The Summer 2021 International Fine Art Sale

SUMMER 2021

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LIVE AUDIENCE

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We request anyone wishing to attend to make an advance reserva-

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tion with Barridoff Galleries, and with registered bidders receiving

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priority. The auction will be broadcast from a live stream on our

like a bar code) directly below with with your phone’s

website and on the Barridoff App, so if you cannot attend you can

camera to be taken directly to our online catalog.

still watch the auction as it happens.

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REFERRAL PROGRAM Do you know of any friends or family who may have fine art for sale? Barridoff Galleries offers a generous referral program for any new leads of available fine art that result in a sale. Please contact us for more information.

CONSIGNMENT INQUIRIES

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To inquire about submitting works of Fine Art for an upcoming sale, or to receive a free estimate of your art’s worth, feel free to call, email or go to our website www.barridoff.com.

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Barridoff Galleries is Always Accepting Consignments of Fine Art Please feel free to call, email or go to www.barridoff.com to inquire about consigning

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Stay Tuned for the Return of Free Appraisal Days or Just Email a Photo of Your Fine Art to: F I N E AR T@ B AR R I D O F F. C O M (207) 772-5011 W W W. B2AR R I D O F F. C O M

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TA B L E of C O N T E N T S

Meat the Team Terms & Conditions Preview Details

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Exhibits

9-131

Artist Corner: Will Barnet

15-16

Artist Corner: George Grosz

23-24

Artist Corner: Wolf Khan

37-41

Artist Corner: Lynne Mapp Drexler

49-50

Index 132

FRONT COVER: LOT 62 IMAGE DESCRIPTION: Wolf Khan

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Me e t THE TEAM We at Barridoff Galleries seek out and find compelling, beautiful, relevant works of art. For us, it’s never just another auction. It’s an opportunity to help buyers and sellers of fine art realize their dreams by establishing that special connection in their appreciation of fine art.

Peter Coccoluto, Auctioneer Rhylee Cole, Gallery Associate Lindsey DeArmond, Graphic Designer Jeremy Fogg, Fine Art Consultant Nick Mack, Preparator William Milliken, Auctioneer Glenn Morin, Accountant Deirdre Nice, Expeditor Erica Perkins, Gallery Manager Nick Smith, Photographer

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G A L L E R I E S

G AL L E RY 3 1 2 G AN N E T T D R I V E S O U T H P O R T L AN D, M AI N E 04106

( 207) 772-5 0 11 baridoff.com

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F I N E AR T T E R M S & c o n di t i o n s CONDITIONS OF AUCTION SALE The following Conditions of Sale, including the appended notes and other information, whether printed or online, as they may be amended by any posted notices or oral announcements before or during the auction sale, constitute the entire agreement between Barridoff Galleries, representing its consignors, and the bidder relative to the item being sold and the conduct of the sale. By registering for or participating in the auction sale, all bidders agree to the terms hereof.

or literature. Bidder should not assume that any such examination, investigation or test has occurred.

Barridoff Galleries does not make or agree to make any representation of fact and undertakes no obligation or duty, whether in contract or in tort, with respect to the accuracy or completeness of any statement or representation made by Barridoff Galleries or on Barridoff Galleries’ behalf that is in any way descriptive of any item or as to the anticipated or likely selling price of any item. No statement or representation by Barridoff Galleries or on Barridoff Galleries’ behalf in any way descriptive of any item or any estimate is incorporated into these terms and conditions or agreement for sale with Bidder.

1. The Sale. The contract for sale for any item purchased at auction is between the consignor (seller) and the winning bidder. Barridoff Galleries acts as the consignor’s agent only, unless Barridoff Galleries is selling the item as principal. Items are sold with reserve and Barridoff Galleries may reject any bid below the reserve.

