held Audette / © 2004", signed and dated on the reverse 36 x 36 inches PROVENANCE The artist; Private Collection, Connecticut EXHIBITED Old Lyme, Connecticut, Florence Griswold Museum, "Abandoned in Place: The Worlds of Anna Audette", September 30, 2023 - January 28, 2024 ESTIMATE $3,000—$5,0002425Known for her monumental, polychrome paintings of industrial ruins, Anna Held Audette was an American precisionist in the tradition of Charles Scheeler, Walter Murch and Charles Demuth. Using color, form and scale to dramatic effect, Audette portrayed time and neglect on abandoned scrap yards, aircraft, ships, trains, factories and machinery. Early in her career, Audette focused on drawings and printmaking. It was only later, in middle age, that Audette embraced painting. Yet even as her preferred media changed over time, Audette consistently explored form and deconstruction. Across a wide variety of subject matter, from the human form to heavy machinery, these underlying themes remained evident throughout Audette’s vast body of work. Today Audette’s paintings, prints and drawings can be found in private collections as well as museums, such as The National Gallery of Art, Rijksprentenkabinet, Rijksmuseum, Museo de Arte de Ponce, The Yale University Art Gallery and The Metropolitan Museum of Art. Her works vary across subject matter, scale and medium, but they share a common thread; in Audette’s words, “they form a visual requiem for the industrial age."

262126 ROXY PAINE American (b. 1966) MAQUETTE FOR PORTAL, 2013 stainless steel sculpture on wood base unsigned h. 43 inches PROVENANCE Private Collection, Connecticut ESTIMATE $12,000—$18,000

2227 PRISCILLA WARREN ROBERTS American (1916-2001) "HAUNTED HOUSE", 1982 oil on board signed lower right "P Roberts" 25 x 20 inches PROVENANCE Grand Central Art Galleries, Inc., New York, New York; Private Collection, New York ESTIMATE $8,000—$12,00027

2328 PRISCILLA WARREN ROBERTS American (1916-2001) "HOOPS AND STAYS" oil on masonite signed lower right "P Roberts" 24 x 20 inches PROVENANCE Grand Central Art Galleries Inc., New York, New York; Private Collection, New York EXHIBITED New York, New York, National Academy of Design, Annual Exhibition, n.d. ESTIMATE $7,000—$10,00028

2429 AGNES MARTIN American (1912-2004) UNTITLED, 1960 ink on paper signed and dated on the reverse "A. Martin / 1960" 8 x 8 inches PROVENANCE Robert Elkon Gallery, New York, New York; Private Collection, South Carolina ESTIMATE $40,000—$60,000Agnes Martin, renowned for her contributions to abstract expressionism and minimalism, crafted artworks of subtlety and emotional depth. One standout piece is her 1960 ink on paper, “Untitled.” This work offers a visual meditation on form, line, and emotion. “Untitled” initially seems straightforward, with delicate horizontal and vertical lines forming a meticulously spaced grid. The soft, muted ink suggests tranquility, yet its apparent simplicity harbors a deeper complexity, urging deeper contemplation. Martin’s art is often meditative, and “Untitled” is a prime example. The repetitive lines create a rhythmic pattern, reflecting Martin’s belief in the power of repetition for inner peace. The artwork invites viewers to engage contemplatively, finding serenity within its structured simplicity. Martin’s minimalist approach in “Untitled” aims to strip away excess, focusing on the relationship between lines and space, as well as subtle tonal variations. The lack of overt symbolism allows for diverse interpretations, inviting viewers to connect personally with the artwork. Echoing Martin’s philosophy that her paintings are about the ‘known forever in the mind,’ “Untitled” transcends its physicality to evoke universal truths and emotions. In essence, “Untitled” encapsulates Martin’s introspective and spiritual approach to art, reflecting her journey of self-discovery. It stands as a testament to her unique vision and the transformative power of art.

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302630 GUY CARLETON WIGGINS American (1883-1962) FLAGS UP FIFTH AVE oil on canvasboard signed lower right "Guy Wiggins NA" 16 x 12 inches PROVENANCE Questroyal Fine Art, Inc., New York, New York; Private Collection, New Jersey ESTIMATE $15,000—$25,000

312731 GUY CARLETON WIGGINS American (1883-1962) "SNOW STORM ON BROADWAY", 1921 oil on panel signed and dated lower left "Guy Wiggins NA / 1921", titled, dated, and signed on the reverse 10 x 8 inches PROVENANCE Private Collection, New Jersey ESTIMATE $12,000—$18,000

32 LEON KROLL American (1884-1974) RECLAIMED LAND, RIVERSIDE DRIVE, 1913 oil on canvas signed and dated lower left "Kroll 13" 30 x 25 inches PROVENANCE Cigna Museum and Art Collection, Philadelphia, Pennsylvania; Owen Gallery, New York, New York; Private Collection, North Carolina EXHIBITED Philadelphia, Pennsylvania, Cigna Museum and Art Collection, "The Art of the Machine: Industrial Landscapes from the CIGNA Museum of Art Collection", 1998; Blowing Rock, North Carolina, Blowing Rock History Museum, "Art Among Friends: Four Collections of American Art", May 3 - November 2, 2013 ESTIMATE $15,000—$25,0003228

332933 PAUL CORNOYER American (1864-1923) NIGHTFALL oil on canvas signed lower left "Paul Cornoyer" 36 1⁄4 x 32 1⁄4 inches PROVENANCE Private Collection, New York ESTIMATE $30,000—$50,000

303434 MONTAGUE DAWSON English (1895-1973) RACING OFFSHORE, SOLENT oil on canvas signed lower left "Montague Dawson" 28 x 42 inches PROVENANCE Elizabeth Briggs Fisher Trust; Private Collection, Michigan ESTIMATE $30,000—$50,000

313535 MONTAGUE DAWSON English (1895-1973) RACING OFFSHORE oil on canvas signed lower left "Montague Dawson" 24 1⁄4 x 44 1⁄4 inches PROVENANCE Elizabeth Briggs Fisher Trust; Private Collection, Michigan ESTIMATE $30,000—$50,000

3236 DAVID JOHNSON American (1827-1908) "STUDY FROM NATURE, WARWICK, NEW YORK", 1873 oil on canvas signed with conjoined initials and dated lower right "DJ. 1873", signed, inscribed, and dated on the reverse "Study. / On the WA-wa-yanda. near. / Warwick N.Y. / David Johnson. 1873" 18 x 26 inches PROVENANCE Private Collection, Lexington, Massachusetts (until 1993); Private Collection, Florida; Martha Parrish and James Reinish, Inc., New York, New York; Private Collection, New York ESTIMATE $40,000—$60,000David Johnson was born in New York City in 1827. Although he claimed to be self-taught, he studied at the National Academy of Design and received some instruction from Jasper Francis Cropsey. In 1848, Johnson visited the Catskill mountains and completed his first landscape dated 1848. In the years that followed, Johnson would travel through New York, New Hampshire, Vermont, Connecticut, New Jersey and Virginia. He painted landscapes characterized by careful construction, meticulous naturalism and avoided dramatic effects. His work was exhibited at the National Academy of Design where he became a full-member in 1861. His paintings were also sent for loan exhibitions in Chicago, Boston, Philadelphia, Pittsburgh, Buffalo and Utica. The present lot depicts a quiet afternoon in Warwick, New York. Known for its quiet, agricultural scenery, Warwick was a restful destination away from the hustle and bustle of city life. The layered composition is filled with charming details of quiet, country life. Cows grazing in the distance, wildflowers blooming in the foreground and children idly watching the stream. Johnson was a master of foliage and the variation of tree species in this painting showcases his talents. Cited in a 2001 New York Times article the artist is quoted speaking of another painting done in Warwick, “...is an outdoor study, painted entirely upon the spot, and is, as far as I was able to make it so, a literal portrait of the place. I placed my easel there and went to work earnestly to find out how Dame Nature made things, divesting myself of all thoughts of picture or studio effects.” Critic Ken Johnson noted, “Today, such unassumingly assiduous empiricism seems closer to modern sensibility than does the hyperbolic romanticism of Johnson’s more illustrious peers.” Johnson’s work is collected in numerous museums and private collections. He is considered one of the leading artists of the second-generation Hudson River School painters.

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343737 WILLIAM MASON BROWN American (1828-1898) AUTUMN SCENE WITH LAKE oil on canvas unsigned 22 x 34 inches PROVENANCE Private Collection, New York ESTIMATE $10,000—$15,000

353838 JAMES MCDOUGAL HART American (1828-1901) MORNING IN THE ADIRONDACKS, CA. 1863 oil on canvas signed lower left "James M. Hart" 39 x 66 inches PROVENANCE Thomas Colville Fine Art, LLC, New York, New York, 2007; Private Collection, Michigan EXHIBITED Petoskey, Michigan, Crooked Tree Arts Center, 2009; Savannah, Georgia, Savannah College of Art and Design, 2010 ESTIMATE $30,000—$50,000

3639 DWIGHT WILLIAM TRYON American (1849-1925) PINK SKY, 1888 oil on panel signed and dated lower left "D.W. Tryon 1888" 16 x 24 inches PROVENANCE Private Collection, New York ESTIMATE $8,000—$12,00039

3741 DWIGHT WILLIAM TRYON American (1849-1925) MOONLIGHT, 1881 oil on canvas signed and dated lower left "D.W. Tryon. Paris. '81" 15 3⁄4 x 23 3⁄4 inches PROVENANCE Private Collection, New York NOTES This work probably depicts the Seine at night. ESTIMATE $4,000—$6,000404140 DWIGHT WILLIAM TRYON American (1849-1925) TWILIGHT IN NEW ENGLAND, 1887 oil on panel signed and dated lower right "D.W. Tryon. '87" 16 x 24 inches PROVENANCE The Cooley Gallery, Old Lyme, Connecticut; Private Collection, New York ESTIMATE $7,000—$10,000

424343 ROBERT SPEAR DUNNING American (1829-1905) STILL LIFE WITH PEACH, PEAR AND GRAPES, 1897 oil on canvas signed and dated lower right "R.S. Dunning. 97", signed and dated on the reverse 7 1⁄2 x 11 1⁄4 inches PROVENANCE Martha Parrish and James Reinish, Inc., New York, New York; Private Collection, Florida; Private Collection, New York EXHIBITED Orlando, Florida, Orlando Museum of Art, "Up Close: American Still Life Painting", July 3 - October 3, 1993 ESTIMATE $6,000—$8,0003842 JOHN F. FRANCIS American (1808-1886) A BASKET OF CHERRIES, 1853 oil on canvas signed and dated lower right "J F Francis. / PT / June. 1853." 15 x 19 inches PROVENANCE Hirschl and Adler Galleries, New York, New York; Private Collection, New York ESTIMATE $7,000—$10,000

443944 PAUL LACROIX American (1827-1869) STILL LIFE oil on canvas signed lower right "P. LaCroix" 40 x 50 inches PROVENANCE Private Collection, Maine NOTES This lot is sold unframed. ESTIMATE $20,000—$30,000

454045 TOM YOST American (b. 1957) "MARSH AT BARN ISLAND", 2018 oil on linen signed and dated lower right "Yost '18", signed, titled, and dated on the reverse 20 x 30 inches PROVENANCE Private Collection, Connecticut EXHIBITED New Britain, Connecticut, "The Nor'Easter, 49th Annual Juried Exhibition", June 22 - July 14, 2019 ESTIMATE $8,000—$12,000Tom Yost opened his own conservation studio, Yost Painting Restoration in New York in 1990. He and his staff of trained professionals and apprentices soon built a prestigious client list which included well known galleries, museums, and art dealers from across the nation as well as many private art collectors. Relocating his base to Connecticut in 1998, he continued doing business as Yost Conservation LLC. After 34 years as a conservator, Tom sold his company in 2022 to pursue a full-time artistic career. Throughout his formative and the professional years of his adulthood, Tom has always set aside time to create his own paintings. Undoubtedly the enriching experience of working on great masterpieces of fine art during his years as a conservator has had its influence on Tom’s own personal style. He continues to explore Connecticut’s Litchfield Hills and Coastline as well as the Hudson River Valley and to produce works that capture the natural beauty and moments of inspiration found in these places. Recognized by juried awards and holdings in both museums and numerous private collections, Tom’s highly regarded realism and carefully crafted images reflect the refinement and skill of an emerging American master.

