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Fine Art Auction Paintings, Drawings, Prints and Sculpture Milford, Connecticut • October 24, 2024

Front cover illustration #47 Back cover illustration #54FINE ART AUCTION PAINTINGS, DRAWINGS, PRINTS AND SCULPTURE PREVIEW DATES & TIMES: In-person previews by appointment October 14th - 23rd (weekdays from 11AM-6PM) Saturday, October 19th (10AM-3PM) Closed Sunday Virtual previews & additional photos are available by request. Bid by telephone, absentee or live on shannons.com.AUCTION INFORMATION Thursday, October 24, 2024 | 6:00 PM EDT

CONTENTSContacts 2 Artist Index 128 Invitation to Consign 130 Bid Form 131 Conditions of Sale 132Sandra Germain Owner sandra@shannons.comAli Danker Specialist ali@shannons.comDerek Gautier Auction Associate derek@shannons.comJoe Bartolomeo Operations / Photography joe@shannons.comContactsGeneral Sale Inquiries info@shannons.com (203) 877-1711 49 Research Drive | Milford, CT 06460

1 GUY CARLETON WIGGINS American (1883-1962) "CHURCH OF THE ASCENSION", 1937 oil on canvasboard signed lower left "Guy Wiggins", titled, signed and dated on the reverse 12 x 8 inches PROVENANCE Private Collection; Christie's, New York, New York, November 20, 2019, lot 152; Questroyal Fine Art, New York, New York; Private Collection, New Jersey ESTIMATE $8,000—$12,000132NO LOT

3 JOHANN BERTHELSEN American (1883-1972) TRINITY CHURCH oil on canvasboard signed lower right "Johann Berthelsen" 16 x 12 inches PROVENANCE Private Collection, New York ESTIMATE $3,000—$5,00034444 ALFRED MIRA American (1900-1981) "E. 42ND STREET, NYC", 1943 oil on canvasboard signed and dated lower right "Mira / 43", titled on the reverse 16 x 12 inches PROVENANCE Private Collection, Vermont ESTIMATE $3,000—$5,00055 GEORGE HERBERT MACRUM American (1878-1970) HUDSON RIVER DOCKS oil on board signed lower left "GH Macrum" 8 1⁄2 x 10 1⁄4 inches PROVENANCE Private Collection, New York ESTIMATE $2,000—$3,000

656 ALFRED MIRA American (1900-1981) "HOMEWARD BOUND" oil on canvas signed lower right "Mira" 20 x 24 inches PROVENANCE Grand Central Galleries, New York, New York; Private Collection, Vermont ESTIMATE $5,000—$7,00077 RACKSTRAW DOWNES English (b. 1939) "LOOKING AT GRIFFERTY", 1973 oil on canvas signed lower right "R.D" 22 3⁄4 x 33 1⁄4 inches PROVENANCE Kornblee Gallery, New York; Claude Bernard Gallery, New York; Galerie Claude Bernard, Paris ESTIMATE $5,000—$7,000

868 MICHEL DELACROIX French (b. 1933) "QUAI DE LA SEINE AU MATIN" oil on canvas signed lower left "Michel Delacroix", titled and signed on the reverse, inscribed on the reverse "Paris" 23 1⁄2 x 28 1⁄2 inches PROVENANCE Private Collection, Illinois ESTIMATE $12,000—$18,000

9 LEON AUGUSTIN LHERMITTE French (1844-1925) LA GLANEUSE oil on canvas signed lower right "Lhermitte" 22 x 16 1⁄4 inches PROVENANCE Sotheby’s, New York, New York, May 22, 2014, lot 22; Private Collection, Montana NOTES The present work relates to "Retour des glaneuses le soir", which Lhermitte showed at the Paris Salon of 1891. In its focus on the central figure stripped of the other staffage in the Salon painting, the present work is very similar to one recorded in Monique Le Pelley Fonteny's Lhermitte catalogue raisonné (no. 156).The authenticity of this work has been confirmed by the Comité Leon Lhermitte. This lot is sold unframed. ESTIMATE $20,000—$30,00097

81010 HENRI LEBASQUE French (1865-1937) FILLETTES SAUTANT À LA CORDE oil on board signed lower right "H Lebasque" 21 1⁄2 x 17 1⁄4 inches PROVENANCE Private Collection, New York; Shannon's, Milford, Connecticut, April 25, 2013, lot 75; Private Collection, Montana NOTES This painting is included in the catalogue raisonné of the artist's works by Denise Bazetoux, ill. p. 90, n. 158. ESTIMATE $25,000—$35,000

91111 FELIX ZIEM French (1821-1911) "VENISE, VUE DU JARDIN FRANCAISE" oil on canvas signed with artist's estate stamp lower center and on the reverse 22 1⁄2 x 32 1⁄4 inches PROVENANCE Kurt E. Schon, LTD, New Orleans, Louisiana (a copy of the purchase receipt accompanies this lot); Private Collection, Florida ESTIMATE $20,000—$30,000

10Peder Mork Monsted was a realist artist known for his landscapes. He was born in western Denmark and studied at the academy in Copenhagen under Andreas Fritz and Julius Exner. He established his studio in Copenhagen but traveled extensively throughout Europe, North Africa, and the Middle East. Monsted’s landscapes are renowned for their romantic and poetic view of nature. He could depict the grandeur and monumentality of a landscape with a keen eye for detail and color. In Copenhagen, Monsted studied at the Royal Academy of Art between 1875 and 1878. By age 15 he participated in the December Exhibition in Copenhagen. In 1883, he traveled to Paris to work with William-Adolphe Bouguereau for four months. At the beginning of the 19th century he painted Mediterranean scenes in the south of France and Italy, he also returned to Switzerland. Monstead was painting at the turn of the century and he was able to combine academic naturalism with a photorealistic approach. In the present example, the village in the valley provides a scale for the majestic mountain landscape. In the foreground the road through the tunnel is an impressive feat of pre-industrial engineering. Most of Monsted’s paintings are in private collections collected by travelers and in regional collections although there are numerous works by the artist in museum collections. In 1995, Monsted was the subject of a major retrospective called “Light of the North” in Frankfurt am Main.12 PEDER MORK MONSTED Danish (1859-1941) LAKE LUCERNE, 1884 oil on canvas signed and dated lower right "P Monsted. 1884." 48 x 38 inches PROVENANCE Purchased from the artist; by descent in the family, New York ESTIMATE $25,000—$35,000

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13121413 MARCEL DYF French (1899-1985) STILL LIFE OF FLOWERS BY A WINDOW, 1973 oil on canvas signed lower right "Dyf" 21 3⁄4 x 18 1⁄4 inches PROVENANCE Private Collection, New York NOTES We are grateful to Ms. Claudine Dyf for confirming the authenticity of this lot. This work is listed in her archives N° ID 347. ESTIMATE $4,000—$6,00014 MARCEL DYF French (1899-1985) CLAUDINE READING oil on canvas signed lower left "Dyf" 18 x 21 3⁄4 inches PROVENANCE Private Collection, New York NOTES We are grateful to Ms. Claudine Dyf for confirming the authenticity of this lot. This work will be included in her archives. ESTIMATE $4,000—$6,000

151315 FRANCIS COATES JONES American (1857-1932) A GIFT OF FLOWERS oil on canvas signed lower left "Francis C. Jones" 26 x 19 inches PROVENANCE Godel and Co., New York, New York; Private Collection, New York ESTIMATE $12,000—$18,000

1416 RICHARD HAYLEY LEVER American (1876-1958) "HIGH BRIDGE OVER HARLEM RIVER", CA. 1913 oil on canvas signed lower right "Hayley Lever" 50 x 60 inches PROVENANCE Clayton-Liberatore Gallery, Bridgehampton, New York; Spanierman Gallery, New York, New York; Private Collection, Connecticut EXHIBITED Pittsburgh, Pennsylvania, Carnegie Institute, "Seventeenth Annual Exhibition", 1913, cat. no. 127, as "East River, New York" (awarded Honorable Mention); Yonkers, New York, Hudson River Museum, and West Palm Beach, Florida, Norton Museum "Industrial Sublime: Modernism and the Transformation of New York's Rivers, 1900-1940", October 12, 2013 - June 22, 2014. LITERATURE "Industrial Sublime: Modernism and the Transformation of New York's Rivers, 1900-1940", exhibition catalog, (Yonkers: Hudson River Museum, 2013), p. 130, cat. no. 37; Carol Lowrey, "Hayley Lever and the Modern Spirit", (New York, New York: Spanierman Gallery, 2010), p. 19, cat. no. 8. NOTES In an exceptional Lowy frame. ESTIMATE $30,000—$50,000Born in Australia, Richard Hayley Lever came to America in 1911 at the urging of artist Ernest Lawson, whom he had met in Paris. Lever called New York with its astounding modernity “the most wonderful and delightful city in the world,” and quickly made the city his primary subject matter. Lever’s structured impressionist style was well suited to painting the geometric patterns characteristic of the urban landscape, particularly New York’s bridges. High Bridge over the Harlem River is one of the most striking of his early career. Lever clearly conveys the massiveness of the bridge’s structure as it rhythmically marches across the wintry landscape; it is just possible to see the busy pedestrian foot traffic, miniscule figures barely visible above the bridge railing.1 As biographer Carol Lowrey notes, “Thrilled with the rich array of architectural motifs he encountered in New York, Lever also painted views of the city’s bridges, capturing the beauty and majesty of structures such as High Bridge, which spans the Harlem River at 173rd Street. The recipient of an honorable Mention at the Carnegie Institute’s annual exhibition in 1913, “High Bridge over the Harlem River”, stands as one of Lever’s earliest excursions into the bridge imagery of New York and an outstanding example of his penchant for strong, two-dimensional designs.”2 The High Bridge is the oldest bridge in New York City. It reopened to pedestrian traffic in 2015 after being closed for 45 years. In a 2023 article, “Past Lives of the Hudson River,” in Hyperallergic, columnist Elaine Velie compares the scene in the painting to the modern day bridge presenting the painting as a “jarring commentary on the rapid expansion of American cities and sacrifice of design and pedestrian utility.” She continues, “Richard Hayley Lever’s circa-1913 painting of the High Bridge in the Bronx shows a scene that appears to be taken straight from a Robert Frost poem, rather than New York City. Snow covers the river slopes and small painted buildings line the waterfront. In the background, a cluster of developments rests on a short hill. A contemporary photo of this exact location reveals a river expansion project that doubled the bridge’s length, foregrounded by a billboard and a tangle of highways. The shoreline now looks impossible to access on foot.”3 The work is housed in an exceptional frame which adds to the dramatic height of the bridge and adds a beautiful contrast to the white snow. 1 “Industrial Sublime: Modernism and the Transformation of New York’s Rivers, 1900-1940”, exhibition catalog, (Yonkers: Hudson River Museum, 2013), p. 130, cat. no. 37. 2 Carol Lowrey, “Hayley Lever and the Modern Spirit”, (New York, New York: Spanierman Gallery, 2010), p. 19. 3 Elaine Velie, “Past Lives of the Hudson River,” in Hyperallergic, April 25, 2023.

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161717 RICHARD HAYLEY LEVER American (1876-1958) "ST. IVES CORNWALL ENGLAND", 1906 oil on canvas signed lower right "Hayley Lever", titled and dated on the reverse 18 x 24 inches PROVENANCE Clayton-Liberatore Art Gallery, New York, New York, 1966; Private Collection, Florida NOTES A copy of an appraisal from Clayton-Liberatore Art Gallery accompanies this lot. ESTIMATE $7,000—$10,000

171818 RICHARD HAYLEY LEVER American (1876-1958) IN BRITTANY IN DOUARNENEZ oil on board signed lower right "Hayley Lever", titled on the reverse 15 1⁄2 x 19 1⁄2 inches PROVENANCE Clayton-Liberatore Art Gallery, New York, New York, 1966; Private Collection, Florida NOTES A copy of the original purchase receipt from Clayton-Liberatore Art Gallery accompanies this lot. ESTIMATE $6,000—$8,000

1819 EMILY MASON American (1932-2019) "THREE MUSICIANS", 1988 oil on canvas signed and dated lower right "Emily Mason '88" 50 x 48 inches PROVENANCE Private Collection, Connecticut NOTES "Three Musicians" is recorded in the Emily Mason | Alice Trumbull Mason Foundation archives and catalogue. ESTIMATE $40,000—$60,000Emily Mason was born and raised in New York City where her art education began in the studio with her mother Alice Trumbull Mason, a founding member of the American Abstract Artists. Alice taught Emily that it was perfectly acceptable to be a female abstract artist. Emily graduated from New York City’s High School of Music and Art and then attended Bennington College and the Cooper Union. In 1956 she was awarded a two-year Fulbright grant to paint in Venice, Italy. While studying at the Accademia delle Belle Arti she first experimented with blotting and transferring paint onto the surface of the canvas. In 1957, at the Ponte de Rialto, Mason married painter Wolf Kahn (1927-2020). The painting offered here “Three Musicians,” completed in 1988, exemplifies the artist’s skillful approach to Abstract Expressionism, particularly through her mastery of color and composition. Mason, active throughout the second half of the 20th century, was known for her vibrant color fields, often working with oil paints to layer and build texture in a way that added depth to her abstract forms. Her works are usually characterized by their subtle tonal variations and fluid brushwork, and this work reflects these hallmarks of her style. Painted during a mature phase of her career, this 1988 work demonstrates Mason’s deep understanding of the emotional resonance that color can hold. In “Three Musicians,” the color palette of greens, blues, oranges, and reds interacts in a harmonious yet dynamic way, like musicians in an ensemble performing together. Overall, “Three Musicians” is a standout piece from 1988 that showcases Emily Mason’s command of Abstract Expressionism, using color, movement, and rhythm to evoke a synesthetic experience. Shannon’s is pleased to present this collection of Emily Mason’s works to the public market for the first time.