The auctioneer may bid on behalf of the consignor or of Barridoff Galleries. Starting bids may start below the reserve price. If an item does not reach its reserve price, the auctioneer may pass the item. Barridoff Galleries reserves the right to withdraw any item at any time before its actual sale. Bids made must be consistent with the standard bidding increments, and may be varied only upon permission from the auctioneer. A bid received between two increments may be rejected or reduced to the next lowest increment. The buyer is the highest bidder acknowledged by the auctioneer upon the fall of the hammer, which indicates the completion of the sale. The sale of every lot of one or multiple items constitutes a separate sale under Maine law and the Uniform Commercial Code. In the event of a tie bid, the first bid received has precedence. In the event of a bid received as the hammer is falling, it is in the auctioneer’s discretion whether to accept the bid or declare the sale complete. Barridoff Galleries has authority to decide any disputes over the auction process in Barridoff Galleries’ sole discretion, whose decision is final and binding. Bidder understands that any dispute regarding a purchased item is between the consignor and the winning bidder unless the dispute concerns the conduct of the sale or other issue within the sole responsibility and control of Barridoff Galleries.

7. Buyer’s Premium. Barridoff Galleries charges the winning bidder a premium to be added to the hammer price on each item purchased. This premium is equal to 22% of a hammer price up to $500,000, and 17% of a hammer price above $500,000. A surcharge above this premium may be assessed for online sales, the amount of which may vary depending on the specific online platform on which the bidding is being conducted, which will be noted in the terms for that specific platform. A 2% discount of the premium will be given for any item paid for and removed by the end of auction day.

8. Completion of Sale; Payment by Bidder. Upon the fall of the auctioneer’s hammer, the sale is complete and title to the item passes to the highest bidder, subject to the terms hereof, who is bound by the sale and assumes full risk and responsibility thereof. The winning bidder authorizes Barridoff Galleries to sign a sales record, which is conclusive as to the terms of the sale, on the winning bidder’s behalf. It is expected that the winning bidder has the funds available to pay for the item upon the completion of sale.

Payment is due upon completion of the auction and, unless alternate payment arrangements have been made, Barridoff Galleries reserves the right to charge any credit card or other financial account of Bidder on file with Barridoff Galleries at that time or any time thereafter for any amounts owed. All items must be fully paid for, including any additional amounts owed Barridoff Galleries under paragraph 9 or otherwise, and removed from the premises of the auction by the winning bidder at the winning bidder’s expense within 24 hours of the day of sale unless other specific arrangements have been made with Barridoff Galleries.

Payment for each item purchased must be made before the item is removed. Only cash, certified check, wire transfer or verified credit card are acceptable as payment methods unless other suitable arrangements have been made with Barridoff Galleries at least five days before the auction. All sales are final and no refunds will be given with the limited exception of circumstances under paragraph 11.

2. Remote Bidding. As a convenience to clients who cannot attend a sale in person, absentee bidding, telephone bidding and online bidding options are available. Absentee and telephone bidding registration forms may be found on the Barridoff Galleries website. Any absentee or telephone safety bid given that is not consistent with the published bidding increments may be rejected or rounded down to the next lowest increment. Online bidding may also be available on the Barridoff website and one or more online auctioneering websites as announced by Barridoff Galleries, the conduct for which Barridoff Galleries takes no responsibility. Barridoff Galleries is not responsible for errors and omissions in connection with absentee, telephone, Internet or other remote bidding methods, and mistakes made by Bidder are the responsibility of Bidder and may not be cause to rescind a sale.

9. Post-sale responsibilities of Bidder. Barridoff Galleries is not responsible for any loss by the winning bidder as a result of the damage, loss or theft of an item subsequent to the completion of the sale for that item and encourages Bidder to pay for and remove purchased items immediately after the sale. If an item won at auction is not paid for and removed from the premises within 4 business days after the sale, additional charges under paragraph 10 may apply. Shipping, packing, storage and any related expense of an item are the sole responsibility of the winning bidder of the item.

3. Mistakes by Bidder. Under Maine Law and the Uniform Commercial Code, the bidder with the highest bid recognized by the auctioneer upon the fall of the hammer becomes the owner of the item, even if the bid was made by mistake or otherwise unintentional. Barridoff Galleries takes no responsibility nor will rescind or refund a sale in which the winning bidder claims to have won unintentionally or by mistake.