464146 TOM YOST American (b. 1957) "WINTER BROOK", 2023 oil on linen signed and dated lower left "Yost '23", signed, titled, and dated on the reverse 16 1⁄2 x 12 inches PROVENANCE Private Collection, Connecticut NOTES Painted at the Beardsley Preserve in Roxbury Connecticut. ESTIMATE $5,000—$7,0004747 TOM YOST American (b. 1957) "CLIFFS ALONG HOADLEY CREEK", 2021 oil on linen signed and dated lower left "Yost '21", signed, titled, and dated on the reverse, inscribed on the reverse "Guilford, CT" 16 x 14 inches PROVENANCE Private Collection, Connecticut EXHIBITED New York, New York, Questroyal Fine Art, LLC., "Captivating Shores: Tom Yost Reveals Connecticut's Coast", October 28 - December 30, 2021 ESTIMATE $5,000—$7,000

4248 BIRGER SANDZEN American (1871-1954) MOUNTAINS BY THE RIVER oil on board signed lower right "Birger Sandzen", inscribed on the reverse "Margaret S. Greenough" (daughter of the artist) 40 x 48 inches PROVENANCE Bethany College, Lindsborg, Kansas; Auction in Santa Fe, Santa Fe, New Mexico, August 17-18, 2014, lot 111; Private Collection, Texas ESTIMATE $50,000—$75,000Birger Sandzen was born in Sweden in 1871. He studied art in Stockholm with Anders Zorn and Richard Bern and spent three months in Paris studying with Edmond Francois Aman-Jean. At twenty-three years old, Sandzen read a book by the founder of Bethany College and moved to Lindsborg, Kansas intending to sojourn for two to three years as a teacher in the United States and Mexico. When he arrived in Kansas, he liked it so much that he spent nearly all of the following sixty years in Lindsborg. Initially, he worked as a language teacher and in 1899 became the principal art teacher in addition to his language courses. In addition to his role as a teacher, he wrote for Swedish-American newspapers, was a tenor soloist and a guest teacher at numerous other institutions. He refused other permanent positions citing that he loved “little Lindsborg” and was dedicated to Bethany College. While teaching, writing and singing, Sandzen painted prolifically and filled numerous sketchbooks with drawings. In 1908, he saw the Rocky Mountains for the first time. For more than three decades, he visited and painted Colorado and the Rocky Mountains. The present lot is inscribed with the name of Sandzen’s daughter, Margaret S. Greenough, on the reverse. Together with her husband, the Greenoughs built the Birger Sandzen Memorial Gallery on the campus of Bethany College in 1957. It is likely she owned this work before donating it to the Memorial Gallery. He exhibited extensively in the United States and in Sweden where his works can still be found in the Nelson-Atkins Museum of Art, the Brooklyn Museum of Art, The Museum of Fine Arts in Santa Fe, the Library of Congress, the Chicago Art Institute, the Denver Art Museum and the National Museum of Stockholm.

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44495049 CLARK HULINGS American (1922-2011) STILL LIFE WITH CORN, 1975 oil on masonite signed and dated lower right "Hulings © 1975" 14 x 21 inches PROVENANCE Owens Gallery, Oklahoma City, Oklahoma; Private Collection, New Mexico ESTIMATE $8,000—$12,00050 EDGAR ALWIN PAYNE American (1883-1947) CRATER LAKE oil on canvas laid down on board signed lower left "Edgar Payne" 15 x 18 inches PROVENANCE Goldfield Galleries, Los Angeles, California; Private Collection, Dallas, Texas; Private Collection, New York NOTES An authentication label signed by Edward Goldfield and dated August 3, 1978 is affixed to the reverse (number EP 177). ESTIMATE $6,000—$8,000

51 ERIC SLOANE American (1905-1985) "NEW ENGLAND WINTER" oil on masonite titled and signed lower left "Sloane" 26 x 30 inches PROVENANCE Private Collection, Connecticut ESTIMATE $12,000—$18,0005145

524652 ERIC SLOANE American (1905-1985) LAST HAY OF THE SEASON oil on masonite signed lower left "Eric Sloane N.A.", artist's stamp on the reverse 24 x 36 inches PROVENANCE Private Collection, New Mexico; Michael Wigley Galleries, Santa Fe, New Mexico; Private Collection, New Mexico; Shannon's Fine Art Auctioneers, Milford, Connecticut, November 19, 2020, lot 99; Private Collection, Massachusetts ESTIMATE $6,000—$8,00053 ERIC SLOANE American (1905-1985) "LOVEJOY BRIDGE, MAINE" oil on masonite signed lower left "Eric / Sloane N.A.", titled and signed on the reverse 16 3⁄4 x 22 3⁄4 inches PROVENANCE I.M. Wiese Antiquarian, Southbury, Connecticut; Bonham's Skinner, Boston, Massachusetts, January 26, 2018, lot 262; Private Collection, Massachusetts ESTIMATE $6,000—$8,00053

544754 WALTER LAUNT PALMER American (1854-1932) STREAM IN WINTER oil on board signed lower left "W.L. Palmer" 20 1/4 x 24 1/4 inches PROVENANCE Private Collection, Albany, New York; by descent in the family to Private Collection, Rhode Island ESTIMATE $20,000—$30,000

4855 WILLIAM MERRITT CHASE American (1849-1916) PORTRAIT OF CAROLINE ALLPORT, 1897 oil on canvas signed upper left “Wm. M. Chase” 24 1⁄4 x 20 inches PROVENANCE Descended in the family of the sitter; Madron Gallery LLC., Chicago, Illinois; Private Collection, Michigan NOTES Inscription on Reverse: “Jumbo said to Alice, I love you Alice said to Jumbo, I don’t believe you do. For if you really love me as you say you do. You wouldn’t go to Yankee land And leave me in the zoo. Our favorite song, Caroline and Mr. Chase” Dec 1897 ESTIMATE $80,000—$120,000“The most prominent characteristic of his style in portraiture is force. Vividness of conception, strength and rapidity of hand—these are its most striking qualities.”1 William Merritt Chase is one of the most celebrated American Impressionists. He was an influential teacher of plein-air painting and a tremendously successful artist working in a progressive style that included elements of Tonalism, Impressionism and Realism. Chase was born in Franklin, Indiana where he began his artistic training under Benjamin Hayes. He spent a brief period in St. Louis, Missouri studying under Munich-trained artist John Mulvaney. Chase’s talent was apparent early on and patrons from St. Louis sponsored a trip for Chase to go to Munich and study bravura painting at the Royal Academy. (Bravura is a type of brushstroke used by John Singer Sargent, Anders Zorn, Velazquez and others. To accomplish this style, painters used what appears to be a quick brushstroke but is actually a deliberate, purposeful paint application.) From 1872-1878 Chase studied in Munich with friends J. Frank Currier, Frank Duveneck, and John Twachtman. In 1878, Chase returned to New York where he became a teacher at the Art Students League and rented a studio in Greenwich Village. Chase quickly outgrew his original space and took over the large gallery originally intended for all of the Tenth Street Studio Building tenants to exhibit their work. He made several trips to Europe absorbing the styles of the Old Masters but also increasingly of contemporary European artists like Edouard Manet and Giuseppe de Nittis. Early in his career, Chase concluded that painting portraits would help him achieve success both artistically and financially. In the first exhibition of the Society of American Arts held in 1878, Chase exhibited four portraits, including Apprentice, a painting of a young man he completed in Munich. His skills as a portraitist attracted high profile sitters – presidents, businessmen, actresses and celebrities– sat for their portraits at Chase’s Tenth Street Studio. He painted his friends, relatives and fellow artists. In London, he met J.A.M. Whistler and the artists painted one another. In the present lot, Chase painted Caroline Allport. The artist and the sitter must have had a sweet relationship as the poem on the back is annotated “Our favorite song, Caroline and Mr. Chase.” The verse is from a popular English song about Jumbo the Elephant. He was sold to P. T. Barnum by the London Zoo in 1882. 1“William Merritt Chase,” American Art Review, 2 (January, 1881): 97.

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565056 ABBOTT FULLER GRAVES American (1859-1936) HUNNEWELL GARDENS oil on canvas signed lower right "Abbott Graves" 40 x 50 inches PROVENANCE Collins Auction Galleries, Kennebunk, Maine, 2002; Babcock Galleries, New York, New York; Private Collection, Michigan ESTIMATE $30,000—$50,000

5157 JESSIE ARMS BOTKE American (1883-1971) WHITE PEACOCKS AND BLUE DELPHINIUM oil on board signed lower right "Jessie Arms Botke" 30 x 24 inches PROVENANCE Property from the Estate of Louis W. Hill, Jr., St. Paul, Minnesota; Sotheby’s, New York, New York, May 22, 1996, lot 115; Private Collection, Michigan ESTIMATE $30,000—$50,00057 Born in Chicago, Jessie Botke is known for her exotic, highly decorated bird studies, especially elegant plumages of peacocks. She also did other subjects including Indian figures, genre, and desert landscapes, and usually painted in oil but worked in watercolor and gouache and frequently used gold and silver leaf in backgrounds. She married Dutch-born Cornelius Botke, and they worked on murals together in Chicago for the Kellogg Company and the University of Chicago, Noyes Hall. In 1906, Botke had arranged an exchange of her paintings for a trip West on the Santa Fe Railroad to Arizona and California, and the Railroad acquired works titled "Hopi Indian Life" and "California Missions". She exhibited some of these western-subject paintings at the Art Institute of Chicago. In 1918, the couple first visited California together, and in 1920, settled on a ten-acre ranch near Santa Paula, California, although they traveled in Europe from 1923 to 1925. In 1927, they moved to southern California, living in Wheeler Canyon near Santa Paula. She was a member of the California Art Club, the California Watercolor Society, and the Foundation of Western Art. She won numerous prizes including high distinction from the Chicago Art Institute.

58 MILTON CLARK AVERY American (1885-1965) THE COAL ELEVATOR, NEW YORK, CA. 1930 oil on canvas signed lower right "Milton Avery" 23 1⁄2 x 29 inches PROVENANCE Christie's, New York, New York, September 29, 2009, lot 38; Hollis Taggart Galleries, New York, New York; Private Collection, North Carolina EXHIBITED Blowing Rock, North Carolina, Blowing Rock History Museum, "Art Among Friends: Four Collections of American Art", May 3 - November 2, 2013 ESTIMATE $40,000—$60,00052Milton Avery moved to Hartford, Connecticut with his family in 1898 at the age of 13. In 1905, he enrolled in a lettering class at the Connecticut League of Art Students in Hartford. It was there that the school’s director encouraged him to take a life-drawing class, launching Avery’s career as an artist. In 1918 he transferred to the School of Art at the Society of Hartford and began exhibiting his works while working odd jobs in the city. Avery spent his summers in Gloucester and there he met Sally Michel. The couple married in 1926 and moved to New York City. In New York City he attended sketch classes at the Art Students League and befriended New York School artists including Adolph Gottlieb, Mark Rothko, and Barnett Newman. Sally, an artist herself, worked as a freelance illustrator to support the family so Milton could pursue his emerging artistic career. In 1935 Milton was invited to exhibit his work at the prestigious Valentine Gallery. This initiated exponential growth in his career. Although he was never affiliated with the artist’s groups in New York, the Avery’s apartment became a meeting ground frequently visited by Gottlieb, Rothko, Newman and their contemporaries. By 1943, Avery joined Paul Rosenberg’s gallery and in 1944 there was a retrospective exhibition of his work at the Phillips Memorial Gallery that earned him national acclaim. The present lot, The Coal Elevator, New York, was painted ca. 1930 when the Avery’s were still recently arrived in the city. Coal was “black gold” fueling the economic development and industrial boom of early 20th century New York City and the surrounding areas. Avery was not alone in painting industrial themes. Other artists including Edward Hopper, Martin Lewis, Charles Demuth and Charles Sheeler also depicted the growing urban landscape. In his later works, Avery developed a more well-known style with bright, flat planes of color as in his Portrait of March (Lot 59) from 1956.

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595459 MILTON CLARK AVERY American (1885-1965) PORTRAIT OF MARCH, 1956 oil on paper signed and dated lower left "Milton Avery 1956" 21 1⁄2 x 16 1⁄2 inches PROVENANCE Private Collection, Colorado ESTIMATE $20,000—$30,000

55606160 LENNART ANDERSON American (1928-2015) "CHOUX DE BRUXELLES SUR UNE ASSIETTE BLANCHE (BRUSSEL SPROUTS ON A WHITE PLATE)", 1988 oil on board signed lower right "And" 8 1⁄4 x 11 1⁄2 inches PROVENANCE Private Collection, Paris, France ESTIMATE $8,000—$12,00061 LENNART ANDERSON American (1928-2015) STILL LIFE WITH EGG CARTON oil on canvas unsigned 12 1⁄4 x 16 1⁄4 inches PROVENANCE James Graham & Sons, New York, New York; Private Collection, South Carolina ESTIMATE $6,000—$8,000

5662636462 LENNART ANDERSON American (1928-2015) NUDE ON CHAISE LOUNGE oil on canvas initialed center right "LA" 26 x 21 inches PROVENANCE Davis and Langdale Company Inc., New York, New York; Graham Gallery, New York, New York; Galerie Claude Bernard, Paris, France NOTES This work is sold unframed. ESTIMATE $4,000—$6,00063 ARTHUR BOWEN DAVIES American (1862-1928) "FRIEZE" gouache on panel signed lower left "AB Davies" 8 x 20 inches PROVENANCE The artist; Ferargil Galleries, New York, New York; Mrs. Newlin Price; Walter Baum Galleries, Sellersville, Pennsylvania, 1958; Beer Collection, Paris, France; James Graham and Sons, New York, New York; Dayton Art Institute, Circulating Gallery, Dayton, Ohio; Collection of Estelle and Raymond J. Saulnier; Christie's, New York, New York, March 4, 2010, lot 14; Private Collection, North Carolina EXHIBITED Blowing Rock North Carolina, Blowing Rock Art and History Museum, "Art Among Friends: Four Collections of American Art", May 3 - November 2, 2013 ESTIMATE $3,000—$5,00064 REGINALD MARSH American (1898-1954) WOMEN (TWO WORKS) oil on masonite (a) signed and dated lower right "Marsh '52" (b) signed lower right "Marsh" Each: 5 x 4 inches PROVENANCE Senator William Benton, Connecticut; as a Christmas gift to Walter and Esther O'Meara, 1954; Private Collection, Rhode Island ESTIMATE $3,000—$5,000

