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Fine Art Auction Paintings, Drawings, Prints and Sculpture Milford, Connecticut • October 28, 2021
Front cover illustration #51 Back cover illustration #30FINE ART AUCTION PAINTINGS, DRAWINGS, PRINTS AND SCULPTURE PREVIEW DATES & TIMES: In-person previews by appointment October 18-27th (weekdays from 11AM-6PM) Saturday, October 23rd (10AM-3PM, closed Sunday) Virtual previews & additional photos are available by request. Bid by telephone, absentee and live on shannons.com.AUCTION INFORMATION Thursday, October 28, 2021 | 6:00 PM EDT
2MAP AND DIRECTIONSFROM POINTS NORTHFROM POINTS SOUTHExit 40Exit 40• I-95 North to exit 40. • Left at the end of the ramp. • Proceed to the traffic light. • Turn right onto Woodmont Road. • At the first traffic light take a left on Research Drive.• I-95 South to exit 40. • Left off of the ramp onto Woodmont Road. • At the second traffic light take a left onto Research Drive.
TABLE OF CONTENTSMap and Directions 2 Contacts 3 Artist Index 156 Invitation to Consign 158 Bid Form 159 Conditions of Sale 160Sandra Germain Managing Partner firstname.lastname@example.orgAli Danker Specialist email@example.comGene Shannon Founder / Consultant firstname.lastname@example.orgMary Bretthauer Gallery Manager email@example.comJoe Bartolomeo Operations / Photography firstname.lastname@example.orgContactsGeneral Sale Inquiries email@example.com
1 JOHANN BERTHELSEN American (1883-1972) "TIMES SQUARE, NEW YORK, N.Y." oil on canvas signed lower right "Johann Berthelsen," titled on the stretcher 24 x 20 inches PROVENANCE Doyle, New York, New York, November 4, 2015, lot 123; Private Collection, New York. ESTIMATE $6,000—$8,00012442 HENRY GASSER American (1909-1981) WINTER HARBOR SCENE watercolor on paper signed lower left "H. Gasser" 22 x 30 inches (sight) PROVENANCE Private Collection, Florida; Shannon's, Milford, Connecticut, October 26, 2017, lot 225; Private Collection, Connecticut. ESTIMATE $6,000—$8,000
3 ANTONIO PIETRO MARTINO American (1902-1989) HARBOR SCENE oil on masonite signed lower right "Antonio P. Martino" 30 x 40 inches PROVENANCE The English Gallery, Boston, Massachusetts; Private Collection, New York. ESTIMATE $3,000—$5,0004 JOHANN BERTHELSEN American (1883-1972) "TIMES SQUARE" oil on canvasboard signed lower right "Johann Berthelsen," titled on the reverse 19 1⁄2 x 15 1⁄2 inches (sight) PROVENANCE Gallerie Kornye, Dallas, Texas; Private Collection, New York. ESTIMATE $5,000—$7,000345
5 RICHARD HAYLEY LEVER American (1876-1958) ON THE SOUND oil on panel signed lower right "Hayley Lever" 12 x 16 inches PROVENANCE William Macbeth, New York, New York; Private Collection, New York; Private Collection, Massachusetts. ESTIMATE $5,000—$7,0006 ALDRO THOMPSON HIBBARD American (1886-1972) "MARCH BROOK" oil on canvasboard signed lower left "A.T. Hibbard," titled on the reverse 18 x 25 inches PROVENANCE Private Collection, Connecticut. ESTIMATE $3,000—$5,000566
7 JACK LORIMER GRAY Canadian (1927-1981) "HARLEM RIVER" oil on canvas laid down on board signed and dated lower left "Jack L. Gray 61" 24 1⁄4 x 36 1⁄4 inches PROVENANCE Quester Gallery, Stonington, Connecticut; Private Collection, Connecticut. ESTIMATE $12,000—$18,00077
8 ALEXANDER MAX KOESTER German (1864-1932) WHITE DUCKS oil on canvas signed lower right "A. Koester" 21 3⁄4 x 30 inches PROVENANCE A New Jersey estate. ESTIMATE $8,000—$12,0009 ADRIEN DE BOUCHERVILLE French (1829-1912) A GIFT FOR THE CHATELAINE oil on canvas signed lower right "A. De Boucherville" 21 x 28 inches PROVENANCE Christie’s, New York, New York, October 30, 2002, lot 148; Private Collection, New York. NOTES In an exceptional period frame. ESTIMATE $7,000—$10,000898
10 HENRIETTE RONNER-KNIP Dutch (1821-1909) MOTHER'S PRIDE oil on panel signed lower left "Henriette Ronner" 13 x 17 3⁄4 inches PROVENANCE Sotheby’s, London, England, November 19, 2002, lot 167; Sotheby’s, Amsterdam, the Netherlands, June 7, 2011, lot 37; Sotheby’s, New York, New York, May 9, 2013, lot 35; Private Collection, New York. ESTIMATE $20,000—$30,000109
10Eugene von Blaas was born into a family of accomplished artists. His father, Carl von Blaas, was a renowned portrait, history, and fresco painter as well as a sculptor and professor at the Venice Academy of Fine Art. Eugene and his brother Julius, also an artist, were born in Rome and later moved with their family to Venice. They earned their early artistic education in Rome, and both became professors at theAccademia di Belle Arti di Venezia. Von Blaas is most recognized for his realistic images of Venetian women. His women are striking in their youth and austere beauty, and they are depicted with a high degree of polish which demonstrates the artist’s unique abilities as both draftsman and artist. His ability to paint the skin, lips, and eyes of the models in an almost photographic manner clearly shows the artist’s intent to portray these women going about their daily routines unaware of their own beauty. After helping his father with the frescoes in Vienna’s Arsenal between 1860 and 1872, Von Blaas moved to Venice permanently at the end of the 1880s. There, his artistic activity reached its peak. By this time, von Blaas had begun to expand his canvases and incorporate more elaborate details into his compositions, culminating in large-scale vertical paintings like the present lot. Musette, dated 1900, is an impressive canvas and an extraordinary example of one of von Blaas’ characteristic figures. Musette is a character from Puccini’s opera La Bohème first performed in 1896. The model’s expression is charming and personal, as she seems to be looking straight into the viewer’s eyes. Of the artist’s young Venetian portraits, Wassibauer writes, “[von Blaas’] portraits… are structured in a way which is both narrative and playful: his Venetian women have a seductive or melancholy look or may be bold and challenging.”1 During his lifetime, his paintings were well-received in Great Britain and he exhibited regularly at the Royal Academy, the Grafton Gallery, and the New Gallery.1 Thomas Wassibauer, Eugen von Blaas, (Oetwil am See, Switzerland: Edition Olms, 2005), p. 17.
11 EUGENE VON BLAAS Italian / Austrian (1843-1932) "MUSETTE," 1900 oil on panel signed and dated upper right "Eugene Von Blaas / 1900" 50 x 29 3⁄4 inches PROVENANCE Kunsthandlung L.T. Neumann, Vienna, Austria; MacConnal-Mason Gallery, London; Private Collection, Japan (1988); Christie's, New York, New York, October 30, 2002, lot 30; Private Collection, New Jersey; Sotheby's, New York, New York, October 26, 2004, lot 97; MacConnal-Mason Gallery, London, May 12, 2009; Private Collection, New York. NOTES A partial label on the reverse inscribed "...dell'opera "Musette" / Eugenio de Blaas / Zattere Venezia". ESTIMATE $100,000—$150,0001111
1212 EUGENE GALIEN-LALOUE French (1854-1941) ON THE RIVER BANK PARIS PARIS STREET SCENE (A PAIR) watercolor and gouache on paper (a) signed lower left "E. Galien-Laloue" (b) signed indistinctly lower left (a) 7 1⁄2 x 12 inches (sight) (b) 9 3⁄4 x 14 3⁄4 inches PROVENANCE Christie's, New York, New York, April 12, 2007, lot 141; Private Collection, New York. ESTIMATE $10,000—$15,00012
13 CONRAD WISE CHAPMAN American (1842-1910) BEACH SCENE oil on panel signed and dated lower left "C W Chapman 1878" 8 3⁄4 x 16 inches PROVENANCE Laing Galleries, Toronto, Canada; Private Collection, New York. ESTIMATE $8,000—$12,0001313
14Isidor Kaufmann is best known as a painter of Jewish themes and considered by many as the greatest Jewish painter of the 19th century. He was born to Hungarian Jewish parents in Arad, Kingdom of Hungary (present day Romania). He worked as a bank clerk until at age twenty-one when he was discovered by a local patron and was finally able to pursue his dreams of becoming an artist. After an initial rejection from the Academy of Fine Arts in Vienna, Kaufmann studied under portrait artist Joseph Matthaus Aigner. He then attended the Malerschule of the Vienna Academy and became a private pupil of artist Josef Trenkwald. Kaufmann moved to Vienna, a wealthy, capital city, and painted genre scenes and historical subjects. In Vienna, wealthy patrons provided a ready market for his work. In the 1890s he traveled to Galica, Silesia, Moravia and Poland sketching in shtetls or villages, synagogues, and scenes of everyday life of the Jewish communities he encountered. Back in his studio in Vienna he worked diligently to turn his sketches into highly detailed finished compositions. By contrast in Vienna, he also painted Jewish society portraits and scenes of wealthy, urban Jewish life. He painted wealthy, metropolitan patrons such as bankers and lawyers, as depicted in the present lot. Biographer G. Tobias Natter commented, “…it seems, and this is remarkable – that Kaufmann never experienced the tensions between these two worlds strongly enough to feel impelled to decide from one side or the other. In the end, what Kaufmann wanted to create from the wealth of impressions was a true picture of the greatest possible purity. He did not see his paintings as souvenirs from a dying world but rather as distillations of its spiritual values.” In this present lot, Kaufmann created a detailed portrait of a respected member of Viennese society. The banker meets the eyes of the viewer with a sincere expression of interest. In his hand, he holds a document as if we have just walked into his office and interrupted him mid-task. The sitter is very well dressed, and his neat, antique desk indicates a wealthy, fashionable man of society. The landscape painting hanging above his desk contrasts the apparent importance of the banker’s day-to-day tasks. Expertly executed, Kaufmann’s skill as a portraist is captured in every fold and texture of the figure’s attire and in the delicate lines of his hands and face. Kaufmann earned recognition from many wealthy patrons, most notably Emperor Franz Josef. He was awarded honors from the German Emperor and the Russian Czar. Emperor Franz Josef purchased Kaufmann’s most celebrated work The Rabbi’s Visit currently in the collection of the Kunsthistorisches Museum in Vienna. Today paintings by Kaufmann are on view at the Tate Gallery in London, The Jewish Museum in New York City, and the Kunsthistorisches Museum in Vienna.
14 ISIDOR KAUFMANN Austrian / Hungarian (1853-1921) PORTRAIT OF BANKER oil on panel signed lower right "Isidor Kaufmann," inscribed on the reverse "6 Juni 1894" 19 x 14 1⁄2 inches PROVENANCE Daphne Alazraki Fine Art, New York, New York, May 18, 2007; Private Collection, New York. NOTES A copy of a letter from Daphne Alazraki Fine Art discussing the work accompanies the lot. ESTIMATE $100,000—$150,0001415
1615 MATILDA BROWNE American (1869-1947) FLORAL STILL LIFE oil on canvas signed lower right "Matilda Browne" 30 x 36 inches PROVENANCE A Maryland estate. ESTIMATE $6,000—$8,00016 PAULINE LENNARDS PALMER American (1867-1938) THE RED PARASOL, PROVINCETOWN oil on board signed lower left "Pauline Palmer" 24 x 19 3⁄4 inches PROVENANCE Estate of Gary M. Bloom; Private Collection, New York; Shannon's, Milford, Connecticut, May 4, 2017, lot 176; Private Collection, Connecticut. ESTIMATE $6,000—$8,0001516
1717 JANE PETERSON American (1876-1965) ZINNIAS IN A BLUE VASE oil on canvas signed lower right "Jane Peterson" 24 x 30 inches PROVENANCE Private Collection, Rhode Island; Private Collection, Connecticut. ESTIMATE $10,000—$15,00017
1818 PIERRE HODE French (1889-1942) CUBIST STILL LIFE oil on canvas signed, dated and inscribed upper right "à Madame Kaufmann / pierre hodè / Juin / 22" 10 3⁄4 x 14 inches PROVENANCE From the collection of the portrait artist, Arthur Kaufmann; Descended in the family to the current owner, Heather Manypenny Kaufmann, grandaughter of the artist. NOTES The purchase of this work is discussed in Arthur Kaufmann's memoir "Old Canvas, New Varnish." ESTIMATE $7,000—$10,00019 DAVID BURLIUK Russian (1882-1967) LIGHTHOUSE ON THE HILL WITH LILACS oil on canvas signed lower right "Burliuk" 30 x 42 inches PROVENANCE Private Collection, Florida; Private Collection, Connecticut. ESTIMATE $8,000—$12,0001819
20 GEORGES D'ESPAGNAT French (1870-1950) "ENFANTS JOUENT AUX GUIDES" oil on canvas initialed lower right "G d E" 18 ¼ x 24 ¼ inches PROVENANCE Private Collection; descended in the family to Private Collection, New York; Private Collection, Massachusetts. ESTIMATE $12,000—$18,0002019
20“The painting should be monumental, that is to say, larger than its dimensions.” Serge Poliakoff Serge Poliakoff was born on January 8, 1900, in Moscow, Russia. When he was 18, the young artist fled the Russian Revolution and travelled through Belgrade, Vienna, Berlin, and Constantinople for 3 years, working as a cabaret entertainer to support himself before settling in Paris in 1923. In Paris, Poliakoff studied painting at the Académie Forchot and Académie de la Grande Chaumière. In 1935, while attending the Slade School of Art in London, he discovered the abstract works ofWassily KandinskyandSonia Delaunay. Until he met these artists and studied their works, his paintings were more academic in style. These two artist’s works had a profound impact on Poliakoff’s understanding of color and influenced the works he created throughout the rest of his career as he came to be considered one of the most powerful artists of his generation. Poliakoff exhibited his first abstract painting in 1938 at the Salon des Indépendants, in which he participated regularly until 1945. In 1945, Galerie L’Equisse, Paris, presented a solo exhibition of his work alongsideJean Dubuffet,Hans Hartung, and Nicolas de Staël (the latter’s commitment to nonobjective art especially influencing the artist). Poliakoff is regarded as a member of the “new” École de Paris (School of Paris) following World War II. Avoiding empirical, or overly geometric line and form, Poliakoff’s canvases invest in the asymmetrical and expressive qualities associated with Lyrical Abstraction (Abstraction lyrique);Art Informel; Art autre (Art of another kind); and perhaps most often, Tachisme (from the Frenchtache, for blot or stain). He produced so-called plastic poems, works that focused on superimposed colors corralled in linear shapes on the canvas, with hues mediated by texture and tempered by his experiments with monochromatic painting between 1947 and 1950. In these endeavors, he was extremely successful earning the Kandinsky Prize in 1947.1 In the current example "Peinture" from 1946, his non-representational technique of creating an almost puzzle like image by using a very monochromatic palette is evident and powerful. Poliakoff died in Paris on October 12, 1969. In 2015, Timothy Taylor Gallery in London opened Serge Poliakoff: Silent Paintings, which opened to critical acclaim. Today, his works are held in the collections of The Museum of Modern Art (MoMA) in New York, the Tate Gallery in London, the Malmö Konsthall in Sweden, and the Hirshhorn Museum and Sculpture Garden in Washington, D.C., among others. 1 “Serge Poliakoff,” https://www.guggenheim.org/artwork/artist/serge-poliakoff, (Date accessed: September 1, 2021).
21 SERGE POLIAKOFF Russian (1906-1969) "PEINTURE," 1946 oil on canvas signed lower left "Serge Poliakoff," signed, dated and inscribed on the reverse "19 bis cité des Fleurs Paris- / P_433 / Serge / DiDi Poliakoff / 1946" 28 x 35 inches PROVENANCE Kunsthaus, Zurich, Switzerland (label on the reverse); Private Collection, Milan, Italy; by descent to Private Collection, Los Angeles, California. EXHIBITED Zurich, Switzerland, Kunsthaus, "Malerei im Paris Heute," 1952, catalog no. 100. NOTES Our thanks to Mr. Thaddée Poliakoff of the Archives Serge Poliakoff for confirming the authenticity of this work. ESTIMATE $40,000—$60,0002121
2222 GEROME KAMROWSKI American (1914-2004) UNTITLED ink on paper signed lower left "Kamrowski" 24 1⁄2 x 18 5⁄8 inches (sight) PROVENANCE Estate of the artist; By descent in the artist's family; Private Collection, Michigan. NOTES A letter discussing the provenance of the work accompanies the lot. ESTIMATE $4,000—$6,00023 GEROME KAMROWSKI American (1914-2004) "FLOTTANT" enamel on canvasboard titled, numbered and dated on the artist label on the reverse "#36, 1942" 24 x 18 inches PROVENANCE Estate of the artist; By descent in the artist's family; Private Collection, Michigan. NOTES A letter discussing the provenance of the work accompanies the lot. This painting was painted one year after the famous "Collaborative Painting" also executed in enamel, by Jackson Pollock, William Baziotes and Gerome Kamrowski. ESTIMATE $4,000—$6,0002223
24 PAUL JENKINS American (1923-2012) UNTITLED watercolor on Arches paper signed lower left "Paul Jenkins" 41 1⁄2 x 30 inches PROVENANCE Gimple & Weitzenhoffer, New York, New York; Private Collection, New York, New York. EXHIBITED New York, New York, Gimple & Weitzenhoffer, "Paul Jenkins: Anatomy of a Cloud: Steles, Paintings and Works on Paper," April 4 - May 13, 1978. ESTIMATE $6,000—$8,0002423
24Roberto Antonio Sebastian Matta Echaurren, known simply as “Matta,” rose to fame with the European Surrealists. Matta was born in Santiago, Chile and studied architecture and interior design at the Sacre Coeur Jesuit College and the Universidad Catolica of Santiago. In 1933 he left Chile to join the Merchant Marines and moved to Paris in 1935. In Paris, Matta worked with Le Corbusier for two years as an apprentice. He became friends with Latin American literary ex-patriots living in Paris, Frederico Garcia Lorca, Pablo Neruda, and Gabriela Mistral. Through Lorca, Matta was introduced to Salvador Dali and through Dali to Andre Breton. Breton invited Matta to officially join the Surrealist group in 1937. That same year, at the Paris International Exhibition Matta saw Pablo Picasso’s seminal work Guernica (1937) and Marcel DuChamp’s Large Glass (The Bride Stripped Bare by Her bachelor’s, Even) (1915-23). Both works impressed Matta, and their themes would emerge in Matta’s mature style. By 1938, Matta transitioned from automatist crayon drawings to oil paintings. In 1939, the looming war forced Matta to flee Europe and head to New York. There, he was the youngest of the Surrealist emigres. He became fast friends with the New York School artists, Jackson Pollock, Arshile Gorky, William Baziotes, Peter Busa and Robert Motherwell. Likely influ-enced by Picasso’s combination of abstraction and social engagement in Guernica, Matta begin a series of “Social Morphologies” painted throughout the 1940s. By this time, Matta was enjoying personal success as an artist, however, his use of figuration and narrative caused a rift between he and his artist friends in the Surrealist group and New York School of Abstract Expressionists. In 1948, Gorky committed suicide and many in the group blamed Matta who had been having an affair with Gorky’s estranged wife. He was publicly expelled from the Surrealist group, and he returned to Europe in 1948. The expulsion from the group freed Matta to pursue social and political themes, figuration, and narrative. He moved first to Italy and then kept residences in both Paris in Rome. In 1959, the Surrealists invited Matta back – an offer he declined. During the 1950s and 60s, Matta travelled extensively in Europe, Latin America, and Africa. He became more socially engaged believing art a powerful agent for social reform. He works from this period focus on the Civil Rights Movement, the Vietnam War, the War in Algeria, and Socialist reforms in Latin America. Matta looked inward to create Surrealist compositions that explored the human psyche but also outward because he knew art could be a powerful agent for social change. In the 1960s Matta travelled to Cuba, Chile, and Nicaragua to meet artist-activists on the front lines of social reform and to engage with political movements. At mid-century when the present lot was painted, Matta began to use biomorphic forms and tubular humanoids inspired by mythical totemic figures using pre-Columbian, Native American, and Oceanic sources. His works were rooted in reality but transformed using metaphor and subconscious to create dream-like parallel realities depicting the timeless struggles of humanity. In his art, he sought to depict a cosmic reality that transcended notions of time and space. In the current work, painted in 1965, Matta’s tubular, robotic humanoids with exaggerated repro-ductive organs are engaged in an orgy of sexual activity against an ominous grey backdrop to the right. At the center of the composition, a merged couple and a bright yellow egg seem to suggest fertility and the hope of a new generation. Thematically, the painting relates to a familiar subject in art history with numerous parallels to Hieronymus Bosch’s Garden of Earthly Delights, (1490-1500) (Museo Del Prado). Matta’s technique of sponging and wiping off thinned layers of pigment adds to the dreamlike visual effect. The large size of the canvas lends itself to this technique but also surrounds the viewer, inviting one into Matta’s alternate universe. In 1957, the Museum of Modern Art (MoMA) in New York hosted a retrospective of Matta’s work. More retrospectives followed at the National Gallery in Berlin (1970) and the Centre Pompidou (1985). His legacy is celebrated internationally especially in areas where he painted in the United States, Europe, and Latin America.