Attention to the item being bid on and the conduct of Bidder’s bidding is the sole responsibility of Bidder. A person who has not registered who bids on and wins an item at the auction sale is deemed to be a bidder and agrees and is subject to these terms and conditions.

10. Bidder Compliance with Terms and Conditions; Remedies Available to Barridoff Galleries. If Bidder does not comply with an applicable term or condition herein, Barridoff Galleries and the consignor have one or more of the following nonexclusive rights and remedies, in addition any other remedy available at law or in equity: a) to hold the winning bidder liable for the total purchase price plus interest of 1 1⁄2 % per month; b) to cancel the sale and retain as liquidated damages all payments made by the winning bidder; c) to resell the item, in which case the winning bidder is liable for any deficiency, cost, including handling charges, the expenses of both sales, commissions on both sales and all other charges and incidental damages; d) to charge 1% of the total purchase price per month, with a minimum charge of 5%, to handle any item not timely removed; e) to exclude the winning bidder and its agents or affiliates from all future auctions; f) to charge a reasonable storage fee; g) to set off any amounts Barridoff or consignor owes the winning bidder; h) to ship items owned by the winning bidder to the winning bidder at winning bidder’s expense; i) to charge winning bidder’s credit card on file with or available to Barridoff Galleries for any amounts owed. The winning bidder is responsible to Barridoff Galleries for the winning bidder’s premium due Barridoff Galleries under paragraph 7 separate and apart from any other remedy listed in this paragraph. A winning bidder is deemed to have granted to Barridoff Galleries or its consignor as collateral for bidder’s obligations hereunder a security interest in any item of the winning bidder purchased at a Barridoff auction sale, and Barridoff Galleries and the consignor have all of the rights of a secured party in Maine and the law of the location of the item. Barridoff Galleries has all of the rights of the consignor to pursue all rights and remedies hereunder, and Barridoff Galleries and its consignor are entitled to all of their costs, including reasonable attorney’s fees, in enforcing their rights and remedies hereunder. Bidder waives any and all rights it may now or in the future have under any Maine law governing unclaimed or abandoned property.

4. Information Provided by Barridoff Galleries. Provenances are included in the catalog to the extent they are available. Estimates are included with each lot (See note on estimates in paragraph 11). Statements of condition may be provided. However, these provenances, estimates and statements of condition and any other information provided by Barridoff Galleries or its staff are merely the opinion of Barridoff Galleries and may not be taken as statements of fact to substitute research regarding and inspection of the item by the bidder, more fully described in paragraphs 5 and 6. However, Barridoff Galleries endeavors to provide the most accurate and complete information on an item and to answer to the fullest extent possible any reasonable question, subject to the disclaimers herein. An item may be described as an attribution or “attributed to,” indicating that the authenticity of the item cannot be definitively determined (also see Old Masters in Notes and Other Information, below). Barridoff Galleries and the auctioneer may make corrections and provide additional information as available up to and during the time of sale.

5. Disclaimer for Errors and Omissions; Items sold AS IS; Bidder responsibility to inspect and perform due diligence. Barridoff Galleries is not responsible for errors or omissions contained in the catalog, provided by Barridoff Galleries or presented by the auctioneer or in any other information detailed in paragraph 4. Barridoff Galleries makes no representation or warranty with respect to and is not responsible for the description, quality, condition or authenticity of any items sold, and makes no warranty as to merchantability or fitness for a particular purpose. All items are sold “AS IS.” Prospective bidders bear sole responsibility to inspect an item before bidding and perform other due diligence to determine the item’s authenticity, condition, size and whether or not is has been repaired or restored. No representation or warranty is made as to copyright of any item or whether Bidder acquires any reproduction rights of the item.