576565 JOHN FRENCH SLOAN American (1871-1951) "MARSH GRASS GLOUCESTER", 1914 oil on canvas signed lower left "John Sloan", titled, dated, and initialed on the reverse 20 x 24 inches PROVENANCE Questroyal Fine Art, New York, New York; Private Collection, North Carolina ESTIMATE $18,000—$22,000

665866 JOHN FRENCH SLOAN American (1871-1951) "SUSANNA IN THE SUN", 1960(SUSANNA IN SANTA FE) oil on masonite signed lower left "John Sloan", titled, dated, initialed, and numbered on the reverse 36 x 30 inches PROVENANCE The artist; Estate of Helen Farr Sloan/John Sloan Trust; Christie's, New York, New York, March 4, 2010, lot 130; Private Collection, North Carolina EXHIBITED New York, New York, Grand Central Palace, "15th Annual Exhibition of the Society of Independent Artists", March 7-30, 1931, no. 921; Boston, Massachusetts, Grace Horne Gallery, "Retrospective Exhibition of Paintings and Etchings by John Sloan", October 27 - November 14, 1936 LITERATURE Rowland Elzea, "John Sloan's Oil Paintings A Catalogue Raisonne", (Newark, New Jersey: University of Delaware Press, 1991), p. 151, cat. no. 308, Part II, p. 335, cat. no. 932, (illustrated) ESTIMATE $12,000—$18,000

675967 JOHN FRENCH SLOAN American (1871-1951) "WILD GREEN AND ROCKS", 1914 oil on canvas signed lower right "John Sloan", initialed, titled, and dated on the reverse under the lining "J.S. Wild Green / # 230 Rocks Gloucester / 1914" 20 x 24 inches PROVENANCE Ruth Martin; Salander-O'Reilly Gallery, New York, New York; Private Collection, North Carolina EXHIBITED New York, New York, Salander-O'Reilly Galleries, "The Ruth Martin Collection of Paintings by John Sloan", March 4 - April 5, 1980; Springfield, Massachusetts, Museum of Fine Arts, July 13 - August 31, 1980; Montclair, New Jersey, Montclair Art Museum, September 21 - November 2, 1980; Chattanooga, Tennessee, Hunter Museum of Art, November 23 - January 4, 1981; Utica, New York, Munson-Williams-Proctor Institute, January 25 - March 8, 1981; Huntington, New York, Heckscher Museum, May 2 - June 7, 1981: "John Sloan: The Gloucester Years."; Blowing Rock, North Carolina, Blowing Rock Art and History Museum, "Impressions of the Land", August 19 - November 11, 2017. LITERATURE Rowland Elzea, "John Sloan's Oil Paintings A Catalogue Raisonne", (Newark, New Jersey: University of Delaware Press, 1991), p. 151, cat. no. 308 ESTIMATE $15,000—$25,000

6069 LEON KROLL American (1884-1974) PAVILLION BEACH, GLOUCESTER, MASSACHUSETTS, CA. 1912 oil on panel signed lower right "Kroll", titled and signed on the reverse 8 1⁄4 x 10 3⁄4 inches PROVENANCE The artist; by descent to Private Collection; Christie's, New York, New York, September 25, 2008, lot 105; Private Collection, North Carolina ESTIMATE $7,000—$10,00068 JOHN FRENCH SLOAN American (1871-1951) "RED HOUSE, HORSE CHESTNUT" oil on canvas signed lower left "John Sloan", titled on the reverse 16 x 20 inches PROVENANCE The artist; Helen Farr Sloan, wife of the artist; Estate of the above; John Sloan Trust; Bequest to the Delaware Art Museum, Wilmington, Delaware; Christie's, New York, New York, May 20, 2009, lot 42; Private Collection, North Carolina LITERATURE Rowland Elzea, "John Sloan's Oil Paintings A Catalogue Raisonne", (Newark, New Jersey: University of Delaware Press, 1991), p. 151, cat. no. 308 ESTIMATE $8,000—$12,0006869

617070 FREDERICK MULHAUPT American (1871-1938) "THE WHITE BOAT" oil on board signed lower right "Mulhaupt" 8 x 10 inches PROVENANCE Vose Galleries, Boston, Massachusetts; Questroyal Fine Art, New York, New York; Private Collection, North Carolina EXHIBITED New York, New York, Salmagundi Club, "Thumb-Box Exhibition", circa 1921 ESTIMATE $12,000—$18,000

6272 EMILE A. GRUPPE American (1896-1978) CLOUDY DAY, GLOUCESTER oil on canvas signed lower left "Emile A. Gruppe" 30 x 25 inches PROVENANCE The artist; Private Collection, New Hampshire; Vose Galleries, Boston, Massachusetts; Private Collection, North Carolina ESTIMATE $8,000—$12,00071 ALDRO THOMPSON HIBBARD American (1886-1972) "VERMONT VALLEY" oil on canvasboard signed lower right "A.T. Hibbard", numbered and titled on the reverse 18 x 24 inches PROVENANCE Sotheby’s, New York, New York, March 8, 2007, lot 139; Private Collection, North Carolina EXHIBITED Blowing Rock, North Carolina, Blowing Rock History Museum, "Art Among Friends: Four Collections of American Art”, May 3 - November 2, 2013 ESTIMATE $10,000—$15,0007172

637373 ERNEST LAWSON American (1873-1939) MOONLIT LANDSCAPE, 1914 oil on canvas signed and dated lower right "E. Lawson / 1914" 20 x 24 inches PROVENANCE Bianco Gallery, Lahaska, Pennsylvania; Private Collection, Pennsylvania ESTIMATE $20,000—$30,000

6474 FREDERICK J. WAUGH American (1861-1940) MOONLIGHT oil on masonite signed lower right "Waugh" 20 x 23 3⁄4 inches PROVENANCE Grand Central Art Galleries, Inc., New York, New York; Sotheby’s, New York, New York, January 1, 2005, lot 889; Questroyal Fine Art, New York, New York; Private Collection, North Carolina ESTIMATE $10,000—$15,00075 CHAUNCEY FOSTER RYDER American (1868-1949) "DALE BRIDGE FARM" oil on canvas signed lower left "Chauncey F Ryder", signed and titled on the reverse 25 1⁄4 x 30 inches PROVENANCE Sotheby’s, New York, New York, June 21, 2006, lot 243; Roughton Galleries, Dallas, Texas, 2006; Private Collection, North Carolina ESTIMATE $10,000—$15,0007475

766576 ROBERT SPENCER American (1879-1931) "TOHICKON VALLEY, POINT PLEASANT PENNSYLVANIA", 1910 oil on canvas signed and dated lower right "Robert Spencer / 1910", titled and dated on the stretcher, inscribed on the stretcher "To my Friend / W.W. Gilchrist" 25 x 30 inches PROVENANCE W.W. Gilchrist; Christie's, New York, New York, September 30, 1988, lot 312; Private Collection, New Jersey; Freeman's, Philadelphia, Pennsylvania, December 8, 2013, lot 160; Private Collection, New York EXHIBITED Doylestown, Pennsylvania, James A. Michener Art Museum, "Robert Spencer: The Cities, The Towns, The Crowds", June 5 - September 19, 2004 LITERATURE Brian H. Peterson, “Robert Spencer: The Cities, The Towns, The Crowds”, (James A. Michener Art Museum, Doylestown; and University of Pennsylvania Press, Philadelphia), 2004, plate 4, p. 31 (illustrated) ESTIMATE $15,000—$25,000

6677 FREDERICK CARL FRIESEKE American (1874-1939) DRESSING oil on canvas signed lower right "F.C. Frieseke" 20 x 24 inches PROVENANCE Estate of the artist, France, 1939; by descent in the family, Kilmer no. IV-39; Sandra Werther, New York; acquired from the above, Vivian and Bernard Manekin, Maryland, 1982; Sotheby’s, New York, New York, November 30, 2005, lot 91; Hollis Taggart Galleries, New York, New York; Private Collection, North Carolina EXHIBITED Blowing Rock, North Carolina, Blowing Rock History Museum, "Art Among Friends: Four Collections of American Art", May 3 - November 2, 2013 LITERATURE Kilmer no. IV-39; "Recent Acquisitions," in Art Market Report", Hollis Taggart Galleries, Winter 2006, p. 7. NOTES This work is included in the draft Frieseke Catalogue Raisonné, compiled by Nicholas Kilmer, the artist's grandson, with the support of the Hollis Taggart Galleries, now in the collection of the Smithsonian Institution, Archives of American Art. ESTIMATE $50,000—$75,000Frederick Carl Frieseke was among the group of American Impressionist artists who settled in the French village of Giverny, forty miles northwest of Paris, shortly after 1900. This group, which is sometimes referred to as the Giverny Luminists, was attracted to the village by the presence of the great French Impressionist, Claude Monet, who had settled there in 1883. Frieseke is believed to have visited Giverny as early as 1900; in 1906 he and his wife moved into a two-story cottage that adjoined the property of Claude Monet. At Giverny his colleagues included the American painters Guy Rose, Lawton Parker, Edmund Greacen, and Richard E. Miller, with whose work Frieseke’s is often compared. While he maintained an apartment and studio in Paris all his life, Giverny was Frieseke’s summer residence for fourteen years. In 1920, Frieseke bought a summer home at Le Mesnil-sur-Blangy in Normandy and left the Giverny art colony. He commenced production of a large group of canvases representing frontally posed female figures, most often using his daughter Frances as model. The palette in these paintings is darker than that of his Giverny period and shows more interest in qualities of chiaroscuro as he explored less brilliant light effects. Works painted after 1920 evidence a great deal of control on Frieseke’s part, which, combined with the deeper palette, contribute to a sense of psychological awareness and intensity. The present work, Dressing, depicts a young woman buckling her shoe. The subject is similar to paintings of women at their toilette by French Impressionist masters including Renoir’s Woman Tying her Shoe from 1918.

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687878 MARTHA WALTER American (1875-1976) ANNE oil on canvas signed lower right "Martha Walter" 26 x 21 inches PROVENANCE Florence Scott Libbey; by gift to the Toledo Museum of Art, 1914; sold to benefit the acquisitions fund Sotheby’s, New York, New York, May 21, 2003, lot 144; Private Collection, Michigan LITERATURE William Hutton and Susan E. Strickler, “The Toledo Museum of Art, American Paintings,” (Toledo, Ohio: The Toledo Museum, 1979), pp. 109-110, pl. 167 ESTIMATE $5,000—$8,00079 EDWARD POTTHAST American (1857-1927) WADING oil on board signed lower right "E Potthast", signed on the reverse "Edw. Potthast" 5 1⁄2 x 3 1⁄2 inches PROVENANCE Private Collection, Vermont; Barridoff Auctions, South Portland, Maine, August 3, 2007, lot 262; Private Collection, Michigan NOTES This work will be included in Mary Ran’s forthcoming catalogue raisonné of the artist. ESTIMATE $5,000—$7,00079

6980 CHARLES COURTNEY CURRAN American (1861-1942) WOMAN SEWING oil on canvas signed lower left "Chas. C. Curran." 12 x 9 inches PROVENANCE Shannon's Fine Art Auctioneers, Milford, Connecticut, October 25, 2007, lot 160; Private Collection, Vermont ESTIMATE $10,000—$15,00080

708181 ADAM EMORY ALBRIGHT American (1862-1957) SUNSHINE AND FOG (NEW HARBOR, MAINE), 1939 oil on canvas signed and dated lower left "Adam Emory Albright 1939" 26 1⁄4 x 36 inches PROVENANCE Private Collection, New York EXHIBITED Decatur, Illinois, The All-Illinois Society of Fine Arts, Inc. NOTES A letter from an original owner to pay the artist per month for his lifetime accompanies the lot. The letter notes this work was paint-ed at New Harbor, Maine, 1939. ESTIMATE $4,000—$6,00083 HENRY MARTIN GASSER American (1909-1981) "BAY VISTA" oil on board signed lower left "H. Gasser", titled on the reverse 20 x 26 1⁄2 inches PROVENANCE Private Collection, New Jersey NOTES This work likely depicts a scene in Martha's Vineyard. ESTIMATE $5,000—$7,000838282 JANE PETERSON American (1876-1965) TOUCANS oil on board signed lower left "Jane Peterson" 39 1⁄4 x 31 1⁄4 inches PROVENANCE Brenner Gallery, Inc., Boca Raton, Florida; Alexander Gallery, New York, New York, 1988; Private Collection, Michigan ESTIMATE $2,000—$3,000

7184 WOLF KAHN American/German (1927-2020) BOW TIDE, 1963 pastel on paper signed lower right "W. Kahn" 9 x 12 inches PROVENANCE Private Collection, South Carolina ESTIMATE $2,000—$3,00084858685 KENNETH SOUTHWORTH DAVIES American (1925-2017) BLACK AND WHITE oil on masonite signed lower left "Ken Davies" 18 1⁄2 x 19 1⁄4 inches PROVENANCE Adams Davidson Galleries, Washington D.C.; Whistler's Daughter Art Gallery, Basking Ridge, New Jersey; Hirschl and Adler Galleries, Inc., New York, New York; Private Collection, New York ESTIMATE $3,000—$5,00086 ROBERT KULICKE American (1924-2007) PEAR, 1963 oil on canvasboard signed and dated upper center "Kulicke 63" 8 1⁄4 x 6 1⁄4 inches PROVENANCE Private Collection, Pennsylvania ESTIMATE $2,500—$3,500