25 ROBERTO MATTA Chilean (1911-2002) UNTITLED, 1965 oil on canvas signed with artist's monogram and dated "65" lower right 78 x 149 ¼ inches PROVENANCE Acquired in Milan, Italy, ca. 1970 (before 1976); Private collection, Milan, Italy; by descent to Private Collection, Los Angeles, California. NOTES A certificate of authenticity from Alisée Matta of the Matta Archives accompanies this lot. ESTIMATE $150,000—$250,0002525
2626 COLLEEN BROWNING American/Irish (1918-2003) "PROTEST PARADE" oil on canvas signed lower right "Colleen Browning" 25 1⁄2 x 26 1⁄2 inches PROVENANCE Kennedy Galleries, New York, New York; Galerie Notre-Dame de Montreal, Montreal, Quebec; Private Collection, Pennsylvania. ESTIMATE $4,000—$6,00027 JOSEPH SHERLY SHEPPARD American (b. 1930) "THE HEAT WAVE" oil on masonite signed and dated lower right "June 1955" 28 x 35 inches PROVENANCE David Bendann's Fine Art Rooms, Baltimore, Maryland; Private Collection, Florida; Shannon's, Milford, Connecticut, April 28, 2011, lot 2; Private Collection, North Salem, New York. ESTIMATE $5,000—$7,0002627
28 CLYDE SINGER American (1908-1999) "HOTEL BACK DOOR" oil on canvas signed lower right "Singer," signed and dated on the reverse "1953," titled on the stretcher 18 x 40 inches PROVENANCE Sotheby's Arcade, New York, New York, January 24, 1989, lot 275; Christie's East, New York, New York, April 9, 1998, lot 182; Private Collection, Cape Cod; Eldred's, East Dennis, Massachusetts, August 5-7, 2009, lot 1035; Private Collection, Alabama. ESTIMATE $8,000—$12,0002827
29 ALFRED HENRY MAURER American (1868-1932) PARIS CAFÉ SCENE WITH THREE FIGURES oil on board signed lower right "A. H. Maurer," numbered on the stretcher "C. 15855" 8 3⁄4 x 7 3⁄4 inches PROVENANCE Lucien Lefebvre-Foinet, Paris, France; Private Collection, Connecticut. EXHIBITED New York, New York, Babcock Galleries, "Alfred H. Maurer, 1868-1932," March 1973. LITERATURE Nick Madormo, "The Early Career of Alfred Maurer: Paintings of Popular Entertainments," in "The American Art Journal," Winter 1983, Vol. XV, number 1, page 25 (illustrated). NOTES Maurer scholar, Nick Madormo notes in his article referenced above, "Café Scene, the smallest surviving pre-Fauve oil by Maurer, must be another of his on-the-spot easel productions: a glimmering sketch of urban pastimes and manners. The women are beautifully attired but as depersonalized as ever. Maurer does not probe into the psyches of the exquisite trio; what seems to matter to him is the pleasing image these women present of Parisian existence, the tone of life they seemed to him to epitomize. The influence of Manet is obvious; spontaneity is Maurer's motto. Blues, ochres, and greens have been applied in a light manner, and an air of conviviality and ease is suggested." ESTIMATE $15,000—$25,0002928
29Henry Mooreis one of the most significant British artists of the twentieth century.He was born on 30 July 1898 in Castleford, Yorkshire, the son of a miner and the seventh of eight children. As a schoolboy Moore showed a talent for art but was encouraged to train as a teacher first. He did not enjoy teaching and signed up to serve in the British Army during the First World War. He was injured in 1917 by a gas attack during the Battle of Cambrai. In 1919, thanks to an ex-serviceman’s grant, Moore became a student at the Leeds School of Art. He went on to attend the Royal College of Art in London in 1921. Moore later taught at the College and met Irina Radetsky, whom he married in 1929. Numerous commissions and exhibitions in the 1930s enabled Moore’s reputation as a leading avant-garde artist to grow, but in 1939 war broke out again. Moore was recruited as an official war artist and produced his now famous drawings of people sheltering in the London Underground during the Blitz. In September 1940, the Moores’ London flat was damaged by bombing and the couple moved to Perry Green, Hertfordshire.Hoglands, a farmhouse in the hamlet, became home for the rest of their lives. Their daughter Mary was born in 1946. Over time, Moore developed outbuildings into studios and Irina created beautiful gardens. Landscape was important to Moore and his work is often associated with nature. The human body is another recurring motif in the artist’s work and in Perry Green the analogies between the body and landscape could be readily explored. International success characterised Moore’s career from the 1950s onward. In 1977 he established theHenry Moore Foundationto encourage wider enjoyment and opportunities in the arts. In August 1986 Henry Moore died in Perry Green.1 1 Biographical information from the Henry Moore Foundation, https://www.henry-moore.org/about-henry-moore/biography (date accessed: September 1, 2021).HENRY MOORE BRITISH (1898-1986)
30 HENRY MOORE British (1898-1986) "MOTHER AND CHILD ON LADDERBACK ROCKING CHAIR," 1952 bronze edition of 9 +1, Foundry: Gaskin height: 8 ¼ inches PROVENANCE The artist; Curt Valentin for Mrs. Vera List directly from the artist (July 1952); Mrs. Vera List, philanthropist and supporter of contemporary art, Greenwich, Connecticut; descended in the family until the present; Private Collection, Connecticut. LITERATURE John Hedgecoe and Henry Moore, "Henry Moore," (New York: Simon and Schuster, 1968), p. 178 (another cast illus., fig. 1); Robert Melville, "Henry Moore, Sculpture and Drawings, 1921-1969," (London: Thames & Hudson, 1970), no. 429 (another cast illus.); Philip James, "Henry Moore on Sculpture," (New York, Viking, 1971), p. 140, no. 222 (another cast illus.); Alan Bowness, ed. and David Mitchinson, "Henry Moore, Sculpture, 1949-1954," (London: Lund Humphries, 1986), vol. 2, p. 39, no. 312 (another cast illus.); Susan Compton, "Henry Moore," (New York: Scribner's, 1988), p. 231, no. 123 (another cast illus.). NOTES This work is registered in the Henry Moore Foundation archives as LH 312 cast a, and research file number 2020.29. We are grateful to the Henry Moore Foundation for their assistance cataloging this lot. ESTIMATE $400,000—$600,00030"The rocking chair sculptures were done for my daughter Mary, as toys which actually rock. I discovered while doing them that the speed of the rocking depended on the curvature of the base and the disposition of the weights and balances of the sculpture, so each of them rocks at a different speed." — Henry Moore, 1968. Mother and Child on Ladderback Rocking Chair is a rare example from an edition of only 10 cast by the artist. The last one from this edition sold in 2015 for $773,000; none have been offered at auction in the six years since. Moore developed a keen interest in the subject of the mother and child in the late 1940s and through the 1950s. His own daughter, Mary, was born in 1946. The use of abstract forms, small-scale and rocking base make this a highly relatable work. It is filled with love, playfulness and tenderness— themes found across Henry Moore’s works that helped launch him to international fame. This cast of Mother and Child On Ladderback Rocking Chair was purchased from Henry Moore for Mrs. List by the artists’ New York dealer Curt Valentin (Buchholz Gallery) in 1952.
31 HENRY MOORE British (1898-1986) "ROCKING CHAIRS," 1948 pencil, wax crayon, watercolor wash, pen and ink on paper unsigned 22 1⁄2 x 15 1⁄2 inches PROVENANCE The artist; Curt Valentin, Buchholz Gallery, New York, New York; Mrs. Vera List, philanthropist and supporter of contemporary art, Greenwich, Connecticut; descended in the family until the present; Private Collection, Connecticut. EXHIBITED New York, New York, Buchholz Gallery, "Henry Moore," March 6-31, 1951 (illustrated). LITERATURE "Henry Moore, Volume Two: Sculpture and Drawings Since 1948," (London: Lund Humphries, 1955); Robert Melville, "Henry Moore: Sculpture and Drawings 1921-1969," (London: Thames and Hudson, 1970); Ann Garrould, ed., "Henry Moore: Complete Drawings, Volume 3, 1940-49;" (London and Much Hadham: Lund Humphries, 2001), (illustrated). NOTES This work is registered in the Henry Moore Foundation archives as HMF 2515 and research file number 2020.38. We are grateful to the Henry Moore Foundation for their assistance cataloging this lot. ESTIMATE $100,000—$200,00032Rocking Chairs was purchased at Buchholz Gallery in 1951 and is extensively documented in publications on Moore. Executed in 1948, four years before the bronze, Mother and Child on Ladderback Rocking Chair, it is a rare glimpse into the artist’s creative process. In this drawing, Moore depicts five figure groups on rocking bases, with the mother figure holding the child in various positions. Each group is three-dimensional, indicating that Moore conceived of the figure group as a sculpture from the beginning.
34Known for his expressive bright imagery and use of folklore and magical motifs, Chagall has become an icon of Modern art. A successor of the Impressionist avant-garde tradition, Chagall exhibited at the Salon d’Automne and the Salon des Independants in 1912. Born in Belarus, and trained in Saint Petersburg, Chagall identified as a Belorusian although after his exile from the Soviet Union in 1923, he became a major figure in the Ecole de Paris. Chagall was extremely prolific during his lifetime working in a range of media including paintings, ceramics, mosaics, stained glass and prints and producing over 10,000 works. Chagall was the eldest of nine children, born into a poor family, he was expected to help contribute. With little support from his parents Chagall took a few art classes in his native Vitebsk before eventually leaving for St. Petersburg. There he studied with Leon Bakst who introduced him to French artists like Manet, Cezanne and Matisse. At the age of 24, with the help of a modest stipend from a patron, Chagall left for Paris. In Paris, he spent time at the Louvre, roomed in Montparnasse at an artists’ commune called La Ruche and lived frugally. At La Ruche he was in the company of Fernand Leger, Chaim Soutine, Amedeo Modigliani and Robert Delaunay. He absorbed aspects of Cubism and Fauvism into his early French works which many consider among his most creative. In 1914 he returned to Vitebsk for what he intended to be a brief visit. Trapped by the outbreak of World War I, he stayed longer and married Bella Rosenfeld, a wealthy, cultured actress. Chagall would paint the couple floating over Vitebsk in his 1914-1918 Above the Town. After briefly joining the Bolshevik Revolution, Chagall returned to Europe when he realized they preferred abstract art and social realism. Although Chagall is an important figure in Modern art, he rejected abstraction and preferred to paint in his dreamlike, figurative style. By 1923, with his wife and now daughter, the Chagall family settled in Paris. In Paris, Chagall met Ambroise Vollard an influential art dealer who secured many important commissions despite anti-Semitic critics. Chagall quickly gained recognition and was working as an established artist in Paris. The present work L’Ombrelle from 1939, a drawing on paper, is a finished composition with many of Chagall’s classic motifs. A woman reaches up to pull fruits from a tree. Behind her birds and a goat, and above her head a parasol. The color, originally a bright blue, pours rain over the scene. The picture is filled with joy as if the rain is a source for all of the life in the scene. In 1941, shortly after creating this work, Chagall and his family would flee World War II to New York City where they stayed until 1948. During this time MoMA organized a retrospective of Chagall’s work, firmly securing his international recognition. Chagall returned to Paris where he continued to work until his death in 1985. He was an avant-garde artist who never embraced Modernism and whose work could not be pigeonholed into one particular style. Today, Chagall’s works can be seen in public spaces around the world. His murals at Lincoln Center, the Four Seasons Mosaic in Chicago, stained glass windows at St. Stephen’s in Mainz, Germany and All Saints’ Church in Kent, England and the famed ceiling at the Garnier Opera House in Paris are just a few examples.
32 MARC CHAGALL Russian/French (1887-1985) "L'OMBRELLE" (THE PARASOL), 1939 India ink and gouache on paper signed lower right "Marc Chagall" 11 1⁄2 x 17 3⁄4 inches PROVENANCE Perls Galleries, New York, New York; Mrs. Vera List, philanthropist and supporter of contemporary art, Greenwich, Connecticut; descended in the family until the present; Private Collection, Connecticut. LITERATURE Franz Meyer, "Marc Chagall: Life and Work," (New York, New York: Harry N. Abrams Publishers, 1963), p. 428 (illus.), cat. no. 428. ESTIMATE $30,000—$50,0003235
3633 ANNA HYATT HUNTINGTON American (1876-1973) "YAWNING TIGER" bronze signed, numbered and inscribed "Anna V. Hyatt, #278, Gorham Co. Founders Q492" 4" h x 13 1⁄2" w PROVENANCE Private Collection, New York. ESTIMATE $4,000—$6,00034 ISIDORE KONTI American (1862-1938) "PUSHING MEN"(A PAIR OF BOOKENDS) bronze signed, numbered and inscribed "I. Konti, #192, Gorham Co. Founders Q 471" height: 6 inches PROVENANCE Private Collection, New York. ESTIMATE $2,500—$3,5003334
3735 GASTON LACHAISE (AFTER) American/French (1882-1935) "MOMENT OF FAILING" bronze signed "Lachaise / ©1928," estate stamped on the base "Lachaise Estate," numbered on the base "2/12," from the 1993 edition cast by Modern Art Foundry, Long Island, foundry mark on base "cast 02" height: 10 inches PROVENANCE Private Collection, New York. ESTIMATE $7,000—$9,00036 MATHURIN MOREAU French (1822-1912) "LE RETOUR DE LA MOISSON" bronze signed "Moreau. MATH." height: 34 inches PROVENANCE Estate of Arthur Robinson, Westchester, New York; Private Collection, New York; Shannon's, Milford, Connecticut, October 29, 2009, lot 157; Private Collection, New York. ESTIMATE $3,000—$5,00037 EDWARD HENRY BERGE American (1876-1924) WILD FLOWER bronze signed and dated illegibly "Berge," inscribed on the base "Roman Bronze Works NY" height: 20 1⁄2 inches PROVENANCE Private Collection, Connecticut. ESTIMATE $1,500—$2,500353736
38Hermann Herzog was born in 1832 in Bremen, Germany. He trained in Dusseldorf under the guidance of Johann Wilhelm Schirmer, a historical landscape artist who painted in the style of Nicholas Poussin, and Andreas Achenbach, a proponent of a refined and detailed technique. During the 1850s and 60s, Herzog travelled throughout Europe painting landscapes, waterfalls, and European vistas. These works earned him favorable attention at the Paris Salon and the Pennsylvania Academy of the Fine Arts. He attracted considerable admiration from the Queen of Hanover who purchased three of his Norwegian paintings. The artist won the favor of other notable patrons including Queen Victoria and the Grand Duke Alexander of Russia among other royal figures. The Romantic quality of Herzog’s landscapes was inspired in part by his German artistic heritage, as the Dusseldorf academicians were greatly influenced by masterful seventeenth-century Dutch landscape painters. He learned to paint the atmospheric views of the countryside, and brough this technique to his American landscapes such as in this compelling view of Niagara from the Canadian side. Upon his immigration to Philadelphia in 1870, Herzog’s paintings were already in high demand. In 1871, he began his extensive tour of the Northeast, the Midwest, and eventually Florida, becoming a successful late nineteenth-century landscape painter. The work offered here, Niagara Falls from the Canadian Side, is a masterpiece by the artist. His execution of the mist from the falls and the rainbow it creates is a flawless rendering of one of America’s favorite subjects. Herzog’s work was well received during his lifetime and his profitable investment of the income from the sale of his paintings allowed him to stop selling his art, which remained largely in his family’s possession. When Herzog died in West Philadelphia at age 100, the prolific painter left over 1,000 canvases to his heirs. Hermann Herzog’s paintings are now present in the collections of the White House, Smithsonian American Art Museum, The Metropolitan Museum of Art, The Cincinnati Art Museum, Birmingham Museum of Art, New York Public Library, and the Orlando Museum of Art among other esteemed collections.
38 HERMANN HERZOG American/German (1832-1932) NIAGARA FALLS FROM THE CANADIAN SIDE oil on canvas signed lower right "H. Herzog" 24 x 34 inches PROVENANCE Mr. & Mrs. Robert Dorey; McClees Gallery, Bryn Mawr, Pennsylvania; Private Collection, New Jersey. EXHIBITED Chadds Ford, Pennsylvania, Brandywine River Museum, Brandywine Conservancy, "American Paintings of Hermann Herzog," September 11, 1992 - November 22, 1992. ESTIMATE $40,000—$60,0003839
4039 HERMANN HERZOG American / German (1832-1932) SPRING AT THE MILL oil on canvas signed lower left "H. Herzog" 22 ¼ x 28 ¼ inches PROVENANCE Shannon’s, Greenwich, Connecticut, April 24, 2003, lot 55; Private Collection, New York. ESTIMATE $8,000—$12,00040 WILLIAM LOUIS SONNTAG, SR. American (1822-1900) SUNSET, ITALY oil on canvas signed lower left "Sonntag" 8 x 12 ¼ inches PROVENANCE Private Collection, Canada; Shannon’s, Greenwich, Connecticut, April 30, 2009, lot 22; Private Collection, New York. ESTIMATE $6,000—$8,0003940
41 ALFRED THOMPSON BRICHER American (1837-1908) NEW ENGLAND SEASCAPE oil on canvas signed lower right "A. T. Bricher" 24 x 20 inches PROVENANCE Godel & Co. Fine Art, New York, New York; Private Collection, Massachusetts. ESTIMATE $20,000—$30,0004141
42The marine painter, William Bradford, was born and raised in Fairhaven Massachusetts, near New Bedford, to Quaker parents who discouraged his passion for art. Despite his parents’ disapproval, he made painting his career in the early 1850s, working as a ship portrait artist. In 1854, Bradford established a studio in New Bedford with Dutch painter Albert Van Beest and acquired a local reputation for his seascapes and whaling pictures. Sometime between 1854 and 1857, Bradford made the first of eight trips to Labrador, fueling a long and consuming interest in the Arctic. During much of his career, his work focused on the Arctic region, which he depicted with strong color and spectacular lighting. He returned from an 1862 journey to Labrador with sketches of the dangerous frozen region and the ships that navigated it and transformed them into luminous finished paintings in his studio. Those pictures, in turn, financed his next excursion to the Arctic. Bradford eventually became a popular lecturer on the region, publishing an album of 29 photographs of Greenland in 1869. The book, The Arctic Regions (London: S. Low, Marston. Low and Searle, 1873) was illustrated with Bradford’s own photographs. Bradford made his last trip to the Arctic in 1869, but continued to execute paintings of icebergs, frozen shorelines, and icebound ships for the rest of his career. He was elected in 1874 as an associate member of the National Academy of Design in New York. The current composition, Icebergs, 1883 is a masterful example from the artist’s Arctic oeuvre, depicting the dramatic sky, the coldness of the iceberg and the movements of the vessels for which he is so widely celebrated.