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2020 EMILY MASON American (1932-2019) "SILENCE LIKE AN OCEAN", 1982 oil on paper signed, dated and inscribed lower left "Emily Mason '82 / NYC" 26 x 20 inches PROVENANCE The artist; Mercer-Price Gallery, Putney, Vermont; Private Collection, Vermont; Private Collection, Connecticut NOTES "Silence Like an Ocean" is recorded in the Emily Mason | Alice Trumbull Mason Foundation archives and catalogue. ESTIMATE $8,000—$12,00021 EMILY MASON American (1932-2019) "DELIRIOUS CHARTER", 1983 oil on paper signed, dated and inscribed lower right "Emily Mason '83 VT" 26 x 20 inches PROVENANCE Grace Borgenicht Gallery, New York, New York; Private Collection, Vermont; Private Collection, Connecticut NOTES "Delirious Charter" is recorded in the Emily Mason | Alice Trumbull Mason Foundation archives and catalogue. ESTIMATE $8,000—$12,0002021

22232122 WOLF KAHN American (1927-2020) UNTITLED WHITE FARMHOUSE, 1975 pastel on paper signed and dated lower left "W Kahn 1975" 13 1⁄4 x 16 1⁄4 inches PROVENANCE Private Collection, Connecticut ESTIMATE $8,000—$12,00023 WOLF KAHN American (1927-2020) "MOBILE HOME IN ARKANSAS", 1977 oil on canvas signed lower left "W Kahn", numbered and dated on the reverse "#26" 18 x 28 inches PROVENANCE John H. Surovek, Palm Beach, Florida; Grace Borgenicht Gallery, Inc., New York, New York; Private Collection, Connecticut ESTIMATE $7,000—$10,000

2224 PAULINE LENNARDS PALMER American (1867-1938) THE CLIPPER, PROVINCETOWN oil on canvasboard signed lower left "Pauline Palmer" 20 x 24 inches PROVENANCE Questroyal Fine Art, LLC, New York, New York; Private Collection, New Jersey ESTIMATE $8,000—$12,0002425 ROGER NORMAN MEDEARIS American (1920-2001) SKETCH FOR THE POND, 1950 oil on panel signed and numbered/dated lower left "RM / 2-50", signed on the reverse, inscribed on the reverse "Sketch-February 1950 / Near Jefferson City, Missouri", inscribed on the reverse "Monterey Park / California" 13 3⁄4 x 16 inches PROVENANCE Collection of Elizabeth Fondaras; Christie's, New York, New York, June 18, 2013, lot 179; Private Collection, Connecticut NOTES This work is a sketch for the painting "The Pond" 1970. ESTIMATE $4,000—$6,00025

26272826 ROGER NORMAN MEDEARIS American (1920-2001) BREEZY MORNING, 1949 oil on panel signed and dated lower left "RM / 9-49", titled, dated, and signed on the reverse, inscribed on the reverse "Sketch in oils / in Chester, Conn. / September, 1949" 9 1⁄2 x 14 inches PROVENANCE Collection of Elizabeth Fondaras; Christie's, New York, New York, June 18, 2013, lot 177; Private Collection, Connecticut ESTIMATE $3,000—$5,00027 ROGER NORMAN MEDEARIS American (1920-2001) "AFTERNOON SHADE", 1949 oil on panel signed and dated lower left "RM / 9-49", titled, dated, and signed on the reverse, inscribed on the reverse "Sketch in oils, in / Chester, Conn., Sept. 1949" 13 3⁄4 x 15 3⁄4 inches PROVENANCE Collection of Elizabeth Medearis; Christie's, New York, New York; October 1, 2013, lot 61; Private Collection, Connecticut ESTIMATE $3,000—$5,00028 HENRY MARTIN GASSER American (1909-1981) "FROM THE HILL CREST, GLOUCESTER" mixed media on paper signed lower right "H. Gasser", titled and signed on the reverse 9 x 12 inches PROVENANCE Private Collection, Connecticut ESTIMATE $2,500—$3,50023

29 EMILE A. GRUPPE American (1896-1978) IN THE HARBOR oil on canvas signed lower left "Emile A. Gruppe" 36 x 30 inches PROVENANCE Private Collection, New York ESTIMATE $7,000—$10,00030 EMILE A. GRUPPE American (1896-1978) "SURF CASTING" oil on canvas signed lower right "Emile A Gruppe" 25 x 30 inches PROVENANCE Private Collection, Connecticut ESTIMATE $5,000—$7,000293024

31 ANTHONY THIEME American (1888-1954) OLD ROCKPORT oil on canvas signed lower right "A Thieme" 30 x 36 inches PROVENANCE Private Collection, New Jersey; Freeman’s, Philadelphia, Pennsylvania, December 5, 2010, lot 82; Private Collection, Connecticut EXHIBITED Rockport, Massachusetts, Rockport Artist Association, "Harry A Vincent ANA and his Contemporaries", October 6 - November 2, 2006 ESTIMATE $15,000—$25,0003125

2632 JASPER FRANCIS CROPSEY American (1823-1900) GREENWOOD LAKE, 1875 oil on canvas signed and dated lower left "J.F. Cropsey / 1875" 18 x 30 inches PROVENANCE The T. Eaton Co. Fine Art Galleries, Canada; Private Collection, 1955; Christie's, New York, New York, December 4, 2003, lot 4; Property from a Distinguished Collector EXHIBITED Louisville, Kentucky, Louisville Industrial Exposition, 1875, no. 135 (possibly) ESTIMATE $50,000—$75,000Jasper Cropsey trained as an architect, a profession which he exercised at various times throughout his life, but he turned to painting full-time in 1843. He soon became one of the leading landscape painters of the Hudson River School and was widely regarded as “America’s painter of autumn.” Following his marriage to Maria Cooley in 1847, Cropsey and his wife traveled to Europe on a Grand Tour until 1849. In Rome, Cropsey moved into the studio formerly occupied by Thomas Cole, an artist who influenced him greatly from the start of his career. On his return to America, he opened a studio in New York and traveled throughout New England to paint. Cropsey returned once again to Europe and lived in England from 1856 to 1863. During this time, he enjoyed the same success he had in America and in 1862 completed one of the most ambitious landscapes of his career, Autumn on the Hudson River, now in the permanent collection of the National Gallery of Art in Washington, D.C. On his return to America in 1863, Cropsey’s paintings illustrated his admiration for the luminist aesthetic inspired by the natural splendor around him. That same year, he built a Victorian-style residence named “Aladdin” next to Greenwood Lake, situated in a 45-acre property near Warwick, New York. This became the location and inspiration for many of his paintings in the 1860s and 1870s, which illustrate his masterful fluency in depicting the Hudson River Valley in all its natural splendor. The present work lot is one of these examples. According to the late Dr. Kenneth W. Maddox, Cropsey painted at least three images of Greenwood Lake in 1875, of which a larger version is included in the Smithsonian American Art Museum, Washington, D.C. Autumn, with its rich colors, was a favored season among many 19th century American landscape painters. Cropsey specialized in painting the fall for half a century, and devoted himself almost exclusively to that theme in his later career.

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2833 GEORGE INNESS American (1825-1894) "CROMWELL'S BRIDGE", 1875 oil on canvas signed and dated lower right "G Inness 1875" 19 3⁄4 x 29 3⁄4 inches PROVENANCE T.B Walker, Minneapolis, Minnesota (1925); T.B. Walker Foundation (1925-1976); The Walker Art Center, Minneapolis, Minnesota (1976-1989); Sotheby's, New York, New York, May 24, 1989, lot 38; Albany Gallery, Albany, New York (1990); Alexander Gallery, New York, New York; Private Collection, New York EXHIBITED Rochester, Minnesota, Rochester Art Center, "Minnesota Art Sources", May - June 1963; Billings, Montana, Yellowstone Art Center, "Inaugural Exhibition", October - November 1964; Minneapolis, Minnesota, Minneapolis Museum of Arts, "Fiftieth Anniversary Exhibition", November 1965 - January 1966; New York, New York, Borghi and Company, "George Inness: The Spiritual Landscape", 1991; Albany, New York, State University of New York, "Democratic Vistas: 150 Years of American Art from Regional Collections", 1994 LITERATURE R.H. Adams, "The Walker Art Galleries Catalogue", (Minneapolis, Minnesota: The Walker Art Galleries, 1927), p. 85; Leroy Ireland, "The Works of George Inness", (Austin, Texas and London, England: University of Texas Press, 1965), pp. 187-188, no. 758; Mazow, "George Inness: Problems in Antimodernism (1996), p. 23, 136, no. 27; Michael Quick, "George Inness: A Catalogue Raisonne", vol. I, (New Brunswick, New Jersey and London, England: Rutgers University Press, 2007), p. 486, cat. no. 550. ESTIMATE $40,000—$60,000George 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. Of the present work biographer, Michael Quick, notes in his catalogue raisonne on the artist, “This work must have been a special commission, so a special subject certainly is possible. The picture is fully elaborated in a complex technique of glazed shadows and scumbled highlights that Inness had used in the 1860s, but the simplicity and remarkable breadth in the painting of the right bank and lighted trees on the left belongs to 1875.” 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, 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 1867.2 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 Ibid., p. 486

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34353634 PRISCILLA WARREN ROBERTS American (1916-2001) SALON oil on board signed and dated on the reverse "July 9, 2001" 34 x 38 inches PROVENANCE Private Collection, Connecticut NOTES This work is sold unframed. This painting is in the background of another work by Priscilla Warren Roberts titled "Hoops and Stays", which was sold by Shannon's in May 2024. ESTIMATE $3,000—$5,00035 NELL BLAIR WALDEN BLAINE American (1922-1996) STILL LIFE oil on canvas signed lower right "N Blaine" 25 x 18 inches PROVENANCE The artist; Private Collection, Connecticut ESTIMATE $3,000—$5,00036 ANNA HELD AUDETTE American (1938-2013) "GOLD TRACTOR", 1996 oil on canvas signed and dated lower left "Anna Held Audette (c) 96", signed and dated on the reverse 42 x 40 inches PROVENANCE The artist; Private Collection, Connecticut EXHIBITED Staten Island, New York, College of Staten Island, 2002; Windsor, Connecticut, Art Center, "The Ruins of Our Time, Paintings of Anna Held Audette", 2012 ESTIMATE $3,000—$5,00030

37 PRISCILLA WARREN ROBERTS American (1916-2001) "HAUNTED HOUSE", 1982 oil on board signed lower right "P Roberts" 25 x 20 inches PROVENANCE Grand Central Art Galleries, Inc., New York, New York; Private Collection, New York ESTIMATE $6,000—$8,00038 PRISCILLA WARREN ROBERTS American (1916-2001) ANTIQUE TOYS oil on board signed lower left "P Roberts" 19 1⁄2 x 23 1⁄2 inches PROVENANCE Grand Central Art Galleries, Inc., New York, New York; Private Collection, New York ESTIMATE $2,500—$3,500373831

3239 DALE NICHOLS American (1904-1995) "RED BARN AND GOLDEN HILLS" ("MIDWEST WINTER") oil on canvas signed lower right "Dale Nichols", titled on the reverse 30 x 40 inches PROVENANCE Property from a Distinguished Collector ESTIMATE $50,000—$75,000“Farm life was all I knew for the first 20 years of my life. In painting these canvases, I felt again the vastness of endless skies, experienced again the penetrating cold of Nebraska winters, lived again as farmers live …in spirit, I am very much a farmer,” Dale Nichols. Dale Nichols was born in rural David City, Nebraska in 1904. His early life had a profound influence on his paintings which centered on recreations of farm life. As a child, he worked on his family farm and walked to school. At the time, the search for a defined American Art was growing and the public was interested in scenes of American life. American collectors in the 1930s looked to buy Rural Regionalist art to capture the disappearing idyllic agricultural lifestyle. Nichols emerged as an artist when Regionalism and Rural Regionalism were growing as a collecting genre. His paintings are classified as a succession from Regionalist masters Grant Wood, Thomas Hart Benton and John Steuart Curry. Nichols studied in Chicago at the Academy of Fine Arts and the Art Institute with Carl Wentz. He became a successful illustrator, watercolorist, designer, writer, lecturer, block-printer and painter. In the 1930s and 1940s he created artwork for direct-mail industrial advertising. From 1942-1948 he succeeded Grant Wood as art editor of the Encyclopedia Britannica. Aside from his commercial success, around 1933, Nichols set out to become a painter. He found ample inspiration from his childhood and repeatedly painted scenes of farm life and barns. As an artist, he was well recognized and enjoyed critical acclaim. In 1934, his painting End of the Hunt received an award from the Art Institute of Chicago and in 1939 it was purchased by the Metropolitan Museum of Art in 1939 where it still hangs today. The taste for Regionalism waned in the subsequent decade and Nichols moved to Arizona in 1940. He briefly started an art school and then moved to various locations throughout the United States including living on a small yacht. In 1960, he moved to Guatemala for some time. He painted his surroundings but continued to paint barn scenes even after he left Nebraska. Many of these are indistinguishable from his earlier paintings. A reexamination of Regionalist art in recent decades has fortunately renewed interest in Nichols’ paintings. In 2012, the Bone Creek Museum of Art organized a traveling retrospective exhibition, Dale Nichols: Transcending Regionalism. This exhibition cemented Nichols as the fourth American Regionalist alongside Wood, Benton and Curry. Nichols’ work has been avidly collected in numerous public and private collections throughout the country as well as the Metropolitan Museum of Art in New York.