87 WERNER DREWES American/German (1899-1985) COMPOSITION 217, 1939 oil on canvas signed with artist's symbol and dated lower left "39", signed on the stretcher "Drewes", inscribed on the reverse 26 x 39 inches PROVENANCE Private Collection, Germany NOTES A label from Chicago, Illinois, The Art Institute of Chicago, "American Paintings and Sculpture: Fifty-First Annual Exhibition" is on the reverse. Our thanks to Katrina Drewes Steele, granddaughter of the artist, for her assistance cataloging this lot. ESTIMATE $30,000—$50,00072Werner Drewes was born in Canig (now Poland) in Lower Lusatia in 1899 and died in Reston, Virginia in 1985. As a student in the 1920s, he studied under Lyonel Feiniger, László Moholy-Nagy, Wassily Kandinsky and Paul Klee at the Bauhaus in Germany. In 1930, when the political pressure on Bauhaus artists became increasingly unbearable, Drewes left Germany and emigrated to New York with his family. Initially Drewes taught printmaking at the Brooklyn Museum, lectured at Stanley William Hayter’s “Atelier 17” and taught painting, drawing and printmaking at Columbia University. In 1937, he was a founding member of the “American Abstract Artists” group, the first official organization in the United States dedicated to the creation of non-objective art. His work during this period was characterized by geometric abstraction, exploring form, color, and space in a non-representational manner, as is evident in the present work, Composition 217, 1939. In 1946, Drewes accepted a professorship in design at Washington University in St. Louis. It was during this time that he met Max Beckmann, who also taught at the university and with whom he became friends. Drewes retired in 1965 and moved to Reston, Virginia, where he remained artistically active until his death in 1985. A major retrospective at the Smithsonian American Art Museum in 1984 was dedicated to his prints. Today, his works can be found among others in the collections of the Smithsonian Museum of American Art in Washington, the Metropolitan Museum of Art in New York, the Museum of Modern Art in New York, the National Gallery of Art in Washington and the Museum of Fine Arts in Boston.

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7488 KARL STANLEY BENJAMIN American (1925-2012) "#2", 1965 oil on canvas initialed and dated lower right "KB 65", numbered, dated and signed on the stretcher "#2, 1965 / Karl Benjamin" 42 x 42 inches PROVENANCE Private Collection, New York ESTIMATE $10,000—$15,00088

7589 CHARLES GREEN SHAW American (1892-1974) LIGHT AND DARK, 1939 oil on board estate stamp on the reverse "Charles G. Shaw Estate No. 30" 19 3⁄4 x 14 inches PROVENANCE Private Collection, New York ESTIMATE $10,000—$15,00089

7690 EMIL JAMES BISTTRAM American (1895-1976) GEOMETRIC SHAPES ON ORANGE GROUND, 1944 encaustic and sand on paper signed and dated lower right "Bisttram 44" 13 1⁄2 x 10 3⁄4 inches PROVENANCE D. Wigmore Fine Art, Inc., New York, New York; Private Collection, New York NOTES Emil Bisttram learned the process of encaustic painting from working with Diego Rivera in Mexico. ESTIMATE $3,000—$5,00090919291 EMIL JAMES BISTTRAM American (1895-1976) GEOMETRIC STOP AND GO, 1947 encaustic on paper signed and dated lower right "Bisttram 47" 13 3⁄4 x 10 3⁄4 inches PROVENANCE D. Wigmore Fine Art, Inc., New York, New York; Private Collection, New York ESTIMATE $3,000—$5,00092 MARK TOBEY American (1890-1976) MODAL TIDE, 1957 tempera on panel signed and dated lower left "Tobey / 57" 6 x 13 inches PROVENANCE Foster/White Gallery, Seattle, Washington; Mirage Editions Gallery, Santa Monica, California; Private Collection, Michigan ESTIMATE $5,000—$7,000

937793 CHARLES GREEN SHAW American (1892-1974) OVERLAP, 1939 gouache on board signed, dated, and inscribed on the reverse "Charles G Shaw / Nov 1939 / New York" 9 1⁄2 x 4 3⁄4 inches PROVENANCE Private Collection, New York ESTIMATE $8,000—$10,00094 ROBERT SWAIN American (b. 1940) HUE 1, HUE 6, HUE 11, HUE 26 (GROUP OF FOUR), 1977 acrylic on masonite signed and dated "Robert Swain N.Y. 1977" Each: 15 1⁄4 x 19 1⁄4 inches PROVENANCE Skinner, Marlborough, Massachusetts, September 12, 2008, lot 924; Private Collection, Rhode Island ESTIMATE $3,000—$5,00094

7895 MAURICE BRAZIL PRENDERGAST American (1858-1924) "LOW TIDE", 1901 watercolor and pencil on paper signed lower right "Prendergast" 20 1⁄2 x 13 inches PROVENANCE Charles Prendergast, 1924 (the artist's brother); Mrs. Eugenie Prendergast (his wife); M. Knoedler & Co., New York, 1966; Brooke Astor, New York, New York; sold from her estate Sotheby’s, New York, New York, September 24-25, 2012, lot 492; Private Collection, Michigan EXHIBITED New York, New York, M. Knoedler & Co., “Paintings and Watercolors by Maurice Prendergast: A Loan Exhibition”, November 1966, no. 21, illustrated LITERATURE Carol Clark, Nancy Mowll Matthews and Gwendolyn Owens, “Maurice Brazil Prendergast, Charles Prendergast: A Catalogue Raisonné”, Williamstown, Massachusetts, 1990, no. 852, p. 426, illustrated ESTIMATE $80,000—$120,000Prendergast’s work in both watercolor and oil bridges the styles of the 19th and 20th centuries. He pushed through a late American Impressionism and an Ashcan-influenced urbanism to a highly modern view. His late work incorporated elements of the fantastical, but the heart of his career, from the early 1900s to the teens, was marked by his unique surface patterning of patches of brilliant color. Although he exhibited among The Eight in 1908, Prendergast was distinctly more cosmopolitan than his cohort, advancing a modernist aesthetic that would wash aside the gritty urbanism exhibited at the Armory Show. Along with his brother, Charles, Maurice also made a significant contribution to the world of fine art framing, becoming highly esteemed in their day. Prendergast was highly sought after by major collectors of the first half of the 20th century, and his work formed part of the core collections of the Museum of Modern Art in New York and the Barnes Foundation in Philadelphia. Prendergast’s representations of daily life are bold and modern interpretations of themes that have attracted artists for generations. His work is characterized by elaborately choreographed, multi-figured panoramas developed throughout his career. Whereas other members of The Eight painted mainly New York City scenes, Prendergast often painted the bathers at public beaches around his native Boston. In the present lot, Low Tide, Prendergast depicts a rocky New England beach scene with children exploring the tide pools, sailboats in the distance, and a young woman walking along the rocks. Low Tide reveals the influence of modern European masters such as Paul Cézanne and Henri Matisse on Prendergast’s style. Prendergast traveled extensively throughout Europe in the late 19th and early 20th centuries and adapted the innovations of these artists to develop his characteristic and unique style.

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968096 ROBERT HENRI American (1865-1929) "IN THE DEEP WOODS" pastel on paper signed lower left "R Henri" 12 x 20 inches PROVENANCE Private Collection, Illinois; Mongerson Wunderlich Galleries, Chicago, Illinois; Julien Foss, Montclair, New Jersey; Chapellier Gallery, New York, New York; Martha Parrish and James Reinish Inc., New York, New York; Carey Ellis Company, Houston, Texas; Menconi and Schoelkopf Fine Art, New York, New York, Private Collection, North Carolina EXHIBITED New York, New York, Montross Gallery, 1918; Philadelphia, Pennsylvania, Philadelphia Sketch Club, 1919; Fayette, Missouri, The Ashby-Hodge Gallery of American Art at Central Methodist College, "American Images The SBC Collection of 20th Century American Art", October 17 - December 9, 1999; Little Rock, Arkansas, Arkansas Art Center, "2008 Collectors Show", December 5, 2008 - January 4, 2009 LITERATURE Recorded in the artist's record book, K214; "American Images The SBC Collection of 20th Century American Art" (New York, New York: Henry Abrams, 1996), p. 42 (illustrated) ESTIMATE $12,000—$18,000

819797 ROBERT HENRI American (1865-1929) "AUTUMN RED AND EVERGREEN", 1916 pastel on paper signed lower left "R Henri" 12 x 19 inches PROVENANCE American Masters Gallery, Los Angeles, California; Bernard Danenberg Galleries, New York, New York; Private Collection, New York; Menconi and Schoelkopf Fine Art, New York, New York, Private Collection, North Carolina EXHIBITED New York, New York, Montross Gallery, 1918; Roslyn, New York, Nassau County Museum of Fine Art, "The Long Island Collections A Century of Art: 1880-1980"; New York, New York, Berry-Hill Gallery, "Natural Forces: Landscapes by Bellows, Henri, and Sloan", May 13 - June 27, 1992 LITERATURE Record in the artist's record book 276K NOTES According to Valerie Ann Leeds, this work was executed on Monhegan Island, Maine. ESTIMATE $12,000—$18,000

82989998 JOSEPH MCGURL American (b. 1958) MOBY DICK, 1994 oil on canvas signed and dated lower right "Joseph McGurl / 1994" 36 1⁄4 x 60 1⁄2 inches PROVENANCE Eldred's, Dennis, Massachusetts, August 10, 2017, lot 93; Private Collection, Rhode Island NOTES This work was inspired by a cove in Annisquam, Massachusetts. ESTIMATE $8,000—$12,00099 JOSEPH MCGURL American (b. 1958) NAUSHON ISLAND, 1991 oil on canvas signed and dated lower left "Joseph McGurl / 1991" 30 x 50 inches PROVENANCE Eldred's, Dennis, Massachusetts, August 10, 2017, lot 94; Private Collection, Rhode Island ESTIMATE $6,000—$8,000

83100 JOSEPH MCGURL American (b. 1958) "CAMELBACK TWILIGHT", 1995 oil on canvas signed and dated lower right "Joseph McGurl / 1995", signed and numbered on the reverse "#107" 22 x 34 inches PROVENANCE Hollis Taggart Galleries, New York, New York; Private Collection, New Jersey ESTIMATE $6,000—$8,000100101101 ROBERT VICKREY American (1926-2011) CASTLES IN THE AIR, 1989 egg tempera on gesso panel signed and dated lower left "Robert Vickrey '89" 17 x 23 inches PROVENANCE Kennedy Galleries, Inc., New York, New York; Private Collection, New Jersey ESTIMATE $8,000—$12,000

84102103102 PRISCILLA WARREN ROBERTS American (1916-2001) DECOY oil on board signed upper left "P Roberts" 19 1⁄2 x 15 1⁄2 inches PROVENANCE Grand Central Art Galleries, Inc., New York, New York; Private Collection, Connecticut ESTIMATE $4,000—$6,000103 PRISCILLA WARREN ROBERTS American (1916-2001) "CUP AND SAUCER" oil on masonite signed upper left "P Roberts", titled and signed on the reverse 10 1⁄2 x 15 3⁄4 inches PROVENANCE Grand Central Art Galleries, Inc., New York, New York; Private Collection, Connecticut ESTIMATE $3,000—$5,000

10485104 ABASTENIA ST LEGER EBERLE American (1878-1942) HURDY GURDY bronze signed "A.S.L. Eberle.", with foundry mark on the base "Roman Bronze Works N.Y." h. 15 1⁄2 inches PROVENANCE Private Collection, New Jersey LITERATURE New York, The Macbeth Gallery, “Exhibition of Sculpture by Chester Beach, Abastenia St. L. Eberle, Mahonri Young”, February - March 1914, no. 14, another example listed in the catalog ESTIMATE $10,000—$15,000

86105 EDWARD M. BANNISTER American (1828-1901) THE MILL IN KNIGHTSVILLE, 1896 oil on canvas signed and dated lower right "E.M. Bannister / 96" 9 x 12 inches PROVENANCE Mr. and Mrs. Joseph K. Ott; Northeast Auctions, November 17-18, 2012, lot 130; Private Collection, Rhode Island EXHIBITED Newport, Rhode Island, Newport Art Museum & Art Association, "Edward M. Bannister: A Rhode Island Master," September 15, 1990 - January 2, 1992; New York, New York, Kenkeleba House, "Edward Mitchell Bannister (1828-1901)", May 10 - June 27, 1992; Stamford, Connecticut, The Whitney Museum of American Art at Champion, "Edward Mitchell Bannister (1828-1901)", November 19 - January 27, 1993; Saunderstown, Rhode Island, Gilbert Stuart Birthplace and Museum, "Edward M. Bannister 'My Greatest Successes Have Come Through Her' The Artistic Partnership of Edward and Christiana Bannister", June 7 - October 8, 2018 LITERATURE Alan C. Braddock, "Implication: An Ecocritical Dictionary for Art History," (New Haven, Connecticut: Yale University Press, 2023), fig. 14 (illustrated); Anna Arabindan-Kesson, "Black Bodies, White Gold", (Durham, North Carolina: Duke University Press, 2021), fig. 1.6 (illustrated); "Edward Mitchell Bannister, 1828-1901", (New York, New York: Harry N. Abrams, Inc., 1992), p. 44 (illustrated) ESTIMATE $4,000—$6,000105106106 JOHN BUNYAN BRISTOL American (1826-1909) IN THE BERKSHIRES oil on canvas signed lower right "J.B. Bristol" 26 1⁄2 x 44 1⁄2 inches PROVENANCE Private Collection, Connecticut ESTIMATE $3,000—$5,000