42 WILLIAM BRADFORD American (1823-1892) ICEBERGS, 1883 oil on canvas backed by panel signed, dated and inscribed lower right "W. Bradford / 1883 N.Y." signed and dated on the reverse 12 x 20 inches PROVENANCE Property from a distinguished American collection. ESTIMATE $60,000—$80,0004243
44Thomas Hart Benton was born in Missouri in 1889. His father was a lawyer and United States representative from 1896-1994. As a result, during his adolescence Benton spent time in both Washington D.C. and Missouri. At 17, he dropped out of high school and started working as a cartoonist. While his mother supported his artistic ambition, his father enrolled him at a military Academy before allowing him to enroll at the Art Institute of Chicago in 1907. From this point forward, his artistic career sprung. Benton travelled to Paris the following year to study at the famed Academie Julian. When he returned to the states in 1911, he lived in New York. During World War I, Benton served at the naval base in Norfolk, Virginia as an illustrator. During this early phase of his artistic career, Benton’s paintings were modernist and often abstract. In 1924, he returned to Missouri and found inspiration in his rural roots. He broke with modernism, to instead focus on American rural subjects, steel mills, logging camps, coal mines and cotton fields. In his paintings and later murals, he championed working class Americans often depicting them as heroes. Together with Grant Wood and John Steuart Curry, Benton became regarded as one of the leading figures of American Regionalism. He taught at the Art Students League of New York, counting Jackson Pollock among his notable students. In 1935 Benton left New York and moved permanently to Kansas City, Missouri. Around 1943, his New York gallery, Associated American Artists, arranged for Benton to go to Louisiana for a series of commissions. He traveled to Pittsburgh and down the Ohio and Mississippi Rivers to New Orleans to sketch the LST troop ships being built and the newly built ships as part of the war effort. He also worked on a commission for Standard Oil in Baton Rouge sketching the oil refineries that would eventually serve as studies for Fluid Catalytic Converters at M.I.T. Museum of Art.1 Taking advantage of his time in Louisiana, Benton sketched the agricultural work in the area, namely work in the rice fields and the cutting of sugar cane. In his essay, Benton scholar, Henry Abrams, notes, “I suspect he was interested in the contrast between this sort of rugged agricul-tural labor, using simple tools, and the more modern, thoroughly mechanized work of the oil refineries he had just been documenting…His drawing of the cutting of sugar cane resulted in this painting [Sugar Cane, collection Thomas Hart Benton Trust], which must have been painted in Kansas City immediately after he returned from his trip, and is dated 1943.” The present lot is a study for this larger finished work in the collection of the Thomas Hart Benton Trust.2 The larger work Sugar Cane was exhibited as early as 1958 in the Thomas Hart Benton exhibition held at the University of Kansas Museum of Art. It was also reproduced as the frontispiece in Matthew Baigell’s monograph on the artist in 1974, a volume done in collaboration with Benton who selected the illustrations himself. Adams included Sugar Cane in his exhibition in 1985 at the Fine Arts Gallery of the Federal Reserve Bank in Kansas City. Of the present lot, Adams notes, “There is a small study for the painting, almost identical in design, oil on board, 8 ½ x 12 inches, which was acquired from the artist by Samuel Sosland of Kansas City and is now in a private collection in New Hampshire. It should be obvious that this is one of Benton’s largest and most impressive works and that he valued it highly, as is indicated by the full-page illustration in Baigell’s monograph.”3 Adams’ comments on Sugar Cane indicate the importance of this subject in Benton’s career. His trip to Louisiana undoubtedly had a profound influence on his work. This oil sketch reads much larger than its size, and is closely related to final composition. It is indicative of Benton’s process and done in his characteristic style. 1 Henry Adams, “Sugar Cane,” published by Kiechel Fine Art, Lincoln, Nebraska, https://thomashartbenton.wordpress.com/about-kiechel-fine-art/ (date accessed September 1, 2021).2 Ibid. 3 Ibid.
43 THOMAS HART BENTON American (1889-1975) STUDY FOR SUGAR CANE, 1943 oil on board signed lower right "Benton," numbered and titled on the reverse "B#22-S." 8 3⁄4 x 12 inches PROVENANCE Acquired directly from the artist by Samuel Sosland, Kansas City, Missouri; Estate of Samuel Sosland; Private Collection, Connecticut. LITERATURE Matthew Baigell, "Thomas Hart Benton," (New York: Harry N. Abrams, Inc., 1975), frontispiece (the final larger painting illustrated in color). NOTES This painting is a study for "Sugar Cane," 1943, oil and tempera on canvas, 31 x 48 inches, in the Thomas Hart Benton Trust. This work will be included in the forthcoming Thomas Hart Benton catalogue raisonné being prepared by the Thomas Hart Benton Catalogue Raisonné Foundation. Committee Members: Dr. Henry Adams, Jessie Benton, Anthony Benton Gude, Andrew Thompson and Michael Owen. ESTIMATE $200,000—$300,0004345
4644 WILLIAM AIKEN WALKER American (1838-1921) COUPLE oil on panel signed lower left "W.A. Walker" 6 1⁄4 x 12 1⁄2 inches PROVENANCE Calvin Taft, Worcester, Massachusetts (by trade); to his widow, Cornelia Bingham Taft, Worcester, Massachusetts; Private Collection, Connecticut. LITERATURE Holly V. Izard and Vanessa J. Hofstetter, "Merrifield at 23 Trowbridge Road," Worcester Historical Museum, September 23, 2003-December 4, 2004, illustrated (references this work and describes the provenance, "This is one of two paintings acquired by Calvin Taft while trading with southern plantation owners.") A copy of this booklet accompanies the lot. ESTIMATE $8,000—$12,00045 WILLIAM AIKEN WALKER American (1838-1921) WOMAN oil on panel signed lower left "W.A. Walker" 8 1⁄2 x 4 3⁄8 inches PROVENANCE Calvin Taft, Worcester, Massachusetts (by trade); to his widow, Cornelia Bingham Taft, Worcester, Massachusetts; Private Collection, Connecticut. LITERATURE Holly V. Izard and Vanessa J. Hofstetter, "Merrifield at 23 Trowbridge Road," Worcester Historical Museum, September 23, 2003-December 4, 2004 (references this work). A copy of this booklet accompanies the lot. ESTIMATE $4,000—$6,0004445
46 HERMANN HERZOG American/German (1832-1932) LAUNDRY DAY oil on canvas signed lower left "H. Herzog" 15 x 20 ¼ inches PROVENANCE Hawthorne Fine Art, LLC, New York, New York; Private Collection, New Jersey. ESTIMATE $20,000—$30,0004647
48Felicie Waldo Howell was born in Honolulu, Hawaii in 1897. By 1910, she had moved with her family to Washington D.C. She studied painting at the Corcoran Art School and the Philadelphia School of Design for Women. In 1917, in recognition of her young talent, she was asked to lead the summer painting class at what is now the Parsons School of Design. In 1919, Howell joined The Group, a successful group of women painters including Elizabeth Wentworth Roberts, Laura Coombs Hills and Jane Peterson, among others. Howell was the youngest member of The Group by 21 years. As early as 1915, she participated in shows at the Art Institute of Chicago, the Pennsylvania Academy of the Fine Arts and the National Academy of Design. In 1919, she submitted the present lot, Main Street, Gloucester, 1918, for exhibition to the Corcoran Gallery’s annual exhibition. It purchased by the museum directly from the show for their permanent collection. In this painting, Howell captures the spirit of early 20th century Gloucester. The horse and buggy, early automobile and trolly car all share the same street. On the sidewalks, dozens of pedestrians peer into shop windows, stop to catch up with their neighbors and hurry across the street with their bundled packages. Main Street is the artery of the village, and the bustle and energy can be felt in Howell’s impressionist composition. During her lifetime, Howell earned the prestigious Hallgarten Prize from the National Academy, earning full membership in 1945. In 1921, she was awarded the Peabody Prize from the Art Institute of Chicago and a silver medal from the Society of Washington Artists. Her paintings are included in the collections of the Art Institute of Chicago, the Metropolitan Museum of Art and the Museum of Fine Arts, Boston.
47 FELICIE WALDO HOWELL American (1897-1968) "MAIN STREET, GLOUCESTER, 1918" oil on canvas signed and dated lower left "Felicie Waldo Howell 1918" 30 3⁄4 x 40 inches PROVENANCE The artist; Corcoran Gallery of Art, 1919 (purchased from the annual exhibition); Galleries Maurice Sternberg, Chicago, Illinois, 1987; The estates of David and Eula Wintermann; Vincent Vallarino Fine Art, Ltd., New York, New York; Vose Galleries, Boston, Massachusetts; Private Collection, New Jersey. EXHIBITED Washington, D.C., "Seventh Exhibition of Contemporary Oil Paintings," Corcoran Gallery of Art, 1918. ESTIMATE $30,000—$50,0004749
5048 JULIAN ALDEN WEIR American (1852-1919) FIGURE IN THE GARDEN oil on canvas unsigned 25 x 30 inches PROVENANCE Dorothy Weir (the artist's wife); Mrs. Oliver Ingraham Lay (bequest from the above); Wildenstein & Co., New York, New York; Indiana National Corporation, Indianapolis, Indiana; Sotheby's, New York, New York, May 21, 2003, lot 152; Private Collection, Connecticut. EXHIBITED Coral Gables, Florida, Lowe Art Museum, "French Impressionists Influence American Artists," March-April 1971, no. 192; Indianapolis, Indiana, Indianapolis Museum of Art, "Art from Business and Corporate Collections," May 25 - June 26, 1977. ESTIMATE $20,000—$30,00048
49 ABBOTT FULLER GRAVES American (1859-1936) THE COTTAGE GARDEN, CA. 1924 oil on canvas signed lower right "Abbott Graves" 25 ¼ x 30 inches PROVENANCE The artist; Vose Galleries, Boston, Massachusetts; Miss Gladys Johnson, Massachusetts; Descended in the family to Mr. & Mrs. R. Garber, Maryland; D. Wigmore Fine Art, Inc., New York, New York; Private Collection, New Jersey. NOTES In the original Carrig Rohane frame. ESTIMATE $20,000—$30,0004951
52Eric Sloane was born Everard Jean Hinrichs in 1905 to an upper middle-class family. He took an early interest in art and learned to paint letters and signs from his neighbor the noted font inventor, Frederic Goudy. As a young artist he painted the markings on planes flying out of Roosevelt Field in Long Island. Famed American aviator, Wiley Post, taught Sloane how to fly in exchange for painting lessons. Amelia Earhart is said to have purchased his first cloud painting and his largest cloud painting is on the wall of the Smithsonian Air and Space Museum in Washington D.C. (a commission he earned at age 75). Sloane left home at a young age and worked as a sign painter in various locations, most notably a stay in Taos, New Mexico. In 1925, he traveled throughout the Northeast where he became enamored with the covered bridges, barns, stone walls, and farmhouses dating to the colonial era. He felt the spirit of America in the early architecture and would paint, draw, and write about his perspectives for a career that spanned six decades. In the 1950s he started writing and sketching books on his version of Americana, focused primarily on New England and Pennsylvania farmhouses, barns and landscapes. In 1953 he purchased and restored a farm in Brookfield, Connecticut and moved to various towns in the region of Lake Candlewood including Merryall and Warren where kept a home until 1985. He painted early American scenes especially the barns and covered bridges of Western Connecticut. The present lot, Stone Barn in Autumn, depicts a stone barn set in rolling hills dappled with light. Attuned to architecture and weather, Sloane’s paintings capture the spirit of a place by taking into consideration every visual element and clue in the architecture and landscape but also the effects of the air on the light and shadows. In addition to his success as an artist he is credited as an authority on rural American architecture and early American tools. His extensive tool collection outgrew his home in Warren and he donated them to the Sloane-Stanley Museum in Kent, Connecticut.
50 ERIC SLOANE American (1905-1985) STONE BARN IN AUTUMN oil on masonite signed lower left "Eric Sloane NA" 20 x 39 inches PROVENANCE Property from a distinguished American collection. ESTIMATE $25,000—$35,0005053
54Charles Burchfield married in 1922 and moved to Buffalo, New York to work as a wallpaper designer. In his spare time, he continued, as before in his native Ohio, to paint the industrial landscape in his surroundings. Seven years later, with the help of New York City dealer Frank Rehn, Burchfield was finally able to devote himself full-time to his art. His fame spread and he became loosely associated with the Regionalist School of artists led by Thomas Hart Benton, John Steuart Curry and Grant Wood. Although he shunned the association, his work shares a dedication to the American heartland as a well-spring of subjects and inspiration.1 Burchfield started painting the present lot, January Sun, in the afternoon on January 21, 1948. In his journal he notes, “P.M. Sketch from the studio “porch”—shortly after I had started, the wind increased bringing snow with it. I protected myself by setting up a big box at the west end and tacking above it a large sheet of corrugated board. The snow became so thick and so clogged up my paint box that I had to stop—but not before I had hurriedly set down the main points. It made a fine composition of areas and angles.” He continued writing on January 30th, “P.M. Painting from my south bedroom window of view towards Millers: the sun from the south projecting its powerful rays into the northern winter.” In January 1957, Burchfield returned to this composition. His journals from this time detail his artistic process. On January 17th he wrote, “Got out the “January Sun” (1948)…I planned to enlarge...” the next day’s entry, “Mounted the ‘January Sun’ to its new shape;” on February 18th “P.M. – Got to work on ‘January Sun’. Slow and difficult but it did go fairly well at last – but not finished –;” and finally on February 19th “A.M. Finished work on ‘January Sun.’” Nearly a decade after beginning work on January Sun, Burchfield returned to the composition working meticulously until he was satisfied with the finished result. His journals are a rare glimpse into his unique artistic process. Our thanks to Nancy Weekly, Burchfield Scholar, and Scott Propeack, Interim Director, of the Burchfield Penney Art Center, Buffalo, New York for providing the transcripts related to this painting. 1 “Charles Burchfield: Biography,” Terra Foundation for American Art, https://collection.terraamericanart.org/view/people/asitem/items$0040null:157/0
51 CHARLES BURCHFIELD American (1893-1967) "JANUARY SUN," 1948/57 watercolor on joined two sheets of paper stamped with C. E. Burchfield Foundation stamp and numbered “62” lower left 39 x 33 1⁄2 inches (sight) PROVENANCE Estate of the Artist; Frank K.M. Rehn Gallery, New York, New York, 1973; Private Collection, Connecticut. EXHIBITED New York, New York, Frank K.M. Rehn Gallery, "Charles Burchfield: Watercolors; Our Fiftieth Anniversary Exhibition," October 1-20, 1973, cat. no. 10. NOTES We are grateful to Nancy Weekly, Burchfield Scholar, and Scott Propeack, Interim Director, of the Burchfield Penney Art Center, Buffalo, New York for their research. A research report compiled by Nancy Weekly accompanies this lot. ESTIMATE $150,000—$250,0005155
56Charles Burchfield was born in Ashtabula Harbor, Ohio in 1893. When he was just five years old, his father died and Burchfield moved with his family to Salem, Ohio. In 1916 he was awarded a scholarship to the National Academy of Design in New York City but left after just one day in life-drawing class. The same year he graduated from the Cleveland School of Art and started working at the W. H. Mullins Company, a manufacturer of architectural metals, back in Salem. Of his experience in New York, Burchfield historian Joseph Trovato writes, “Even when he went to study at the National Academy of Design, he was seemingly untouched by the contemporary New York art scene. Indeed, he was so homesick for the sights of Salem, Ohio, his childhood home, that he returned there after only two months in New York…It was during his Salem days that he was most productive. From 1915 to 1920 he did almost half of his total number of paintings – the best of which are among the most original achievements in American art.”1 Trovato undoubtedly felt that “Lincoln Avenue at Main Street,” was one of these achievements, prominently illustrating it in his catalog. The scene in the painting depicts an intersection just two blocks from Burchfield’s Salem home. His journal entry from the day the work was created, found by Burchfield scholar Nancy Weekly, states, “Yesterday – A warm thaw day – Morning a burst of windy white sunshine – glittering rivulets running everywhere – streets blinding – houses & trees black silhouettes – Poplars at Lincoln – horses standing in blinding spot –.” (January 13, 1916) This written record of how Burchfield viewed his surroundings is confirmed in his painted depiction. Burchfield was raised with his four siblings in a lower-middle-class neighborhood in Salem. He would walk home during his lunch breaks from the Mullins Company to work on his watercolors and paint in the evening and on the weekends. Burchfield was a very shy, introverted young man. He drew inspiration from his surroundings, the factories, houses, gardens, churches, and personalities in his community. He would roam the countryside and paint farmhouses in his idiosyncratic style with expressionistic light and bold colors giving the scenes a mythical appearance. He would find the expressive potential of factories and old houses possibly inspired by contemporary Midwestern novelist Sherwood Anderson. In July of 1918 Burchfield was inducted into the Army where he painted camouflage. He was honorably discharged in January of 1919 and then returned to Salem. In November 1921 Burchfield was offered a position in Buffalo, New York. By 1929, Burchfield had established a new homestead and studio in Buffalo and with the help of dealer Frank Rehn became a full-time artist. 1 Joseph Trovato, “Charles Burchfield: Catalogue of Paintings in Public and Private Collections,” (Utica, NY: Munson-Williams-Proctor Institute, 1970), p. 8.
52 CHARLES BURCHFIELD American (1893-1967) "LINCOLN AVENUE AT MAIN STREET, SALEM, OHIO," 1916 watercolor on paper stamped with C.E. Burchfield Foundation stamp and numbered "18" lower right, titled and dated on the reverse 20 1⁄2 x 25 inches (sight) PROVENANCE Estate of the Artist; Frank K.M. Rehn Galleries, New York, New York; Mr. and Mrs. Richard M. Cohen; Kennedy Galleries, Inc., New York, New York, 1972; Private Collection, Connecticut. LITERATURE Joseph S. Trovato, "Charles Burchfield: Catalogue of Paintings in Public and Private Collections," (Utica, New York: Munson-Williams-Proctor Institute, 1970), cat. no. 59, p. 39-40 (illustrated); Charles B. Ferguson, "Sound and Silence: Charles E. Burchfield (1893-1967) / Edward Hopper (1882-1967)," exhibition catalog (New Britain, Connecticut: The New Britain Museum of American Art, 1973).Exhibited: New Britain, Connecticut, The New Britain Museum of American Art, "Sound and Silence: Charles E. Burchfield (1893-1967) / Edward Hopper (1882-1967), November 15-December 30, 1973, cat. no. 2 (illustrated). NOTES We are grateful to Nancy Weekly, Burchfield Scholar, and Scott Propeack, Interim Director, of the Burchfield Penney Art Center, Buffalo, New York for their research. A research report compiled by Nancy Weekly accompanies this lot. ESTIMATE $70,000—$90,0005257
58Guy C. Wiggins was born in Brooklyn, New York in 1883. His father, Carleton Wiggins, was an accomplished landscape painter who enjoyed a successful career as an artist. According to an article on the Wiggins family written in 2011, “He [Carleton Wiggins] pressed a palette and paints into his young son’s hands. By age 4, Guy Carleton Wiggins was churning out watercolors that foreshadowed a talent greater than his father’s.” (Ann Farmer, New York Times, “A Family of Painters is Having Its Moment, Jun. 6, 2011) Wiggins first studied architecture at Brooklyn Polytechnic Institute then left to pursue fine arts training at the National Academy of Design. The architectural cityscape of New York City became his muse and he started painting famous buildings in an impressionistic style. He once said, “If you want to sell paintings, it helps if it’s recognizable to many people.” He became highly successful in the 1920s and 30s selling views of New York City architecture, particularly in the snow. In 1912, he became the youngest artist represented in the Metropolitan Museum’s collection with a painting titled “Metropolitan Tower.” He painted the Executive Mansion from the White House Lawn, a painting that hung in President Eisenhower’s Office. The Great Depression took a toll on sales and Wiggins struggled in the years following the war. He moved with his family permanently to Essex, Connecticut and started the Guy Wiggins Art School. He became an active member of the Old Lyme Art Academy. He started to paint landscapes, however, he continued to paint New York City as a preferred subject, particularly on snowy days. Of this painting, depicting Broad Street, The New York Stock Exchange and the Treasury Building, Guy A. Wiggins (son of the artist) noted, “Snow is falling heavy and the atmospheric effects of falling snow on color and line are skillfully indicated.” The busy taxi stop, numerous pedestrians, and waving flags all indicate a city undeterred by the weather. Wiggins’ legacy was preserved in the history of American Art and his works are included in numerous public and private collections including the Wadsworth Atheneum in Hartford, Connecticut, the Metropolitan Museum of Art, the Brooklyn Museum, the National Gallery in Washington D.C., and the Art Institute of Chicago.