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40 ERIC SLOANE American (1905-1985) AUTUMN IN NEW ENGLAND oil on masonite signed and inscribed on the reverse "Eric Sloane / New Milford / Conn / Elgin 4 - Bold" 23 3⁄4 x 27 3⁄4 inches PROVENANCE Private Collection, Connecticut ESTIMATE $5,000—$7,00041 ERIC SLOANE American (1905-1985) "SPRING, SMITH'S BRIDGE, DELAWARE" oil on masonite signed lower right "Sloane", titled lower left, signed on the reverse 19 x 23 1⁄2 inches PROVENANCE Private Collection, Connecticut; Shannon's Fine Art Auctioneers, Milford, Connecticut, November 19, 2020, lot 100; Private Collection, Connecticut ESTIMATE $4,000—$6,000404134

42 WILSON HENRY IRVINE American (1869-1936) SILVER STREAM oil on canvas signed lower left "Irvine", titled on the reverse 32 x 40 inches PROVENANCE Private Collection, California ESTIMATE $6,000—$8,00043 WILLIAM CHADWICK American (1879-1962) "MELTING SNOW" oil on canvas signed lower right "W Chadwick" 24 x 30 inches PROVENANCE Shannon's, Milford, Connecticut, October 28, 2021, lot 102; Private Collection, Connecticut ESTIMATE $4,000—$6,000424335

3644 TOM YOST American (b. 1957) "NORTHERN PASTURE, TOPLANDS FARM", 2017 oil on linen signed and dated lower right "Yost 17", signed, titled, and inscribed on the reverse 20 x 30 inches PROVENANCE The artist; Private Collection, Connecticut EXHIBITED New York, New York, Questroyal Gallery, "Tom Yost: At the Edge of Truth", May 11 - June 2, 2018 ESTIMATE $6,000—$8,00044

374545 TOM YOST American (b. 1957) "MALLARD MARSH", 2022 oil on linen signed and dated lower left "Yost 22", signed, titled, dated and inscribed on the reverse "White Memorial Conservation, Litchfield, CT / View from Sutton's Bridge, White Memorial Conservation Boardwalk" 18 x 30 inches PROVENANCE The artist; Private Collection, Connecticut ESTIMATE $6,000—$8,000

463846 JASPER FRANCIS CROPSEY American (1823-1900) AUTUMN SHEEP, 1885 oil on canvas signed and dated lower right "J. F. Cropsey / 1885" 7 1⁄2 x 6 1⁄2 inches PROVENANCE Questroyal Fine Art, New York, New York; Private Collection, New York ESTIMATE $12,000—$18,000

ALFRED THOMPSON BRICHER American (1837-1908)

4047 ALFRED THOMPSON BRICHER American (1837-1908) MORNING AT NARRAGANSETT THE TURN OF THE TIDE, 1871 oil on canvas signed and dated lower left "A.T. Bricher 1871" 20 1⁄2 x 41 inches PROVENANCE American Art Association, New York, New York, February 15, 1934, Burlingham Collection, lot 103, as "Morning at Narragansett"; Major Bowes, Rumson, New Jersey; Edward A. Early, Vero Beach, Florida; Parke-Bernet, New York, New York, January 26, 1972, lot 59, as "Ebb Tide"; Property from a Distinguished Collector EXHIBITED New York, New York, National Academy of Design, "Annual Exhibition", 1872, no. 263 (a copy of the Exhibition Records of the NAD accompanies this lot); (Possibly) Chicago Interstate Industrial Exposition, Illinois, 1875, no. 353; (Possibly) Philadelphia Centennial Exposition, Pennsylvania, 1876, no. 486; Indianapolis, Indiana, Indianapolis Museum of Art, "Alfred Thompson Bricher: 1837-1908," September 12 - October 28, 1973; Springfield, Massachusetts, George Walter Vincent Smith Art Museum, Alfred Thompson Bricher: 1837-1908," November 25, 1973 - January 13, 1974 LITERATURE Jeffrey R. Brown, "A.T. Bricher", exhibition cata-log, (Indianapolis, Indiana: Indianapolis Museum of Art, 1973), p. 52, cat. no. 27. NOTES This work is included in the records of the Smithsonian American Art Museum and Renwick Gallery under control number IAP 92520003. ESTIMATE $150,000—$200,000Alfred Thompson Bricher was one of America’s best-known seascape painters of the nineteenth century. Unlike the artists of the two generations preceding, who sought untamed wilderness in the Catskill Mountains, the White Mountains, and the Adirondacks, Bricher specialized in picturesque scenes of the New England seaboard. Today Bricher is widely appreciated by art historians for his mastery of Luminist realism. As a Luminist painter, he was predominantly interested in the pictorial effects of light and translucency. It is always possible to ascertain specifics such as the time of day, weather conditions, and geography in his work, yet his paintings manifest a spiritual quality that was an important component of the Hudson River School. In 1879 Bricher was elected an Associate member of the National Academy of Design. His work was seen regularly in the annual exhibitions of both the Academy and the American Watercolor Society. Bricher also exhibited at the Art Institute of Chicago, the Boston Art Club, and the gallery of James Gill in Springfield, Massachusetts. Following a second marriage in 1881, he built a summer home and studio in Southampton, Long Island. The present lot, painted in Narragansett in 1871, is among the artist’s best works. The Luminist sky and rare inclusion of a family playing along the beach add to the unique qualities of this composition. Biographer, Jeffrey Brown, notes “This large studio painting with brilliant pearly morning light is documented by more of the same series of sketches of the rocks, beach and waves dated from June 20 to June 27. Further sketches made at Narragansett Pier on July 4, 1871 include one which identifies the two young girls at left as Miss Helen Calder and Miss Anna Boynton (also see no. 28). About this time Bricher was annotating studies of clouds and shafts of light with meticulous color observations.”1 By the time he died in 1908, Bricher’s career had spanned a period of momentous evolution in American art, indeed from the era of the Hudson River School to the imminent appearance of Synchromism, or color abstraction. When Bricher died at New Dorp on September 30, 1908, his obituary commented, “[Bricher] did not receive the notice in the press that the artist’s ability and reputation deserved. Today New England seascapes by Bricher are in the permanent collections of many of America’s most prestigious museums, the Metropolitan Museum of Art, the Brooklyn Museum of Art, the Smithsonian American Art Museum, the White House, The Wadsworth Atheneum and the Pennsylvania Academy of Fine Arts, to name only a few. 1 Jeffrey R. Brown, “A.T. Bricher”, exhibition catalog, (Indianapolis, Indiana: Indianapolis Museum of Art, 1973), p. 52, cat. no. 27.

4741

484248SANFORD ROBINSON GIFFORD American (1823-1880) SUMMER TIME (DOUBLE-SIDED) oil on board 
initialed lower right "SRG"
63⁄4 x 8 inches PROVENANCE Godel and Co., New York, New York;  Private Collection, New York  ESTIMATE $15,000—$25,000

434949 DAVID JOHNSON American (1827-1908) GREENWOOD LAKE, 1876 oil on canvas signed, dated and titled on the reverse "Greenwood Lake, NJ. / David Johnson, 1876" 12 x 20 inches PROVENANCE Private Collection, New York ESTIMATE $20,000—$30,000

44505150 ALBERT BIERSTADT American (1830-1902) "WINTER LANDSCAPE" oil on paper mounted on board monogrammed lower right "AB" 6 3⁄4 x 8 1⁄4 inches PROVENANCE Andrew Crispo Gallery, New York, New York; Hawthorne Fine Art, New York, New York; Private Collection, New York ESTIMATE $10,000—$15,00051 WARREN SHEPPARD American (1858-1937) SUNRISE ALONG THE COAST oil on canvas signed lower right "Warren Sheppard" 16 x 26 inches PROVENANCE Private Collection, Baltimore, Maryland; Shannon's, Milford, Connecticut, April 28, 2011, lot 13; Private Collection, New York ESTIMATE $5,000—$7,000

52 ALFRED THOMPSON BRICHER American (1837-1908) SAILBOATS AT SUNRISE oil on canvas signed lower left "AT Bricher" 15 x 33 inches PROVENANCE Private Collection, Texas ESTIMATE $20,000—$30,0005245

4653 FRANCIS AUGUSTUS SILVA American (1835-1886) SUNDOWN, CAPE ANN oil on canvas signed and dated lower left "F.A. Silva. / 1870" 20 3⁄4 x 40 inches PROVENANCE Johnston & Van Tassell, New York, June 7, 1872, lot 108 (possibly); Vose Galleries, Boston, Massachusetts; Coe Kerr Gallery, New York, acquired by 1978; Donald Purdy, Connecticut; Private Collection, Philadelphia, Pennsylvania, acquired from the above, 1979; Sotheby's, New York, New York, May 24, 2000, lot 123; Godel & Co., Inc., New York, New York; Private Collection, New York EXHIBITED Coe Kerr Gallery, New York, New York, "American Luminism," 1978. LITERATURE Coe Kerr Gallery, New York, New York, "American Luminism," exhibition catalog, 1978, no. 32, illustrated; J.I.H. Bauer, "Francis A. Silva: Beyond Luminism," in "The Magazine Antiques", November 1980, pp. 1020, 1022 and 1027, fig. 2, illustrated; Berry-Hill Galleries, Inc., New York, New York, "Francis A. Silva (1835-1886): In His Own Light", exhibition catalog, 2002, p. 124, fig. 35, illustrated (titled Cape Ann (Sundown, Summer Seascape). ESTIMATE $20,000—$30,000Born in New York in 1845, Francis Silva was a second generation Hudson River School painter, who did most of his painting on the banks of the Hudson River and on the Atlantic coastline. He masterfully captured light and atmosphere in his paintings characterizing him as one of the leading Luminist artists of 19th century American painting. Silva was born in New York City to an immigrant barber who had allegedly descended from a French painter at the Portuguese court. As a young artist, he apprenticed to a sign-painter and embellished wooden panes on stage coaches with landscapes and historical subjects. Apart from this experience, there is no recorded formal artistic training recorded in Silva’s biography as he was largely self-taught. During the Civil War he enlisted with the New York State militia. After the war, in 1868, Silva married Margaret A. Watts in Keyport, New Jersey. The couple moved to New York where Silva established himself as an artist. Recovering from the trauma of war, Silva wanted to focus on the alluring pleasures of life and render them on canvas. The first paintings he submitted for exhibition to the National Academy of Design were seascapes and throughout the 1870s made frequent excursions to Cape Ann, Narragansett Bay and Nyack on the Hudson. Cape Ann is among Silva’s first known paintings. Done in 1870, it follows his 1868 National Academy of Design debut. The panoramic sunset scene features lush, shimmering color and a precision that historian John Wilmerding describes as a “Ruskinian clarity of drawing” (Mark D. Mitchell and John Wilmerding, Francis A. Silva: In His Own Light, New York 2002, p. 15). His body of work is characterized by “crisp design, telling details and coloristic radiance”—qualities evident in Cape Ann (ibid., p. 12). Cape Ann was a favored subject among American artists, and is depicted with a reverence that speaks to the natural beauty of the shoreline. This distinctive light and rugged terrain provided ample inspiration for Luminist artists like Silva. In 1880, Silva moved with his family to Long Branch, New Jersey. He maintained a studio in the famed Tenth Street Studio Building from 1882 until his death and spent the last six years of his life painting the New Jersey coastline.1 Biographer Mark Mitchell notes, “Silva’s relationship to war and country also defined his relationship to the American seascape; as time distanced him from the events of the war, his memory, an element that he described as essential to art, likewise altered his depictions of the shore. Silva’s art finally represents an end and a beginning in American art.”2 Silva’s life and career were cut short in 1886 when he died of double pneumonia at the age of 51. His works can be viewed in numerous public and private collections including the Brooklyn Museum of Art, the National Gallery of Art in D.C. and the Peabody Essex Museum. 1 “American Paradise: The World of the Hudson River School,” p. 316-318. 2 Mark D. Mitchell, “Francis A. Silva: In His Own Light”, (New York, New York: Berry-Hill Galleries, Inc., 2002), p. 60.

5347

4854 ARTHUR WESLEY DOW American (1857-1922) "VERGE OF THE ABYSS", 1911-1912 oil on canvas signed lower left "Arthur W Dow" 32 1⁄4 x 24 inches PROVENANCE Property from a Distinguished Collector EXHIBITED New York, New York, Montross Gallery, "The Color of the Grand Canyon of Arizona: Exhibition of Pictures by Arthur Wesley Dow", April 7 - 19, 1913, cat. no. 12 ESTIMATE $80,000—$120,000 “You ask what attracted me to the Grand Canyon-so far from my New England marshes…Color, first of all-color ‘burning bright’; or smoldering under ash-grays. Then, line-for the color lies in rhythmic ranges, pile on pile, a geologic Babylon…This high, thin air is iridescent from cosmic dust; shapes and shadows seen in these vast distances and fearful deeps, are now blue, now vibrating with spectral hues. At sunset, the ‘temples’ are flaming red-orange-glorified like the Egyptian god in his sanctuary.” Arthur Wesley Dow A champion of fine craftsmanship in a wide variety of art media, Dow was a leading figure in the Arts and Crafts revival that became prominent in America in the late nineteenth and early twentieth centuries. He advocated principles of pure design and promoted the creation of handmade rather than machine made objects. His ideas were revolutionary for the period; he taught that rather than copying nature, art should be created by elements of the composition, like line, mass and color.[1] His teaching greatly influenced the first generation of American modernists including Max Weber, Charles Burchfield, and Georgia O’Keeffe. Dow also played an important role in American art as his work bridged the gap between Eastern and Western art. While his aesthetic owed a great deal to Japanese prints, and to the implementation of decorative rhythms and flat pattern, Dow’s work was not governed by a programmatic approach. His early paintings bear the imprint of the French Barbizon school, and a subsequent affinity for cloudy days and nocturnes suggests an interest in the principles of Tonalism. If his paintings are invariably evocative, they are evocative in different ways, their abstractions always closely derived from natural sources and actual phenomena. Thus, even his most poetic and abstract works are based on careful observation, and depict specific recognizable places.[2] Dow’s Grand Canyon landscapes were first exhibited in New York at the Montross Gallery in 1913. In a contemporary review of the exhibition published in “American Art News” the critic notes “Some seventeen works make up the display, in which the marvelous color effects of the canyon…are ably translated to canvas. The entire exhibition shows serious thought and much scientific skill in the juxtaposition of color, balance of light and shade, and composition. There is harmony of line in every canvas, and all bear out his study of the ‘true relation of tone.’” Of the seventeen works exhibited, “The Verge of the Abyss” is described as having “picturesque quality” as one of five highlights mentioned in the review. One year later, in 1914, Georgia O’Keefe became one of Dow’s most famous students at a defined pivotal point in her artistic career. She is quoted as saying “I had a technique for handling oil and watercolor easily. Dow gave me something to do it with.” In the present work, his influence on her is evident. While Dow’s teachings were pivotal for O’Keefe, the Grand Canyon was pivotal for Dow. He had been a groundbreaking teacher and artist, working in a modern style and teaching his students about Japanese art. However, his paintings of the Grand Canyon are vastly different from his quiet Massachusetts landscapes. The 1913 exhibition at the Montross Gallery was the same year as the pivotal Armory Show in New York City. With his group of Grand Canyon landscapes Dow cemented his reputation as an important American modernist and influential teacher for the next generation of American artists.