87107 ARTHUR WESLEY DOW American (1857-1922) BRITTANY FIELD WITH FIGURE, 1887 oil on canvas signed and dated lower left "Arthur W Dow April 1887", signed and inscribed on the reverse "Ipswich / Mass" 18 1⁄4 x 32 inches PROVENANCE The Spanierman Gallery LLC, New York, New York; Heritage Auctions, New York, New York, November 17, 2014, lot 68171; Private Collection, New York ESTIMATE $15,000—$25,000107

109 JOSEPH DWIGHT STRONG JR. American (1852-1900) HONOLULU, 1883 (STUDY) watercolor and gouache on paper signed and inscribed lower left "Jos. D. Strong Jr. / Honolulu / 1883" 11 1⁄2 x 14 1⁄2 inches PROVENANCE Private Collection, California ESTIMATE $6,000—$8,00010810911088108 WILLIAM AIKEN WALKER American (1838-1921) SUNDAY AFTERNOON oil on board signed lower left "WA Walker" 9 x 12 inches PROVENANCE Private Collection, Connecticut ESTIMATE $4,000—$6,000110 AIDEN LASSELL RIPLEY Amerian (1896-1969) DUCK HUNTING watercolor and pencil on paper estate stamped lower left "FROM THE ESTATE OF A. LASSELL RIPLEY" 6 1⁄2 x 9 3⁄4 inches PROVENANCE Private Collection, Rhode Island ESTIMATE $3,000—$5,000

89111 CONRAD WISE CHAPMAN American (1842-1910) SKATING ON THE BOIS DU BOULOGNE oil on panel signed or titled on the reverse 8 1⁄2 x 16 inches PROVENANCE Christie’s, New York, New York, December 4, 1997, lot 49; Private Collection, New York; Private Collection, New York ESTIMATE $5,000—$7,000112 EDWARD MORAN (ATTRIBUTED) American (1829-1901) NEW YORK HARBOR oil on canvas unsigned 8 x 14 inches PROVENANCE Private Collection, Connecticut ESTIMATE $4,000—$6,000113 LAURA WOODWARD American (1834-1926) SEASCAPE oil on canvas signed lower left "L. Woodward" 14 x 24 inches PROVENANCE Private Collection, Connecticut ESTIMATE $3,000—$5,000111112113

90115 ALFRED MIRA American (1900-1981) STREET SCENE oil on canvasboard signed lower right "A. Mira." 12 x 16 inches PROVENANCE Private Collection, New Jersey ESTIMATE $2,000—$3,000114115116114 RACKSTRAW DOWNES English (b. 1939) STUDY FOR RIVERSIDE CHURCH FROM GRANT'S TOMB oil on canvas laid down on canvas unsigned 8 x 14 inches PROVENANCE Gallery Claude Bernard, Inc., New York, New York; Private Collection, Paris, France ESTIMATE $3,000—$5,000116 HENRY MARTIN GASSER American (1909-1981) "BACKYARD TRACKS" (NEWARK) watercolor on paper signed lower right "H. Gasser", titled and signed on the reverse 18 3⁄4 x 24 inches PROVENANCE Private Collection, New Jersey ESTIMATE $4,000—$6,000

91117 JOHANN BERTHELSEN American (1883-1972) SAINT PAUL'S CHAPEL oil on canvas signed lower right "Johann Berthelsen" 20 x 16 inches PROVENANCE Private Collection, New York ESTIMATE $4,000—$6,000118 JOHANN BERTHELSEN American (1883-1972) LITTLE CHURCH AROUND THE CORNER oil on canvasboard signed lower right "Johann Berthelsen" 16 x 12 inches PROVENANCE Sotheby’s, New York, New York, September 24, 2008, lot 224; Private Collection, North Carolina ESTIMATE $3,000—$5,000119 HARRIETTE BOWDOIN American (1880-1947) CENTRAL PARK, NYC oil on board signed lower left "Harriette Bowdoin" 14 x 16 inches PROVENANCE R.H. Love Galleries, Inc., Chicago, Illinois; Shannon's Fine Art Auctioneers, May 4, 2006, lot 52; Private Collection, Vermont ESTIMATE $2,000—$3,000117118119

92121 AUGUST MOSCA American (1909-2003) SUBWAY LIGHTS, 1940 mixed media on paper signed and dated lower right "August Mosca 1940" 17 1⁄2 x 22 1⁄2 inches PROVENANCE Grand Central Art Galleries, Inc., New York, New York; ACA Galleries, New York, New York; Daniel E. Lewitt Fine Art Gallery, New York, New York; Private Collection, New Jersey EXHIBITED New York, New York, Grand Central Art Galleries, Inc., "August Mosca: A Fifty Year Retrospective", January 30 - February 28, 1990 ESTIMATE $2,500—$3,500120121122120 AUGUST MOSCA American (1909-2003) GEORGE WASHINGTON BRIDGE, 1939 pastel on paper signed, dated and numbered lower left "August Mosca 1939 / #2" 19 1⁄4 x 25 1⁄2 inches PROVENANCE Private Collection, New York ESTIMATE $3,000—$5,000122 KENNETH HAYES MILLER American (1876-1952) POLITICIANS oil on masonite signed lower right "Hayes Miller" 24 x 30 inches PROVENANCE Private Collection, New York EXHIBITED Roslyn Harbor, New York, Nassau County Museum of Art, "Infamous New York", February 19 - May 14, 2006 ESTIMATE $6,000—$8,000

123 LAURENCE A. CAMPBELL American (b. 1940) "5TH AVENUE, NEW YORK CITY" oil on masonite signed lower right "Laurence A Campbell", titled and signed on the reverse 16 x 12 inches PROVENANCE Shannon's Fine Art Auctioneers, Milford, Connecticut, April 28, 2005, lot 191; Private Collection, Florida ESTIMATE $15,000—$25,00012393

94124124 JOHN GEORGE BROWN American (1831-1913) THE HARPIST, 1870 oil on canvas signed and dated lower right "J. G. Brown / 1870" 30 x 25 inches PROVENANCE Alexander Gallery, New York, New York, 1982; Sotheby’s, New York, New York, September 30, 2009, lot 58; Private Collection, Michigan EXHIBITED Springfield, Massachusetts, George Walter Vincent Smith Art Museum; New York, New York, National Academy of Design; Omaha, Nebraska, Joslyn Art Museum, “Country Paths and City Sidewalks: The Art of J.G. Brown”, 1989 ESTIMATE $8,000—$12,000125 LEMUEL EVERETT WILMARTH American (1835-1918) YOUNG ARTIST oil on canvas unsigned 22 x 18 1⁄4 inches PROVENANCE Private Collection, New York ESTIMATE $8,000—$12,000125

95126 SIR JAMES JEBUSA SHANNON American (1862-1923) PORTRAIT OF DOROTHY (CHAMBERS) STIRLING, AGE 8, 1902 oil on canvas signed and dated lower left "J J Shannon, 1902" 74 x 42 1⁄4 inches PROVENANCE Commissioned by the family and thence by descent; Sotheby's, New York, New York, May 5, 2011, lot 43; Private Collection, Michigan NOTES Shannon established a highly successful London portrait studio in the late nineteenth century and by the 1900s was considered by many a rival to John Singer Sargent. His expressive, painterly style and bold use of color effectively captured the personality and fashion of his sitters. Though a mirror was an object common to an artist's studio, Shannon employed it to unusual effect: he placed the glass behind him so that sitters could watch the progress of the painting (Brian Stewart and Mervyn Cutten, "The Dictionary of Portrait Painters in Britain up to 1920", Woodbridge, Suffolk, 1997, p. 418). ESTIMATE $20,000—$30,000126

96127127 SIR WILLIAM HAMO THORNYCROFT British (1850-1925) THE BATHER marble signed lower left "Hamo / Thornycroft", dated on the underside "1910" h. 21 1⁄4 inches PROVENANCE London, Fine Art Society, 1926; Robert Corry Collection, England, by descent until 2005; Private Collection, Connecticut NOTES This is a unique marble that has not been exhibited since 1927. ESTIMATE $10,000—$15,000128 FREDERICK WILLIAM MACMONNIES American (1863-1937) YOUNG FAUN WITH HERON bronze signed, dated, and inscribed on the base "Frederick MacMonnies / Copyright 1894 Paris 1890", Paris foundry stamp on base "Jabeouf & Rouard, Paris" h. 27 inches PROVENANCE Private Collection, New Jersey ESTIMATE $8,000—$12,000128

97129 NATHAN DOLINSKY American (1890-1981) "STORY TIME" oil on canvas signed lower left, titled on the reverse 32 x 48 inches PROVENANCE Private Collection, Massachusetts; Shannon's Fine Art Auctioneers, Milford, Connecticut, April 28, 2005, lot 78 NOTES The artist exhibited in the Armory Show in 1913. ESTIMATE $8,000—$12,000129130130 CHARLES SYDNEY HOPKINSON American (1869-1962) YOUNG GIRL, 1914 oil on canvas signed and dated lower left “Hopkinson / 1914” 28 1⁄4 x 24 1⁄4 inches PROVENANCE Vance Jordan Fine Art, New York, New York; Private Collection, Connecticut; Menconi & Schoelkopf Fine Art, New York, New York, 2007; Private Collection, Michigan ESTIMATE $8,000—$12,000

98132 BYRON BROWNE American (1907-1961) "PROVINCETOWN", 1957 oil on canvas signed lower right "Byron Browne", signed, dated, and titled on the reverse 16 x 30 inches PROVENANCE Private Collection, New York ESTIMATE $2,500—$3,500131132133131 WILLIAM SAMUEL SCHWARTZ American (1896-1977) AFTERNOON STORM APPROACHING watercolor and gouache on paper signed upper left "William S. Schwartz" 14 1⁄2 x 21 1⁄2 inches PROVENANCE Private Collection, New York ESTIMATE $4,000—$6,000133 CARL E. PICKHARDT JR. American (1908-2004) SUBWAY, 1938 oil on canvas laid down on masonite initialed and dated lower left "CP / '38" 16 x 12 inches PROVENANCE Private Collection, North Carolina EXHIBITED Blowing Rock, North Carolina, Blowing Rock History Museum, "Art Among Friends: Four Collections of American Art", May 3 - Nov 2, 2013 ESTIMATE $2,000—$3,000

134 WINFRED REMBERT American (1945-2021) J.T. REMBERT'S JUKE JOINT dye on carved and tooled leather signed lower right "Winfred Rembert", inscribed, signed, and dated on the reverse 10 1⁄2 x 16 3⁄4 inches PROVENANCE The artist; by gift to private collection, Connecticut ESTIMATE $20,000—$30,00013499

135100135 LYNNE MAPP DREXLER American (1928-1999) UNTITLED, C. 1965 mixed media on paper unsigned 8 1⁄2 x 5 1⁄2 inches PROVENANCE Lupine Gallery, Monhegan, Maine; Private Collection, Maine ESTIMATE $12,000—$18,000

136 LYNNE MAPP DREXLER American (1928-1999) "AGED TREES", 1991 oil on canvas titled, dated, and signed on the reverse "Lynne Drexler" 13 x 14 inches PROVENANCE Private Collection, Connecticut ESTIMATE $10,000—$15,000136101

102137 PETER BEARD American (1938-2020) I’LL WRITE WHEREVER I CAN, KOOBI FORA, LAKE RUDOLF Iris print with ink signed and inscribed lower right “Special Delivery to the inestimable Medium-rare from Shagbag City! / from your fan Peter Beard”, number 9 from the edition of 75 28 1⁄2 x 34 inches PROVENANCE The Time is Always Now Gallery, New York, New York; by gift to private collection, Texas ESTIMATE $15,000—$25,000137

103138138 ROLPH SCARLETT American (1889-1984) UNTITLED oil on canvas signed lower left "Scarlett." 24 x 26 inches PROVENANCE Private Collection, Illinois; Shannon's Fine Art Auctioneers, Milford, Connecticut, April 26, 2012, lot 20; Private Collection, Florida ESTIMATE $6,000—$8,000139 LEO VERNON JENSEN American (1926-2019) "CONTINENTAL CORDLESS" (PFONE XXXVII) metal containers and wood signed, titled, inscribed, and numbered on the underside "No. 101 PFONE XXXVII / Caffeine Connection / 15 / "Continental Cordless" / Leo Jensen" h. 27 1⁄2 inches PROVENANCE The artist; Private Collection, Connecticut ESTIMATE $6,000—$8,000139