53 GUY CARLETON WIGGINS American (1883-1962) A VIEW OF BROAD STREET, THE NEW YORK STOCK EXCHANGE, AND THE TREASURY BUILDING IN THE DISTANCE oil on canvas signed lower right "Guy Wiggins," inscribed in pencil on the stretcher "6160 Financial District" 24 x 30 inches PROVENANCE Mrs. Charles Bingham, Chicago, Illinois; By descent in the family; Sotheby's, New York, New York, October 10, 2007, lot 210; Private Collection, New York. NOTES A copy of a letter from Guy A. Wiggins confirming the authenticity of this painting accompanies this lot. ESTIMATE $100,000—$150,0005359
60Walter Launt Palmer was already thirty-four years old when he painted his first winter masterpiece, January, which he exhibited at the National Academy of Design in 1887. The work earned him the notable Hallgarten Prize and led to his election as an associate of the Academy.1 The cool, reaching blue shadows of the winter scenes that he painted almost exclusively thereafter were a considerable departure from the cozy, decorative interiors and sun-drenched Venetian scenes created earlier in his career. Still, Palmer’s winter views, tempered by greens, yellows, and pinks scattered across the snow, are often as warm and intimate as his previous work. Such is the case with Murmuring Brook. The trees alongside the stream create a cloistered affect, while the bright pinks, blues, and yellows highlight the effect light on the snow and come together to form the dense, ultra-white of the heavy snow. The snow appears heavy as it would in the early hours of a winter thaw. The composition and approach are textbook Palmer, however the execution remains extraordinary—the stream shines and the snow is pearlescent. Palmer’s legacy as a winter painter has somewhat obscured his origins as a conventionally trained and versatile artist. The son of the sculptor Erastus Dow Palmer, Walter grew up in an arts minded environment in Albany where painters such as John F. Kensett, Jervis McEntee, and Frederick Edwin Church visited. Palmer later studied with Church, who praised his work regularly and remained a life-long friend.2 He counted William Merritt Chase and John Singer Sargent among his close associates. Palmer won numerous prizes throughout his career, including gold medals at the annual exhibitions of the Philadelphia Art Club and the Boston Art Club in 1894 and 1895, respectively. In 1907 he won the silver medal at the Philadelphia Art Club for a work titled November Snow. In 1921, his painting, Silent Dawn, was purchased by the Metropolitan Museum of Art.31 John Tarantine, Walter Launt Palmer (1854-1932), exhib. cat. (Youngstown: Butler Institute of Art, 1988), p. 3.2 Ibid.3 Mabel Mann, Walter Launt Palmer: Poetic Reality, (Exton, Pennsylvania: Schiffer, 1984), p. 176.
54 WALTER LAUNT PALMER American (1854-1932) MURMURING BROOK oil on canvas signed lower left "W.L. Palmer" 40 x 30 inches PROVENANCE James M. Hansen Galleries, Santa Barbara, California; Private Collection, Beverly Hills, California; Bonham's, New York, New York, November 30, 2010, lot 18 (as Stream in Winter); Private Collection, New York. LITERATURE Maybelle Mann, "Walter Launt Palmer: Poetic Reality," (Exton, Pennsylvania: Schiffer Publishing, Co., 1984), cat. no. 1003, p. 160 (illus.). ESTIMATE $80,000—$120,0005461
55 WALTER LAUNT PALMER American (1854-1932) "DRYING THE NETS" mixed media on paper signed lower left "W.L. Palmer" 17 ¼ x 23 ¼ inches (sight) PROVENANCE Hawthorne Fine Art, LLC, New York, New York; Private Collection, New Jersey. EXHIBITED New York, New York, Hawthorne Fine Art, LLC, "A Perfect Solitude: The Art of Walter Launt Palmer," December 12, 2006 - February 11, 2007. ESTIMATE $15,000—$25,0005562
56 WALTER LAUNT PALMER American (1854-1932) "SLUMBERING BROOK" mixed media on paper signed lower left "W.L. Palmer" 17 ⅝ x 23 ⅝ inches (sight) PROVENANCE Hawthorne Fine Art, LLC, New York, New York; Private Collection, New Jersey. EXHIBITED New York, New York, Hawthorne Fine Art, LLC., "A Perfect Solitude: The Art of Walter Launt Palmer," December 12, 2006 - February 10, 2007. ESTIMATE $20,000—$30,0005663
64Levi Wells Prentice was raised on a farm in Lewis County, New York. He moved to Syracuse in 1870 and later spent four years in Buffalo. Prentice was self-taught, first painting the Adirondack Mountain landscape around him. From the start, he painted in a distinctive delineated style with vibrant colors. Art historians now refer to this as “hard-edged realism.”1 In 1883, Prentice moved to Brooklyn where there was already a community of still-life artists. His meticulous style was well suited to still-lifes, and his depictions of apples, plums, peaches and raspberries are among his best-known works. Prentice combined the influence of contemporary painting trends, the attention to detail of the American Pre-Raphaelites and the playful deceit of the trompe l’oeil artists. The outcome was distinctive and still-lifes by Prentice can be readily identified by their characteristic color and clarity. Art historian William Gerdts says of Prentice’s still lifes, “A characteristic peculiar to Prentice is a rustic unpretentiousness. His fruit is brilliantly colored but often pitted with spots or holes…Even his most elaborate container, the tin pail, is a mundane kitchen object…Indeed, Prentice’s work is the most photographic of all the late nineteenth century fruit painters.”2 In the present lot, Still Life with Rasperries, the raspberries have an almost surreal, life-like quality. Prentice depicts every blade of grass in extreme detail showing the yellowed roots and the differences in width and length. In the foreground, he details every rock and clump of dirt. The central focus of the composition, the bright red raspberries collected in realistic tin, scattered on the ground, and creeping up the fence post appear like bright illuminated ornaments popping off the canvas. Still life paintings by Prentice are included in numerous public and private collections including the New York State Museum, the Museum of Fine Arts, Boston, the Montclair Art Museum, the Philbrook Museum of Art, and Yale University Art Gallery. 1 Barbara L. Jones, Nature Staged: The Landscapes and Still Life Paintings of Levi Wells Prentice, (Blue Mountain Lake, New York: Adirondack Museum, 1993), p. 52.2 William H. Gerdts and Russell Burke, American Still-Life Painting, (New York: Washington: London: Praeger Publishers, 1971), p. 162.
57 LEVI WELLS PRENTICE American (1851-1935) STILL LIFE WITH RASPBERRIES oil on canvas signed lower right "L.W. Prentice," signed on the reverse 12 x 18 3⁄4 inches PROVENANCE Private Collection, Connecticut; Shannon's, Greenwich, Connecticut, October 29, 2009, lot 21; Private Collection, New York, New York. ESTIMATE $30,000—$50,0005765
6658 LEVI WELLS PRENTICE American (1851-1935) STILL LIFE WITH PEACHES, 1890 oil on canvas signed and dated lower right "L.W. Prentice 1890," signed on the reverse 12 x 10 inches PROVENANCE Private Collection, New York. NOTES In a Prentice frame. ESTIMATE $7,000—$10,000585959 EDWARD CHALMERS LEAVITT American (1842-1904) BASKET OF CHERRIES oil on canvas signed and dated lower left "E.C. Leavitt 1880" 14 x 18 inches PROVENANCE Charles G. Calder, Providence, Rhode Island, The Gerald Peters Gallery, New York, New York; Private Collection; Sotheby's, New York, New York, July 26, 2019, lot 51; Private Collection, New York, New York. ESTIMATE $2,500—$3,500
60 LEMUEL EVERETT WILMARTH American (1835-1918) STILL LIFE WITH PEACHES oil on canvas signed and dated lower left "L.E. Wilmarth, N.A. 1906" 10 ¼ x 14 inches PROVENANCE The Greenwich Gallery, Greenwich, Connecticut; Taylor Graham Gallery, Greenwich, Connecticut; Private Collection, New Jersey. ESTIMATE $12,000—$18,0006067
68Edward Moran (1829-1901) was born in Bolton, Lancashire, England in 1829. At the age of fifteen, Moran immigrated with his family to the United States. He first studied landscape and marine painting in Philadelphia and later returned to England to study at the Royal Academy in London. In 1871 he moved to New York City, which would, except for a brief move to France in the late 1870s, thenceforth be his primary city of residence. Throughout the 1860s Moran exhibited at venues in New York, Boston, and Philadelphia. Moran settled in New York City and for nearly thirty years painted the city’s harbor. Then, New York City’s harbor was the busiest in the United States, providing Moran with inspiration for many paintings, with the port seen at different times of day and in a variety of weather conditions. In the present lot, A Foggy Evening at Gowanus, the artist captures the effect of the sun rising through the fog with boats destined for the port visible across the bay. The suffused light blurs the scene and in the background the ships are only faintly visible in the distance. The luminist qualities of this painting reveal the emerging influence Moran’s contemporaries including John F. Kensett and Sanford Gifford. With his brother, Thomas, Edward Moran opened a studio in 1857, and in 1860 he was made an academician of the Pennsylvania Academy. He resigned in 1869 over the poor display of his paintings. In the 1870s he began exhibition at the National Academy of Design and was elected an associate member in 1874. Moran’s work in the 1870s became more tonal, atmospheric, and luminous, moving away from his more detailed marine paintings. A trend already apparent in the present lot— A Foggy Evening at Gowanus. In 1888 Moran published “Hints for Practical Study of Marine Painting” in the Art Amateur. His most ambitious endeavor was the creation of thirteen works entitled The Edward Moran Series of Historical Paintings Representing Important Epochs in the Maritime History of the United States, which he completed in 1898. At the time of his death in 1901, it was written that “Few artists have painted more charming landscapes or better cattle pieces, and none, perhaps, have surpassed him as a painter of marines. It is as a painter of seascapes, doubtless, that he will live in fame.”1 Moran’s work is represented in numerous public collections, including the Butler Institute of American Art, Chrysler Museum, National Museum of American Art, United States Naval Academy, Denver Art Museum, the Metropolitan Museum of Art, the Boston Museum of Fine Art, and the Smithsonian American Art Museum. 1 Hugh W. Coleman, “Passing of a Famous Artist, Edward Moran,” (Brush and Pencil, vol. 8, no. 4, July 1901), p. 188.
61 EDWARD MORAN American (1829-1901) A FOGGY EVENING AT GOWANUS, CA. 1860 oil on canvas signed lower left "E. Moran" 24 x 42 1⁄2 inches PROVENANCE Property from a distinguished American collection. ESTIMATE $60,000—$80,0006169
62 MAURITZ FREDERICK HENDRICK DE HAAS American / Dutch (1832-1895) TEN POUND ISLAND oil on canvas signed lower right "MFH de Haas N.A." 12 x 23 inches PROVENANCE The Little Family, Swampscott, Massachusetts; Gertrude Little Ogden, Massachusetts; descended in the family to Private Collection, Alford, Massachusetts; Shannon's, Greenwich, Connecticut, October 25, 2007, lot 26; Private Collection, New York. ESTIMATE $7,000—$10,0006270
63 ALFRED THOMPSON BRICHER American (1837-1908) THE OPEN COAST oil on canvas signed lower right "A.T. Bricher" 38 x 28 inches PROVENANCE Private Collection; Hirschl and Adler Galleries, New York, New York; Private Collection, California. ESTIMATE $15,000—$25,0006371
7264 WARREN W. SHEPPARD American (1858-1937) SEASCAPE oil on canvas signed lower left "Warren Sheppard" 20 ¼ x 30 inches PROVENANCE Private Collection, New York. ESTIMATE $5,000—$7,000646565 MAURITZ FREDERICK HENDRICK DE HAAS American/Dutch (1832-1895) SHOWERY DAY, COAST OF HOLLAND oil on canvas signed lower left "M.F.H de Haas N.A." 12 3⁄4 x 19 1⁄2 inches PROVENANCE Private Collection, Rochester Hills, Michigan; Shannon’s, Greenwich, Connecticut, April 28, 2005, lot 134; Private Collection, New York. ESTIMATE $6,000—$8,000
66 ALFRED THOMPSON BRICHER American (1837-1908) WAVES ALONG A ROCKY COAST oil on canvas signed lower left "A.T. Bricher" 18 x 39 inches PROVENANCE Private Collection, Connecticut; descended in the family to the current owner, Private Collection, Texas. ESTIMATE $15,000—$25,0006673
74Milton 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 begin exhibit-ing 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 Averys’ 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. “Red Bergere” is typical of Avery’s work. The subject pulled from an unassuming interaction, with a focus on flat shapes and color while emphasizing strong contrasts between light and dark hues. The bold red of the bergere chair contrasts with the flat green background in this work as the figure sits casually with her cocktail teetering in her glass. Avery achieves harmony in the present work through the use of a strong colors paired with the curvaceous form of the woman. He was often thought of as an AmericanMatisse. In 1952, Avery explained his dimensional use of color, “I do not use linear perspective, but achieve depth by color—the function of one color with another. I strip the design to the essentials; the facts do not interest me as much as the essence of nature.”1 1 Robert Hobbs, "Milton Avery: The Late Paintings," (Harry N. Abrams: New York, 2001), p. 51.
67 MILTON AVERY American (1885-1965) "RED BERGÈRE," 1963 oil on canvas board signed and dated upper right "Milton Avery 1963," titled and dated on the reverse 18 x 14 inches PROVENANCE ACA Galleries, New York, New York; Private Collection, Connecticut. NOTES Our thanks to Sean Cavanaugh of the Milton and Sally Avery Arts Foundation for his assistance in cataloging this lot. ESTIMATE $50,000—$75,0006775
7668 MOSES SOYER American (1899-1974) "GIRL WITH RED HAIR," 1966 oil on canvas signed, inscribed and dated upper right "M. Soyer / For Ida 1966" 36 ¼ x 30 inches PROVENANCE ACA Galleries, New York, New York; Private Collection, Connecticut. EXHIBITED New York, New York,, Albrecht Gallery Museum of Art, "A Selection of Paintings," February - March, 1971. ESTIMATE $4,000—$6,00070 GUY PENE DU BOIS American (1884-1958) "GIRL WITH RED HAIR," CA. 1913 oil on canvas unsigned 25 x 20 inches PROVENANCE Whitney Museum, New York, New York; Alix Stanley, New Britain, Connecticut, 1950; New Britain Museum of American Art, New Britain, Connecticut; Private Collection, Connecticut. NOTES Inscribed on the reverse "Owned by Mrs. Rumsey."A copy of a letter of authenticity signed by Yvonne Pène Du Bois, daughter of the artist, accompanies the lot, dating the work to "around 1913."A copy of a letter from the New Britain Museum of American Art discussing the provenance accompanies the lot. ESTIMATE $5,000—$7,0006869 LOUIS BETTS American (1873-1961) AFTER THE BATH oil on canvas signed upper left "Louis Betts" 40 x 30 inches PROVENANCE Private Collection, Connecticut. ESTIMATE $2,000—$3,0006970
71 ARTHUR BEECHER CARLES American (1882-1952) "AFTER THE BATH," CA. 1911 oil on canvas unsigned 25 x 24 ¼ inches PROVENANCE The estate of the artist; Graham Gallery, New York, New York; Private Collection, New York; Richard York Gallery, New York, New York; Private Collection, Connecticut. EXHIBITED New York, New York, New York Cultural Center, Minneapolis, Minnesota, Minneapolis Institute of Arts, and Houston, Texas, University of Houston Fine Arts Center, "Three Centuries of the American Nude," 1975; New York, New York, Hollis Taggart Galleries, "The Orchestration of Color: The Paintings of Arthur B. Carles," February 10 - March 18, 2000. NOTES A copy of the original invoice from Richard York Gallery accompanies the lot. The invoice includes the note "According to Barbara Wolanin, the expert on Carles, this painting is most like-ly the one included in the March 1912 exhibition of the artist held at Alfred Stieglitz's gallery "291." Number 5 in the catalogue list was entitled "Nude-Girl in Bath Tub," and Carles gave the dimensions as 25 x 24 inches in a letter to Stieglitz (Yale Library)." A copy of a letter from Hollis Taggart Galleries discussing the exhibition accompanies the lot. ESTIMATE $20,000—$30,0007177
7872 LENNART ANDERSON American (1928-2015) "STILL LIFE WITH JELLY DONUTS AND KNIFE" oil on canvas initialed and dated lower right "LA 86" 14 x 14 inches PROVENANCE Davis and Langdale Co. Inc., New York, New York; Private Collection, Connecticut. ESTIMATE $5,000—$7,000727373 JOHN STUART INGLE American (1933-2010) STILL LIFE WITH COOKIES watercolor on paper signed, dated and numbered in pencil lower right "John S. Ingle 9/86/#6" 15 x 22 ⅝ inches PROVENANCE Tatistcheff Gallery, New York, New York; Private Collection, Connecticut. ESTIMATE $4,000—$6,000
74 JANE PETERSON American (1876-1965) ZINNIAS oil on canvas signed lower left "Jane Peterson" 18 x 24 inches PROVENANCE Private Collection, Rhode Island; Private Collection, Connecticut. ESTIMATE $8,000—$12,0007479
76 FIDELIA BRIDGES American (1834-1923) "GOLDFINCHES IN THISTLE" watercolor and gouache on paper unsigned 6 7⁄8 x 5 1⁄4 inches (sight) PROVENANCE The artist; Mr. & Mrs. William Brown (friend of the artist), Canaan, Connecticut; Descended in the family to Helen K. Fusscas; The Connecticut Gallery, Marlborough, Connecticut; Private Collection, Florida. EXHIBITED Marlborough, Connecticut, The Connecticut Gallery, "Fidelia Bridges Exhibition," October 19 - December 6, 1986. NOTES A copy of a letter from The Connecticut Gallery discussing the provenance accompanies the lot. ESTIMATE $3,000—$5,0007675 JOHN HENRY TWACHTMAN American (1853-1902) "JULIAN ALDEN WEIR'S COTTAGE, BRANCHVILLE, CONNECTICUT," CA. 1888-91 pastel on paper signed in pencil lower right "Twachtman," inscribed and dated lower left "To Little Dorothy / Branchville / Oct 13 -90," inscribed on the reverse "J.A Weir" 8 1⁄2 x 7 inches (sight) PROVENANCE The artist; Dorothy Weir Young (J.A. Weir's granddaughter); Spanierman Gallery, New York, New York; Hammer Galleries, New York, New York; Donald Brenwasser, Wyckoff, New Jersey, ca. 1969; Sotheby's, New York, New York, March 6, 2008, lot 39; Private Collection, Alabama. EXHIBITED New York, New York, Spanierman Gallery, "John Henry Twachtman, 1853-1902: An Exhibition of Paintings and Pastels," Feb. 3-24, 1968, no. 28; Southampton, New York, The Parrish Art Museum and Greenwich, Connecticut, The Bruce Museum, "A Connecticut Place: Weir Farm, An American Painter's Rural Retreat," 2000, p. 111, illustrated.Literature: Lisa N. Peters, "John Twachtman (1853-1902) and the American Scene in the Late Nineteenth Century: The Frontier within the Terrain of the Familiar," 2 vols., Ph.D. dissertation, (New York: City University of New York, 1995 and Ann Arbor, Michigan: University Microfilms International, 1996), vol. 1, pp. 266, 348; vol. 2, p. 807, fig. 203 (illus.). NOTES A label from the estate of Donald Brenwasser is on the reverse. The present work is P.814 in Lisa N. Peters, "John Henry Twachtman Catalogue Raisonné" (Greenwich, Connecticut: Greenwich Historical Society, 2021) (jhtwachtman.org). In the catalog, Dr. Peters notes: Blended inconspicuously into the landscape, the small building in this pastel is a cottage on Pelham Lane, the road that was at the southern edge of Julian Alden Weir's farm in Branchville. Twachtman dedicated the work on October 13, 1890 to “little Dorothy,” referring to Weir's second child Dorothy, who was born the previous June 18 (she joined her elder sister Caroline, who was born in 1884). Twachtman featured the cottage as well in the pastel "Red House, Pelham Lane, Branchville" (P.815). (SOURCE: https://www.jhtwachtman.org/catalogue/entry.php?id=435) ESTIMATE $7,000—$10,0007580
FIDELIA BRIDGES American (1834 - 1923)Fidelia Bridges enjoyed a long and successful career as a painter of meticulous depictions of the natural world, particularly of birds and flowers. She spent her summers painting along the banks of the Housatonic River in Stratford, Connecticut and outdoors in Old Lyme, Connecticut. Attracted to Old Lyme by her friend and New York City portrait artist, Oliver Ingraham Lay, Bridges sketched wildlife in the shoreline town on numerous occasions. The New Haven Register reported in 1882 that “from the suggestion of O.I. Lay [Fidelia Bridges] took a house here a few years since and found abundant opportunities for her lovely foreground water-color drawings.” Bridges and Lay met in Brooklyn in 1865. By this time, she had already made sketching trips with her friend, teacher and mentor William Trost Richards to Lake George and the Lehigh Valley. Bridges and Lay were close friends during this period and after her return from Europe in 1868. In 1872, Lay painted his first portrait of Bridges (now at the Smithsonian American Art Museum). In 1873, upon election as an Associate of the National Academy of Design, Bridges presented this portrait by her friend Lay as her official Academy portrait. That summer, Bridges boarded a train to Old Lyme, her “special resort for the prosecution of her beautiful art.” Lay, whose family home was in Old Lyme, surely influenced her decision to first visit the area. Bridges visited Old Lyme in 1873 and 1874. She submitted paintings to the American Watercolor Society’s exhibition in February 1875 earning critical acclaim, “Too much praise cannot be awarded Miss Fidelia Bridges for her beautiful studies…Miss Bridges appar-ently selects the most commonplace subjects, and yet, by her pleasant manner of treatment, transforms them into interesting pictures.” In addition to the favorable critical reception at the 1875 exhibition, her watercolors commanded higher prices than those of her contemporaries, including Winslow Homer. A writer for the Brooklyn Eagle commented in 1874, “Miss Bridges is unquestionably one of the most successful of our local artists…Her pictures appear to have struck the popular fancy, and as a natural result, she has enjoyed a busy as well as profitable year.”1 Bridges sold her work regularly to Louis Prang, the publisher of cards, calendars, and other popular publications, establishing herself one of the most financially successful female artists of her time. In the present lot, many of the smaller sketches are annotated for Mr. Prang. In addition to her sketches from Old Lyme her illustrations of birds and botanicals were inspired by locations in the Catskills, the New Hampshire mountains, the New Jersey coast and especially the salt marshes of the New England coast – particularly Stratford, Connecticut. Works from the present lot are annotated with locations in New Jersey, Newport, Massachusetts, Old Lyme, Stratford and one sketch from Rome, Italy. Her patrons, listed in the sketchbook include L.A. Shattuck, Esqr., from Boston, Hon. Seth Low of Brooklyn, Miss Harriet Lee from Salem, Hon. John W. Cary from Milwaukee, Wis, Enoch Lewis from Philadelphia and Mr. Wheeler of London among others. She worked tirelessly and achieved success both at home and abroad. Bridges’ colors were vibrant, and attention to detail was her hallmark. Luminist artist John Frederick Kensett said of her work, “Her works are like little lyric poems, and she dwells with loving touches on each of her buds, ‘like blossoms atilt’ among the leaves.”2 In 1883, Lay painted a second portrait of Bridges that was exhibited at the National Academy in the fall of 1884 and is now in the Smithsonian collection. A small study for this large portrait is included with the present lot. Bridges eventually settled in Canaan, Connecticut in her later years, becoming a beloved fixture in the town, associating regularly with other local women of literary and artistic backgrounds. She died in Canaan on May 14, 1923. Her paintings are held by the Smithsonian American Art Museum, the Metropolitan Museum of Art, the Brooklyn Museum, and the Pennsylvania Academy of the Fine Arts, as well as many others. 1 Carolyn Wakeman, “Exhibition Note: Fidelia Bridges’ Forgotten Summers,” from Florence Griswold Museum, August 30, 2017, https://florencegriswoldmuseum.org/exhibition-note-fidelia-bridges-forgotten-summers/, date accessed September 1, 2021.2 Ibid.