11. Disputes on Grounds of Authenticity. Disputes on the grounds of authenticity subsequent to sale must be made within 15 days of the auction and must be supported by the written testimony of at least one recognized expert of the specific artist involved, or two recognized experts of the general field or genre in which that artist belongs. Only if the disputed item is in the same condition as when sold will a rescission of the sale be considered. In the event Barridoff Galleries agrees to rescind the sale, the decision of which is at Barridoff Galleries’ sole discretion, an amount up to the purchase price, plus

6. Opportunity for Inspection by Bidder; No Obligation to Inspect or Test by Barridoff Galleries. Barridoff Galleries offers the opportunity for prospective bidders to examine an item and Barridoff Galleries assumes no obligation to Bidder for Barridoff Galleries to examine, investigate or carry out any tests, either in sufficient depth or at all, to establish the authenticity or accuracy or otherwise of any description or opinion of Barridoff Galleries, whether given orally, in writing, on its website or any published catalog

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expertise or because such opportunities often result in significant changes and varied opinions. However, all attributions are, in the opinion of Barridoff Galleries, appropriate as cataloged.

sales tax if appropriate, may be refunded to the winning bidder. Such rescission and refund is exclusive and in lieu of any other remedies which might otherwise be available as a matter of contract or law. In no event does Barridoff Galleries’ or its consignor’s responsibility under this paragraph exceed the purchase price of the item sold. The terms of this paragraph do not apply to any item listed as “attribution,” “attributed to,” “school of,” “circle of” or any other term qualifying authenticity.

CONDITION REPORTS Condition reports may be in the catalog and are available upon request. However, as more fully described in paragraph 4, a condition report is in no way a guarantee, nor should it be considered an expert opinion. All lots should be examined by potential bidders. Because few lots are examined by Barridoff Galleries out of their frames, potential bidders should assume that condition reports only include areas that are clearly visible unless otherwise stated.

12. Estimates. The high and low estimate given for an item are solely a guideline based upon Barridoff Galleries’ approximation as to the range within which an item may be sold for at auction. An estimate is not a statement of value or selling price of an item and Barridoff Galleries makes no guarantee, representation or agreement as to the value or selling price of an item other than Barridoff Galleries’ opinion of the item’s possible auction price.

SIZE Unless otherwise noted, the size of each item is measured height by width in inches and does not include the frame. Sizes are approximate. The term “actual” means the actual size of the item without any frame or other appendage, “framed” means the size of the item including the frame and “sight” means the visible portion of the item when the actual size is covered or obscured and unable to be determined. All prints (etchings, lithographs, silkscreens, etc.), to the best of Barridoff Galleries’ knowledge, have full margins unless otherwise noted. The terms regarding information in paragraph 4 apply to information regarding sizes provided by Barridoff Galleries.

13. Sales Tax. All purchases are subject to Maine sales tax (5.5%) unless the bidder is located out-of-state and shipping is arranged by Barridoff Galleries or the bidder possesses a sales tax exemption certificate issued by or acceptable to Maine Revenue Services and a valid, signed copy of which is presented to Barridoff Galleries. Maine sales tax is applicable to the full purchase price, which includes the hammer price plus the buyer’s premium and surcharges under paragraph 7. Purchases from other states or jurisdictions may be subject to a sales or use tax for that state or jurisdiction.

14. Use of Images. The images and descriptions used in the catalog may not be reproduced in any manner without the written authorization of Barridoff Galleries.

LIVE PHONE BIDDING AND ONLINE BIDDING Phone bid registrations are allowed on a limited first-come, first-served basis. Phone bidders must make arrangements in advance. Barridoff Galleries provides phone bidding as a service for bidders who cannot attend the auction, but phones are not the perfect medium for bidding at an auction under any circumstances and cell phones, while useful, can be particularly difficult. Bidders should be mindful of these limitations if choosing to bid by phone, and it is suggested that phone bidders leave a “safety” bid, or emergency absentee bid, in the event the telephone call is disrupted, dropped or otherwise unable to be connected through to the completion of bidding for that lot. Bidding may also be available online in real time at barridoff.com, bidsquare.com, invaluable.com, and liveauctioneers.com. Bidder is advised to familiarize themselves with the rules and procedures provided for whatever platform Bidder is using prior to bidding. Online bidding platforms may charge a surcharge over and above the buyer’s premium for an item. Barridoff Galleries is not responsible for any difficulties, technical or otherwise, that may be experienced through bidding other than in person. Mistakes made by Bidder, including mistakenly bidding on and winning an item not intended by Bidder, is Bidder’s sole responsibility and Barridoff Galleries will not refund or rescind a sale that Bidder claimed was made by mistake or unintentional.