104141 GABOR PETERDI American (1915-2001) "THE GOLDEN MARSH", 1985 oil on canvas signed and dated lower right "Peterdi 85", signed, dated, and titled on the reverse 40 x 50 inches PROVENANCE Private Collection, Mamaroneck, New York; Clarke Auction Gallery, Larchmont, New York, November 18, 2012, lot 33; Private Collection, New Jersey ESTIMATE $2,500—$3,500140141142140 DAN RICE American (1926-2003) "HEAD OF THE MEADOW", 1975-1986 oil on canvas titled and signed on the reverse "Dan Rice", dated on the reverse "1975-86", inscribed on the reverse "For Virginia / On May 28 1986" 24 x 30 inches PROVENANCE Private Collection, Connecticut ESTIMATE $3,000—$5,000142 GABOR PETERDI American (1915-2001) "ARCTIC LIGHT I", 1961 oil on canvas signed and dated lower right "Peterdi 61", signed, dated, and titled on the reverse "Peterdi" 40 x 50 inches PROVENANCE Skinner Inc, Boston, Massachusetts, May 17, 2013, lot 548; Private Collection, New Jersey ESTIMATE $3,000—$5,000

105143 ARTHUR DOVE American (1880-1946) STUDY FOR .04%, 1941 crayon and pencil on paper signed and dated lower center "Dove 9-24-41" 5 1⁄4 x 5 inches PROVENANCE The Downtown Gallery, New York, New York; Private Collection, Rhode Island NOTES A label from The Downtown Gallery, New York, New York is on the reverse. This work is a pre-liminary study for the oil painting ".04 Percent" (Morgan, 42.23).Our thanks to Andrew Dintenfass of Terry Dintenfass, Inc. for his assistance cataloging this lot. ESTIMATE $4,000—$6,000144 FREDERICK LANE SANDBACK (ATTRIBUTED) American (1943-2003) UNTITLED felt pen on paper unsigned 18 3⁄4 x 23 3⁄4 inches PROVENANCE Private Collection, South Carolina ESTIMATE $5,000—$7,000145 GABOR PETERDI American (1915-2001) "ROLLING SAND DUNES", 1954-55 oil on canvas signed and dated lower right "Peterdi 54", signed, dated, and titled on the reverse and the stretcher bar 30 x 50 inches PROVENANCE Swann Galleries, New York, November 16, 2017, lot 53; Private Collection, New Jersey ESTIMATE $2,500—$3,500143144145

106147 ABASTENIA ST LEGER EBERLE American (1878-1942) HIDE AND SEEK BOOKENDS bronze signed on the base "A Eberle", inscribed on the base "Copy 1911", with foundry mark Griffoul, Newark, N.J. h. 7 inches PROVENANCE Private Collection, New York ESTIMATE $1,500—$2,500148146 ELI HARVEY American (1860-1957) LIONESS bronze signed and dated on the base "copyright 1904 by Eli Harvey", signed and dated on the back "Eli Harvey / Sculptor 1904", with foundry mark "S. Klaber Founders NY" 7 3⁄4 x 21 1⁄2 x 6 inches PROVENANCE Private Collection, Connecticut ESTIMATE $3,000—$5,000148 CARLTON THEODORE CHAPMAN American (1860-1925) "FLEETWOOD", 1905 oil on canvas signed, titled and dated lower left "Carlton T. Chapman 1905" 31 1⁄4 x 71 x 2 1⁄2 inches PROVENANCE Private Collection, Pennsylvania ESTIMATE $3,000—$5,000147146

107149 REMBRANDT VAN RIJN Dutch (1606-1669) PANORAMA NEAR BLOEMENDAEL SHOWING THE SAXENBURG ESTATE ('THE GOLDWEIGHER'S FIELD') etching on paper signed in the plate lower left "Rembrandt" 4 3⁄4 x 12 1⁄2 inches PROVENANCE Private Collection, Illinois LITERATURE Bartsch, Hollstein, 234 ESTIMATE $5,000—$7,000150 REMBRANDT VAN RIJN Dutch (1606-1669) CHRIST AT EMMAUS (SMALLER PLATE) etching on paper signed and dated in the plate lower center "Rembrandt f. 1634" 4 x 3 inches PROVENANCE R.S. Johnson International, Chicago, Illinois; Private Collection, Illinois LITERATURE Bartsch 88; Biörklund 34-K; Hollstein (White and Boon) 88; New Hollstein 129 ESTIMATE $3,000—$5,000149150

108152 HARRY AIKEN VINCENT American (1864-1931) ALONG THE HARBOR oil on board signed lower left "H. A. Vincent" 15 x 19 inches PROVENANCE Private Collection, Virginia ESTIMATE $6,000—$8,000151152151 HENRY MARTIN GASSER American (1909-1981) "SUMMER INLET" (GLOUCESTER HARBOR) watercolor on paper signed lower right "H. Gasser", titled and signed on the reverse 22 x 30 inches PROVENANCE Private Collection, California ESTIMATE $4,000—$6,000

109153 HARRY AIKEN VINCENT American (1864-1931) GLOUCESTER HARBOR, CA. 1915 oil on canvas signed lower left "H.A. Vincent" 16 1⁄4 x 20 inches PROVENANCE Nickol Fine Arts, Mishawaka, Indiana; Private Collection, Rhode Island ESTIMATE $5,000—$7,000154 MAX KUEHNE German/American (1880-1968) "THE COVE"(VIEW OF EAST GLOUCESTER FROM POINT HILL), 1925 oil on canvas signed lower left "Kuehne", signed, titled, and dated on the reverse 20 x 24 inches PROVENANCE Vose Galleries, Boston, Massachusetts; Private Collection, North Carolina EXHIBITED Blowing Rock, North Carolina, Blowing Rock Art and History Museum, "Impressions of the Land", August 19-November 11, 2017 ESTIMATE $3,000—$5,000155 GEORGE LOFTUS NOYES American (1864-1954) FROM THE SHORE, ROCKPORT oil on board signed lower right "G.L. Noyes" 12 x 16 inches PROVENANCE Descended in the artist’s family; Private Collection, New England; Shannon's Fine Art Auctioneers, Milford, Connecticut, April 24, 2003, lot 53; Private Collection, North Carolina EXHIBITED Blowing Rock, North Carolina, Blowing Rock History Museum, "Art Among Friends: Four Collections of American Art", May 3 - Nov 2, 2013; Blowing Rock, North Carolina, Blowing Rock Art and History Museum, "Impressions of the Land", August 19 - November 11, 2017 ESTIMATE $2,000—$3,000153154155

110157 FRANKLIN DE HAVEN American (1856-1934) CALM EVENING oil on canvas signed lower right "De Haven. NA." 36 x 36 inches PROVENANCE Rago, Lambertville, New Jersey, September 15, 2007, lot 108; Private Collection, Pennsylvania EXHIBITED New York, New York, National Academy of Design, n.d. (label on the reverse) ESTIMATE $4,000—$6,000156157158156 JOHN FOLINSBEE American (1892-1972) "WINTER THAW" oil on board signed lower right "John Folinsbee", titled on the reverse 12 1⁄2 x 11 1⁄2 inches PROVENANCE Private Collection, New York ESTIMATE $3,000—$5,000158 CLARK GREENWOOD VOORHEES American (1871-1933) WINTER LANDSCAPE oil on canvas signed lower right "Clark G. Voorhees" 28 x 36 inches PROVENANCE Private Collection, Massachusetts ESTIMATE $3,000—$5,000 This lot has been withdrawn from the sale.

111159160160 ANDREW THOMAS SCHWARTZ American (1867-1942) "PALISADES IN WINTER" oil on canvas signed lower right "Andrew T. Schwartz" 25 x 30 inches PROVENANCE Private Collection, New York EXHIBITED New York, New York, Salmagundi Club, "Annual Oil Exhibition" ESTIMATE $8,000—$12,000159 RACKSTRAW DOWNES English (b. 1939) NYACK, 1973 oil on canvas initialed lower right "RD" 29 1⁄2 x 22 inches PROVENANCE Private Collection, Paris, France EXHIBITED Albany, New York, Albany Institute of History & Art, "The New Response: Contemporary Painters of the Hudson River", November 12, 1985 - January 15, 1986 ESTIMATE $8,000—$12,000

112162 HARRY AIKEN VINCENT American (1864-1931) FISHING BOATS "CHIOGGIA" ITALY oil on canvas signed lower left "HA Vincent" 12 x 16 inches PROVENANCE Salmagundi Club, New York, New York, “Auction Sale”, n.d.; Private Collection, New Jersey; Brunk Auctions, Asheville, North Carolina, September 15, 2018, lot 1090; Private Collection, Washington D.C. ESTIMATE $2,500—$3,500161162163161 COLIN CAMPBELL COOPER American (1856-1937) VENICE oil on canvas signed lower left "Colin Campbell Cooper" 23 3⁄4 x 20 inches PROVENANCE Private Collection, New York ESTIMATE $4,000—$6,000163 MORRIS HALL PANCOAST American (1877-1963) "THE NEW FORESAIL" oil on canvas signed lower right "Morris Hall Pancoast", titled and signed on the reverse 28 x 32 inches PROVENANCE Private Collection, North Carolina EXHIBITED Philadelphia, Pennsylvania, Pennsylvania Academy of the Fine Art ESTIMATE $3,000—$5,000

113164 MAURITZ FREDERIK HENDRICK DE HAAS American/Dutch (1832-1895) THE AMERICAN NAVY oil on canvas laid down on masonite signed lower right "MFH de Haas" 14 x 22 inches PROVENANCE Private Collection, Texas ESTIMATE $6,000—$8,000164165165 STEPHEN J. RENARD British (b. 1947) BRITANNIA AND VIGILANT oil on canvas signed lower right "Stephen J. Renard" 40 x 60 inches PROVENANCE Sotheby’s, New York, New York, June 18, 2003, lot 135; Private Collection, Michigan ESTIMATE $6,000—$8,000

114167 JULIAN WALBRIDGE RIX (ATTRIBUTED) American (1850-1903) THE WOODS BELOW THE MOUNTAINS oil on canvas unsigned 26 x 32 inches PROVENANCE Private Collection, New York ESTIMATE $2,500—$3,500166167168166 GEORGE GARDNER SYMONS American (1863-1930) SPRING LANDSCAPE oil on canvasboard signed lower right "Gardner Symons" 15 x 17 3⁄4 inches PROVENANCE Christie's, New York, New York, September 28, 1989, lot 243; Private Collection, New York, New York ESTIMATE $3,000—$5,000168 WILL HOWE FOOTE American (1874-1965) HOUSES IN A SPRING PORTRAIT OF MRS. PARRISH (DOUBLE-SIDED PAINTING) oil on canvas unsigned 24 x 29 inches PROVENANCE Freeman Foote, Williamstown, Massachusetts; Alexander Gallery, New York, New York; (acquired from the above in 1981); Private Collection, Michigan ESTIMATE $2,000—$3,000

115169 FERNAND RENARD French (1912-1990) FLORAL STILL LIFE oil on canvas signed lower right "Renard" 25 3⁄4 x 21 1⁄4 inches PROVENANCE Hammer Galleries, New York, New York; Private Collection, Rhode Island ESTIMATE $4,000—$6,000170 FERNAND RENARD French (1912-1990) LES CROCUS oil on canvas signed lower right "Renard" 13 1⁄2 x 10 1⁄2 inches PROVENANCE Private Collection, Rhode Island ESTIMATE $3,000—$5,000171 RAYMOND HANS American ((1931-2017)) ORIENTALIA AND PERSIMMON, 1998 oil on canvas signed and dated on the stretcher "Han '98" 48 x 40 inches PROVENANCE Forum Gallery, New York, New York; Private Collection, Rhode Island; Private Collection, North Carolina ESTIMATE $2,500—$3,500169170171

116173 AARON BOHROD American (1907-1992) SUNFLOWERS, 1962 oil on board signed upper left "A Bohrod" 23 1⁄2 x 17 1⁄2 inches PROVENANCE The artist; Beacon Hill Fine Art, New York, New York; Sotheby's, New York, New York, May 30, 1985, lot 217; Private Collection, Michigan; Sotheby's, New York, New York, June 9, 2016, lot 210; Private Collection, Michigan EXHIBITED Vero Beach, Florida, Vero Beach Museum of Art, "The Reality of Things: Trompe L'Oeil in American", 2007 ESTIMATE $5,000—$7,000172173174172 LAURA COOMBS HILLS American (1859-1952) SILVER MOON ROSE pastel on paper signed upper left "Laura Hills" 11 3⁄4 x 10 inches PROVENANCE Sarah Woolworth, New York, New York; Richard York Gallery, New York, New York; Menconi and Schoelkopf Fine Art, New York, New York ESTIMATE $2,500—$3,500174 MARGUERITE STUBER PEARSON American (1898-1978) PEACH GLADIOLUS oil on board signed lower left "Marguerite S Pearson" 20 x 23 3⁄4 inches PROVENANCE Private Collection, North Carolina ESTIMATE $2,000—$3,000

117175 EMANUEL GOTTLIEB LEUTZE American (1816-1868) FORGET-ME-NOT, CA. 1837-39 oil on canvas signed and inscribed on the reverse 30 x 25 inches PROVENANCE Alexander Gallery, New York, New York, 2005; Private Collection, Michigan ESTIMATE $3,000—$5,000176 JENNIE AUGUSTA BROWNSCOMBE American (1850-1936) THE VISITOR oil on canvas signed lower left "Jennie Brownscombe" 24 x 18 inches PROVENANCE Private Collection, Wichita Falls, Texas; by descent in the family to Private Collection, New York ESTIMATE $2,500—$3,500177 SIR FRANCIS GRANT (ATTRIBUTED) Scottish (1803-1878) PORTRAIT OF THE DURHAM SISTERS oil on canvas unsigned 50 x 37 inches PROVENANCE Private Collection, Michigan ESTIMATE $2,000—$3,000175176177