77 FIDELIA BRIDGES American (1834-1923) PORTFOLIO OF 96 ILLUSTRATIONS 31 sheets mixed media on paper on board some signed 18 x 22 inches (each sheet, overall) OLIVER INGRAHAM LAY American (1845-1890) PORTRAIT OF FIDELIA BRIDGES oil on canvas laid down on paper 16 1⁄2 x 11 inches PROVENANCE The artist; to her close friend and New York City portraitist, Oliver Ingraham Lay; descended in the family to the present owner. Visit www.shannons.com for additional images of the portfolio. ESTIMATE $30,000—$50,00083
Susan Watkins was born in California in 1875. In 1890 her father was hired as an editor for the New York Sun and the family moved to New York City. Watkins’ wealthy parents encouraged her to pursue painting and she studied at the Art Students League from 1893-1896 at a time when William Merritt Chase and Kenyon Cox were on the faculty. Shortly after her father’s death in 1896, Watkins moved with her mother to Paris. The pair lived in France for the next fourteen years. In Paris, Watkins continued to study painting with Raphael Collin a disciple of William Bouguereau and Alexandre Cabanel. In Collin’s studio, Watkins learned the French academic style and plein air painting, a technique she would return to in many Parisian scenes. In addition to her work in Collin’s studio, Watkins was undoubtedly exposed to the works of the European Old Masters. As is evident in the present lot, she was impressed by the 17th century Dutch masters and emulated their tonal qualities and subjects in many of her paintings. A photograph of Watkins seated in front of the present lot indicates that she felt this painting was representative of her work and chose to include it in her formal artist’s portrait. In 1901, Watkins was likely seated in her Paris studio. In 1899, Watkins begin to exhibit both portraits and genre scenes at the Paris Salon with favorable critical reception. By 1910, Watkins had returned to New York with an international reputation as a high-society portrait artist, a painter of genre scenes and a gifted landscape artist. She won the Julia A. Shaw Memorial Prize at the National Academy of Design and in 1912 was elected as an associate member. Sadly, that same year, Watkins became ill. She died at just thirty-seven years old most likely from cancer. A year after her death William Merritt Chase painted a full-length portrait of her which is now at the Chrysler Museum of Art (object number 46.76.159). The portrait, likely done in Watkins’ studio, depicts her seated wearing an evening gown. The vase behind her is filled with paint brushes and in her hands, she holds an engraving done after one of her most successful paintings. In a letter from Anna Chase, wife of William Merritt Chase, to Susan Watkins, Anna remarked that her husband considered Watkins “the best woman painter living.” Chase’s portrait of Watkins is a testa-ment to the respect and esteem he held for his young friend. The Chrysler Museum is home to numerous works by Watkins donated by her husband.84Photo: Chrysler Museum of Art, acc. no. 46.76.178
78 SUSAN WATKINS American (1875-1913) "WOMAN PLAYING A GUITAR," 1901 oil on canvas signed and dated upper left "Susan Watkins, 1901" 25 x 30 inches PROVENANCE Private Collection, New York; A Florida estate. ESTIMATE $15,000—$25,0007885
79 DWIGHT WILLIAM TRYON American (1849-1925) THE HARVEST, CA. 1881 oil on canvas signed and dated illegibly lower right "D.W. Tryon "18??" 20 x 30 inches PROVENANCE Private Collection, New York. NOTES Of this painting, Linda Merrill, author of "An Ideal Country: Paintings by Dwight William Tryon in the Freer Gallery of Art," stated, "Landscape with Figures (in fields and on path), probably painted near Cernay La Ville, France (see 'Cernay La Ville,' 1881, SCMA, reproduced in "Ideal Country," fig. 34); 'French Village Evening' (SCMA, charcoal) shows similar composition; possibly related to 'Harvest in Normandy' (present location unknown), exhibited at the Salon in 1881 (DWT returned to NYC in 1881)." ESTIMATE $8,000—$12,0007986
8781 DWIGHT WILLIAM TRYON American (1849-1925) "NOVEMBER," 1891 oil on panel signed and dated lower left "D.W. Tryon 1891" 20 x 31 1⁄2 inches PROVENANCE Private Collection, New York. NOTES Of this painting, Linda Merrill, author of "An Ideal Country: Paintings by Dwight William Tryon in the Freer Gallery of Art," stated, "Painted in the year DWT was elected to the National Academy of Design. An unusually straightforward rendition of the South Dartmouth countryside." ESTIMATE $12,000—$18,0008180 DWIGHT WILLIAM TRYON American (1849-1925) "NIGHT," 1921 oil on panel signed lower right "D.W. Tryon," dated lower left "1921," signed, titled and dated on the reverse 8 x 12 inches PROVENANCE Private Collection, New York. ESTIMATE $7,000—$10,00080
88George Inness was a highly prolific artist during his long career. For fifty years, from 1844-1894, he exhibited at the National Academy of Design. Although associated with the Hudson River School and the group of Tonalists, Inness changed his styles throughout his career, keeping up with leading artistic trends. He said of himself, “I have changed from the time I commenced because I had never completed my art and as I do not care about being cake, I shall remain dough subject to any impression which I am satisfied comes from the region of truth.”1 He readily experimented with new styles and embraced new trends, visible in each era of his work. Throughout, he infused his paintings with a sense of philosophical and spiritual qualities that set him apart. Inness’ paintings from the 1860s reflect an interest in the religious theories of Emanuel Swedenborg, who believed that all material things were imbued with a spiritual presence. It was also at this time in the late 50s and early 60s that Inness’ work most resembled that of the Hudson River School artists. During this period, and as seen in the present lot, “Light Triumphant”, Inness’ focused on the effects of light on the landscape. He was less concerned with accurate details, and his technique softened and his brushstrokes were much broader. Michael Quick notes in his catalog of this painting, “Its first owner was the Reverend Henry Ward Beecher, who is said to have suggested this title for Inness’s major effort of the period, Light Triumphant, 1861. Beecher’s taste in Inness’s work apparently was for landscapes with an active, transforming light effect, a direction he probably encouraged during the Medfield period, when his influence on Inness was strong.”2 Although the overall impression of this work is a landscape painting, there are details that reveal themselves to an attentive viewer. A farmhouse tucked among the elm trees, a church spire in the distance, and a single figure seated in the foreground. The light is coming from the center of the canvas as if the sun is rising behind the house, bringing life to the quiet scene. Inness was born near Newburgh, New York in 1825. He spent most of his childhood in Newark, New Jersey. After an apprenticeship working for an engraver, Inness studied at the National Academy of Design from 1843-1847 with Regis Francois Gignoux (see lot 48). In 1851, he made a fifteen month trip to Italy (see lot 82), and then a shorter visit in France. He returned to America moving to New York from 1854-1859. He then moved briefly to Massachusetts and back to New Jersey before finally returning to New York in 1867. In 1868, Inness was elected a full member of the National Academy. He returned to Italy for another sojourn from 1871-1875 and continued to travel up until his death in Scotland in 1894. A public funeral was held in New York at the National Academy as was an exhibition of his paintings. 1 Michael Quick, “George Inness: A Catalogue Raisonne,” (New Jersey: Rutgers University, 2007), p. 1.2 Quick, p. 216.
82 GEORGE INNESS American (1825-1894) "LIGHT TRIUMPHANT," 1862 oil on canvas signed and dated lower right "G. Inness 1862" 11 x 18 inches PROVENANCE The artist; the Reverend Henry Ward Beecher; by descent to Mrs. H.B. Beecher; James P. Silo Auctioneer, February 13-14, 1896, lot 164; Senator Frederick S. Gibbs, New York, by 1899; American Art Association, New York [Gibbs Sale], February 24-26, 1904, lot 226; with Scott & Fowles, New York, purchased at auction, 1904; Alexander R. Peacock, Pittsburgh; American Art Association, New York [Peacock Sale], January 10, 1922, lot 6; with Scott & Fowles, New York,1922; C.C. Stillman, New York, New York, 1924; Sotheby's, New York, New York, April 11, 2013, lot 52; Private Collection, Alabama. EXHIBITED New York, New York, National Academy of Design, "37th Annual Exhibition, 1862," no. 19, as "Landscape," lent by the Reverend Henry Ward Beecher (possibly).Literature: "the Academy of Design, Second Notice, The Large Room" in "The Evening Post" (New York, April 17, 1862), p. 1; Clara Clement and Laurence Hutton, "Artists of the Nineteenth Century and Their Works," vol. 1, (Boston: Houghton, Osgood and Company, , 1884), p.382; "The Private Collection of Frederick S. Gibbs," (New York, 1899), no. 111, p. 65; Kirk D. Henry, "an American Patron of American Art," in "Brush and Pencil 8," no. 4 (July 1901): 212, 217, 214 (illus-trated); R.H.Gabriel, ed., "Pageant of America," vol. 3 (New Haven: Yale University Press, 1926), p. 71, fig. 139; LeRoy Ireland, "Works of George Inness," (Austin: Texas University Press, 1965), p. 59, no. 240; Eugene Taylor, "The Interior Landscape: George Inness and William James on Art from a Swedenborgian Point of View," in "Archives of American Art Journal 37," nos. 1 and 2 (1997): 3; Michael Quick, "George Inness: A Cataogue Raisonné," (New Brunswick and London: Rutgers University Press, 2007), vol. 1, p. 216, no. 184 (illustrated). LITERATURE "The Academy of Design, Second Notice, The Large Room" in "The Evening Post" (New York, April 17, 1862), p. 1; Clara Clement and Laurence Hutton, "Artists of the Nineteenth Century and Their Works," vol. 1, (Boston: Houghton, Osgood and Company, , 1884), p.382; "The Private Collection of Frederick S. Gibbs," (New York, 1899), no. 111, p. 65; Kirk D. Henry, "an American Patron of American Art," in "Brush and Pencil 8," no. 4 (July 1901): 212, 217, 214 (illustrated); R.H.Gabriel, ed., "Pageant of America," vol. 3 (New Haven: Yale University Press, 1926), p. 71, fig. 139; LeRoy Ireland, "Works of George Inness," (Austin: Texas University Press, 1965), p. 59, no. 240; Eugene Taylor, "The Interior Landscape: George Inness and William James on Art from a Swedenborgian Point of View," in "Archives of American Art Journal 37," nos. 1 and 2 (1997): 3; Michael Quick, "George Inness: A Cataogue Raisonné," (New Brunswick and London: Rutgers University Press, 2007), vol. 1, p. 216, no. 184 (illustrated). ESTIMATE $30,000—$50,0008289
90Jasper Cropsey, “America’s Painter of Autumn,” returned to the Susquehanna Valley several times in his long career.1 Similar to his famed Hudson River and Greenwood Lake paintings, the evolution of Cropsey’s style from a natural sense of Luminism to a less rigid aesthetic may be charted by his Susquehanna paintings. It was Cropsey himself who, writing for The Crayon in 1855, may have first used the term “luminous” when describing an approach to painting: Of all the gifts of the Creator—few are more beautiful, and less heeded, than the sky…here we have first the canopy of blue; not opaque, hard and flat, as many artists conceive it and picture patrons accept it; but a luminous, palpitating air, in which the eye can penetrate infinitely deep, and yet find depth.2 Cropsey’s earliest paintings of the Susquehanna date from the late 1850s, with an important example being 1859’s Autumn on the Susquehanna. In that painting, the viewer is brought close to the river and afforded a more direct experience with the surrounding nature. As Peter Birmingham discusses, Cropsey often experimented with where to locate his audience’s point of view. In ths view, On the Susquehanna River, Cropsey pulls the viewpoint back to provide a wider panorama, placing it closer to the same vertical plane as his trademark “spotlight” illu-mination.3 The concentrated light in the middle distance allows the autumnal palette to shine. Instead of a gauzy (if appealing) haze, the colors for which Cropsey became so famous more highly keyed and distinguishable. As a result, the sky, alive with the pink reflections of the setting sun, is one of Cropsey’s most evocative. William Talbot’s comments on 1897’s Sunset Over the Palisades may be applied to On the Susquehanna: “Cropsey never ceased to appreciate the drama of nature. The contrast here between the flaming clouds and shadowed gray cliffs has been achieved with a freedom of the brush which recalls his most lyrical moments.”41 Peter Birmingham, Jasper F. Cropsey: 1823-1900, exhibition catalog, (College Park: University of Maryland Art Gallery, 1968), p. i. 2 Ibid., p. 21.3 Ibid., p. 24.4 William S. Talbott, Jasper F. Cropsey: 1823-1900, exhibition catalog, (Washington D.C.: Smithsonian Institution, 1970), p. 109.
83 JASPER FRANCIS CROPSEY American (1823-1900) ON THE SUSQUEHANNA RIVER oil on canvas signed and dated lower right "J.F. Cropsey 1891" 12 x 20 inches PROVENANCE Estate of Edward Morgan, John's Island, South Carolina, ca. 1959; Private Collection, New York; Shannon's, Milford, Connecticut, October 28, 2010, lot 35; Private Collection, New York. NOTES This work is listed in the catalogue raisonné of the works of Jasper Francis Cropsey by the Newington-Cropsey Foundation, Hastings-on-Hudson, New York. ESTIMATE $80,000—$120,0008391
84 ALFRED THOMPSON BRICHER American (1837-1908) VIEW NEAR HUDSON oil on canvas signed lower right "A.T. Bricher" 9 x 18 inches PROVENANCE Questroyal Fine Art, LLC, New York, New York; Private Collection, New Jersey; Shannon’s, Greenwich, Connecticut, April 28, 2005, lot 11; Private Collection, New York. ESTIMATE $20,000—$30,0008492
85 JOHANN HERMANN CARMIENCKE German (1810-1867) MT. VESUVIUS AND THE BAY OF NAPLES, 1860 oil on canvas signed, inscribed and dated lower left "J.H. Carmiencke NY 1860" 36 x 52 ¼ inches PROVENANCE Christie's, New York, New York, May 26, 1993, lot 14; Private Collection, New York, New York. ESTIMATE $10,000—$15,0008593
94John George Brown enjoyed a highly successful career during his lifetime as the richest and most celebrated genre painter in turn-of-the-century America. Brown is best known for his depictions of children, particularly street urchins, shoe-shine boys, flower sellers and newspaper boys. He romanticized poverty and depicted the children playing, laughing or in a comedic narrative. J.G. Brown was born into a poor family in Durham, England. His father, a lawyer, insisted that Brown learn a trade despite his early predilection for drawing. Brown apprenticed for seven years with a glass cutter and worked at this trade in Edinburgh, Scotland where he attended the School of the Royal Scottish Academy. When he was 22 years old, he went to London and earned money painting portraits. While in London, he heard a music hall performer singing about American life. He decided to move to Brooklyn and took a job as a glass cutter at the Flint Glass Works in Brooklyn. His employer was so impressed with Brown’s designs that he helped Brown study with miniature painter Thomas Cummings. Brown later married Cummings’ daughter. Brown continued to study painting taking night classes at the National Academy of Design. In May of 1856 he rented his own studio in Brooklyn. By 1863, he was elected a member of National Academy of Design and begin teaching classes at the Academy. From this point forward, Brown became known as “the boot-black Raphael.” He sold original paintings for $500-700 earning around $40,000 annually and making royalties from lithographs of his paintings that were distributed with packaged tea. A vast sum in the 1860s. The present example, “Read All About It” is an iconic work by the artist, featuring a young boy selling newspapers. The cover of the newspaper reads “Daily Eagle” which leads us to believe that the boy was selling newspapers in Brooklyn where Brown lived. J.G. Brown was tremendously successful within his lifetime, and his works continue to be collected by several prominent museum and private collectors. His works can be seen in the collections of the Metropolitan Museum of Art in New York City and the Museum of Fine Arts, Boston among others.
86 JOHN GEORGE BROWN American (1831-1913) READ ALL ABOUT IT oil on canvas signed lower left "copyright / J.G.Brown, N.A" 24 x 17 inches PROVENANCE Estate of Helen Garvan Menard, Ormond Beach, Florida; Shannon’s, Greenwich, Connecticut, October 26, 2006, lot 7; Private Collection, New York. ESTIMATE $20,000—$30,0008695
96William Tolman Carlton was born in Boston and he grew up in Dorchester, Massachusetts. There is little information known about his early life and education. There are no records for his formal artistic training either, although it is known that before 1840 he spent several years studying in Italy, Germany and France. By 1836, when he was just 20 years old he began exhibiting his paintings at the Boston Athenaeum. In Boston, he also worked as a portrait painter and private art teacher. Carlton spent some time in Albany working as a portrait painter and returned to Boston in 1850. He worked with George Hollingsworth at the Lowell Institute teaching students to draw from living models. Both artists, Hollingsworth and Carlton, taught at the school until it closed in 1878. The courses were free and provided some students their first lessons in art. Notable alums include Alfred Thompson Bricher and Willard Leroy Metcalf. In the 1850s Carlton exhibited several paintings at the Free Gallery of the New England Art Union in Boston. A painting titled The Yankee Peddler was exhibited twice, priced at $400. There are two known versions of this painting, including the present newly discovered example and a smaller, unsigned version at the Harvard Art Museums (1895.664). There is also a known pen and ink sketch at the MFA in Boston, The Peddler’s Cart (66.498). Theodore Stebbins, noted art historian and Curator of American Art, Emeritus of the Harvard Art Museums commented, “Now, knowing of your signed and dated picture [lot 114], I would guess that yours is the Art Union work.” In the drawing, as in the present lot, the young woman shopping from the cart looks directly at the viewer. In the Harvard painting she is instead looking down. There are other more subtle differences between the two compositions. In the present lot, the lower right corner is much brighter, the two figures are in sunlight instead of shadow, and the central figure of the young girl is painted with more detail. The artist changed the color of her shawl from pink to yellow, and added golden embroidered details to her skirt. Likewise, the silver wares appear to be painted with more detail as well. The window frames of the cottage were changed to a white wash color, making the crimson tapestry held by the woman at the door stand out against the plain background of the house. These differences suggest that Carlton was working out the composition, possibly using the drawing as an intermediary between the two paintings. The subject, The Yankee Peddler, was a common theme for genre paintings in the mid-nine-teenth century. Other artists, notably Asher B. Durand and Francis W. Edmonds exhibited paint-ings of this topic at the National Academy of Design in 1836 and 1844 respectively. Viewers, par-ticularly wealthy New York businessmen would have recognized the characters and gestures from literature and anecdotes. The two advertisements on the side of the cart, “Sands Sasaparilla” and “Dr. Brandereth’s Obstetrical Pills” refer to known medicinal scams of the period and at the window, the viewer can read “The Boston Post,” as the farmer reaches for it from the child’s hands.1 1 Hannah Blunt, “William Tolman Carlton,” in American Paintings at Harvard, Vol. I, edited by Theodore E. Stebbins, pp. 113-115.