15. Applicable Law; Jurisdiction of Disputes. Title 11, Section 2-328 of the Uniform Commercial Code and Title 32, chapter 5-B of the Maine Revised Statutes apply to auction sales conducted by Barridoff Galleries. These terms and conditions of sale are governed by and shall be interpreted under Maine law, and any conflicts hereunder shall be decided in the state and federal courts located in Cumberland County, Maine, and all bidders submit themselves to the jurisdiction thereof.

The regulating authority of this auction is the Board of Licensing of Auctioneers, 35 State House Station, Augusta ME 04333-0035.

16. Maintain current contact information and timely respond to Barridoff communications. Bidder must provide and maintain current contact information that allows Barridoff Galleries to communicate with Bidder and timely respond to Barridoff Galleries inquiries, requests and other communications as required by Barridoff Galleries.

17. Application of Terms and Conditions. Unless agreed otherwise in writing between Barridoff Galleries and the bidder, these terms and conditions, whenever applicable, apply to all private sales, post auction sales and any other transaction between the parties not conducted at the auction sale that occur while these terms and conditions are posted by Barridoff Galleries.

NOTES AND OTHER INFORMATION ABBREVIATIONS l.c. lower center l.l. lower left l.r lower right u.c. upper center u.l. upper left u.r. upper right

b. born c. circa Am. American Br. British Eur. European Fr. French

ADDITIONS AND ERRATA. Additions consigned too late to be included in the bound copy of the catalog may be found on a continually updated separate sheet and on the online catalog to the extent possible. All additions will be included on the final sheet available at the auction and be placed sequentially at the end of the sale. Online catalogs are updated daily. Lot numbers correspond with the printed catalog and additions sheets. Errata are also published in the updated sheet listing any corrections of inaccuracies or additional information concerning the original catalog. Online updates may happen without notice by Barridoff Galleries, so Bidder should refer to the most current posted auction information to remained accurately informed. The auctioneer may announce errors, omissions or changes at the commencement of or during the auction sale.

Ger. German It. Italian h. height w. width l. length d. depth

PROVENANCE Provenance is listed insofar as it is known or is allowed to be published by the consignor, who is ultimately responsible for the accuracy of any provenance information given. The conditions regarding information in paragraph 4 apply to any provenance information provided by Barridoff Galleries.

DESCRIPTIONS All descriptions and notes of signatures, titles, dates, labels, inscriptions and other notable features of an item are assumed to be of the front (recto) unless otherwise noted. If a notable feature is described to be on “verso,” that indicates it is on the back or reverse of the item. If a feature is described to be on the stretcher, it is on verso unless otherwise indicated. Signatures, initials, dates and titles, etc. may be noted but not quoted in the description unless there is an unusual or noteworthy characteristic of the signature, initial, date or title, etc. If an item description does not note a signature or that the item is signed, it should be assumed that the item is not signed.

TITLES Titles are provided for most items in the sale. A title bounded by quotation marks indicates that it is the official title of the item. A title not bounded by quotation marks is an unofficial title or a brief description of an untitled item used to identify the item.

OFFERS FOR PREVIOUS SALES Barridoff Galleries accepts offers for items purchased at former auctions on behalf of winning bidders.

An offer for an item from a previous sale that does not exceed the purchase price for that sale will not be considerd. If Barridoff Galleries receives and determines suitable a bona fide offer for an item, Barridoff Galleries will relay the offer to the winning bidder for consideration and rejection, acceptance or counteroffer. If the winning bidder accepts the offer, a counter-offer or makes a counter-offer that is accepted, the applicable terms and conditions of sale herein apply to the transaction.