118178179178 ERNEST FIENE American (1894-1965) "NEW SNOW", 1943 oil on canvas signed lower right "E. Fiene" 26 x 36 inches PROVENANCE Associated American Artist, New York, New York; The Metropolitan Museum of Art, New York, New York (acc. no. 43.159.3); Christie's, New York, New York, September 27, 1990, lot 262; Private Collection, Connecticut NOTES This composition was published by Associated American Artists and Ernest Fiene as a lithograph in an edition of 250 pencil signed lithograph prints, and awarded 'First Purchase Prize' by the Library of Congress in 1946. The church represented in this painting is located in Easton, Connecticut. ESTIMATE $3,000—$5,000179 ERNEST FIENE American (1894-1965) "OLD CONNECTICUT CHURCH" oil on canvas signed lower left "E. Fiene" 32 x 38 inches PROVENANCE Midtown Galleries, New York, New York; Shannon's Fine Art Auctioneers, Milford, Connecticut, April 26, 2018, lot 200; Private Collection, Connecticut NOTES This work depicts the Former Methodist Church in Southbury, Connecticut. ESTIMATE $3,000—$5,000180 ARTHUR CLIFTON GOODWIN American (1866-1929) COPLEY SQUARE, BOSTON oil on canvas signed lower right "AC Goodwin" 25 x 30 inches PROVENANCE Gallery on the Moors, East Gloucester, Massachusetts; Vose Galleries, Boston, Massachusetts; Private Collection, Connecticut NOTES A copy of the original purchase receipt, dated 1978, from Vose Galleries accompanies this lot. ESTIMATE $5,000—$7,000180

119181183182181 MARION RANYAK American (1925-2018) "TOWARDS THE SHORE", 1983 acrylic on canvas signed lower right "Ranyak", titled, signed, and dated on the reverse 48 x 60 inches PROVENANCE The artist; Estate of the artist; Private Collection, California ESTIMATE $2,000—$3,000183 JAY HALL CONNAWAY American (1893-1970) "MAINE", 1955 oil on masonite signed and dated lower right "Connaway / 55", titled lower left "Maine" 18 x 24 inches PROVENANCE Private Collection, Connecticut EXHIBITED Portland, Maine, Portland Museum of Art, "Moods of Nature: Jay Connaway and the Landscape of New England", September 19 - December 6, 2009 ESTIMATE $2,000—$3,000182 MARION RANYAK American (1925-2018) "EAST HAMPTON WAVE" acrylic on canvas signed and titled on the reverse "Marion Ranyak" 32 x 44 inches PROVENANCE The artist; Estate of the artist; Private Collection, California ESTIMATE $2,000—$3,000Marion Ranyak (1925 - 2018) was an American painter who lived and worked in Rye, New York. In 1946, early in her artistic career, she studied with the painter Hans Hofmann for six weeks which she said resulted in a “very strong feeling of the two-dimensionality of the surface which was always in her paintings. After an interlude focused on her children, in the 1960s and 1970s she produced an extensive series of expressionist and geometric abstract paintings as well as mixed media pieces, and became a founding member of SOHO20, the second all-women, artist-run art gallery in New York City.An interest in photography eventually led to exploring painting small realistic compositions of nature emphasizing flatness through simplified but precise forms and then later larger landscapes. These were positively reviewed in The New York Times by Vivian Raynor, who described her landscapes as “modest” but with “an air of authority” and later wrote that she “makes Neil Welliver look like an Expressionist.”Another critic praised her ability to suggest texture while using flatly applied acrylic paint, and Michael Brenson wrote, “She touches the canvas as delicately as a bird Ö The light in her paintings is always at that point of gray heat that sets everything in a landscape in motion.” Into her 80s Marion Ranyak remained artistically active exhibiting landscapes and exploring new creative directions including miniatures and collages. Her extensive catalog from over 60 years of creative work is held by her estate as well as private and institutional collections.

120184186185184 JAMES ELLIOTT BAMA American (1926-2022) GENERAL HAROLD K. JOHNSON, U.S. ARMY oil on board signed middle right "Bama" 15 3⁄4 x 11 1⁄4 inches PROVENANCE Private Collection, Connecticut ESTIMATE $3,000—$5,000185 ROGER TORY PETERSON American (1908-1996) WOODPECKERS, FINCHES AND COMMON SNIPE (GROUP OF THREE) (a, b) gouache and watercolor on board, with artist's stamp on the reverse (c) watercolor and gouache on paper, signed on the reverse (a) 18 1⁄4 x 12 1⁄4 inches (b) 16 1⁄2 x 10 inches (c) 12 x 9 inches PROVENANCE The artist; to the estate of Virginia Peterson; Private Collection, Florida NOTES (a) From a "Field Guide to the Birds of Texas" (1960), pl. 40 and (b) From "Birds of Britain and Europe" (1993 ed.), pl. 89. These works are sold unframed. ESTIMATE $2,500—$3,500186 DALIA RAMANAUSKAS American (b. 1936) "LINE UP", 1984 ink on paper signed, dated, and titled on the reverse "Dalia Ramanauskas" 28 x 38 inches PROVENANCE The artist; Private Collection, Connecticut ESTIMATE $2,000—$3,000

121187188189187 FRANK HARTMAN WAGNER American (1931-1996) AMERICA’S CUP TRIAL YACHT oil on board signed lower right "FH Wagner" 31 x 47 inches PROVENANCE Alexander Gallery, New York, New York, 1988; Private Collection, Michigan ESTIMATE $2,000—$3,000188 FRANK HARTMAN WAGNER American (1931-1996) AMERICAN EAGLE mixed media on board signed lower right "FH Wagner" 30 3⁄4 x 38 3⁄4 inches PROVENANCE Alexander Gallery, New York, New York, 1988; Private Collection, Michigan ESTIMATE $2,000—$3,000189 FRANK HARTMAN WAGNER American (1931-1996) AMERICAN EAGLE watercolor and gouache on paper signed lower left "FH Wagner" 15 x 19 3⁄4 inches PROVENANCE Alexander Gallery, New York, New York, 1988; Private Collection, Michigan ESTIMATE $2,000—$3,000

122191 JULES RENE HERVE French (1887-1981) PLACE DE LA CONCORDE oil on canvas signed lower right "Jules R. Herve", signed on the reverse 18 x 21 1⁄2 inches PROVENANCE Private Collection, Connecticut ESTIMATE $3,000—$5,000190191192190 JULES RENE HERVE French (1887-1981) LA PLACE VENDOME oil on canvas signed lower right "Jules R. Herve", signed on the reverse 18 x 21 3⁄4 inches PROVENANCE Dominion Gallery, Montreal, Canada; Private Collection, Connecticut ESTIMATE $3,000—$5,000192 FRANCOIS GALL French/Hungarian (1912-1987) LA TOILETTE oil on canvas signed lower left "F. Gall" 24 x 20 inches PROVENANCE Frank J. Oehlschlaeger, Chicago, Illinois; Private Collection, New York ESTIMATE $2,500—$3,500

123193 HERMANN FUECHSEL American (1833-1915) LANDSCAPE WITH WATERFALL, 1872 oil on canvas signed and dated lower right "H. Fuechsel / N.Y. 1872." 28 x 40 3⁄4 inches PROVENANCE Phillips, New York, New York, May 22, 2001, lot 14; Grogan & Company, Boston, Massachusetts, October 26, 2014, lot 169; Private Collection, Rhode Island ESTIMATE $3,000—$5,000194 THOMAS DOUGHTY American (1793-1856) LANDSCAPE IN THE HILLS oil on canvas signed lower right "T. Doughty" 8 x 14 1⁄4 inches PROVENANCE Private Collection, Connecticut ESTIMATE $2,500—$3,500195 ANDREW FISHER BUNNER American (1841-1897) GATHERING FLOWERS, 1864 oil on canvas signed and dated lower left "AF. Bunner. / 1864" 30 3⁄4 x 25 3⁄4 inches PROVENANCE Private Collection, Connecticut ESTIMATE $2,000—$3,000193194195

124197 JEAN FERDINAND CHAIGNEAU French (1830-1906) BERGER ET SON TROUPEAU, PLAINE DE CHAILLY oil on canvas signed lower right "JF. Chaigneau ", signed in pencil on the stretcher 19 3⁄4 x 24 inches PROVENANCE Private Collection, France; Private Collection, Connecticut ESTIMATE $3,000—$5,000196197198196 AUGUSTE BONHEUR French (1824-1884) STAG HUNT oil on canvas signed lower left "A Bonheur" 32 1⁄4 x 47 1⁄2 inches PROVENANCE Bonham's, New York, New York, November 29, 2005, lot 105; Grogan & Company, Boston, Massachusetts, October 26, 2014, lot 258; Private Collection, Rhode Island ESTIMATE $3,000—$5,000198 JEAN FERDINAND CHAIGNEAU French (1830-1906) BERGER ET SON TROUPEAU A BARBIZON DERRIËRE oil on canvas signed lower right "J.F. Chaigneau" 10 3⁄4 x 18 1⁄4 inches PROVENANCE Private Collection, France, 2005; Private Collection, Connecticut NOTES This lot believed to depict the property of Theodore Rousseau and J.F. Millet. ESTIMATE $2,000—$3,000

125199 JACQUES EMILE EDOUARD BRANDON French (1831-1897) UN COUPLE, 1866 oil on canvas signed and dated lower right "Ed. Brandon 1866." 27 3⁄4 x 20 1⁄4 inches PROVENANCE Private Collection, France; by descent to Private Collection, Connecticut NOTES This work is in an exceptional period frame. ESTIMATE $5,000—$7,000200 LOUIS APOL Dutch (1850-1936) WINTER WINDMILLS oil on canvas signed lower left "Louis Apol" 16 x 20 inches PROVENANCE Private Collection, Amsterdam, 2006; Cambridge Art Gallery, Santa Monica, California; Private Collection, Connecticut ESTIMATE $4,000—$6,000201 SIR WILLIAM HAMO THORNYCROFT British (1850-1925) THE MOWER bronze initialed and dated "HT 1884" 7 3⁄4 inches PROVENANCE London Fine Art Society, England, 1926; Private Collection, England until 2005; Private Collection, Connecticut ESTIMATE $2,000—$3,000199200201

126203 SAM NEWTON American (b. 1948) FLORIDA TWILIGHT oil on board signed lower right "S. Newton" 24 x 36 inches PROVENANCE Private Collection, Pennsylvania ESTIMATE $2,500—$3,500202203204202 VINCENT JANNELLI American (1882-1962) VIEW OF JERSEY CITY, 1938 oil on canvas signed and dated lower right "Vincent Jannelli / 1938" 26 x 40 inches PROVENANCE The Spanierman Gallery, New York, New York, 1982; Private Collection, Michigan ESTIMATE $3,000—$5,000204 SAM NEWTON American (b. 1948) FLORIDA BUNGALOW oil on board signed lower right "S Newton" 23 3⁄4 x 36 inches PROVENANCE Private Collection, Pennsylvania ESTIMATE $2,500—$3,500

127205 BENNY COLLIN American/Dutch (1896-1980) RED ABSTRACT acrylic on paper on canvas signed upper left "Benny Collin", numbered upper right "91" 51 x 38 inches PROVENANCE Private Collection, Connecticut ESTIMATE $3,000—$5,000206 BENNY COLLIN American/Dutch (1896-1980) BLACK ABSTRACT acrylic on paper on canvas signed upper left "Benny Collin", numbered upper right "90" 51 x 38 inches PROVENANCE Private Collection, Connecticut ESTIMATE $3,000—$5,000207 VIOLA FREY American ((1951-2004)) UNTITLED (FACE AND HANDS), 1986 ceramic and glazes initialed and dated on the reverse "VF 86" d. 25 inches PROVENANCE Private Collection, Rhode Island NOTES This work is recorded with the Artists' Legacy Foundation under ALF no. VF-1023P. A copy of the letter from the Artists' Legacy Foundation accompanies this lot. ESTIMATE $3,000—$5,000205206207— END OF SALE —