87 WILLIAM TOLMAN CARLTON American (1816-1888) THE YANKEE PEDDLER, 1851 oil on canvas signed and dated lower left "W.T. Carlton 1851" 36 1⁄4 x 46 3⁄4 inches PROVENANCE Private Collection, Connecticut; Shannon's, Milford, Connecticut, October 26, 2017, lot 114; Private Collection, Georgia. NOTES Special thanks to Theodore E. Stebbins, Jr., Curator of American Art, Emeritus, Harvard Art Museums, for his assistance in cataloging this lot. ESTIMATE $30,000—$50,0008797
88 JULIAN ALDEN WEIR American (1852-1919) GARDEN ARBOR, 1902 pastel on paper signed and dated lower right "J. Alden Weir '02" 22 1⁄2 x 18 1⁄4 inches PROVENANCE Irma Rudin, Princeton, New Jersey; Acquired from the above, Private Collection, 2001; Christie’s, New York, New York, September 29, 2009, lot 58; Private Collection, New York. ESTIMATE $8,000—$12,0008898
89 JULIAN ALDEN WEIR American (1852-1919) STILL LIFE WITH ALLIUM AND AMBER BEADS oil on canvas signed lower left "J. Alden Weir" 23 1⁄2 x 13 3⁄4 inches PROVENANCE Adelson Galleries, New York, New York; Private Collection, Massachusetts. ESTIMATE $10,000—$15,0008999
90 JULIEN ALDEN WEIR American (1852-1919) LAUGHING BOY oil on canvas unsigned 24 x 20 inches PROVENANCE Estate of the artist; Private Collection, Massachusetts. EXHIBITED New York, New York, The Metropolitan Museum of Art, "The Julian Alden Weir Exhibition," March 17 - April 20, 1924. LITERATURE Dorreen Bolger Burke, "J. Alden Weir - An American Impressionist," (Newark, Delaware: University of Delaware Press, 1983), p. 101, cat. no. 3.16 (illus.). ESTIMATE $8,000—$12,00090100
91 GEORGE HITCHCOCK American (1850-1913) MOTHER AND CHILD IN A GARDEN oil on canvas laid down on board signed lower left "G. Hitchock" 17 x 15 3⁄4 inches PROVENANCE Caropreso Gallery, Lee, Massachusetts; Private Collection, New Jersey. ESTIMATE $8,000—$12,00091101
102Charles Courtney Curran was born in Kentucky and raised in Ohio. He first studied at the Cincinnati School of Design before moving to New York City in 1882. In New York City he attended the National Academy of Design and the Art Students League. He exhibited his first painting at the National Academy in 1883 when he was just 23 years old. From 1888-1891 Curran studied at the Académie Julian in Paris. While abroad, he successfully exhibited works at the Paris Salon and at Durand-Ruel Gallery. In 1891, Curran returned to the States where he continued to enjoy success exhibiting at the World’s Columbian Exposition in Chicago, the National Academy, the Pan-American Exposition in Buffalo, the Louisiana Purchase exhibition, and many others. He was elected a full Academician in 1904. For 40 years Curran and his family would spend their summers in Cragsmoor, New York, a growing artist colony since the late 19th century. The artist and his family were very active in the community participating in summer social activities and helping to improve the town. The present lot, Choosing the Colors, painted in 1923, depicts a young woman carefully choosing ribbon from her basket. Likely painted in Curran’s studio, the warmly lit interior gently illuminates the sitter’s face and hands, and she casts her eyes down towards the tangled basket filled with colors and carefully considers her choice. Curran biographer Jane Ward Faquin notes, “…views of well-dressed women—whether reading, sewing, enjoying their children, playing with pets, or engaged in quiet contemplation—appear in the work of many of Curran’s American contemporaries. Joseph De Camp’s finely painted interiors attest to a strong resemblance between his work and Curran’s, and although the works of Frank Benson and Childe Hassam differ considerably from Curran’s art stylistically, all three artists used a strong light source to illuminate both the figure and a darkened room or background in their compositions, particularly during the period just before the war.” Faquin also notes similarities in Curran’s work to his Cragsmoor contemporary Helen Maria Turner.1 Curran’s work is in the permanent collections of the Terra Museum of American Art in Illinois, the Smithsonian Institution, the Pennsylvania Academy of Fine Art, the Witte Memorial Museum and Fort Worth Art Museum in Texas, the Metropolitan Museum of Art in New York, and many other national collections. 1 Jane Ward Faquin with Maia Jalenak, “Charles Courtney Curran: Seeking the Ideal,” (Memphis, Tennessee: Dixon Gallery and Gardens, 2014), pp. 76-77.
92 CHARLES COURTNEY CURRAN American (1861-1942) CHOOSING THE COLORS oil on canvas signed and dated lower right "Charles C. Curran, NA, 1923" 22 x 18 inches PROVENANCE Private Collection, New York; Shannon’s, Greenwich, Connecticut, October 29, 2009, lot 86; Private Collection, New York. ESTIMATE $40,000—$60,00092103
104This beautiful, luminist harbor scene was once attributed as a view of New York Harbor by little-known artist Henry Holmes (1832-after 1878). Who Was Who in American Art lists Holmes as a painter in oil and engraver living in New York City from 1850-1858 and in Washington D.C. in 1865. He is listed as having exhibited at the Boston Art Club in 1877 and 1878 and as living with engraver Rawson Packard (b. 1813) in 1850. The painting bears a signature with the last name Holmes and an indistinct first initial. This clearly is the work of an American master artist.
93 AMERICAN SCHOOL American (19th Century) HARBOR SCENE oil on canvas signed indistinctly lower left "?. Holmes" 18 x 32 inches PROVENANCE Property from a distinguished American collection. ESTIMATE $30,000—$50,00093105
106Born in New York City, Francia A. Silva was forbidden to paint artistically by his father, so he became a successful sign painter. Unfulfilled, at the outbreak of the Civil War, he enlisted in the New York State Militia, serving until 1866. Soon after the war he listed himself as ‘artist’ in New York, devoting himself to marine views. Essentially self-taught, early success awarded him the privilege of exhibiting with the National Academy of Design, the Brooklyn Academy of Art, and the American Institute of Art. Traveling frequently to his favored locations for subject matter, Silva’s works often show both New York and New London harbors, Westchester, Narragansett Bay, and a single known western work of Lake Michigan. Later in life, he traveled to Venice, creating marine views there. Around this time, he arrived at his mature style, often directly compared with the "vigor and breadth of Winslow Homer". Silva’s luminous paintings are appreciated for their ‘meticulous realism’ with tranquil atmospheric elements. In his manipulation of color while avoiding ‘artificial prettiness’, he instead intensified the genuine effects of nature while expressing personal emotion. Alongside foremost American seascape artists A.T. Bricher and William Trost Richards, Silva represents the pinnacle of American sea painters. People at leisure along the shoreline is a universal subject, and Francis Silva found it to be popular in his day. These works have become fixtures in a diverse range of American art collections, featured for their sheer beauty as well as the significance of the early luminist painter. In this superior example, Strolling Along the Bluff at Long Branch, New Jersey, ca. 1870, numerous folks in Victorian finery stroll the shore of Long Branch, New Jersey. Our lead couple walk arm-in-arm, and parasols are apparent everywhere. An American flag tops a coastal station, and distant sails spot the horizon. Silva’s vision in the diminutive composition emphasizes the long stretch of open beach and Atlantic Ocean. The relaxing beauty makes it easy to see why America’s first film industry established in Long Branch, and seven presidents, from Ulysses S. Grant to the unfortunate James Garfield chose to vacation, or in Garfield’s case, convalesce here, inspiring the city’s famous Seven Presidents Park. Among Long Branch’s most renown citizens, Dorothy Parker and Bruce Springsteen were born and inspired by the seashore community. The present painting is a harmony of color and light, with a bygone charm that today seems so simple, but in its day was the premier destination, attracting artist Winslow Homer in 1869 to paint Victorian women strolling its environs. Silva would find his place alongside him with works such as this.
94 FRANCIS AUGUSTUS SILVA American (1835-1886) STROLLING ALONG THE BLUFF AT LONG BRANCH, NEW JERSEY, CA. 1870 oil on canvas signed lower right "Silva" 8 x 16 inches PROVENANCE Private Collection, New York; Private Collection; Christie's, New York, New York, September 23, 1992, Lot 60; Private Collection, California. NOTES This painting relates to a larger painting entitled "The Beach at Long Branch, NJ" which was exhibited at the National Academy of Design in 1869. It is one of several Silva painted of the scene including "A Summer Afternoon at Long Branch" now in the collection of the National Gallery of Art, Washington, D.C. ESTIMATE $25,000—$35,00094107
95 WILLIAM TROST RICHARDS American (1833-1905) CRASHING SURF, 1891 watercolor on paper signed and dated lower right "Wm. T. Richards 91" 11 3⁄8 x 23 1⁄2 inches (sight) PROVENANCE Doyle, New York, New York, May 23, 2006, lot 1196; Private Collection, New York. ESTIMATE $5,000—$7,00096 ALFRED THOMPSON BRICHER American (1837-1908) BOATS ALONG THE DOCK watercolor on paper signed lower right "A.T. Bricher" 20 x 14 ¼ inches (sight) PROVENANCE Private Collection, New Jersey; Shannon's, Greenwich, Connecticut, April 24, 2003, lot 72; Private Collection, New York. ESTIMATE $4,000—$6,0009596108
97 ALFRED THOMPSON BRICHER American (1837-1908) "AROUND THE BEND: LANDSCAPE WITH STREAM" oil on paper on canvas unsigned 10 x 20 inches PROVENANCE Weimer Gallery, Darien, Connecticut; Private Collection, New York, New York. NOTES According to Jeffrey R. Brown, Bricher painted in the White Mountains in July and August, 1869 and in August 1870. This work was painted during one of these excursions and stylistically resembles work of the late 1860s. A copy of a letter signed by Jeffrey R. Brown discussing the authenticity of the work and the location accompanies the lot. ESTIMATE $10,000—$15,00097109
11098 JERVIS MCENTEE American (1828-1891) LIGHT BREAKING THROUGH, CATSKILL LANDSCAPE oil on canvas estate stamped on the reverse 6 3⁄4 x 11 1⁄4 inches PROVENANCE Private Collection, New York, New York. ESTIMATE $5,000—$7,00099 JOHN WILLIAMSON American (1826-1885) "ON THE ESOPUS" oil on canvas inscribed "Hurley" and initialed lower right "J.W.," titled, inscribed and initialed on the reverse "Hurley, N.Y. J.W." 9 3⁄4 x 16 3⁄4 inches PROVENANCE A Mississippi estate; Private Collection, Mississippi. ESTIMATE $3,000—$5,0009899
100 ALFRED THOMPSON BRICHER American (1837-1908) RIVER LANDSCAPE oil on canvas signed lower right "A.T. Bricher" 15 3⁄4 x 12 inches PROVENANCE Private Collection, New Hampshire; Shannon's, Greenwich, Connecticut, May 4, 2006, lot 96; Private Collection, New York. ESTIMATE $8,000—$12,000100111
112Born in Glasgow, Scotland, John Williamson move to Brooklyn with is family when he was a small child. He eventually became an important second-generation painter in the tradition of the Hudson River School. Williamson’s carefully rendered views of the Hudson River Valley and Connecticut landscapes were much admired during his lifetime. He first exhibited at New York’s National Academy of Design in 1859, and, in 1861, he was elected an associate of the Academy. Williamson is best known for his panoramic landscapes of Lake George, the Adirondacks, the Catskill Mountains, and his magnificent paintings of the Hudson River Valley such as the present offering Valley of the Hudson. This example is larger composition than many, depicting life along the Hudson in the 1870s, complete with livestock, boats, villages, mountains, and lush greenery. Art historian John Driscoll observed, “[Williamson’s] paintings tend to be small and intimate in character and beautifully composed and reflect a fine and subtle sense of color. Mood is always a stronger component of his work than detail and he thus seem allied in temperament with works by Kensett and Gifford.”1 Williamson’s work can be found in such public collections as the Brooklyn Museum, Maier Museum of Art, Randolph College, Lynchburg, Virginia, and the Hudson River Museum, Yonkers, New York.1 John Driscoll, All That Is Glorious Around Us: Paintings from the Hudson River School (Ithaca, New York: Herbert F. Johnson Museum of Art in association with Cornell University Press, 1997), p. 134.
101 JOHN WILLIAMSON American (1826-1885) "VALLEY OF THE HUDSON" oil on canvas initialed and dated lower left "J.W. '78," signed, dated, titled and inscribed on the reverse "6 Astor Place N.Y. 1878" 20 x 34 inches PROVENANCE Property from a distinguished American collection. EXHIBITED Yonkers, New York, The Hudson River Museum, February 28 - June 19, 1988, Rochester, New York, The Margaret Woodbury Strong Museum, July 15 - October 16, 1988, Albany, New York, Albany Institute of History and Art, November 20, 1988 - February 12, 1989, and Syracuse, New York, Everson Museum of Art, February 26 - April 23, 1989, "The Catskills: Painters, Writers and Tourists in the Mountains, 1820-1895," cat. no. 127.Literature: Kenneth Myers, "The Catskills: Painters, Writers and Tourists in the Mountains, 1820-1895," exhibition catalog, (Hanover and London: University Press of New England, 1987), pp. 193-194 (illustrated), plate 127. ESTIMATE $20,000—$30,000101113
102 WILLIAM CHADWICK American (1879-1962) "MELTING SNOW" oil on canvas signed lower right "W. Chadwick" 24 x 30 inches PROVENANCE Private Collection, Connecticut. NOTES A label from the Lyme Art Association signed by the artist is on the reverse. ESTIMATE $4,000—$6,000102103 GEORGE AMES ALDRICH American (1872-1941) JUDAY CREEK, SOUTH BEND, INDIANA, 1931 oil on canvas signed and dated lower right "G. Ames Aldrich 1931" 36 x 36 inches PROVENANCE Private Collection, Illinois; Private Collection, California. ESTIMATE $4,000—$6,000103114
104 JOHN FABIAN CARLSON American/Swedish (1875-1947) "WINTER MORNING MISTS" oil on canvas signed lower right "John F. Carlson" 25 x 30 inches PROVENANCE William Macbeth, New York, New York; Private Collection, Texas; Private Collection; Christie's, New York, New York, September 28, 2010, lot 101; Private Collection, New York. ESTIMATE $20,000—$30,000104115
105 HARRY AIKEN VINCENT American (1864-1931) "ROCKPORT HARBOR" oil on canvas signed lower right "H.A. Vincent" 25 ¼ x 30 ¼ inches PROVENANCE Vincent Vallarino Fine Art, Ltd., New York, New York; Vose Galleries, Boston, Massachusetts; Private Collection, New Jersey. ESTIMATE $12,000—$18,000105116
106 FREDERICK MULHAUPT American (1871-1938) "END OF THE DAY, GLOUCESTER HARBOR" oil on canvas signed lower right "Mulhaupt" 18 x 24 inches PROVENANCE David H. Hall Fine Art, Dover, Massachusetts; Private Collection, New Jersey. ESTIMATE $15,000—$25,000106117
118Worthington Whittredge was born in Ohio in 1820. He started his artistic career as a house painter, sign painter and later portrait painter in Cincinnati. In 1839 Local patrons, including the Reverend Henry Ward Beecher, enabled him to travel to Europe and study painting abroad. In Rome, he famously posed for Emanuel Leutze as the model for George Washington in the famed painting of Washington Crossing the Delaware (Metropolitan Museum of Art). In 1856 in Switzerland, he sketched with Albert Bierstadt. He also spent five years in Dusseldorf where he studied with Thomas Cole, travelled in Belgium, Paris, and the village of Barbizon. In 1857 together with Haseltine, Bierstadt, and Gifford, Whittredge settled in Rome. After a decade abroad he returned to the United States in 1859 and settled in New York City renting a space in the famed Tenth Street Studio. By 1860 he was elected an Associate of the National Academy of Design and full member just two years later. In 1866 he traveled with John Frederick Kensett and Sanford R. Gifford on a 2,000-mile government inspection tour of the Rocky Mountains. Despite the grand vistas he undoubtedly saw, Whittredge is best known for his poetic forest scenes, such as the present example. These close studies of feathery ferns and mossy rocks are brought to life with light that filters down through the trees. In the late 1870s his style changed to a more distinctive Hudson River School idiom. Of the present lot, Whittredge expert Anthony F. Janson’s wrote: “The size and quality of the land-scape are unusual for Whittredge at this time. This is a quite ambitious work by him for the period. He rarely worked on such a large scale after about 1895. The artist really put a lot of effort into this canvas. The texture and layering of the paint are surprisingly complex. Only Whittredge’s best paintings from his later years have this quality. Indeed, in comparison with other works by him from around this time, I would judge [this] picture to be one of the three or four finest ones known. The composition is a variant one Whittredge had used in slightly different form at least twice before beginning around 1885 (both in private collections), with antecedents stretching back about ten years. However, the composition is not simply a variant of a standard type. Although I have not been able to locate a drawing for this scene in his known sketchbooks, he continued to record a variety of forest interiors throughout his lifetime, and I still suspect that [this] canvas is based on such a drawing done around 1900 or a little earlier.” Whittredge painted until he was 83 years old, experimenting with various styles and keeping up with painting trends. In 1904 an exhibition featuring 125 of his paintings was displayed at the Century Association in New York. In 1905, he completed his autobiography, a valuable document of the 19th century American art scene.
107 WORTHINGTON WHITTREDGE American (1820-1910) "A PRIMITIVE FOREST BROOK" oil on canvas signed and dated lower right "W. Whittredge 1900" 25 x 38 inches PROVENANCE Private Collection, New York. NOTES A copy of a letter from Anthony F. Janson from the Cameron Museum of Arts, discussing the authenticity accompanies the lot. ESTIMATE $40,000—$60,000107119
120Albert Bierstadt was born in Solingen, Germany in 1830. He moved with his family when he was two years old to New Bedford, Massachusetts. As a young artist, he travelled back to Germany to seek formal instruction. Ironically, in Europe he met American artists Emanuel Leutze and Worthington Whittredge who served mentored the young artist. In 1858, a year after returning from Europe, Bierstadt exhibited his first painting in New York at the annual exhibition of the National Academy of Design. It was received with grand critical acclaim, and he was elected an honorary member of the academy. Following this successful reception, he began taking trips west to paint the American landscape. In 1863 with journalist and explorer, Fitz Hugh Ludlow, Bierstadt made his second trip to the West. On this trip he visited the Yosemite Valley for the first time. Ludlow and the artist camped in Yosemite Valley and Bierstadt made numerous studies returning to his studio to paint monumental canvases of the vast Western landscape. The present lot, Winter in Yosemite, depicts the landscape with barren deciduous trees and snow-covered pine trees. The still frozen water reflects light on the whole scene creating a shimmering silver effect. In this small composition, Bierstadt has made the crisp, cold air is palpable. His larger 1872 landscape, Yosemite Winter Scene (Berkeley Art Museum, 1881.4), he uses a similar approach in his depiction of the landscape. Bierstadt established a gallery at the Tenth Street Studio building inviting the public to view his monumental canvases of the Rockies, the Yosemite Valley, and other views of the western landscape. He continued to spend time in the West but also travelled back to Europe where he maintained a strong market for his work. In 1867, he was invited to show two paintings privately to Queen Victoria. Despite a successful career, towards the end of his life American tastes were changing and he struggled as an artist. In 1889, his submission to the American committee for the Paris Exposition Universelle was rejected. In 1902 Bierstadt died in New York as struggling artist. His work was not properly revaluated until the 1960s and he is now one of the best-known American artists of the 19th century.