5449

555055 WALTER LAUNT PALMER American (1854-1932) "THE WHITE MORNING", 1911 watercolor, gouache and ink on paper signed lower left "W.L. Palmer" 22 x 16 1⁄2 inches PROVENANCE The artist; by gift to Jane Peterson; Kenneth Lux Galleries, New York, New York; Maybelle Mann; Private Collection, New York EXHIBITED New York, New York, Pratt Institute, no. 24; Washington, D.C., Corcoran Gallery of Art, November 29 - December 14, 1913, no. 19; Albany, New York, Albany Institute of History & Art, "Walter Launt Palmer Retrospective", November 3, 1984 - January 6, 1985 LITERATURE Maybelle Mann, "Walter Launt Palmer: Poetic Reality", (Exton, Pennsylvania: Schiffer Publishing, Co., 1984), p. 38 (illustrated in color on a full page), cat. no. 596. ESTIMATE $12,000—$18,000

5156 CHARLES WARREN EATON American (1857-1937) "MYSTIC MOONLIGHT" oil on canvas signed lower left "Chas Warren Eaton.", titled and signed on the reverse 30 x 28 inches PROVENANCE Thomaston Place Auction Galleries, Thomaston, Maine, August 30, 2008, lot 53; Private Collection, New York ESTIMATE $10,000—$15,00056

57 WILLARD LEROY METCALF American (1858-1925) THE ROAD THAT LEADS HOME oil on canvas signed lower right "W. L. Metcalf," also signed faintly lower left "W.L. Metcalf" 26 1⁄4 x 29 1⁄4 inches PROVENANCE The artist; Private Collection; Spanierman Gallery, New York, New York; R.H. Love Galleries, Chicago, Illinois; Private Collection, Illinois. LITERATURE Robert Michael Austin, "Artists of the Litchfield Hills," (Waterbury, Connecticut: in association with the Mattatuck Historical Society, 2003), cat. no. 36, illustrated in color p. 46. NOTES This work will be included in the forthcoming catalogue raisonne being coordinated by Betty Krulik and the Willard Leroy Metcalf Catalogue Raisonne Project, Inc. ESTIMATE $80,000—$120,00052Willard Leroy Metcalf is celebrated as the “poet laureate of the New England hills.” His paintings capture subtle variations in color, the fleeting effects of light and shadow and the overwhelming, unique beauty of the region. Metcalf began his painting career early in life studying painting first in Boston. After finishing his apprenticeship and a two-year program at the School of the Museum of Fine Arts, he traveled to New Mexico to paint the Zuni people. Once he had saved enough money, he set out to study in Europe traveling to France, England, and Northern Africa. He spent several years abroad primarily in Paris, summering in Grez and Giverny. He studied at the famous Académie Julian, exhibited at the Salon and befriended artists including Childe Hassam and John Twachtman. By 1889, Metcalf returned to the United States and was living in New York. The following ten years had mixed successes for Metcalf as the taste for French-style painting waned in the States. Notably in 1898, he was a founding member of “The Ten” a group of like-minded American artists who seceded from the Society of American Artists to exhibit together in smaller venues. In late 1903 or early 1904 he retreated to his parents’ home in Clark’s Cove, Maine to reconsider his work. In 1905, he had his first one-man show at Fishel, Adler and Schwartz Gallery in New York City. It was here that Metcalf finally hit his stride in the States. Elizabeth DeVeer writes, “at Clark’s Cove he rid himself of his nostalgia for France and became first and foremost an American, with a new and profound allegiance to the land.” Following his period in Maine, and finding ample inspiration in the New England landscape, Metcalf begin to summer in Old Lyme with Mrs. Florence Griswold. “Miss Florence,” as she was known, maintained a boarding house that became a destination for artists working in Old Lyme. He spent three summers there and then, after quickly becoming famous, retreated to Maine spending time with Frank Benson and his wife Ellen. Metcalf’s life changed dramatically after the success of the 1905 exhibition. He became highly successful exhibiting again at Fishel, Adler and Schwartz in New York. Albert Milch became his gallerist and friend, mounting highly successful one-man exhibitions of Metcalf’s latest paintings. The present example, The Road that Leads to Home, dates to ca. 1919 during a time when the artist was visiting the town of Woodbury, Connecticut. Woodbury, a town in Litchfield County, remains little changed. In 2003, Robert Michael Austin’s Artist’s of the Litchfield Hills, notes that the house in the painting offered here is little changed from when the artist painted it. As his career took off, his personal life faced hurdles. His wife, Marguerite, ran away with his friend and fellow artist Robert Nisbet. Metcalf personally struggled with alcoholism but found support from his friends, particularly Benson and Milch. His freedom and success afforded him the opportunity to travel in New England. He spent periods in Maine, Vermont, New Hampshire, and Connecticut, painting the landscape throughout. Despite his personal hardships, his paintings became better and better and the critical reception for his works grew increasingly favorable. In February 1925 mid-way through yet another successful exhibition at Milch Galleries, he suffered a fatal heart attack. Today Metcalf is considered one of America’s treasured Impressionists and among the best of the New England Impressionists. His work is featured in numerous private and public collections including The Metropolitan Museum of Art in New York, the Museum of Fine Arts in Boston and the Corcoran Gallery in Washington, D.C.

5753

585458 BIRGE HARRISON American (1854-1929) SNOW BOUND, WOODSTOCK, NEW YORK oil on canvas signed lower right "Birge Harrison", titled and signed on the reverse 18 x 30 inches PROVENANCE Godel and Co., New York, New York; Private Collection, New York ESTIMATE $12,000—$18,000One of Harrison’s favorite subjects was the winter land-scape. In "Snow Bound," he transformed a simple Woodstock snow scene into a sensitive study of color. As a contemporary critic wrote, “to him the snow was not white only, but took on the wonderful tones of azure, of mauve and of pale and ethereal rose and amber.” Harrison balanced a subtle blend of cool blues, greens, and purples in the shadows with extremely faint pinks in the sunlight. Using the harmonious colors and modest technique he expounded in "Landscape Painting", he created an image of understated beauty.

555959 FREDERICK MULHAUPT American (1871-1938) WINTER, GLOUCESTER HARBOR oil on board signed lower left "Mulhaupt" 12 x 16 inches PROVENANCE Northeast Auctions, Portsmouth, New Hampshire; Private Collection, New York ESTIMATE $15,000—$25,000

56606160
WITHDRAWN
61ALDRO THOMPSON HIBBARD American (1886-1972) MOUNTAIN LANDSCAPE, WINTER oil on canvasboard 
signed lower left "A.T. Hibbard" 
173⁄4 x 24 inches PROVENANCE Skinner, Marlborough, Massachusetts, March 5, 2004, lot 492; Private Collection, Pennsylvania  ESTIMATE $4,000—$6,000
Withdrawn

57626362 EMILE A. GRUPPE American (1896-1978) "FISHING BOATS AT DUSK" oil on canvas signed lower right "Emile A Gruppe", signed and titled on the stretcher 20 x 24 inches PROVENANCE James D. Julia, Inc., Fairfield, Maine, August 22, 2014, lot 1075; Private Collection, Connecticut ESTIMATE $6,000—$8,00063 EMILE A. GRUPPE American (1896-1978) SWORDFISHERMAN oil on canvas signed lower right "Emile A Gruppe" 24 x 20 inches PROVENANCE James D. Julia, Inc., Fairfield, Maine, August 22, 2014, lot 1076; Private Collection, Connecticut ESTIMATE $5,000—$7,000

5864 FREDERICK CARL FRIESEKE American (1874-1939) THE ROSE GOWN, 1915 oil on canvas signed lower left "F.C. Frieseke." 32 1⁄4 x 32 1⁄4 inches PROVENANCE Estate of the artist, 1939; By descent to Frances Frieseke Kilmer, his daughter, Kilmer number III-9; by descent in the family; Hirschl & Adler Galleries, New York, NY, 1979; Shirley Hoff, Palo Alto, California; Private Collection; Sotheby's, New York, New York, May 27, 1999, lot 80 (as Woman with Mirror); Private Collection, Illinois EXHIBITED Dallas, Texas, Museum, 1937; New York, New York, Columbia College, 1937; Somerset, New Jersey, Garden State Exposition, 1938; New York, New York, National Academy of Design, 1941; New York, New York, Hirschl & Adler Galleries, “Frederick Frieseke 1874 - 1939”, April 12 - May 7, 1966 (as Le Corsage), cat. no. 25; Raleigh, North Carolina, North Carolina Museum of Art, "Frederick Frieseke 1874-1939", February 5 - March 5, 1975. NOTES "The Rose Gown" will be included in Frieseke catalogue raisonne being compiled by Nicholas Kilmer, the artist's grandson, with the support of the Hollis Taggart Galleries. Special thanks to Mr. Kilmer for his assistance in cata-loging this lot. ESTIMATE $80,000—$120,000The early history of THE ROSE GOWN is not well known. The painting was executed in Giverny since the model is clearly Louise Ferron, a native and resident of that village, where the Friesekes spent the warm months of the year. Comparison with the progression of his body of work argues for 1915 as the date of composition. However, it first appears in the documentary record as the first in a list of eighteen paintings shipped from France to the Macbeth Gallery in New York in November of 1916. On that list, the title appears as “The Rose Gown [Grandmother’s Gown.]” Frieseke’s cover letter claims that “My summer work is now on its way to America.”[1] I suspect him of a slight prevarication, given how closely THE ROSE GOWN relates to the larger painting Memories, which is dated a year earlier, 1915[2]; as well as to a similar version, The Pink Room in a private collection. The Macbeth Gallery’s inventory cards for this entire shipment are missing from the record, and THE ROSE GOWN does not appear again, in the documentary record, until a Macbeth Gallery inventory card dated Feb. 4, 1930, records receipt of “Rose Gown or En Gone de Giverny”. It is identified as belonging to the artist, and we are left to a baffled speculation as to why there seems to be no record of its being exhibited between 1916 and 1930. That bafflement and speculation may occupy a few who attempt to keep track of documents; but meanwhile the painting speaks for itself, with force and clarity. In 1915 his triumph at the Pan Pacific Exposition in San Francisco, where his entries had earned him the gold medal, had lifted Frieseke to considerable prominence and even a certain financial success. A critic for the New York Times wrote (June 27, 1915), of “Mr. Frieseke, whose accomplished work is well known to New Yorkers and who says the last word in the style that was modern before the Modernists came along. Whatever he does has qualities of design, color and style. A sense of gayety, an entertaining and well considered pattern, a remarkable knowledge of the effect of outdoor light on color are found in nearly all his recent paintings.” And it is, of course, this painting’s color that first demands attention. Our own eyes, a century after its composition, are prepared to respond with aplomb to an arrangement of color so severely limited, attached to a subject so gracefully benign. But was it not shocking in its day? The poet Guillaume Apollinaire, who wrote art criticism for the Paris newspapers as well, inscribed his reactions while walking through the Salon of the Société Nationale des Beaux-Arts, “Room 5. Frieseke: pink and white.”[3] George Biddle, Philadelphian friend and fellow artist, described the experience more viscerally, making the claim that Frieseke, “before Matisse, had that pink.”[4] The color may be outrageous, but we are reassured by absolute mastery in the drawing, and by the artist’s confidence in the application of paint. A final note on the dress: Frieseke and his wife had the habit of scouring the flea markets for costumes that appealed to the painter for their color and style. This was one of his favorites, used many times, and worn by several models not all of whom fit into is as comfortably as did Louise. In a later painting, of 1932, as worn by his daughter Frances (born in 1914), the costume is identified by the painting’s title as Dress of 1860. Nicholas Kilmer [1] Macbeth Papers, Archives of American Art, NMc46/218 [2] Natonal Gallery of Art, Washington, DC, Gift of Frances Frieseke Kilmer, 1969 [3] Apollinaire would have been referring to Avant de Paraitre, or Before her Appearance, presently in the collection of the Cummer Museum of Art and Gardens, Jacksonville, Fl. The quotation is taken from Apollinaire on Art: Essays and Reviews, 1902-1918, ed. Roger Shattuck and Leroy Breunig, New York, Viking Penguin, 1972, p. 305. [4] George Biddle, An American Artist’s Story, Boston, Little, Brown, 1939. I quote from memory, but affirm the general accuracy of the citation.

6459

6066 WILLIAM HARNETT American (1848-1892) TABLETOP STILL LIFE WITH FRUIT AND WINE, 1876 oil on canvas signed and dated lower right "WMHarnett / 1876" 12 x 10 inches PROVENANCE Private Collection, 1975; Sotheby's, New York, New York, May 24, 2001, lot 131; Godel and Co., New York, New York; Private Collection, New York ESTIMATE $8,000—$12,00065 CLAUDE RAGUET HIRST American (1855-1942) PANSIES IN A GLASS VASE, CA. 1882 oil on canvas signed lower right "Claude Raguet Hirst N.Y." 12 x 9 inches PROVENANCE Godel and Co., New York; Private Collection, New York ESTIMATE $10,000—$15,0006566

616767 LEVI WELLS PRENTICE American (1851-1935) PEACHES IN A BASKET oil on canvas signed lower right "L.W. Prentice" 10 x 14 inches PROVENANCE Property from a Distinguished Collector EXHIBITED Blue Mountain Lake, New York, Adirondack Museum, "Nature Staged: The Landscapes and Still Life Paintings of Levi Wells Prentice," May 28, 1993 - October 15, 1993 ESTIMATE $15,000—$25,000

6268 ERNEST LAWSON American (1873-1939) BOATHOUSE, WINTER, HARLEM RIVER, 1918 oil on canvas signed and dated lower right "E. Lawson / 1918" 25 x 30 inches PROVENANCE Kraushaar Galleries, New York, New York; Mr. and Mrs. Gordon Hertslet; Saint Louis Art Museum, Saint Louis, Missouri; sold to benefit the acquisition fund, Christie's, New York, New York, May 20, 2010, lot 56; Property from a Distinguished Collector EXHIBITED Saint Louis, Missouri, City Art Museum of Saint Louis, "American Art in St. Louis: Paintings, Watercolors and Drawings Privately Owned", October 22 - November 30, 1969; Saint Louis, Missouri, Saint Louis Art Museum, "Impressionism Reflected: American Art 1890-1920", May 8 - June 27, 1982 LITERATURE H. Hill and S. Berry-Hill, "Ernest Lawson: An American Impressionist", (New York: New York, 1968), n.p., pl. 58, illustrated; "Acquisitions of Modern Art by Museums", in "Burlington Magazine", (May 1973), pp. 350-51, fig. 118, illus-trated; Saint Louis Art Museum, "The St. Louis Art Museum: Handbook of the Collections", (Saint Louis, Missouri: Saint Louis Art Museum, 1975), p. 246, illustrated; Saint Louis Art Museum, "Impressionism Reflected: American Art 1890-1920", exhibition catalog, (Saint Louis, Missouri: Saint Louis Art Museum, 1982), p. 4. ESTIMATE $100,000—$150,000“Art is part of the social purpose of the world and requires appreciation and bonds of fellowship with all who understand. What the artist needs more than anything else is to be true to his own individuality.” - Ernest Lawson from his Credo “The Power to See Beautifully and Idealistically” Ernest Lawson spent his formative years in Canada in the care of an aunt. He joined his parents in Kansas City, Missouri in 1888 and took lessons at the Art Institute under the tutelage of Ella Holman, who he would marry seven years later. Despite his father’s opposition, Lawson pursued a career as an artist. Lawson moved with his parents to Mexico City and worked as an assistant draftsman for his father’s employer. He attended the Santa Clara Art Academy in his spare time. Having saved all of his money until his 18th birthday, Lawson set out for New York City. He also studied in Cos Cob in the summer with John H. Twachtman and J. Alden Weir. In 1893 he went to France and there absorbed the dominant trend of Impressionism and the work of Whistler. He exhibited two of his own paintings at the Salon des Artistes Francais in Paris where William M. Chase called him “America’s greatest landscape painter.” When he returned to the United States he settled in Washington Heights and there created some of his most famous paintings of the surrounding area. The present lot, “Boat House, Winter, Harlem River”, depicts the eastern border of the neighborhood. Another view of the same scene is in the collection of the Corcoran Collection at the National Gallery of Art (Boathouse, Winter, Harlem River, c. 1916, acc. no. 2014.136.9). In 1908, Lawson participated in the inaugural exhibition of “The Eight” alongside Robert Henri, John Sloan, William Glackens, George Luks, and others. Lawson was commercially successful and awarded. In 1920 he accepted a position in Colorado teaching at the Broadmoor Art Academy. He returned to New York in 1930 and exhibited at Ferargil Gallery where he was the subject of at least two solo exhibitions during his lifetime. In 1936 moved with friends to Coral Gables, Florida where he died a few years later. Lawson’s paintings are in most major museums across the United States and in numerous notable private collections. His paintings are displayed at the Metropolitan Museum of Art, the Whitney Museum of American Art, the Brooklyn Museum, the Minneapolis Institute of Art, the Art Institute of Chicago, Los Angeles County Museum of Art, de Young Museum, Detroit Institute of Arts, and the Phillips Collection, among numerous others.