SHIPPING For the buyer’s convenience, Barridoff Galleries may arrange for the UPS Store in South Portland to receive, pack and ship items purchased at the auction. Barridoff Galleries is happy to arrange these services with another shipper at Bidder’s request. All packing and shipping charges are the responsibility of Bidder and Barridoff Galleries assumes no responsibility of any kind for providing this service. Bidder should otherwise make arrangements to collect or ship purchases in a timely manner following the sale.

MAJOR CREDIT CARDS ACCEPTED Barridoff Galleries accepts as payment the credit cards Visa, Mastercard, Discover or American Express.

FRAMES If a frame is thought to be original to the work of art or of some other particular interest based upon its history, value or beauty, it may be illustrated; but the illustration is in no way to be considered a guarantee of same unless information about the frame is included in the catalog description.

DISCOUNT FOR PAYING FOR/REMOVING PURCHASED ITEMS ON AUCTION DAY Barridoff Galleries is offering a discount on the bidder’s premium under paragraph 7 an amount equal to 2% of the hammer price for items paid for and removed from the auction premises the day of the auction.

OLD MASTERS Unless otherwise noted, all works by Old Masters, including school, manner and other related information including dates are now by policy offered as attributions because, in the opinion of Barridoff Galleries, there has been too little or no known opportunity for a consensus, extensive research or singular

AUCTIONEER William J. Milliken. ME license number AUC1627

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Copyright © 2021

SUMMER

2021

Internationa l Fi ne A rt Sa le Sat u rday | August 14, 202 1 | 3 :00pm E D T

PREVIEW NEW PREVIEW DATES & HOURS

AUGUST 2-7, 2021 | AUGUST 9–14, 2021 MONDAY-THURSDAY | 10am - 5pm FRIDAY | 10am - 8pm SATURDAY | 10am - 3pm

G A L L E RY 312 Gannett Drive | South Portland, ME 04106 (207) 772-5011

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LOT 1

ROBERT MOTHERWELL Am. 1915-1991 Roth-Handle II (Blue), 1975 Aquatint with hand coloring, framed Signed, edititioned “proof”, embossed by artist l.r.

24 1/2” x 21” sight, 27 1/16” x 23 5/16” framed

JOSEPH STELLA It./Am. 1877-1946 Tree, 1900 Conté on paper, framed Signed l.r., titled and dated on Zabriskie and Far Gallery labels attached to verso 8 1/2” x 4 13/16” sight, 15” x 10 15/16” framed $600-$800

$2,000-$3,000

Provenance: Private Collection Massachusetts Other Notes: A similar work is in the collection of the Columbus Museum, Columbus, GA

Provenance: Private Collection New Hampshire Literature: Robert Motherwell: The Complete Prints 1940-1991, Engberg and Banach, p. 185 Other Notes: From an unnumbered edition of trial proofs.

LOT 3 ROBERT MOTHERWELL Am. 1915-1991 “Oy/Yo” 1978 Aquatint, etching, and collage on paper, framed Signed and editioned "trial" l.r.

26 1/2" x 21 7/8" sight, 29 1/4" x 24 5/16" framed $2,000-$3,000

Provenance: Private Collection New Hampshire New Hampshire Literature: Robert Motherwell: The Complete Prints 1940-1991, Engberg and Banach, p. 227 Other Notes: From an unnumbered edition of trial proofs.

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LOT 4 ROBERT MOTHERWELL Am. 1915-1991 Calligraphic Study II, 1976 Aquatint and etching on paper, framed Signed, editioned “trial”, embossed by studio l.r.

22 7/8” x 18 1/2” sight, 28 13/16” x 24 1/4” framed $2,000-$3,000

Provenance: Private Collection New Hampshire Literature: Robert Motherwell: The Complete Prints 1940-1991, Engberg and Banach, p. 181 Other Notes: From an unnumbered edition of trial proofs.

LOT 5 ROBERT MOTHERWELL Am. 1915-1991 Untitled (Open), 1975 Aquatint and etching on paper, trial proof, framed Signed and embossed by artist l.r., inscribed “trial” l.r.