108 ALBERT BIERSTADT American (1830-1902) WINTER IN YOSEMITE oil on paper laid down on canvas unsigned 13 1⁄2 x 19 inches PROVENANCE Private Collection, New York, 1955; Alexander Gallery, New York, New York, 2006; Private Collection, Florida, 2006; Sotheby's, New York, New York, May 19, 2011, lot 67; Private Collection, New York. NOTES This work will be included in the forthcoming Albert Bierstadt catalogue raisonné database. We thank Melissa Webster Speidel, Director of the Albert Bierstadt Catalogue Raisonné Project, for her assistance in cataloging this lot. ESTIMATE $70,000—$100,000121108
122109 REYNOLDS BEAL American (1867-1951) NARRAGANSETT BAY AND NEWPORT, RHODE ISLAND, 1902 oil on canvas signed and dated lower right "Reynolds Beal 1902" 24 x 30 inches PROVENANCE Private Collection, California. ESTIMATE $8,000—$12,000109
123110 JANE PETERSON American (1876-1965) A QUIET COVE oil on board signed lower right "Jane Peterson" 12 x 16 inches PROVENANCE Shannon's, Greenwich, Connecticut, April 22, 1999, lot 120; Private Collection, Connecticut. ESTIMATE $8,000—$12,000110
111 WILLIAM J. FORSYTH American (1854-1935) LANDSCAPE WITH STREAM oil on board signed lower right "W. Forsyth" 18 x 24 inches PROVENANCE Neal Auction Company, New Orleans, Louisiana, October 13, 2001, lot 517; Private Collection, Connecticut. ESTIMATE $4,000—$6,000111112 WILSON IRVINE American (1869-1936) FALL LANDSCAPE oil on canvas signed lower right "Irvine," inscribed on the frame "Wilson Irvine, Lyme, Conn." 24 x 27 inches PROVENANCE Private Collection, Ithaca, New York; By descent in the family to the current owner, Private Collection, California. ESTIMATE $4,000—$6,000112124
113 ROBERT VONNOH American (1858-1933) PLEASANT VALLEY, OLD LYME oil on canvas signed lower right "Vonnoh" 20 x 24 inches PROVENANCE Private Collection, Massachusetts. ESTIMATE $8,000—$12,000113125
114 ERIC SLOANE American (1905-1985) BARN ON THE BANK oil on masonite signed lower left "Eric Sloane NA" 17 x 23 inches PROVENANCE Deeley Gallery, Manchester, Vermont; Private Collection, Vermont; Private Collection, New Hope, Pennsylvania; Private Collection, New Jersey. ESTIMATE $5,000—$7,000115 EDWARD LAMSON HENRY American (1841-1919) "THE HUNTER" oil on board signed lower left "E.L. Henry 1904" 10 x 12 ¼ inches PROVENANCE Private Collection, New York, 1933; by descent; Christie’s, New York, New York, February 25, 2014, lot 57; Private Collection, New York. ESTIMATE $5,000—$7,000114115126
116 EASTMAN JOHNSON American (1824-1906) "GOLDEN OCTOBER - CATSKILL," 1869 oil on canvas initialed lower right "E.J.," signed, titled and dated on the stretcher "1869" 10 ¼ x 15 inches PROVENANCE Childs Gallery, Boston, Massachusetts; Private Collection, Massachusetts; Eric Lande, Vermont, until 2000; Debra Force Fine Art, New York, New York, 2000; Private Collection, Rhode Island, 2000; Sotheby's, New York, New York, December 19, 2003, lot 1062; Private Collection, New York. NOTES This work is included in the digital Eastman Johnson Catalogue Raisonnè under the direction of Patricia Hills, PhD. and Abigael MacGiveny, under Hills no. 16.0.1, (eastmanjohnson.org). A copy of a letter from Patricia Hills, PhD. accompanies this lot. ESTIMATE $8,000—$12,000116127
128117 ALFRED S. MIRA American (1900-1981) WASHINGTON SQUARE oil on canvasboard signed lower right "Mira" 12 x 16 inches PROVENANCE Private Collection, Arizona. ESTIMATE $5,000—$7,000118 EVERETT LONGLEY WARNER American (1877-1963) "J & L STEEL MILL," CA. 1934 oil on board signed lower left "Everett Warner" 16 x 20 inches PROVENANCE The artist; Estate of the artist; By descent in the family to Private Collection, Maryland. ESTIMATE $3,000—$5,000119 IDA PROPER American (1873-1957) A DAY AT THE PARK oil on canvas laid down on board signed on the reverse "Ida S. Proper," artist's estate stamp on the reverse 14 3⁄4 x 18 inches PROVENANCE Private Collection, Connecticut. ESTIMATE $2,500—$3,500117119118
129120 LOUIS ASTON KNIGHT American (1873-1948) SUMMER DAY ALONG THE RIVER oil on canvas laid down on masonite signed lower right "Aston Knight / Paris" 31 x 25 inches PROVENANCE Shannon’s, Greenwich, Connecticut, October 26, 2006, lot 88; Private Collection, New York. ESTIMATE $5,000—$7,000121 COLIN CAMPBELL COOPER American (1856-1937) CATHEDRAL SCENE oil on canvas laid down on board signed lower right "Colin Campbell Cooper 1900" 31 x 23 inches PROVENANCE Private Collection, New Jersey. ESTIMATE $4,000—$6,000120121
122 DORIS EMRICK LEE American (1905-1983) THE SCHOOL YARD oil on canvas signed lower right "Doris Lee" 22 x 26 inches PROVENANCE A Boston, Massachusetts estate; Private Collection, Massachusetts. ESTIMATE $8,000—$12,000122130
123 JOHN PHILIP FALTER American (1910-1982) MISSOURI RIVER TRADERS oil on canvas signed lower right "John Falter" 20 x 30 inches PROVENANCE Christie's East, New York, New York, October 4, 2000, lot 195; Private Collection, New Jersey. ESTIMATE $15,000—$25,000123131
132124 MARCEL DYF French (1899-1985) "FILLE LISANT" oil on canvas signed lower right "Dyf," signed and titled on the reverse 18 x 21 1⁄2 inches PROVENANCE Private Collection, Connecticut; Shannon's, Milford, Connecticut, April 25, 2013, lot 40; Private Collection, Connecticut. NOTES This work is recorded in the Marcel Dyf Archives under No. 1983. Claudine Dyf, the artist's wife, indi-cated this work was painted in 1968. A photo certifi-cate accompanies the lot. ESTIMATE $5,000—$7,000125 MARY BRADISH TITCOMB American (1858-1927) "POLLY'S FARM" oil on canvas unsigned, estate stamp on the stretcher 27 x 21 1⁄2 inches PROVENANCE Estate of the artist; Debra Force Fine Art, Inc., New York, New York; Private Collection. ESTIMATE $4,000—$6,000124125
126 AGNES PELTON American (1881-1961) "PORTRAIT OF MARION FOX AT 11 MONTHS" oil on canvas signed and dated lower right "Agnes Pelton 1925," titled and dated on the reverse "Feb 1925" 34 x 38 ¼ inches PROVENANCE Private Collection, Massachusetts; Private Collection, Indiana; Hirschl and Adler, New York, New York; Private Collection, Los Angeles, California. LITERATURE "Eyes of the Art World Center On Many Striking Exhibits at Independent Artists' Salon," in "Buffalo Courier," November 15, 1925, p. 84 (illustrated). (A copy of this clipping accompanies the lot.) NOTES Like many modern American artists, Agnes Pelton (1881-1961) pursued a variety of styles and subjects over her long career, from dreamy “Imaginative” paintings based on mythological sources to bright, colorful “Abstractions” motivated by her spiritual beliefs in New Thought, Theosophy, astrology, and Agni Yoga. Pelton also painted landscapes, still lifes, and portraits, traveling widely to accept commissions. In the mid-1920s, for example, she traveled to Hawaii to paint the portrait of the daughter of Chinese doctors in Honolulu, and to Lebanon to paint the children of the president of the American University in Beirut. Pelton honed her portraiture skills while visiting art patroness Mabel Dodge in Taos, and in 1919 exhibited pastels of Pueblo Indians at the Museum of New Mexico in Santa Fe. In the 1920s, living on Long Island in an old wind-mill near Southampton, she painted pictures of local elites such as Samuel Parrish, founder of the Parrish Art Museum, and children such as Marion Fox at 11 Months, a stalwart toddler shown standing guard in a playpen full of stuffed animals. In 1925, she exhibited Marion Fox at the 3rd Annual Buffalo Salon of Independent Artists, where reviewers described Pelton as a “noted child portrait artist.” (Comments by Erika Doss, author of the forthcoming publication, "Spiritual Moderns: Twentieth Century American Artists and Religion," to be published by the University of Chicago Press in 2022, featuring chapters on Joseph Cornell, Agnes Pelton (above work to be illustrated), Mark Tobey and Andy Warhol.) The late Michael Zakian, past director of the Frederick R. Weisman Museum of Art at Pepperdine University and noted Pelton scholar stated of this work "...instead of being a random commission, it appears portraiture was a crucial part of her efforts immediately before discovering her Transcendental Abstractions, so they play a big-ger role than most people believe." ESTIMATE $10,000—$15,000126133
134Jasper F. Cropsey was one of the foremost landscape artists of the Hudson River School, although he trained as an architect and practiced intermittently throughout his lifetime. He began to show his paintings at the National Academy of Design in New York, becoming an elected member in 1844. Cropsey travelled on sketching excursions during the 1840s where he met painters Asher B. Durand,Thomas Cole, Frederic Edwin Church, andGeorge Inness, all of whom were associated with what later came to be called the Hudson River school. In 1856, Cropsey went to England. While in London, he established his studio in the home he and his wife Maria rented at Kensington Gate in Hyde Park South. He quickly gained fame as an artist in London and discovered favored subjects among the captivating landscapes and monuments that he encountered, particularly the Church at Stoke Poges, a subject he returned to in several compositions. The present painting of Stoke Poges includes a scene of the wedding procession of William Penn, the famous Quaker and founder of Pennsylvania, tucked into the landscape. Cropsey knew that the wooded area shown at the right of the composition, as well as the nearby Stoke Poges Manor House, belonged to the Penn family. This may have inspired Cropsey to depict the historical scene of Penn’s wedding procession in this landscape. In addition to Stoke Poges, Cropsey’s other favorite English subjects were Bonchurch on the Isle of Wight, the Thames River, and Warwick Castle. These paintings were well received and exhibit-ed at the Royal Academy in London. In 1884, Cropsey returned to the United States and settled in Hastings-on-Hudson, New York. He added a studio to his home, Ever Rest, in 1885. Both the home and studio are now owned by the Newington Cropsey Foundation and maintained as a museum to celebrate the Cropsey’s lega-cy. Examples of Cropsey’s paintings are in the collections of the Museum of Fine Arts, Boston, the Peabody Institute, Baltimore, the New-York Historical Society, Harvard University, Cambridge, Massachusetts, the Metropolitan Museum of Art, New York, and the National Gallery of Art, Washington, D. C.
127 JASPER FRANCIS CROPSEY American (1823-1900) STOKE POGES oil on canvas signed and dated lower right "J.F. Cropsey 1867" 20 x 32 inches PROVENANCE Wolfgang Pogzeba, New Mexico, by 1980; Ira Spanierman, Inc., New York, New York, 1980; Private Collection, Springfield, Massachusetts, 1986; By descent, 1998; Christie's, New York, New York, February 2, 2014, lot 65; Private Collection, New York. EXHIBITED Milwaukee, Wisconsin, Marquette University, "Changes: Art in America, 1881-1981," October 4-November 6, 1981, no. 5. LITERATURE Marquette University, “Changes: Art in America, 1881-1981,” exhibition catalog, Milwaukee, Wisconsin, 1981, p. 26, no. 5 (illustrated); G.G. Sill, "Americans Abroad," in “Portfolio,” vol. 5, March-April 1983, pp. 72, 75 (illustrated). NOTES This painting is included in the catalogue raisonné of the works of Jasper Francis Cropsey by the Newington-Cropsey Foundation, Hastings-on-Hudson, New York. ESTIMATE $50,000—$75,000127135
128 LAURA WOODWARD American (1834-1926) FALL LANDSCAPE oil on board signed lower left "Laura Woodward" 8 5⁄8 x 6 3⁄4 inches PROVENANCE Private Collection, New York. NOTES In a Heydenryk frame. ESTIMATE $2,000—$3,000129 HENRY BOESE American (1824-1864) HIGHLANDS OF THE HUDSON, NEAR COLD SPRINGS oil on canvas signed lower left "H. Boese" 20 x 30 inches PROVENANCE Private Collection, New Jersey. ESTIMATE $2,000—$3,000130 NELSON AUGUSTUS MOORE American (1824-1902) "LAKE GEORGE," 1889 oil on canvas signed and dated lower right "N.A. Moore, 89," titled on the stretcher 14 x 24 ¼ inches PROVENANCE Private Collection, New York. ESTIMATE $3,000—$5,000128130129136
131 HARRISON BIRD BROWN American (1831-1915) WOMEN WORKING AT THE MILL, 1876 oil on canvas initialed and dated lower right "HBB 76" 25 x 48 inches PROVENANCE Skinner Auctions, Bolton, Massachusetts, May 11, 1990, lot 31; Richard Oliver Auctioneer, Kennebunk, Maine, February 27, 1991; Private Collection, New York, New York. ESTIMATE $6,000—$8,000131137
138132 RUDOLF BONNET Dutch (1895-1978) TWO BALINESE WOMEN crayon on paper signed, dated and inscribed upper right "R. Bonnet / Bali 1955" 27 ⅜ x 17 ⅞ inches (sheet) PROVENANCE Private Collection, Arizona; descended in the family to the current owner, Private Collection, Arizona. ESTIMATE $8,000—$12,000133 TRUBUS SOEDARSONO Indonesian (1926-1966) BALINESE LEGONG DANCER oil on canvas signed, inscribed and dated lower right "Trubus S. Jakarta 60 43 1⁄2 x 27 1⁄2 inches PROVENANCE Private Collection, Indonesia. ESTIMATE $5,000—$7,000132133
134 LEE MAN FONG Indonesian (1913-1988) BALINESE DANCER oil on masonite signed lower left 39 3⁄4 x 24 3⁄4 inches PROVENANCE Private Collection, Indonesia. NOTES In an Ulin wood frame. ESTIMATE $15,000—$25,000134139
140135 MARY BRADISH TITCOMB American (1858-1937) MORNING COFFEE oil on canvas signed lower right "M.B. Titcomb" 16 x 20 inches PROVENANCE Shannon's, Milford, Connecticut, October 24, 2002, lot 177; Private Collection. ESTIMATE $2,000—$3,000136 FRANK VINCENT DUMOND American (1865-1951) FARM IN THE VALLEY oil on canvas signed lower left "F.V. Dumond," estate stamp on the reverse 24 x 30 inches PROVENANCE Private Collection, Connecticut. ESTIMATE $2,500—$3,500137 GEORGE L. NOYES American (1864-1954) THE DUNE, ANNISQUAM oil on canvas signed lower left "G. Noyes" 20 x 24 ¼ inches PROVENANCE Vose Galleries, Boston, Massachusetts; Shannon's, Greenwich, Connecticut, April 22, 1999, lot 97A; Private Collection, Connecticut. ESTIMATE $3,000—$5,000135137136
141138 ALFRED BROGE Danish (1870-1955) REFLECTIONS, 1915 oil on canvas signed and dated lower left "Alf. Broge 1915," signed and inscribed illegibly on the stretcher 27 x 21 inches PROVENANCE Private Collection, New York; Private Collection, New Jersey; Private Collection, New York. ESTIMATE $1,500—$2,500139 MARY BRADISH TITCOMB American (1858-1927) "POLLY'S SISTER" oil on canvas signed lower right "M.B. Titcomb" 28 x 22 inches PROVENANCE Estate of the artist; Private Collection. ESTIMATE $3,000—$5,000140 FRANCIS LUIS MORA American (1874-1940) EUNICE BOYNTON oil on canvas signed, dated and inscribed lower left " F. Luis Mora / To My Dear Eunice Boynton / 1909 - 1918," inscribed on the stretcher "Property of Ben Lacy" 29 x 24 inches PROVENANCE The artist; Eunice Boynton; descended in the family to the current owner, Private Collection. NOTES Eunice Boynton was a neighbor of F.L. Mora. ESTIMATE $3,000—$5,000138140139
142141 CHAIM GROSS American (1904-1991) FEMALE NUDE marble signed "Chaim Gross" height: 13 inches PROVENANCE Private Collection, Connecticut. ESTIMATE $1,500—$2,500142 CHAIM GROSS American (1904-1991 FEMALE NUDE wood signed "Chaim Gross" height: 28 inches PROVENANCE Private Collection, Connecticut. ESTIMATE $1,200—$1,800143 CHAIM GROSS American (1904-1991) GIRL ON WHEEL bronze signed "Chaim Gross," inscribed on the base "Bedi-Rassy N.Y.C." height: 14 1⁄2 inches PROVENANCE Private Collection, Connecticut. ESTIMATE $2,500—$3,500141143142
143144 JANKEL ADLER Polish (1895-1949) TWO FIGURES WOMAN IN RED DRESS (A PAIR) oil on cardboard unsigned 5 x 4 inches (each) PROVENANCE From the collection of the portrait artist, Arthur Kaufmann; Descended in the family to the current owner, Heather Manypenny Kaufmann, granddaughter of the artist. NOTES The purchase of this work is discussed in Arthur Kaufmann's memoir "Old Canvas, New Varnish." A copy of the book accompanies the lot. ESTIMATE $3,000—$5,000145 RAFAL OLBINSKI Polish (b. 1943) UNTITLED oil on canvasboard signed right center "OLBI" 6 x 8 inches PROVENANCE Private Collection, Texas. NOTES The authenticity of the work was confirmed by the artist's agent, Sherri Nahan at Patinae International. A copy of this correspondence accompanies the lot. ESTIMATE $2,000—$3,000146 HOWARD FINSTER American (1916-2001) "GOD BLESS" acrylic on panel signed, titled, dated and inscribed on the reverse "Howard Finster, 15.000.371 works since 1976 / Finished July 12, 1990 / 10:44 PM" 22 x 28 inches PROVENANCE Private Collection, Connecticut. NOTES A print of this work signed and inscribed "Howard Finster, My love to you all/ To Peter" is included with the lot. ESTIMATE $2,500—$3,500144146145
144147 GEORGE MATTHEW BRUESTLE American (1872-1939) FARM IN THE HILLS oil on canvas signed lower right "Geo Bruestle" 30 x 40 inches PROVENANCE Private Collection, Florida. ESTIMATE $3,000—$5,000148 CHARLES HARRY EATON American (1850-1901) SPRING LANDSCAPE ALONG A RIVER, 1877 oil on board signed and dated lower left "Charles H. Eaton 1877" 23 1⁄4 x 18 1⁄2 inches PROVENANCE Spanierman Gallery, New York, New York; Private Collection, New York; Private Collection, New Jersey; Private Collection, New York. ESTIMATE $3,000—$5,000149 EDWARD B. GAY American (1837-1928) LANDSCAPE WITH RIVER oil on canvas signed lower right "Edward Gay" 18 x 15 inches PROVENANCE Private Collection, New York; Private Collection, New Jersey; Private Collection, New York. ESTIMATE $3,000—$5,000147149148
150 BRUCE CRANE American (1857-1937) AUTUMN LANDSCAPE oil on canvas signed lower right "Bruce Crane" 18 x 24 inches PROVENANCE Private Collection, New Jersey. ESTIMATE $2,500—$3,500151 ARTHUR FITZWILIAM TAIT American (1819-1905) "CALF AND 4 FOWLS" oil on panel signed and dated lower right "A.F. Tait / NY 1867," signed, numbered, dated and inscribed on the reverse "No. 515 / Marrisania, N.Y. / Copyright Reserved" 14 x 17 inches PROVENANCE The Sporting Gallery, Inc., Middleburg, Virginia; Private Collection, Kentucky. NOTES A label from the Sporting Gallery Inc. on the reverse describes this painting in Tait's records from 1867. ESTIMATE $4,000—$6,000152 FRANK KNOX MORTON REHN American (1848-1914) FALL LANDSCAPE WITH STREAM oil on canvas signed and dated lower right "FKM Rehn 1875" 20 ¼ x 36 inches PROVENANCE Private Collection, New York; Private Collection, New Jersey; Private Collection, New York. ESTIMATE $3,000—$5,000150152151145