6368

6469 ERNEST LAWSON American (1873-1939) MANHATTAN EXCAVATION, CA. 1907 oil on board signed lower left "E. Lawson" 20 x 24 inches PROVENANCE Acquired directly from the artist by descent in the family; Christie's East, New York, New York, April 23, 1997, lot 115; Babcock Galleries, New York, New York; Private Collection, Illinois EXHIBITED Roslyn Harbor, New York, Nassau County Museum of Art, "Old New York and the artist's of the Period, 1900-1941", August 19 - November 4, 2001 ESTIMATE $20,000—$30,00069

706570 GUY CARLETON WIGGINS American (1883-1962) "AT THE LIBRARY", 1960 oil on canvasboard signed lower right "Guy Wiggins", signed, titled and dated on the reverse 12 x 16 inches PROVENANCE Willard Mackenzie, Nassau, Bahamas (owner of Bahamian Club Casino); By descent in the family of the above (circa 1965); Sotheby's, New York, New York, April 23, 2015, lot 112; Private Collection, New York NOTES This work has been authenticated by Guy Arthur Wiggins. A copy of a letter of authenticity, dated 23 February 2015, accompanies the lot. ESTIMATE $18,000—$25,000

71 GUY CARLETON WIGGINS American (1883-1962) WINTER ON MADISON AVENUE oil on canvas signed lower right "Guy C. Wiggins" 24 x 20 1⁄4 inches PROVENANCE Private Collection, New York ESTIMATE $12,000—$18,0007166

72 EDMUND GREACEN American (1876-1949) OLD POST OFFICE BUILDING, NEW YORK CITY, 1915 oil on canvas signed and dated lower left "Edmund Greacen 1915" 22 x 24 inches PROVENANCE Mrs. Edmund Greacen (the artist's daughter in law), White Plains, New York; by descent; Doyle, New York, New York, December 3, 2003, lot 262; Property from a Distinguished Collector EXHIBITED Rochester, New York, Memorial Art Gallery, "The Impressionists' New York", 1994 - 1995, no. 75 (lent by Mrs. Edmund Greacen, Jr.) ESTIMATE $8,000—$12,0007267

687373 WOLF KAHN American (1927-2020) "DUMMERSTON AIRPORT SUMMER", 1984 oil on canvas signed lower right "W Kahn", titled, dated and numbered on the reverse "#70" 16 x 32 inches PROVENANCE Private Collection, Florida ESTIMATE $20,000—$30,000

6974 EMILY MASON American (1932-2019) "SUDDEN MORN", 1981-82 oil on canvas signed and dated lower left "Emily Mason '81-'82" 40 x 36 inches PROVENANCE Private Collection, Vermont; Private Collection, Connecticut NOTES "Sudden Morn" is recorded in the Emily Mason | Alice Trumbull Mason Foundation archives and catalogue. ESTIMATE $30,000—$50,00074

707575 WOLF KAHN American (1927-2020) "THE SMALL POND AT THE LONG RANCH", 1983 pastel on paper signed and dated lower left "W Kahn 83" 8 1⁄2 x 16 1⁄2 inches PROVENANCE Meredith Long & Company, Houston, Texas; Private Collection, Connecticut ESTIMATE $7,000—$10,0007676 WOLF KAHN American (1927-2020) "WHITE RIVER", 1978 pastel on paper signed lower center "W Kahn" 11 1⁄2 x 17 1⁄2 inches PROVENANCE Grace Borgenicht Gallery, Inc.; Private Collection, Connecticut ESTIMATE $8,000—$12,000

7177 ALICE BABER American (1928-1982) "THE GOLDEN FLAG OF THE JAGUAR", 1981 watercolor on paper signed and dated lower left "Alice Baber 1981", signed, dated, and titled on the reverse, inscribed on the reverse "Sacred Space Series" 22 3⁄4 x 29 3⁄4 inches PROVENANCE Barbara Annis Fine Arts, New York, New York; Private Collection, New York NOTES This work will be included in The Alice Baber Project at www.alicebaber.com. ESTIMATE $6,000—$8,00077

78 JAUNE QUICK-TO-SEE SMITH Confederated Salish and Kootenai Tribes (b. 1940) "EVERYTHING IS CONNECTED, FROM THE LAND TO THE DEEP BLUE SEA", 1990 mixed media on paper signed in pencil lower right, titled in pencil lower left 29 1⁄2 x 41 1⁄4 inches PROVENANCE Arco Chemical Company's Corporate Art Collection, Newtown Square, Pennsylvania; Bernice Steinbaum Gallery, New York, New York; Private Collection, Virginia ESTIMATE $40,000—$60,00072Jaune Quick-to-See-Smith is one of the most acclaimed American Indian artists today. In 2023, she was the subject of a retrospective at the Whitney Museum of American Art in New York City, the first major retrospective for a Native American artist at the museum. She is highly accomplished with over 90 solo exhibitions, as curator of over 30 exhibitions on Native artists and lectures at over 185 universities. Her large public installations are visible in the Great Hall of the Denver Airport, at Yerba Buena Park in San Francisco and a sidewalk history trail in West Seattle. Smith was born at the Indian Mission on the Flathead Reservation in 1940. She is an enrolled Flathead Salish member of the Confederated Salish and Kootenai Tribes of the Flathead Indian Nation, Montana. Smith calls herself a cultural art worker and in her “Statement of a Cultural Arts Worker Artist” she describes her biography and inspiration. “I have memory of making things with my hands from mud, leaves, sticks and rocks from very early in my life. I knew that I entered another world, one that took me out of the violence and fear that dominated my life. First grade opened a new world with foreign substances such as tempera, crayons and library paste. Once they became familiar their smell could almost make me swoon. When I turned 13, I rode to town in the back of a pickup with other farm workers to see a movie about Henri Toulouse-Lautrec. I so desperately wanted to be an artist, that later I took axle grease from my father’s truck to make a goatee on my face and made a cardboard palette. I asked a man down the road if he could take my picture. This was my way of entering the skin of an artist, since I had never seen a woman artist. Toulouse was a little person, so I knelt on my knees for the picture, thinking that would make me an authentic artist. After my first year at a community college, the professor told me even though I could draw better than the men students, that a woman could not be an artist. For the next 20 years I struggled to get a degree in art ed. I attended college in many places while I raised my two sons alone. My story is similar to other Indian women my age. In the mid 1970’s in Santa Fe, I found that only Native men were able to exhibit in the galleries. I set about organizing Indian women to move out of the trading posts and into galleries and museums. My training as a mother, helped me with this activism. I organized the Grey Canyon Artists, located and shipped exhibitions, first in New Mexico and then across the U.S. While working as a full time artist, I have also consistently organized and curated exhibitions for Native artists for over 30 years. One of my most memorable was the first touring Native women’s exhibit “Women of Sweetgrass, Cedar and Sage”. After receiving the catalog, one woman wrote me that she laid the catalog against her cheek and cried, she had no idea there were so many Native women artists out there and she no longer felt alone.”1 1 Brooklyn Museum, “Jaune Quick-to-See Smith,” in “Feminist Art Base”

7873

7479 EDWARD HENRY POTTHAST American (1857-1927) CHILDREN AT PLAY ON THE BEACH oil on board signed lower left "E. Potthast" 12 x 16 inches PROVENANCE David Findlay, New York, New York; Sy Lieberman, New York, New York; Christie's, New York, New York, December 4, 1992, lot 71; R.H. Love Galleries, Chicago, Illinois; Private Collection, Illinois EXHIBITED St. Louis, Missouri, The St. Louis Art Museum, "Impressionism Reflected: American Art 1890-1920", May - June 1982 (as Woman and Children on the Beach) ESTIMATE $60,000—$80,000Edward Henry Potthast was born in Cincinnati in 1857, the son of a German cabinetmaker. Potthast became a charter student at the age of 12 at the McMicken School of Design in Cincinnati. He studied there on and off for the next decade while supporting himself as a lithographer and illustrator. In the fall of 1882, he traveled to Antwerp and after a brief period of instruction in the studio of Charles Veriat, he went on to Munich where he studied for the next three years. Other notable Cincinnati artists who preceded his studies in Munich include Robert Blum, Frank Duvenek and John Henry Twachtman. Potthast made the decision to leave Cincinnati in 1895 and establish himself in New York City. It was there that he became renowned for his scenes of people enjoying leisurely days at the beach and rocky harbor views became his specialty. He learned to combine the bright colors of Impressionism with the strong brushwork of the Munich School. Among his favorite sites were Coney Island and Rockaway Beach, both readily accessible from New York City. He spent summer months in any one of a number of seaside art colonies, including Rockport, Gloucester, and Cape Cod, Ogunquit and Monhegan Island. The current work, Children at Play on the Beach, is a charming rendition of children running into the water and playing in the surf. It is painted in Potthast’s typical style with thick impasto and bold colors. Works by Edward Henry Potthast are represented in public collections across the United States, including the Museum of Fine Arts, Boston; Brooklyn Museum of Art, New York; Butler Institute of American Art, Youngstown, Ohio; Art Institute of Chicago; Cincinnati Art Museum; Georgia Museum of Art, Athens; Metropolitan Museum of Art, New York; and Pennsylvania Academy of the Fine Arts, Philadelphia.

7579

7680 WILLIAM BRADFORD American (1823-1892) LABRADOR FISHING BOATS, NEAR CAPE CHARLES oil on canvas signed lower right "Wm. Bradford NY" 18 x 30 inches PROVENANCE From the Estate of Mary W. Ritchie, North Carolina; Christie's, New York, New York, December 2, 1998, lot 2; Private Collection, Connecticut ESTIMATE $50,000—$75,000The 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.

8077

81 CHARLES ETHAN PORTER American (1847-1923) STILL LIFE WITH PINEAPPLE, JAR AND APPLES oil on canvas signed lower right "CE Porter" 14 x 22 1⁄4 inches PROVENANCE The New Britain Museum of American Art, New Britain, Connecticut, 1988; The Connecticut Gallery, Marlborough, Connecticut; Private Collection, California ESTIMATE $5,000—$7,00082 CHARLES ETHAN PORTER American (1847-1923) STILL LIFE WITH PITCHER, ORANGE AND NUTS (OR BROKEN CROCK AND NUTS) oil on canvas signed lower right "CE. Porter" 12 x 16 inches PROVENANCE The New Britain Museum of American Art, New Britain, Connecticut, 1988; The Connecticut Gallery, Marlborough; Private Collection, California EXHIBITED Marlborough, Connecticut, The Connecticut Gallery, "Charles Ethan Porter", October 8 - November 8, 1987 ESTIMATE $3,000—$5,000818278

83 JOHN GEORGE BROWN American (1831-1913) THE CROSSING SWEEPER, NEW YORK, 1874 oil on canvas signed and dated lower left "J.G. Brown / 1874." 18 x 12 inches PROVENANCE Sotheby's, New York, New York, December 14, 2005, lot 182; Property from a Distinguished Collector EXHIBITED New York, New York, The Century Club, March 1874, as the Crossing Sweeper (Girl) ESTIMATE $8,000—$12,00084 CHARLES COURTNEY CURRAN American (1861-1942) WOMAN SEWING oil on canvas signed lower left "Chas. C. Curran." 12 x 9 inches PROVENANCE Shannon's Fine Art Auctioneers, Milford, Connecticut, October 25, 2007, lot 160; Private Collection, Vermont ESTIMATE $6,000—$8,000838479

8085 JOHN F. FRANCIS American (1808-1886) STILL LIFE WITH BASKET OF APPLES AND CHESTNUTS oil on canvas unsigned 25 x 30 inches PROVENANCE Christie's, New York, New York, May 28, 1992, lot 27; Property from a Distinguished Collector ESTIMATE $30,000—$50,000John Francis was born in Philadelphia in 1808 and although he is today celebrated for revitalizing Still Life painting in the mid 19th Century, he was not as well recognized during his lifetime. He was largely a self-taught artist, producing some of America’s most important still lifes. His visually intimate representations were delicately colored and painterly. Francis began to exhibit in Philadelphia in the 1840s and 1850s as a portraitist employing 17th century Dutch techniques. His focus was “luncheon” or “dessert” type subjects, which he rendered in bright, radiant colors, breaking away from the dominant mode taught by the Peale family of artists in Philadelphia. During the early part of his career, he was a traveling portrait painter and silhouettist in Schuylkill County, Pennsylvania. He then spent about 25 years traveling and painting in rural Pennsylvania as well as in Delaware, Tennessee and Washington D.C. Around 1850, he turned exclusively to still life subjects, using the techniques of 17th century Dutch still life painters. He exhibited at the Pennsylvania Academy of the Fine Arts from 1840 to 1858, and he sold many of his still lifes through the American Art Union. After the death of his wife and two children, Francis abandoned his career and life in Philadelphia. During the last twenty years of his life, Francis lived alone and died 1886. No known paintings by him are extant after 1879. According to scholar Alfred Frankenstein in his book, After the Hunt, Francis was a very religious person who died a wealthy man.