29 9/16” x 21 13/16” sight, 31 7/16” x 23 11/16” framed $2,000-$3,000 Provenance: Private Collection New Hampshire Literature: Robert Motherwell: The Complete Prints 1940-1991, Engberg and Banach, p. 227 Other Notes: From an unnumbered edition of trial proofs.

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LOT 6 HENRY FINKELSTEIN Am. b. 1958 “House Lit Up at Night” Oil on canvas, framed Initialed l.r.

52 1/16” x 53 7/8” actual, 53 1/16” x 54 7/8” framed $3,000-$5,000 Provenance: Purchased Gleason Fine Art 1993 to Private Collection Harpswell, Maine Literature: Art New England Oct/Nov 1 992 article by Carl Little discusses exhibition of painting in Maine

LOT 7 ALEX KATZ Am. b. 1927 Twilight Series, 1978 Three Works: 1-3] 1-3] Screen print on paper, framed 1-3] Signed l.l. 1] numbered “9/50” l.l. 2] numbered “9/55” l.l.

3] numbered “9/65” l.l.

1-3] 40” x 30” sight, 43 11/16” x 33 3/4” framed $5,000-$7,000

Provenance: Purchased from Gallery Sixty-Eight 1989 to Private Collection Harpswell, Maine Other Notes: The complete set of three screen prints in color, on Stonehenge paper - full sheet

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LOT 8 ROBERT REED Am. 1938-2014 “Plum Nellie, San Romano” 1979 Mixed media on paper assemblage, framed Signed and dated l.c., titled and inscribed “For Judy and John, with Warm Regards” l.l. 7 1/2” x 12 7/8” sight, 14 1/4” x 20 1/4” framed $1,500-2,500

Provenance: Private Collection Massachusetts

LOT 8A ROBERT REED Am. 1938-2014 “Plum Nellie, Bear Hug” 1979 Mixed media on paper, framed Signed, titled and dated l.r., titled l.l., inscribed “For Judy and John” u.l.

22 9/16” x 34 1/2” sight, 23 7/8” x 35 7/8” framed $2,000-$3,000

Provenance: Private Collection Massachusetts

LOT 9 PAUL D’AMATO Am. b. 1956 “Milan, Italy 1988” Inkjet photograph, framed 14 3/16” x 17 3/8” sight, 22” x 24 15/16” framed $200-$300

Provenance: Private Collection Sherborn,Massachusetts

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L O T 10 ERNEST TROVA Am. 1927-2009 Orange Abstraction, 1959 Casein on canvas, framed Attributed on verso, Christies label attached to verso 27 1/8” x 43” sight, 28 1/4” x 44 3/16” framed $2,000-$3,000 Provenance: Private Collection Maine

L O T 11 LOUISE NEVELSON Am. 1899-1988 “Sky Gate I” 1982 Cast paper, framed Signed and dated l.c., numbered “88/90” l.l., Pace Editions labels on verso, O’Farrell Gallery label on verso 33 3/4” x 20 1/4” sight, 36 3/4” x 23 1/8” framed $2,000-$3,000

Provenance: Purchased from O’Farrell Gallery 1987 to Private Collection Harpswell, Maine

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L O T 13 HOWARD HODGKIN Br. 1932-2017 “Red Eye” 1981 Lithograph with hand coloring, framed Initialed and dated l.c., exhibition clipping attached to verso 10 1/4” x 12 7/16” sight, 16 1/4” x 20 1/4” framed $2,500-$3,000

Provenance: Private Collection New Hampshire Exhibitions: Randall Beck Gallery, Boston, Massachusetts, February 1988

L O T 14 HOWARD HODGKIN Br. 1932-2017 “Here We Are in Croydon” 1979 Lithograph with hand coloring, framed Signed, dated, editioned “75/100” l.c.