128INDEXA ALBRIGHT, ADAM E. 81 ANDERSON, LENNART 60, 61, 62 APOL, LOUIS 200 AUDETTE, ANNA HELD 24, 25 AVERY, MILTON CLARK 58, 59 B BABER, ALICE 23 BAMA, JAMES ELLIOTT 184 BANNISTER, EDWARD M. 105 BEARD, PETER 137 BENJAMIN, KARL S. 88 BERTHELSEN, JOHANN 117, 118 BISTTRAM, EMIL JAMES 90, 91 BLANCHARD, ANTOINE 4, 5 BOHROD, AARON 173 BONHEUR, AUGUSTE 196 BOTKE, JESSIE ARMS 57 BOWDOIN, HARRIETTE 119 BRANDON, J. E. E. 199 BRISTOL, JOHN B. 106 BROWN, JOHN G. 124 BROWN, WILLIAM M. 37 BROWNE, BYRON 132 BROWNSCOMBE, J. A. 176 BUNNER, ANDREW F. 195 C CAMPBELL, L. A 1, 123 CANU, YVONNE 7 CHAIGNEAU, JEAN F. 197, 198 CHAPMAN, CARLTON T. 148 CHAPMAN, CONRAD W. 111 CHASE, WILLIAM M. 55 COLLIN, BENNY 205, 206 CONNAWAY, JAY HALL 183 COOPER, COLIN C. 161 CORNOYER, PAUL 33 CORTES, EDOUARD 6 CURRAN, CHARLES C. 80 D DAVIES, KENNETH S. 85 DAVIES, ARTHUR B. 63 DAWSON, MONTAGUE 34, 35 DE HAAS, M. F. H. 164 DE HAVEN, FRANKLIN 157 DOLINSKY, NATHAN 129 DOUGHTY, THOMAS 194 DOVE, ARTHUR 143 DOW, ARTHUR WESLEY 107 DOWNES, RACKSTRAW 114, 159 DREWES, WERNER 87 DREXLER, LYNNE MAPP 21, 22, 135, 136 DUNNING, ROBERT S. 43 E EBERLE, A. ST LEGER 104, 147 F FIENE, ERNEST 178, 179 FOLINSBEE, JOHN 156 FOOTE, WILL HOWE 168 FRANCIS, JOHN F. 42 FREY, VIOLA 207 FRIESEKE, FREDERICK C. 77 FUECHSEL, HERMANN 193 G GALL, FRANCOIS 192 GASSER, HENRY M. 83, 116, 151 GOODWIN, ARTHUR C. 180 GRANT (attr.), SIR FRANCIS 177 GRAVES, ABBOTT F. 56 GRUPPE, EMILE A. 72 H HANS, RAYMOND 171 HART, JAMES M. 38 HARVEY, ELI 146 HENRI, ROBERT 96, 97 HERVE, JULES RENE 190, 191 HIBBARD, ALDRO T. 71 HILLS, LAURA COOMBS 172 HOPKINSON, CHARLES S. 130 HULINGS, CLARK 49 J JANNELLI, VINCENT 202 JANSEM, JEAN 8 JENSEN, LEO VERNON 139 JOHNSON, DAVID 36

129L LACROIX, PAUL 44 LALOUE, EUGENE G. 3 LAWSON, ERNEST 73 LEUTZE, EMANUEL G. 175 M MACMONNIES, F. W. 128 MANESCAU, A. DE REYNA 9 MARSH, REGINALD 64 MARTIN, AGNES 29 MCGURL, JOSEPH 98, 99, 100 MESDAG, HENDRIK W. 10 MILLER, KENNETH H. 122 MIRA, ALFRED 115 MIRO, JOAN 18 MORAN (attr.), EDWARD 112 MOSCA, AUGUST 120, 121 MULHAUPT, FREDERICK 70 MYTARAS, DIMITRIOS 12, 13, 14 N NEWTON, SAM 203, 204 NOYES, GEORGE L. 155 P PAINE, ROXY 26 PALMER, WALTER L. 54 PANAYOTOU, ANGELOS 15, 16 PANCOAST, MORRIS H. 163 PAYNE, EDGAR ALWIN 50 PEARSON, M. S. 174 PETERDI, GABOR 141, 142, 145 PETERSON, ROGER T. 185 PETERSON, JANE 82 PICKHARDT JR., CARL E. 133 POMPON, FRANÇOIS 19 POTTHAST, EDWARD 79 PRENDERGAST, M. B. 95 R RAMANAUSKAS, DALIA 186 RANYAK, MARION 181, 182 REMBERT, WINFRED 134 RENARD, FERNAND 169, 170 RENARD, STEPHEN J. 165 RICE, DAN 140 RIPLEY, AIDEN LASSELL 110 RIVERA, DIEGO 11 RIX (attr.), JULIAN W. 167 ROBERTS, PRISCILLA W. 27, 28, 102, 103 RYDER, CHAUNCEY F. 75 S SANDBACK, F. L. 144 SANDZEN, BIRGER 48 SCARLETT, ROLPH 138 SCHWARTZ, ANDREW T. 160 SCHWARTZ, WILLIAM S. 131 SHANNON, SIR JAMES J. 126 SHAW, CHARLES G. 89, 93 SLOAN, JOHN F. 65, 66, 67, 68 SLOANE, ERIC 51, 52, 53 SPENCER, ROBERT 76 STRONG JR., JOSEPH D. 109 SWAIN, ROBERT 94 SYMONS, GEORGE G. 166 T THORNYCROFT, SIR W. H. 127, 201 TOBEY, MARK 92 TRYON, DWIGHT W. 39, 40, 41 TSIARAS, PHILIP 17 V VAN RIJN, REMBRANDT 149, 150 VICENTE, ESTEBAN 20 VICKREY, ROBERT 101 VINCENT, HARRY A. 152, 153, 162 VOORHEES, CLARK G. 158 W WAGNER, FRANK H. 187, 188, 189 WALKER, WILLIAM A. 108 WALTER, MARTHA 78 WAUGH, FREDERICK J. 74 WIGGINS, GUY C. 2, 30, 31 WILMARTH, LEMUEL E. 125 WOODWARD, LAURA 113 Y YOST, TOM 45, 46, 47

Personalized Service • Competitive Rates • Proven Results25Contact Sandra Germain info@shannons.com 203 877 1711 shannons.comJune 13, 2024 | 2:00 PM Online Fine Art Auction Consignments accepted now through May 15, 2024. October 24, 2024 | 6:00 PM Important Paintings, Drawings, Prints & Sculpture Consignments accepted now through September 15, 2024. YOU ARE INVITED...Frederick Frieseke Sold: $450,000 Lynne Mapp Drexler Sold: $450,000 Thomas Hart Benton Sold: $275,000 Consignments accepted year-round

131BIDS MUST BE RECEIVED AT LEAST 24 HOURS PRIOR TO DAY OF SALE. Lot # Artist’s Name Maximum Bid (Excluding buyers premium) $ $ $ $ $ $ $ $ $Bidding Increments $1,000 – $2,000 . . . . . . . . . .$100 $2,000 – $5,000 . . . . . . . . . .$250 $5,000 – $10,000 . . . . . . . .$500 $10,000 – $20,000 . . . . . .$1,000 $20,000 – $50,000 . . . . .$2,000 Over $50,000 . . . . . . . . . .$5,000 Over $100,000 . . . . . . . .$10,000 The Auctioneer has the discretion to accept bids not commensurate with this pattern.EMAIL OR FAX BIDS TO: 49 Research Drive, Milford, CT 06460 P: (203) 877-1711 | F: (203) 877-1719 Email: info@shannons.com CHECK ONE: ABSENTEE BID PHONE BID I understand that Shannon's will execute my bids as a convenience, and will not be held responsible for errors, or the inadvertent failure to execute bids. On my behalf, Shannon's will try to purchase these lots for the lowest possible price. If identical absentee bids are left, Shannon's will give precedence to the first one received. I have read and agree to the Conditions of Sale on the reverse of this form. Payment for successful bids must be made within seven days of the sale. A premium of 25% of the successful bid will be applied to the individual hammer price of all lots sold, to be paid by the buyer as part of the purchase price. Purchases made through Invaluable will be subject to an additional 5% charge (30% total buyer’s premium) and purchases made online through shannons.com will be subject to an additional 2% charge (27% buyer’s premium). Name Date Address City State Zip Country Phone # Alternate# EmailSignature (required) DateWe will have a limited phone bidding staff for this sale. We ask that if you request a phone line, you be prepared to bid the low estimate. If you are not willing to bid the low estimate, we kindly ask that you leave an absentee bid instead.

132Shannon’s LLC Fine Art Auctioneers acts solely as an agent for various owners and consignors. It exercises care in describing all items listed and uses judgment in attributing authorship, but offers no guarantee regarding authenticity, condition, or description. The items described in this catalog, which description may be amended by notice or announcement at sale time, are offered for sale by Shannon’s LLC as agent for various owners or others authorized to sell the items. Hereinafter, Shannon’s LLC is referred to as the Sellers agent. The owners or others authorized to sell the items are hereinafter referred to as Sellers. The person or persons acknowledged by the auctioneer to be the highest bidder on an item shall be hereinafter referred to as the Buyer or Buyers. Shannon’s LLC reserves the right to change the terms of sale by oral announcement. Any such change shall become part of the Conditions of Sale. By placing of a bid, whether present at the sale in person or by agent, by written or oral bid, by telephone or other means, the Buyer agrees to be bound by these conditions of sale. 1. The highest bidder acknowledged by the auctioneer shall be the Buyer. In the event of any dispute between bidders, the auctioneer has the absolute discretion to determine which bidder is the successful Buyer or to re-offer the item in dispute and resell it. 2. In the event of any dispute after the sale, Shannon’s LLC’s record of the final sale price and of the successful buyer shall be conclusive, Shannon’s LLC reserves the right to withdraw any item before or during the sale. 3. Shannon’s LLC reserves the right to sell items which are not listed in the catalog. 4. Items in the auction are sold subject to a reserve. Such reserve is confidential, but in no case will the reserve exceed the low estimate. The auctioneer may reject any bid or increment not commensurate with the value of the lot. 5. Order bids are accepted. A deposit may be required. Absent parties may place bids by mail, email, fax or in person prior to the sale. Order bids must be placed 24 hours prior to the day of sale. Shannon’s LLC will execute such bids up to the maximum amount specified. Phones must be reserved 24 hours prior to the day of sale. Phone bidders are encouraged to leave a cover bid in case of technical failure. Shannon’s is not responsible for errors or omissions in the execution of these bids. 6. A premium of 25% of the successful bid will be applied to the individual hammer price of all lots sold, to be paid by the buyer as part of the purchase price. Purchases made through Invaluable will be subject to an additional 5% charge (30% total buyer’s premium) and purchases made online through shannons.com will be subject to an additional 2% charge (27% buyer’s premium). Payment may be made by, check, ACH or wire transfer. Visa, MasterCard and Amex may be used up to the amount of $5,000 per auction. We currently collect sales tax in CT, DC, FL, GA, IL, IN, KS, MA, MD, MI, NC, NE, NJ, NY, OH, OK, PA, RI, TN, VA, VT and WI and remit the appropriate sales tax. If we do not collect sales tax in your state, it is still your responsibility to pay the proper tax on your purchases. ALL ITEMS MUST BE PAID FOR WITHIN 7 DAYS OF THE SALE, AT WHICH POINT THEY WILL BE RELEASED FOR SHIPMENT OR DELIVERY. 7. Limited Warrantee: Although Shannon’s LLC exercises due care in describing the items listed and use good judgment in attributing authorship; it does not make any express or implied warrantee as to such authorship. Notwithstanding, Shannon’s LLC may, but shall have no obligation to, consider any reasonable request for refund on the grounds of authenticity of authorship only and only under the following conditions: A. Notification must be made to Shannon’s in writing within 7 days of receipt of the item. B. The items must be returned within 28 days of the sale, accompanied by written testimony from a recognized authority that the lot in question is a forgery. C. The limited warrantee does not extend to the lots identified as attributions, school, circle, manner, or after. D. The limited warrantee is applicable only to the original Buyer. 8. All property is sold "as is". 9. As a convenience to the Buyer, Shannon’s LLC will make a referral for packing and shipping. This is at the request, expense, and risk of the Buyer, and Shannon’s assumes no responsibility for the items or the timing of delivery. Insurance for in transit items is the responsibility of the buyer. All items must be removed within 30 days post sale or a fee of up to $20 per day will be charged for storage. Items not collected within twelve months of a sale will become the property of Shannon’s. 10. Shannon's has retained the Art Loss Register to check all uniquely identifiable items offered for sale in the catalog that are estimated for $5,000 or more against the computerized database of stolen or lost artwork maintained by the Art Loss Register. A search certificate can be provided by the Art Loss Register for an additional fee. The Art Loss Register does not guarantee the provenance or title of any catalogued item against which they search, and will not be liable for any direct or consequential losses of any nature howsoever arising. The statement is not to affect, detract from, or override Shannon's Conditions of Sale, and in the event of any conflict, Shannon's Conditions of Sale will take priority to the terms of this statement. BIDDING AT THIS AUCTION, WHETHER IN PERSON, BY AGENT, ORDER BID, TELEPHONE, INTERNET OR OTHER MEANS, CONSTITUTES YOUR ACKNOWLEDGMENT AND ACCEPTANCE OF THESE "CONDITIONS OF SALE". CONDITIONS OF SALEAfter: A work of art or object made in the style of an artist or maker, but not by the artist. Sometimes refers multiples that may have used an artist’s mold or plate, but were reproduced by someone other than the artist, including posthumous works. Can also be used to describe a direct reproduction after an original work of art. Attributed (attr.): In our opinion, probably or possibly a work of art by the artist. The work is either unsigned, and/or lacks adequate provenance or authentication by experts in the field. Bears Signature: The work is signed, but the work and signature may not be by the hand of the artist. Manner of: Made in the likeness or style of an artist, with a slight possibility that it was made by the artist or by a follower or student of the artist. Also see “After” and “Attributed”. Possibly: Being something that may or may not be true or actual without guarantee. Probably: Supported by evidence strong enough to establish presumption but not proof. We do not guarantee it to be true. School: Usually relates to a particular artistic or aesthetic movement. It can also relate to an actual school or to followers of a particular artist or maker. Also see: “Manner of”, “Style”, “Attributed to” and “After”. Style: After the time period in which the style originated, or a more recent reproduction (ie: Style of Pablo Picasso or Cubist Style), used to refer to the style of a particular artist or artistic movement, generally made long after that time period.GLOSSARY OF  TERMS

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