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86 ALBERT HERTER American (1871-1950) FLORAL STILL LIFE oil on board signed upper left "Albert Herter" 24 x 30 inches PROVENANCE Private Collection, New York ESTIMATE $6,000—$8,00087 ROBERT SPEAR DUNNING American (1829-1905) STILL LIFE WITH FRUIT oil on canvas signed lower left "R.S. Dunning", signed and dated on the reverse 9 x 11 inches PROVENANCE Private Collection, New York ESTIMATE $6,000—$8,000868782

88 LUIGI LUCIONI American (1900-1988) STILL LIFE WITH CARNATION, WALNUTS AND SHELL oil on masonite signed lower right "Luigi Lucioni" 5 1⁄4 x 10 inches PROVENANCE Private Collection, New York ESTIMATE $3,000—$5,00089 LOWELL NESBITT American (1933-1993) "THREE IRIS", 1968 oil on canvas titled, dated, and signed on the reverse "L. Nesbitt" 42 x 26 inches PROVENANCE Private Collection, New York ESTIMATE $2,500—$3,50090 PETER ELLENSHAW British (1913-2007) YELLOW ROSES, 1967 oil on board signed and dated lower left "Peter Ellenshaw 67", artist stamp on the reverse 16 x 12 inches PROVENANCE Hammer Galleries, New York, New York; Private Collection, New York ESTIMATE $2,000—$3,00088908983

84919291 MANUEL RENDON French / Ecuadorian (1894-1982) ABSTRACT oil on canvas signed lower right "Rendon" 24 x 18 inches PROVENANCE Private Collection, California ESTIMATE $5,000—$7,00092 SAUL STEINBERG American (1914-1999) "EARLY WORKS TABLE," 1973 acrylic, wood, stamps and paper collage signed and dated upper right "Steinberg 1973", titled on a label on the reverse "Early Works Table" 21 x 16 inches PROVENANCE Jan Eric Lowenadler Gallery, New York; Private Collection, Dallas; Private Collection, New York NOTES This work is an artist made frame and is behind glass. ESTIMATE $5,000—$7,000

938593 BLANCHE LAZZELL American (1878-1956) "LUMBER WHARF", 1936 oil on masonite signed and dated lower left "Blanche Lazzell.1936", inscribed on the reverse "WPA 1936 / Lumber Wharf 24 x 28 / Blanche Lazzell / Provincetown, Mass" 24 x 28 inches PROVENANCE Private Collection, Maine, circa 1945; Private Collection, Maine (by descent from the above, their son); acquired from the above by the present owner NOTES "Lumber Wharf" was completed for the Massachusetts section of the Federal Art Project of the Works Progress Administration in 1936. Lazzell also complet-ed a color woodblock print of this composition at the same time. ESTIMATE $15,000—$25,000

8694 THOMAS WORTHINGTON WHITTREDGE American (1820-1910) NEWPORT BEACH, RHODE ISLAND oil on canvas signed lower right "W. Whittredge" 15 1⁄4 x 23 1⁄4 inches PROVENANCE Kennedy Galleries, Inc., New York, New York; The Collection of Arthur and Nancy Manella, 1972; Christie's, New York, New York, December 1, 2005, lot 91; Property from a Distinguished Collector ESTIMATE $50,000—$75,000Worthington Whittredge painted the American landscape and was affiliated with the Hudson River School. As a young man in Ohio, he worked as a house painter taking up portraiture and landscape painting around 1838. Encouraged and supported to continue as an artist by local patrons in Ohio, he traveled to Europe to study and spent approximately five years in Germany where he posed for Emanuel Leutze and is said to be the model used for George Washington in the famed painting George Washington Crossing the Delaware (1851). In 1856, he went to Switzerland with Leutze, William S. Haseltine, John Irving, and Albert Bierstadt. In 1857, he settled in Rome with Haseltine, Bierstadt and Sanford R. Gifford. In 1859, Whittredge returned to the United States, and spent a month in Newport, Rhode Island before opening a studio in New York at the famed Tenth Street Studio building. His focus on nature and his attention to detail linked him to the artists of the Hudson River School. He was elected an associate member of the National Academy of Design one year later. Beginning in 1866, Whittredge made three visits to the Western states traveling to New Mexico, Colorado, and Wyoming. In the late 1860s and early 1870s, he found inspiration in the beaches and colonial architecture of Newport, Rhode Island. The present work, Newport Beach, Rhode Island, depicts a quiet day on the beach with a carriage carrying visitors along the shoreline. In the distance sailboats dot the horizon line with couples walking along the sand. The foreground, with densely painted trees and rocks is typical of Whittredge’s landscapes while the atmospheric sky and foggy horizon is painted in a Luminist style.

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96 DOUG BREGA American (b. 1948) FERRY WATCH watercolor on paper signed lower left "Doug Brega" 14 x 21 1⁄4 inches PROVENANCE The artist; Private Collection, Massachusetts ESTIMATE $4,000—$6,0009596978895 WARREN SHEPPARD American (1858-1937) SUNSET SEASCAPE oil on canvas signed faintly lower right "Warren Sheppard" 20 1⁄4 x 30 1⁄4 inches PROVENANCE Roger King Gallery, Newport, Rhode Island; Private Collection, Massachusetts ESTIMATE $4,000—$6,00097 LEVI WELLS PRENTICE American (1851-1935) ADIRONDACK LAKE oil on canvas signed lower left "L.W. Prentice." 8 x 12 inches PROVENANCE Private Collection, New York ESTIMATE $6,000—$8,000

8998 WILLIAM MASON BROWN American (1828-1898) AUTUMN LANDSCAPE oil on canvas initialed lower right "WMB." 12 x 18 inches PROVENANCE Property from a Distinguished Collector ESTIMATE $12,000—$18,00098

909999 FREDERIC SACKRIDER REMINGTON American (1861-1909) QUEBEC INUIT, 1889 watercolor on paper signed and dated lower right "Frederic Remington 1889" 9 1⁄4 x 13 3⁄4 inches PROVENANCE Private Collection, New York ESTIMATE $20,000—$30,000

91100 JANE PETERSON American (1876-1965) VENICE oil on board signed lower center "Jane Person" 18 3⁄4 x 18 3⁄4 inches PROVENANCE Private Collection, Iowa ESTIMATE $15,000—$25,000100

92102 TEO GONZALEZ Spanish (b. 1964) "UNTITLED #401 (16,641 RED ON YELLOW DIRECT 129 GAUGE)", 2006 acrylic polymer emulsion, pigment, and acrylic enamel on cotton over board signed, titled and dated on the reverse "Teo" 42 x 42 inches PROVENANCE Irvine Contemporary, Washington D.C. (a copy of the purchase receipt accompanies this lot); Private Collection, Florida EXHIBITED Washington, D.C., Irvine Contemporary, "Teo Gonzales | 226,085 Drops", September 9 - October 7, 2006 (a copy of the pages of the exhibition catalog accompanies this lot) NOTES This lot is sold unframed. ESTIMATE $4,000—$6,000101102101 KIKI SMITH American/German (b. 1954) "TWO BLUE BIRDS OF HAPPINESS", 1999 mixed media on paper signed and dated lower right "Kiki Smith 1999", titled lower left 19 1⁄2 x 30 inches PROVENANCE Private Collection, New York ESTIMATE $7,000—$10,000

103 LARRY RIVERS American (1923-2002) SMALL DRUGSTORE, 1959 oil and mixed media on wood signed faintly lower right 9 1⁄4 x 8 3⁄4 inches PROVENANCE Private Collection, New York ESTIMATE $10,000—$15,00010393

94104104 JOHN CARLTON ATHERTON American (1900-1952) SHADED NIGHT, 1943 oil on canvas signed and dated lower right "Atherton 1943" 34 x 50 inches PROVENANCE Property from a Distinguished Collector NOTES This lot is sold unframed. ESTIMATE $6,000—$8,000105 HENRY MARTIN GASSER American (1909-1981) "THE DALTON PLACE", CA. 1940 oil on canvasboard signed lower right "H.Gasser", titled on the reverse 16 x 20 inches PROVENANCE Private Collection, New Jersey ESTIMATE $4,000—$6,000105

106 WOLF KAHN American (1927-2020) OUT OF THE-WAY CABIN, 1990 pastel on paper signed lower left "W Kahn" 10 1⁄2 x 13 1⁄2 inches PROVENANCE Private Collection, Florida ESTIMATE $7,000—$10,000107 EMILY MASON American (1932-2019) "SLATE STATE", 1979 oil on paper signed, dated and inscribed lower right "Emily Mason '79 VT" 14 1⁄2 x 14 1⁄2 inches PROVENANCE David Hamilton Gallery, Charleston, South Carolina; Mercer Price Gallery, Putnay, Vermont; Private Collection, Vermont; Private Collection, Connecticut NOTES "Slate State" is recorded in the Emily Mason | Alice Trumbull Mason Foundation archives and catalogue. ESTIMATE $6,000—$8,00010610795

96108108 DICKSON REEDER American (1912-1970) "AFTER REHEARSAL" oil on canvas signed upper left "Dickson Reeder" 45 x 30 inches PROVENANCE Private Collection, Connecticut EXHIBITED Dallas, Texas, Dallas Museum of Fine Arts, ca. 1941 (a copy of a clipping from "The Rambler" (Fort Worth, Texas) accompanies the lot); Washington, D.C., Corcoran Gallery of Art,"Biennial Exhibition," cat. no. 302, 194 ESTIMATE $5,000—$7,000109 PAUL CADMUS American (1904-1999) "DANCER AT PIANO #2A" sepia watercolor, pen and ink, casein white, and crayon on illustration board signed lower right "Cadmus", titled in pencil lower center, titled and signed on the reverse 21 1⁄2 x 15 1⁄2 inches PROVENANCE Robert E. White, Jr., Ohio; Sales by Sollmann Antiques, Art & Collectibles, Ohio; Midtown Galleries, New York, New York; Private Collection, Massachusetts ESTIMATE $8,000—$12,000109

97110 PAUL CADMUS American (1904-1999) DRYING OFF crayon and pencil on blue paper signed lower right "Cadmus" 16 1⁄4 x 12 1⁄4 inches PROVENANCE Christie’s, New York, New York, September 15, 2005, lot 178; Private Collection, Massachusetts ESTIMATE $7,000—$10,000110111111 PAUL CADMUS American (1904-1999) MALE NUDE READING crayon on illustration board signed lower right "Cadmus" 14 1⁄4 x 10 inches PROVENANCE Sotheby’s, New York, New York, September 16, 2005, lot 110; Private Collection, Massachusetts ESTIMATE $7,000—$10,000

98112112 WILLIAM AIKEN WALKER American (1838-1921) FRESH SUNNED PILLOWS TONIGHT (NORTH CAROLINA CABIN) oil on canvas signed lower left "WA Walker." 12 1⁄4 x 18 1⁄4 inches PROVENANCE Mrs. W.H. Cogswell III, Charleston, South Carolina; Property from a Distinguished Collector LITERATURE August P. Trovaioli and Roulhac B. Toledano, "William Aiken Walker: Southern Genre Painter", (Baton Rouge, Louisiana: Louisiana State University Press, 1972), p. 101, no. 5 (illustrated as "North Carolina Cabin with Scalloped Trim on Roof and Wild Cannas"). ESTIMATE $6,000—$8,000

113 ARTHUR FITZWILLIAM TAIT American (1819-1905) "THE INTRUDER", 1872 oil on canvas signed lower left "A.F. Tait / N.Y. 1872", titled, signed, dated, and inscribed on the reverse, "No 42. / 52 E. 23rd St / N.Y." 14 x 22 inches PROVENANCE Private Collection, New York ESTIMATE $8,000—$12,00011399

114 CADWALLADER LINCOLN WASHBURN American (1866-1965) HARBOR VIEW, BOOTHBAY oil on canvas signed lower right "Cadwallader Washburn" 24 x 30 inches PROVENANCE James D Julia, Inc., Fairfield, Maine, August 25, 2015, lot 1019; Private Collection, Connecticut ESTIMATE $4,000—$6,000115 SELDEN CONNOR GILE American (1877-1947) "OCTOBER HILLS" (TIBURON HILLS) oil on board signed lower left "Gile", titled and dated on the reverse 12 x 15 inches PROVENANCE Landmarks Society, Tiburon, California; The North Point Gallery, San Francisco; Hindman, Chicago, Illinois, September 15, 2013, lot 15; Private Collection, New Jersey ESTIMATE $6,000—$8,000114115100

116 ALDRO THOMPSON HIBBARD American (1886-1972) SUGAR HOUSE NEAR JAMAICA VERMONT oil on canvas backed by board signed lower right "AT Hibbard C.W." 18 x 24 inches PROVENANCE James D. Julia, Inc., Fairfield, Maine, August 28, 2015, lot 1081; Private Collection, Connecticut ESTIMATE $4,000—$6,000117 EMILE A. GRUPPE American (1896-1978) BIRCHES oil on canvas signed lower left "Emile A. Gruppe" 30 x 25 inches PROVENANCE Private Collection, New York ESTIMATE $5,000—$7,000116117101

118 JOHN FOLINSBEE American (1892-1972) THE RETURN OF THE FISHERMAN oil on masonite signed lower left "John Folinsbee" 16 x 24 inches PROVENANCE Private Collection, New York NOTES This painting will be included in the John F. Folinsbee Catalogue Raisonné, sponsored by the John F. Folinsbee Art Trust. ESTIMATE $3,000—$5,000119 GRANVILLE PERKINS American ((1830-1895)) MOONLIGHT OVER NEW YORK HARBOR, 1895 oil on canvas signed and dated lower left "Granville Perkins / 1895" 14 x 10 inches PROVENANCE Private Collection, New York NOTES This painting depicts the view south from a point near Battery Park, at the southern tip of Manhattan. This silhouette of Castle Williams—one of several forts built between 1807 and 1811 to protect the harbor—can be seen in the middle ground, on the northwest tip of Governors Island. ESTIMATE $4,000—$6,000120 JOHN F. CARLSON American (1875-1947) "AFTERNOON LIGHT" oil on board signed lower left "John F. Carlson", titled and signed on the reverse 12 x 16 inches PROVENANCE Private Collection, New York ESTIMATE $2,500—$3,500118120119102