153 FRITZ VAN DER VENNE German (1873-1936) SLEIGH RIDE oil on canvas signed and inscribed lower left "Fritz Van Der Venne, Munchen" 26 3⁄4 x 41 3⁄4 inches PROVENANCE Sotheby's, New York, New York, May 9, 2002; Private Collection, New York. ESTIMATE $3,000—$5,000154 JOSEPH WOPFNER Austrian (1843-1927) ABENDANDACHT AUF DEM CHIEMSEE oil on canvas signed lower right "Jos. Wopfner, Munchen" 10 3⁄4 x 22 1⁄2 inches PROVENANCE Private Collection, Connecticut. ESTIMATE $3,000—$5,000155 CORNELIS WOUTER BOUTER Dutch (1888-1966) AT THE WELL oil on canvas signed lower left "C. Verschuur" (Cornelis Verschuur is pseudonym of the artist) 24 x 32 inches PROVENANCE Classic Art Gallery, Carmel, California, September 15, 2000; Private Collection, New York. ESTIMATE $3,000—$5,000153155154146
147156 ANTOINE BOUVARD French (1870-1956) A VENETIAN CANAL SCENE oil on canvas signed lower right "Bouvard" 18 x 24 inches PROVENANCE A New York estate; Private Collection, New Jersey. ESTIMATE $4,000—$6,000157 SYDNEY A. MULHOLLAND British (19th Century) HAY BARGES ON THE THAMES RIVER oil on canvas signed lower right "S.A. Mulholland" 24 x 42 inches PROVENANCE William Vareika Fine Arts, Ltd., Newport, Rhode Island; Private Collection, New York. ESTIMATE $3,000—$5,000158 GUY DESSAPT French -1938 "LE PONT, ST. LOUIS" oil on canvas signed lower right "Dessapt," inscribed, titled and signed on the reverse "Paris" 24 x 30 inches PROVENANCE Gallery Revel, Inc., New York, New York, December 15, 2001; Private Collection, New York. ESTIMATE $4,000—$6,000156158157
159 JEROME S. BLUM American (1884-1956) CUBAN STREET SCENE oil on canvas signed, inscribed and dated lower left "Jerome Blum / Cuba 1919" 23 3⁄4 x 28 3⁄4 inches PROVENANCE Private Collection, Connecticut. ESTIMATE $1,200—$1,800160 JEROME S. BLUM American (1884-1956) FLORAL STILL LIFE, CA. 1918 oil on board unsigned 24 3⁄4 x 18 3⁄8 inches PROVENANCE Linda Hyman Fine Arts, New York, New York; Private Collection, Connecticut. EXHIBITED New York, New York, Linda Hyman Fine Arts, "Jerome Blum: American Fauve, Works from 1908 to 1921," April 30-June 30, 1997, cat. no. 10. Note: A double-sided painting with a portrait of a man on the reverse. ESTIMATE $1,500—$2,500161 JEROME S. BLUM American (1884-1956) "IN THE GARDEN" oil on canvas initialed lower left "J.B.," signed, titled and inscribed on the stretcher "France / St. Tropez" 21 1⁄2 x 25 1⁄2 inches PROVENANCE Private Collection, Connecticut. ESTIMATE $1,200—$1,800159161160148
149162 STAPLETON KEARNS American (b. 1952) "BASS HEAD LIGHT" oil on canvas signed and dated lower left "Stapleton Kearns 2002" 36 x 48 inches PROVENANCE Galerie Kornye, Dallas, Texas; Private Collection, New York. ESTIMATE $3,000—$5,000163 CHARLES VICKERY American (1913-1998) "HOMEWARD" acrylic on board signed lower left "Charles Vickery" 11 x 15 inches PROVENANCE Private Collection, Connecticut. EXHIBITED Rockport, Massachusetts, Rockport Art Association. ESTIMATE $2,000—$3,000164 DAVID THIMGAN American (1955-2003) "EMILY F. WHITNEY" oil on masonite signed lower right "© D. Thimgan," titled on the reverse 12 x 16 inches PROVENANCE Private Collection, Connecticut. EXHIBITED Mystic, Connecticut, Mystic Maritime Museum, "Feature Exhibition," November, 1993. ESTIMATE $2,000—$3,000162164163
165 DENNIS SHEEHAN American (b.1950) SUNSET oil on canvas signed lower left "Sheehan" 24 x 24 inches PROVENANCE Private Collection, New York; Private Collection, New Jersey; Private Collection, New York. ESTIMATE $2,000—$3,000166 DENNIS SHEEHAN American (b.1950) ON THE HUNT oil on canvas signed lower right "Dennis Sheehan" 24 x 36 inches PROVENANCE Private Collection, New York; Private Collection, New Jersey; Private Collection, New York. ESTIMATE $2,500—$3,500167 CHRISTOPHER H. SHEARER American (1840-1926) WINTER MOONRISE oil on canvas signed and dated lower left "C.H. Shearer 1895" 30 x 50 ¼ inches PROVENANCE Private Collection, New York. ESTIMATE $4,000—$6,000165167166150
168 EMILE ALBERT GRUPPE American (1896-1978) "BASS ROCKS," 1964 oil on canvas signed lower right "Emile A. Gruppe," signed, titled, dated and inscribed on the reverse "1964, Gloucester, Mass." 24 x 36 inches PROVENANCE Private Collection, Connecticut. ESTIMATE $2,500—$3,500169 EMILE ALBERT GRUPPE American (1896-1978) "THE OLD BEECH" oil on canvasboard signed lower right "Emile A. Gruppe," signed and titled on the reverse 16 x 12 inches PROVENANCE Private Collection, Connecticut. ESTIMATE $2,000—$3,000170 VICTOR WILLIAM HIGGINS American (1884-1949) FARM SCENE watercolor on paper signed lower left "Victor Higgins" 15 1⁄2 x 19 3⁄4 inches (sight) PROVENANCE Private Collection, Connecticut. ESTIMATE $2,000—$3,000168170169151
171 NELL BLAINE American (1922-1996) "DILYS & CHAIR" oil on canvas signed upper left "N. Blaine," artist's stamp and titled on the stretcher 32 x 28 inches PROVENANCE Collection of Contemporary Women Artists, Connecticut. NOTES Blaine studied with Hans Hofmann before moving to New York and immersing herself in the Second Generation of New York School abstract expressionist painters. Blaine was the youngest member of the American Abstract Artist group in 1944.Nell Blaine met Dilys Evans (the subject of this painting), a nurse in the 1950s. Evans helped Blaine recover from polio complica-tions at Mount Sinai Hospital, New York. They eventually became partners. ESTIMATE $4,000—$6,000172 JAMALI Pakistani (b. 1947) "LIFE ENERGY" pigment on cork 55 x 96 inches PROVENANCE Galerie D'Orsay, Boston, Massachusetts; Jack Welch, Southport, Connecticut; Private Collection, Connecticut. NOTES A copy of the original receipt from Galerie D'Orsay accompanies the lot. The artist's label is on the reverse. ESTIMATE $6,000—$8,000171172152
153173 BEN SHAHN American (1898-1969) "MORE THAN MOST FAIR, FULL OF THE LIVING FIRE" (TWO-SIDED) watercolor and ink on paper signed lower right "Ben Shahn" 7 1⁄4 x 12 1⁄4 inches (sight) PROVENANCE Kennedy Galleries, Inc., New York, New York; Collection of Dr. and Mrs. Michael Schlossberg; Sotheby's, New York, New York; Private Collection, Alabama. ESTIMATE $3,000—$5,000174 RICHARD MACDONALD American (b. 1946) "DAWN" bronze signed "R. MacDonald," numbered "14/65" height: 15 inches PROVENANCE The artist, ca. 1995; Private Collection, New York. ESTIMATE $3,000—$5,000175 MARTIN EICHINGER American (b. 1949) "BRIMSTONE" bronze signed and dated "Eichinger '96" numbered "10/15" height: 44 5⁄8 inches PROVENANCE The artist; Private Collection, New York. ESTIMATE $3,000—$5,000173175174
176 PAUL SHARITS American (b. 1943) "PASALO VB" acrylic on canvas signed, dated and titled on the reverse "Sharits 83" 38 x 50 inches PROVENANCE The artist; Private Collection, New York; Private Collection, New York. ESTIMATE $3,000—$5,000177 PAUL SHARITS American (b. 1943) "FOR PEACH II" acrylic on canvas unsigned, titled on the reverse 36 x 48 inches PROVENANCE The artist; Private Collection, New York; Private Collection, New York. ESTIMATE $3,000—$5,000178 JOHN PASCHE British (b. 1945) "TONGUE AND LIPS" gouache and pencil on paper signed in pencil lower right "John Pasche" 31 1⁄2 x 31 1⁄2 inches PROVENANCE The artist; Private Collection, California. ESTIMATE $8,000—$12,000176178177154
179 ROY LICHTENSTEIN American (1923-1997) "FOOT MEDICATION" lithograph signed in pencil lower left "R. Lichtenstein" 15 3⁄8 x 15 5⁄8 inches (sight) PROVENANCE Mrs. Vera List, philanthropist and supporter of contemporary art, Greenwich, Connecticut; descended in the family until the present; Private Collection, Connecticut. ESTIMATE $3,000—$5,000180 ALEXANDER CALDER American (1898-1976) BIRDS NEST lithograph signed lower left "Calder," numbered lower right "69/95" 29 5⁄8 x 43 1⁄4 inches PROVENANCE Private Collection, Connecticut. ESTIMATE $4,000—$6,000179180155— END OF SALE —
156INDEXA ADLER, JANKEL 144 ALDRICH, GEORGE AMES 103 AMERICAN SCHOOL 93 ANDERSON, LENNART 72 AVERY, MILTON 67 B BEAL, REYNOLDS 109 BENTON, THOMAS HART 43 BERGE, EDWARD HENRY 37 BERTHELSEN, JOHANN 1, 4 BETTS, LOUIS 69 BIERSTADT, ALBERT 108 BLAINE, NELL 171 BLUM, JEROME S. 159, 160, 161 BOESE, HENRY 129 BONNET, RUDOLF 132 BOUVARD, ANTOINE 156 BRADFORD, WILLIAM 42 BRICHER, ALFRED T. 41, 63, 66, 84, 96, 97, 100 BRIDGES, FIDELIA 76, 77 BROGE, ALFRED 138 BROWN, JOHN GEORGE 86 BROWN, HARRISON B. 131 BROWNE, MATILDA 15 BROWNING, COLLEEN 26 BRUESTLE, GEORGE M. 147 BURCHFIELD, CHARLES 51, 52 BURLIUK, DAVID 19 C CALDER, ALEXANDER 180 CARLES, ARTHUR BEECHER 71 CARLSON, JOHN FABIAN 104 CARLTON, WILLIAM T. 87 CARMIENCKE, JOHANN H. 85 CHADWICK, WILLIAM 102 CHAGALL, MARC 32 CHAPMAN, CONRAD W. 13 COOPER, COLIN C. 121 CRANE, BRUCE 150 CROPSEY, JASPER F. 83, 127 CURRAN, CHARLES C. 92 D D’ESPAGNAT, GEORGES 20 DE BOUCHERVILLE, ADRIEN 9 DE HAAS, MAURITZ F. H. 62, 65 DESSAPT, GUY 158 DUMOND, FRANK VINCENT 136 DYF, MARCEL 124 E EATON, CHARLES HARRY 148 EICHINGER, MARTIN 175 F FALTER, JOHN PHILIP 123 FINSTER, HOWARD 146 FONG, LEE MAN 134 FORSYTH, WILLIAM J. 111 G GALIEN-LALOUE, EUGENE 12 GASSER, HENRY 2 GAY, EDWARD B. 149 GRAVES, ABBOTT FULLER 49 GRAY, JACK LORIMER 7 GROSS, CHAIM 141, 142, 143 GRUPPE, EMILE ALBERT 168, 169 H HENRY, EDWARD LAMSON 115 HERZOG, HERMANN 38, 39, 46 HIBBARD, ALDRO T. 6 HIGGINS, VICTOR WILLIAM 170 HITCHCOCK, GEORGE 91 HODE, PIERRE 18 HOWELL, FELICIE WALDO 47 HUNTINGTON, ANNA H. 33 I INGLE, JOHN STUART 73 INNESS, GEORGE 82 IRVINE, WILSON 112 J JAMALI 172 JENKINS, PAUL 24 JOHNSON, EASTMAN 116
157K KAMROWSKI, GEROME 22, 23 KAUFMANN, ISIDOR 14 KEARNS, STAPLETON 162 KNIGHT, LOUIS ASTON 120 KOESTER, ALEXANDER MAX 8 KONTI, ISIDORE 34 L LACHAISE (AFTER), GASTON 35 LEAVITT, EDWARD C. 59 LEE, DORIS EMRICK 122 LEVER, RICHARD HAYLEY 5 LICHTENSTEIN, ROY 179 M MACDONALD, RICHARD 174 MARTINO, ANTONIO PIETRO 3 MATTA, ROBERTO 25 MAURER, ALFRED HENRY 29 MCENTEE, JERVIS 98 MIRA, ALFRED S. 117 MOORE, HENRY 30, 31 MOORE, NELSON A. 130 MORA, FRANCIS LUIS 140 MORAN, EDWARD 61 MOREAU, MATHURIN 36 MULHAUPT, FREDERICK 106 MULHOLLAND, SYDNEY A. 157 N NOYES, GEORGE L. 137 O OLBINSKI, RAFAL 145 P PALMER, PAULINE L. 16 PALMER, WALTER LAUNT 54, 55, 56 PASCHE, JOHN 178 PELTON, AGNES 126 PENE DU BOIS, GUY 70 PETERSON, JANE 17, 74, 110 POLIAKOFF, SERGE 21 PRENTICE, LEVI WELLS 57, 58 PROPER, IDA 119 R REHN, FRANK KNOX M. 152 RICHARDS, WILLIAM TROST 95 RONNER-KNIP, HENRIETTE 10 S SHAHN, BEN 173 SHARITS, PAUL 176, 177 SHEARER, CHRISTOPHER H. 167 SHEEHAN, DENNIS 165, 166 SHEPPARD, JOSEPH SHERLY 27 SHEPPARD, WARREN W. 64 SILVA, FRANCIS AUGUSTUS 94 SINGER, CLYDE 28 SLOANE, ERIC 50, 114 SOEDARSONO, TRUBUS 133 SONNTAG, SR., WILLIAM L. 40 SOYER, MOSES 68 T TAIT, ARTHUR FITZWILIAM 151 THIMGAN, DAVID 164 TITCOMB, MARY BRADISH 125, 135, 139 TRYON, DWIGHT WILLIAM 79, 80, 81 TWACHTMAN, JOHN H. 75 V VAN DER VENNE, FRITZ 153 VICKERY, CHARLES 163 VINCENT, HARRY AIKEN 105 VON BLAAS, EUGENE 11 VONNOH, ROBERT 113 W WALKER, WILLIAM AIKEN 44, 45 WARNER, EVERETT L. 118 WATKINS, SUSAN 78 WEIR, JULIAN ALDEN 48, 88, 89, 90 WHITTREDGE, W. 107 WIGGINS, GUY CARLETON 53 WILLIAMSON, JOHN 99, 101 WILMARTH, LEMUEL E. 60 WOODWARD, LAURA 128 WOPFNER, JOSEPH 154 WOUTER BOUTER, C. 155
158CONSIGNMENTS INVITED TESTIMONIALSOn behalf of my mother and sister, I’d like to express to you our appreciation for the way you conducted the sale of my mother’s oil painting by M.J. Heade. Being complete novices with a valuable oil painting on our hands, we could have made any number of wrong decisions. Thanks to the guidance and the hard work of your firm we were able to realize what was probably the maximum price for the painting. Our experience working with Shannon’s was completely enjoyable and satisfying from start to finish. -Bill, New Jersey Approximately three months ago, I walked into your gallery with a somewhat damaged, soiled painting. Since that time, I’ve experienced a once in a lifetime journey. Your expertise, honesty, and candor were evident throughout this time. I thank you for your guidance and professionalism. -John, Connecticut Thank you for your succinct handling of my five offerings in your April auction. I was more than pleased with the final financial transactions but even more so with the personal warmth (not condescending professional aloofness as evidenced by many auction houses and galleries) and willingness to inform the uninitiated to further appreciation of a genuine treasure. Your enthusiasm is evident and infectious. -Luther, CaliforniaTo submit artwork for consideration please email photos to firstname.lastname@example.org or visit www.shannons.comJanuary 2022 On-Line Fine Art Auction Consignment deadline - December 15, 2021 April 2022 Important American & European Paintings, Drawings, Prints & Sculpture Consignment deadline - March 1, 2022At SHANNON’S we offer personalized service and competitive commission rates to ensure you have the most profitable auction experience. For over 20 years clients have trusted us with their Fine Art, relying on our expertise, reputation and history of record prices. Since 1997 Shannon’s has sold over $100,000,000 in Fine Paintings, Drawings, Prints and Sculpture. Contact us today to see what we can do for your collection.Upcoming Auctions:
159BIDS 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: email@example.com CHECK ONE: ABSENTEE BID PHONE BID I understand that Shannon's will execute my bids as a convenience, and will not be held responsible for errors, or the inadvertent failure to execute bids. On my behalf, Shannon's will try to purchase these lots for the lowest possible price. If identical absentee bids are left, Shannon's will give precedence to the first one received. I have read and agree to the Conditions of Sale on page 2. Payment for successful bids must be made within two weeks of the sale. A premium of 25% of the successful bid will be applied to the individual hammer price of all lots sold, to be paid by the buyer as part of the purchase price. Purchases made through Invaluable will be subject to an additional 5% charge (30% total buyer’s premium) and purchases made online through shannons.com will be subject to an additional 2% charge (27% buyer’s premium). Name Date Address City State Zip Country Phone # Alternate# EmailSignature (required) 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.
160Shannon’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, FL, KS, MA, MI, NE, NJ, NY, OH, OK, PA, RI and VA and remit the appropriate sales tax. If we do not collect sales tax in your state, it is still your responsibility to pay the proper tax on your purchases. ALL ITEMS MUST BE PAID FOR WITHIN 7 DAYS OF THE SALE, AT WHICH POINT THEY WILL BE RELEASED FOR SHIPMENT OR DELIVERY. 7. Limited Warrantee: Although Shannon’s LLC exercises due care in describing the items listed and use good judgment in attribut-ing authorship; it does not make any express or implied warran-tee as to such authorship. Notwithstanding, Shannon’s LLC may, but shall have no obligation to, consider any reasonable request for refund on the grounds of authenticity of authorship only and only under the following conditions: A.Notification must be made to Shannon’s in writing within 7 days of receipt of the item. B. The items must be returned within 28 days of the sale, accompanied by written testimony from a recognized authority that the lot in question is a forgery. C. The limited warrantee does not extend to the lots identified as attributions, school, circle, manner, or after. D. The limited warrantee is applicable only to the original Buyer. 8. All property is sold "as is". 9. As a convenience to the Buyer, Shannon’s LLC will make a referral for packing and shipping. This is at the request, expense, and risk of the Buyer, and Shannon’s assumes no responsibility for the items or the timing of delivery. Insurance for in transit items is the responsibility of the buyer. All items must be removed within 30 days post sale or a fee of up to $20 per day will be charged for storage. Items not collected within twelve months of a sale will become the property of Shannon’s. 10. Shannon's has retained the Art Loss Register to check all uniquely identifiable items offered for sale in the catalog that are estimated for $5,000 or more against the computerized database of stolen or lost artwork maintained by the Art Loss Register. A search certificate can be provided by the Art Loss Register for an additional fee. The Art Loss Register does not guarantee the provenance or title of any catalogued item against which they search, and will not be liable for any direct or consequential losses of any nature howsoever arising. The statement is not to affect, detract from, or override Shannon's Conditions of Sale, and in the event of any conflict, Shannon's Conditions of Sale will take priority to the terms of this statement. BIDDING AT THIS AUCTION, WHETHER IN PERSON, BY AGENT, ORDER BID, TELEPHONE, INTERNET OR OTHER MEANS, CONSTITUTES YOUR ACKNOWLEDGEMENT AND ACCEPTANCE OF THESE "CONDITIONS OF SALE". CONDITIONS OF SALEAfter: A work of art or object made in the style of an artist or maker, but not by the artist. Sometimes refers multiples that may have used an artist’s mold or plate, but were reproduced by someone other than the artist, including posthumous works. Can also be used to describe a direct reproduction after an original work of art. Attributed (attr.): In our opinion, probably or possibly a work of art by the artist. The work is either unsigned, and/or lacks adequate prove-nance or authentication by experts in the field. Bears Signature: The work is signed, but the work and signature may not be by the hand of the artist. Manner of: Made in the likeness or style of an artist, with a slight possibility that it was made by the artist or by a follower or student of the artist. Also see “After” and “Attributed”. Possibly: Being something that may or may not be true or actual without guarantee. Probably: Supported by evidence strong enough to establish presumption but not proof. We do not guarantee it to be true. School: Usually relates to a particular artistic or aesthetic movement. It can also relate to an actual school or to followers of a particular artist or maker. Also see: “Manner of”, “Style”, “Attributed to” and “After”. Style: After the time period in which the style originated, or a more recent reproduction (ie: Style of Pablo Picasso or Cubist Style), used to refer to the style of a particular artist or artistic movement, generally made long after that time period.GLOSSARY OF TERMS
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