103121121 BRUCE CRANE American (1857-1937) HAYSTACKS oil on canvas signed lower right "Bruce Crane" 20 x 30 inches PROVENANCE Private Collection, New York ESTIMATE $6,000—$8,000122 EMIL CARLSEN American (1853-1932) PLYMOUTH, NEW HAMPSHIRE, CA. 1888 oil on board signed and inscribed lower left "Em. Carlsen. Plymouth, N.H." 10 1⁄2 x 14 1⁄4 inches PROVENANCE The artist, 1888; M.A. Newhouse & Son, St. Louis, Missouri; Newhouse Galleries, New York, New York; Post Road Gallery, Larchmont, New York; Private Collection, New York NOTES This work is included in the Emil Carlsen Archives website at emil-carlsen.org under ECA record control number 26377. ESTIMATE $4,000—$6,000122

104124 JANET SCUDDER American (1869-1940) FROG BABY bronze signed on the base "Janet Scudder" h. 12 inches PROVENANCE Shannon's, Milford, Connecticut, April 28, 2011, lot 199; Private Collection, New York ESTIMATE $4,000—$6,000123 HARRIET WHITNEY FRISHMUTH American (1880-1980) CREST OF THE WAVE, 1925 bronze signed and dated on the base "Harriet W Frishmuth circa 1925, with foundry mark "Gorham Co Founders QFHL" h. 21 inches PROVENANCE Edward E. and Dorothy Bates, New York, 1958-1979; by descent in the family; James Graham & Sons, Inc., New York, New York, 2004; Private Collection, New York NOTES A copy of the purchase receipt from James Graham & Sons accompanies this lot. ESTIMATE $8,000—$12,000123124

105125 ABASTENIA ST LEGER EBERLE American (1878-1942) "YETTA AND THE CAT WAKE UP" bronze signed and dated on the base "A.S.L. Eberle. / 1916", with foundry mark "Kunst-Foundry-N.Y." h. 12 inches PROVENANCE Private Collection, Rhode Island LITERATURE Kineton Parkes, Sculpture of To-Day, New York, 1921, p. 202, illustration of another cast opposite page 205; "Without Prejudice," The International Studio, vol. LXXIII, issue 288, March 1921, p. V, illustration of another cast; Exhibition Catalog, San Francisco, National Sculpture Society, Contemporary American Sculpture, 1929, pp. 84 and 86, illustration of another cast; Beatrice Gilman Proske, Brookgreen Gardens Sculpture, Georgetown County, South Carolina 1968, pp. 152-53, another cast mentioned; Exhibition Catalog, Des Moines, Iowa, Des Moines Art Center, Abastenia St. Leger Eberle Sculptor (1878-1942), 1980, no. 25, p. 15, illustration of another cast; Exhibition Catalog, New York, Conner Rosenkranz, American Sculpture 1850-1950, pp. 20 and 57, illustration of another cast ESTIMATE $7,000—$10,000126 ABASTENIA ST. LEGER EBERLE American (1878-1942) GIRL WITH DOLL, 1910 bronze dated and signed on the base "ASL Eberle", "S. Klaber & Co." foundry mark on the base h. 11 3⁄4 inches PROVENANCE Private Collection, New Jersey ESTIMATE $6,000—$8,000125126127127 BRUNO LUCCHESI American (b. 1926) WOMAN WITH CHILD ON A BICYCLE bronze signed on the bike "Lucchesi" h. 16 1⁄4 inches PROVENANCE Private Collection, New York ESTIMATE $2,000—$3,000

106128 EDMUND DARCH LEWIS American (1835-1910) MORNING IN CUBA, 1860 oil on canvas signed and dated lower right "ED Lewis / 1860" 16 1⁄2 x 13 1⁄2 inches PROVENANCE Private Collection, New York ESTIMATE $4,000—$6,000129129 JEROME B. THOMPSON American (1814-1886) WAITING FOR A BITE, 1886 oil on canvas signed and dated lower right "Jerome Thompson / 1886" 24 x 18 inches PROVENANCE Private Collection, New York ESTIMATE $4,000—$6,000128

107130 HENRY AUGUSTUS FERGUSON American (1845-1911) STREET OF SEIDEH ZEYNEB, CAIRO oil on canvas signed lower left "Henry A. Ferguson" 38 1⁄2 x 28 inches PROVENANCE From a New York Museum; Doyle, New York, New York, April 18, 2018, lot 68; Private Collection, New York EXHIBITED New York, New York, National Academy of Design, 1881, no. 321 ESTIMATE $6,000—$8,000130

108132 GILBERT STUART American (1755-1828) PORTRAIT OF A WOMAN WITH LACE COLLAR oil on panel unsigned 20 x 16 inches PROVENANCE Alexander Gallery, New York, New York; Private Collection, Connecticut ESTIMATE $5,000—$7,000131132131 GILBERT STUART American (1755-1828) PORTRAIT OF A WOMAN oil on canvas unsigned 26 1⁄4 x 22 1⁄4 inches PROVENANCE Christie's, New York, New York, January 21, 2021, lot 200; Private Collection, Connecticut ESTIMATE $6,000—$8,000

109133 JAMES HENRY CAFFERTY American (1819-1869) THE MIDDAY REST, 1858 oil on canvas signed and dated lower right "J H Cafferty 1858" 26 x 38 inches PROVENANCE Private Collection, Cornwall, New York, until 1984; Gloria and Richard Manney Collection; Christie's, New York, New York, December 4, 1996, lot 42; Phillip's, New York, New York, May 22, 2001, lot 11; Property from a Distinguished Collector EXHIBITED New York, New York, National Academy of Design, "Annual Exhibition", 1859, no. 718 (a copy of the exhibition record accompanies this lot); New York, New York, The New York Historical Society, "James Henry Cafferty N.A. (1819-1869)", 1986, pp. 31, 49, cat. no. 15 (illustrated); New York, New York, The New York Historical Society, "Art What Thou Eat: Images of Food in American Art", 1990-1991. NOTES James Cafferty was esteemed for his portraits, especially those of fellow artists such as Jasper Francis Cropsey, and for his brilliantly colored depictions of children placed in lush landscapes. This painting continues the tradition of bucolic representations in American genre painting by artists such as George Henry Durrie, William Sidney Mount, and Jerome Thompson.The Midday Rest is one from a series of harvesting scenes Cafferty painted from 1858-1859 that may use his farm in New Jersey as their setting. The other paintings are "Harvesting in Monmouth County, New Jersey", exhibited in 1858, and "Harvest Home", exhibited at the Pennsylvania Academy of the Fine Arts in Philadelphia, in 1859. In the exhibition catalog for "James Henry Cafferty" at the New York Historical Society, David Stewart Hall proclaims the present work to be "one of Cafferty's most ambitious---and most successful works." ESTIMATE $8,000—$12,000133

110135 EDWARD CHARLES VOLKERT American (1871-1935) OXEN oil on board signed lower right "EDW Volkert" 9 x 12 inches PROVENANCE Private Collection, Connecticut ESTIMATE $2,000—$3,000134135136134 EDWARD CHARLES VOLKERT American (1871-1935) BARNYARD CHORES oil on canvas signed lower left "Volkert" 25 x 30 inches PROVENANCE Nickol Fine Arts, Mishawaka, Indiana; Private Collection, Connecticut ESTIMATE $3,000—$5,000136 ARTHUR PARTON American (1842-1914) "IN THE CATSKILLS" oil on canvas signed lower left "A. Parton" 12 x 20 inches PROVENANCE Private Collection, New York ESTIMATE $3,000—$5,000

137 CHARLES WARREN EATON American (1857-1937) HILLSIDE oil on canvas signed lower left "Chas Warren Eaton." 20 x 24 inches PROVENANCE Private Collection, New Jersey ESTIMATE $3,000—$5,000138 HUGH BOLTON JONES American (1848-1927) SPRING LANDSCAPE oil on board signed lower right "H. Bolton Jones" 11 x 14 inches PROVENANCE Private Collection, New York ESTIMATE $2,000—$3,000139 CHARLES WARREN EATON American (1857-1937) FOREST LANDSCAPE oil on canvas laid down on board signed lower left "Chas Warren Eaton." 16 x 22 inches PROVENANCE Private Collection, New Jersey ESTIMATE $2,000—$3,000137139138111

112141 JOHN F. FALATO American (b. 1940) BY SAVIN ROCK oil on board signed lower right "John Falato" 24 x 35 inches PROVENANCE Private Collection, Illinois ESTIMATE $2,500—$3,500140141142140 TOM YOST American (b. 1957) "CORN FIELD", 2023 oil on linen signed and dated lower left "Yost '23", signed, titled, dated and inscribed on the reverse "Good Hill Farm Preserve, Roxbury, CT" 18 x 24 inches PROVENANCE The artist; Private Collection, Connecticut ESTIMATE $3,000—$5,000142 ANTHONY THIEME American (1888-1954) REFLECTIVE LIGHT oil on canvas signed lower right "A Thieme" 20 x 23 inches PROVENANCE Private Collection, Connecticut ESTIMATE $3,000—$5,000

143 PRISCILLA WARREN ROBERTS American (1916-2001) ROBOTS AND DINOSAURS oil on board signed lower left "P Roberts" 29 x 24 inches PROVENANCE Private Collection, Connecticut ESTIMATE $2,000—$3,000144 PRISCILLA WARREN ROBERTS American (1916-2001) OWL AND BUTTERFLIES oil on board signed lower left "P Roberts" 23 x 20 inches PROVENANCE Private Collection, Connecticut ESTIMATE $2,500—$3,500145 PRISCILLA WARREN ROBERTS American (1916-2001) PAPER DOLLS oil on board signed lower right "P Roberts" 23 1⁄2 x 22 1⁄2 inches PROVENANCE Private Collection, Connecticut ESTIMATE $2,000—$3,000143145144113

114147 REGINALD MARSH American (1898-1954) THE HAT SHOP, 1944 watercolor on paper unsigned 10 1⁄4 x 7 3⁄4 inches PROVENANCE Senator William Benton, Connecticut, by descent; Private Collection, New York EXHIBITED Riverside, California, Riverside Art Museum, "Legends of Watercolor", June 29 - August 15, 1995 ESTIMATE $3,000—$5,000146147148146 JOHANN BERTHELSEN American (1883-1972) "LITTLE CHURCH AROUND THE CORNER" oil on canvasboard signed lower right "Johann Berthelsen" 16 x 12 inches PROVENANCE Private Collection, New York ESTIMATE $2,000—$3,000148 JOHANN BERTHELSEN American (1883-1972) BROOKLYN BRIDGE oil on canvasboard signed lower right "Johann Berthelsen" 16 x 12 inches PROVENANCE Private Collection, New York ESTIMATE $2,000—$3,000

115149 WILLIAM SAMUEL SCHWARTZ (1896-1977) "AFTER THE DANCE" watercolor on paper signed lower left "William S. Schwartz" 29 x 21 1⁄2 inches PROVENANCE Papillon Gallery, Los Angeles, California; Collection of Charles and Nancy Parrish; Hindman Auctions, Chicago, Illinois, October 17, 2023, lot 1026; Private Collection, Pennsylvania ESTIMATE $8,000—$12,000150 CLYDE J. SINGER American (1908-1999) AT THE CLEANERS oil on board signed lower left "C. Singer" 10 x 13 3⁄4 inches PROVENANCE Private Collection, Pennsylvania ESTIMATE $4,000—$6,000149150

116151151 HENRY KOERNER Austrian-American (1915-1991) "CLONING", 1980 three panel watercolor on paper signed and dated lower right "Koe 80" 23 1⁄4 x 53 inches PROVENANCE Concept Art Gallery, Pittsburgh, Pennsylvania; Private Collection, Pennsylvania ESTIMATE $6,000—$8,000

117152 ANTONIO JACOBSEN American (1850-1921) "RED JACKET", 1917 oil on board signed and dated lower right "Antonio Jacobsen 1917", titled lower left 12 x 19 3⁄4 inches PROVENANCE Wading River Historical Society, Wading River, New York NOTES Sold to benefit the Wading River Historical Society. This painting is listed in Antonio Jacobsen - The Checklist - Paintings and Sketches by Antonio N. G. Jacobsen 1850-1921, Compiled by Harold S. Sniffen, Curator Emeritus, The Mariners Museum. No. 26. ESTIMATE $3,000—$5,000153 HARRY AIKEN VINCENT American (1864-1931) "IN THE HARBOR" oil on board titled and signed on the reverse "H.A. Vincent" 12 x 16 inches PROVENANCE Private Collection, Connecticut ESTIMATE $2,000—$3,000154 EMILE A. GRUPPE American (1896-1978) "MRS. LORENZO, STRAITSMOUTH LIGHT, ROCKPORT MASSACHUSETTS" oil on canvas signed lower right "Emile A Gruppe", titled on the stretcher, inscribed on the stretcher "Dorothy R Gruppe Estate" 24 x 20 inches PROVENANCE James D Julia, Inc., Fairfield, Maine, August 25, 2015, lot 1087; Private Collection, Connecticut ESTIMATE $3,000—$5,000152153154

118155156155 CHAUNCEY FOSTER RYDER American (1868-1949) "AMONG THE HILLS" oil on canvas, panel-backed signed lower right "Chauncey F. Ryder", signed and titled on a label on the reverse 22 x 28 inches PROVENANCE Purchased from the AT&T Collection, 2003; Private Collection, New York ESTIMATE $3,000—$5,000156 CARL WEBER American (1849-1922) PENNSYLVANIA LANDSCAPE oil on canvas signed lower right "Carl Weber" 24 x 32 inches PROVENANCE Godel and Co., New York, New York; Private Collection, New York ESTIMATE $2,000—$3,000157 JOHN JOSEPH ENNEKING American (1841-1916) "GLOUCESTER NOCTURNE" OR GLOUCESTER HARBOR, EVENING oil on board signed lower right "Enneking" 8 1⁄2 x 14 1⁄2 inches PROVENANCE Pierce Galleries, Inc., Hingham, Massachusetts; Private Collection, New York, New York NOTES This work is included in the John J. Enneking Catalogue Raisonne, compiled by Pierce Galleries numbered V-B-500 in 1980 and IV-8-532 in 1998. ESTIMATE $3,000—$5,000157

119158160159158 ALFRED THOMPSON BRICHER American (1837-1908) ROCKY SHORELINE watercolor and pencil on paper laid down on board signed lower right "AT Bricher" 12 3⁄4 x 25 1⁄2 inches PROVENANCE Private Collection, New York ESTIMATE $3,000—$5,000160 FREDERICK RONDEL American (1826-1892) ON THE SHORELINE oil on canvas signed lower right "F. Rondel" 14 1⁄2 x 20 1⁄2 inches PROVENANCE Private Collection, Washington ESTIMATE $3,000—$5,000159 SAMUEL COLMAN American (1832-1920) SHAD FISHERMEN IN THE HUDSON HIGHLANDS oil on card signed and dated faintly lower right 4 3⁄4 x 8 3⁄4 inches PROVENANCE Hawthorne Fine Art, LLC, New York; Private Collection, New York EXHIBITED Garrison, New York, Boscobel, "The Glorious Scenery Must Ever Excite: Nineteenth Century American Paintings of the Hudson Highlands", July 2, 2008 - October 1, 2008 ESTIMATE $3,000—$5,000

120161162161 ANNA MARY RICHARDS BREWSTER American (1870-1952) BABY PLAYING oil on canvas signed lower right "AMR Brewster" 16 x 20 inches PROVENANCE Private Collection, New York NOTES According to notes on the reverse, it is possible the painting depicts the artist's son. Anna Richards Brewster was the daughter of American seascape artist William Trost Richards ESTIMATE $3,000—$5,000162 KARL WITKOWSKI American (1860-1910) GUARDING THE FLOWER BASKET oil on canvas signed lower left "K Witkowski" 21 x 15 inches PROVENANCE Private Collection, New York; Sotheby's, New York, New York, Thursday, April 5, 2012, lot 33; Private Collection, Montana ESTIMATE $3,000—$5,000

121163164165163 EMIL FUCHS Austrian-American (1866-1929) "A YOUNG JUNO" (MISS ELLEN KAMERLY), 1925 oil on panel signed and dated center left "Emil Fuchs / 1925" 36 x 27 3⁄4 inches PROVENANCE Emil Fuchs by bequest to the Brooklyn Museum of Fine Art, New York, New York; Private Collection, New York; Eli Wilner & Company, New York, New York, 2010; Private Collection, New York ESTIMATE $3,000—$5,000164 HARRY HERMAN ROSELAND American (1867-1950) TIRED COACH DRIVER oil on canvas signed and dated illegibly upper left "Harry Roseland" 12 x 10 inches PROVENANCE Private Collection, New York ESTIMATE $2,000—$3,000165 CARTAINO DI SCARRINO PIETRO Italian (1886-1918) NATURALIST JOHN BURROUGHS, 1915 bronze signed on the base "C.S. Pietro", with foundry mark on the base "cast by Roman Bronze Works N.Y." h. 14 1⁄4 inches PROVENANCE Private Collection, Connecticut ESTIMATE $2,000—$3,000

122167 ALOIS LECOQUE Czech (1891-1981) "MADONA DELLA SALUTE, VENICE", 1976 oil on canvasboard signed and dated lower right "Lecoque 76", signed, titled and dated on the reverse 19 1⁄2 x 24 1⁄4 inches PROVENANCE Private Collection, New Jersey ESTIMATE $2,500—$3,500166167168166 ANTOINE BLANCHARD French (1910-1988) "FLOWER MARKET, MADELEINE, PARIS" oil on canvas signed lower left "Antoine Blanchard", signed and inscribed on the reverse 13 x 18 inches PROVENANCE Private Collection, Germany NOTES A Certificate of Authenticity from Rehs Galleries accompanies this lot, catalog MDFMN1318.0005. ESTIMATE $3,000—$5,000168 JAN STYKA Polish (1858-1925) STUDY FOR PANORAMA OF THE BATTLE OF RACLAWICE oil on canvas signed lower right "Jan Styka" 35 x 39 inches PROVENANCE Private Collection, Connecticut ESTIMATE $3,000—$5,000

123169 CHARLES EMILE JACQUE French (1813-1894) SHEPHERD AND SHEEP oil on panel signed lower left "Ch. Jacque" 18 1⁄4 x 14 3⁄4 inches PROVENANCE Private Collection, New York ESTIMATE $2,500—$3,500170 FRANCIS DAVIS MILLET American (1848-1912) CHARWOMAN, 1873 oil on canvas initialed and dated lower right "F.M. / 73" 16 x 13 inches PROVENANCE Alexis C. Manice, Pennsylvania; Private Collection, New York ESTIMATE $3,000—$5,000171 LUIGI SCAFFAI Italian (1837-1899) PLAYING AROUND oil on canvas signed lower right "L Scaffai" 16 3⁄4 x 22 1⁄4 inches PROVENANCE Private Collection, New York NOTES This work is sold unframed. ESTIMATE $2,000—$3,000169170171

124173 ROBERT HENRI American (1865-1929) "CUMULUS CLOUDS OVER RIVER", CA. 1903 oil on panel signed lower left "Robert Henri", titled on the reverse, numbered on the reverse "148-A-2" 6 x 9 inches PROVENANCE Rabin & Krueger Gallery, Newark, New Jersey; Private Collection, New York ESTIMATE $3,000—$5,000172173174172 GEORGE HENRY SMILLIE American (1840-1921) THE LIGHTHOUSE oil on canvas signed lower left "Geo. H Smillie - NA" 15 x 24 inches PROVENANCE Private Collection, New York ESTIMATE $2,500—$3,500174 CHARLES COURTNEY CURRAN American (1861-1942) "THE CLIFF SUNSET", 1935 oil on masonite signed and dated lower right "Charles C Curran NA 1935", signed, titled, and inscribed on the reverse "Record No. / 260-22 / C.C.C." 18 x 24 inches PROVENANCE William Doyle, New York, New York, December 5, 2000, lot 58; Shannon's, Milford, Connecticut, April, 25, 2002, lot 172; Private Collection, Massachusetts ESTIMATE $2,500—$3,500

125175 PRISCILLA WARREN ROBERTS American (1916-2001) "COMMENCEMENT" oil on masonite signed lower left "P Roberts" 19 1⁄4 x 16 1⁄4 inches PROVENANCE Private Collection, Connecticut ESTIMATE $3,000—$5,000176 CAROLINE STEHLIN American (1879-1954) BEACH SCENE oil on board signed illegibly lower left 6 3⁄4 x 9 inches PROVENANCE Private Collection, New York ESTIMATE $2,000—$3,000177 JULIAN SCHNABEL American (b. 1951) "SELF PORTRAIT ON THE STATEN ISLAND FERRY" pencil on paper signed lower right "Julian Schnabel" 15 x 22 inches PROVENANCE Private Collection, New York ESTIMATE $2,000—$3,000175176177

126179 LEV MESHBERG Ukrainian / American (1933-2007) "TRAVELES", 1978 encaustic and oil on canvas signed and dated lower right "Lev Meshberg 78", titled, signed and dated on the reverse 48 x 46 inches PROVENANCE Purchased from the artist; Private Collection, New Jersey ESTIMATE $3,000—$5,000178179180178 NORMAN BLUHM American (1921-1999) UNTITLED (RED AND BLACK), CA. 1955 mixed media on paper signed on the reverse "Norman Bluhm" 9 1⁄2 x 7 1⁄2 inches PROVENANCE Private Collection, New York ESTIMATE $2,000—$3,000180 EVERETT SHINN American (1876-1953) "EBENEZER SCROOGE AND THE GHOST OF CHRISTMAS PRESENT", 1938 watercolor on paper signed and dated lower right "Everett Shinn / 1938" 15 3⁄4 x 13 1⁄2 inches PROVENANCE Private Collection, Connecticut NOTES This illustration was done for the 1938 edition of Charles Dickens "A Christmas Carol". ESTIMATE $2,500—$3,500

127181 EVERETT SHINN American (1876-1953) SCROOGE , 1938 (ILLUSTRATION FOR "A CHRISTMAS CAROL" BY CHARLES DICKENS) pastel on paper signed and dated lower left "Everett Shinn - 1938" 11 x 8 3⁄4 inches PROVENANCE Forum Gallery, Los Angeles, California; Private Collection, New York EXHIBITED New York, New York, Forum Gallery, "Recent Acquisitions", December 16, 2004 - January 22, 2005 ESTIMATE $1,200—$1,800182 ORSON BYRON LOWELL American (1871-1956) IN THE WORKSHOP oil on canvas signed lower left "Orson Lowell", signed and inscribed on the reverse " Orson / Lowell / 501 - 5th Ave / N.Y. 30 1⁄4 x 23 1⁄4 inches PROVENANCE Private Collection, New York NOTES This work is an illustration for the November 1935 issue of "American Boy". A copy of the magazine accompanies this lot. ESTIMATE $3,000—$5,000183 JOAN MIRO Spanish (1893-1983) FEMME ET OISEAU DEVANT, 1947 etching on paper signed and dated in pencil lower right "Miro / 1947, numbered lower left "185/300" 7 3⁄4 x 10 inches PROVENANCE Private Collection, New York ESTIMATE $2,000—$3,000181182— END OF SALE —183

128INDEXA ATHERTON, JOHN C. 104 AUDETTE, ANNA HELD 36 B BABER, ALICE 77 BERTHELSEN, JOHANN 2,3,146,148 BIERSTADT, ALBERT 50 BLAINE, NELL BLAIR W. 35 BLANCHARD, ANTOINE 166 BLUHM, NORMAN 178 BRADFORD, WILLIAM 80 BREGA, DOUG 96 BREWSTER, A. M. R. 161 BRICHER, ALFRED T. 47,52,158 BROWN, JOHN GEORGE 83 BROWN, WILLIAM M. 98 C CADMUS, PAUL 109,110,111 CAFFERTY, JAMES H. 133 CARLSEN, EMIL 122 CARLSON, JOHN F. 120 CHADWICK, WILLIAM 43 COLMAN, SAMUEL 159 CRANE, BRUCE 121 CROPSEY, JASPER F. 32,46 CURRAN, CHARLES C. 84,174 D DELACROIX, MICHEL 8 DOW, ARTHUR WESLEY 54 DOWNES, RACKSTRAW 7 DUNNING, ROBERT S. 87 DYF, MARCEL 13,14 E EATON, CHARLES W, 56,137,139 EBERLE, A. ST LEGER 125,126 ELLENSHAW, PETER 90 ENNEKING, JOHN J. 157 F FALATO, JOHN F. 141 FERGUSON, HENRY A. 130 FOLINSBEE, JOHN 118 FRANCIS, JOHN F. 85 FRIESEKE, FREDERICK C. 64 FRISHMUTH, HARRIET W. 123 FUCHS, EMIL 163 G GASSER, HENRY MARTIN 28,105 GIFFORD, SANFORD R. 48 GILE, SELDEN CONNOR 115 GONZALEZ, TEO 102 GREACEN, EDMUND 72 GRUPPE, EMILE A. 29,30,62, 63,117,154 H HARNETT, WILLIAM 66 HARRISON, BIRGE 58 HENRI, ROBERT 173 HERTER, ALBERT 86 HIBBARD, ALDRO T. 60,61,116 HIRST, CLAUDE RAGUET 65 I INNESS, GEORGE 33 IRVINE, WILSON HENRY 42 J JACOBSEN, ANTONIO 152 JACQUE, CHARLES E. 169 JOHNSON, DAVID 49 JONES, FRANCIS COATES 15 JONES, HUGH BOLTON 138 K KAHN, WOLF 22,23,73, 75,76,106 KOERNER, HENRY 151 L LHERMITTE, LEON A. 9 LAWSON, ERNEST 68,69 LAZZELL, BLANCHE 93 LEBASQUE, HENRI 10 LECOQUE, ALOIS 167

129LEVER, RICHARD H. 16,17,18 LEWIS, EDMUND D. 128 LOWELL, ORSON BYRON 182 LUCCHESI, BRUNO 127 LUCIONI, LUIGI 88 M MACRUM, GEORGE H. 5 MARSH, REGINALD 147 MASON, EMILY 19,20,21, 74,107 MEDEARIS, ROGER N. 25,26,27 MESHBERG, LEV 179 METCALF, WILLARD L. 57 MILLET, FRANCIS DAVIS 170 MIRA, ALFRED 4,6 MIRO, JOAN 183 MONSTED, PEDER M. 12 MULHAUPT, FREDERICK 59 N NESBITT, LOWELL 89 NICHOLS, DALE 39 P PALMER, PAULINE L. 24 PALMER, WALTER L. 55 PARTON, ARTHUR 136 PERKINS, GRANVILLE 119 PETERSON, JANE 100 PIETRO, C. DI SCARRINO 165 PORTER, CHARLES E. 81,82 POTTHAST, EDWARD H. 79 PRENTICE, LEVI WELLS 67,97 R REEDER, DICKSON 108 REMINGTON, F. S. 99 RENDON, MANUEL 91 RIVERS, LARRY 103 ROBERTS, PRISCILLA W. 34,37,38, 143,144, 145,175 RONDEL, FREDERICK 160 ROSELAND, HARRY H. 164 RYDER, CHAUNCEY F. 155 S SCAFFAI, LUIGI 171 SCHNABEL, JULIAN 177 SCHWARTZ, WILLIAM S. 149 SCUDDER, JANET 124 SHEPPARD, WARREN 51,95 SHINN, EVERETT 180,181 SILVA, FRANCIS A. 53 SINGER, CLYDE J. 150 SLOANE, ERIC 40,41 SMILLIE, GEORGE H. 172 SMITH, JAUNE 78 (QUICK-TO-SEE) SMITH, KIKI 101 STEHLIN, CAROLINE 176 STEINBERG, SAUL 92 STUART, GILBERT 131,132 STYKA, JAN 168 T TAIT, ARTHUR F. 113 THIEME, ANTHONY 31,142 THOMPSON, JEROME B. 129 V VINCENT, HARRY AIKEN 153 VOLKERT, EDWARD C. 134,135 W WALKER, WILLIAM A. 112 WASHBURN, C. L. 114 WEBER, CARL 156 WHITTREDGE, T. W. 94 WIGGINS, GUY C. 1,70,71 WITKOWSKI, KARL 162 Y YOST, TOM 44,45,140 Z ZIEM, FELIX 11

Personalized Service • Competitive Rates • Proven Results25Contact Sandra Germain info@shannons.com 203 877 1711 shannons.comJanuary 23, 2025 | 2:00 PM Online Fine Art Auction Consignments accepted now through December 15, 2024. April 24, 2025 | 6:00 PM Important Paintings, Drawings, Prints & Sculpture Consignments accepted now through March 15, 2025. YOU ARE INVITED...Frederick Frieseke Sold: $450,000 Lynne Mapp Drexler Sold: $450,000 Thomas Hart Benton Sold: $275,000 Consignments accepted year-round

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

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

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