21 1/2” x 29 1/2” sight, 31 1/4” x 38 1/8” framed $3,000-$5,000 Provenance: Private Collection New Hampshire

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A R T I S T co r n er Will Barnet (Am. 1911-2012) ˝Color is extremely important to me. But I’m not a colorist in a usual sense because my colors are not realistic. They happen to be colors that have to be used in relation to the mood of the painting.

IMAGE CREDIT www.barnebys.com IMAGE DESCRIPTION Will Barnet in Studio

Compositional organization is the key to my work. The canvas itself is flat, and you are not a photographer. You’re an artist, a painter.

You have to recognize that that flat surface has to be respected. Each form has its own position, like in reality…

My abstract and figurative work is part of the same language. It’s a language that exists, and that language is respect the surface of the canvas and organizing my small forms, large forms so they all fit together, work together, and talk to each other.

It can be very exciting and particularly near the end when you’re feel you’ve got the whole thing together. It’s a very exciting moment. Very exciting.”

Will Barnet was born in Beverly Massachusetts in 1911. He spent his childhood sketching and studying art books at the local library. He studied at the School of the Museum of Fine Arts in Boston. After moving to New York in 1930, he continued his studies at the Art Students League alongside Stuart Davis.

He lived, taught, and produced art in Manhattan for over sixty years. Barnet spent his summers in Maine and kept a studio at The Rock Gardens Inn in Phippsburg where he returned to paint each year until his death in 2012.

Quotes taken from the interview, Meet Will Barnet. (2009, January 16). Smithsonian American Art Museum. other. https://americanart.si.edu/artist/will-barnet-245.

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My idea of color is not of its aftereffects or how colors affect each other next to each other…

Mine is an art of deduction. I start with complexity, and I reduce it down to simplicity.

It seems to be my pattern.

W I L L

B A R N E T

IMAGE CREDIT americanart.si.edu IMAGE DESCRIPTION Will Barnet in Musuem

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LOT 15 WILL BARNET Am. 1911-2012

“Woman Seated on Porch Watching An Approaching Storm-Mecaw (sic) Above on Perch” 1976 Oil on canvas, framed Signed and dated u.r., titled on stretcher verso, artist’s name and date inscribed on canvas verso, Irving Galleries label verso 42 1/16” x 44 15/16” actual, 43 1/8” x 45 15/16” framed $60,000-$80,000 Provenance: Purchased directly from the Artist to Private Collection Rye Beach, New Hampshire

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L O T 16 VICTOR VASARELY

Hungarian/Fr. 1906-1997 Three Works: 1] “TAU-CETI” 1967 , 2] “Japet” 1971 , 3] “Arany” 1966 Serigraph, framed 1] Signed l.r., titled, dated, and numbered “26/205” l.l.

2] Signed l.r., numbered “235/250” l.l.

3] Signed l.r., numbered “54/150” l.l., Obelisk Boston and Fogg Art Museum labels attached to verso 1] 26 1/2” x 26 1/2” framed 2] 24 3/4” x 22 5/16” actual, 24 9/16” x 22 5/8” framed 3] 32 1/4” x 28 15/16” sight, 33 5/8” x 30 3/8” framed $1,000-$1,500 Provenance: Sold to benefit Surf Point Foundation York, Maine Other Notes: 1] Additional information on l.l. of verso 2] Additional information affixed to verso

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LOT 17 SAM GILLIAM

Am. b. 1933 “Chehaw” 1990 Woodblock, intaglio, stencil and hand coloring on paper, framed Signed l.r., titled l.c., dated l.r., numbered “4/40” l.l.

29 3/4” x 44 1/8” sight, 33 7/8” x 48 1/16” framed $2,500-$3,500

Provenance: Sold to benefit Surf Point Foundation York, Maine Exhibitions: A Singular Vision: Selections from Two New England Collections (10/30-12/13/2004), The Art Gallery, University of New Hampshire Durham

LOT 18

L O T 19

BERENICE ABBOTT

TODD WEBB

Am. 1905-2000 “Great Pulteney Street, Bath, England” 1978 Gelatin silver print, framed Signed l.r., dated l.r. and on verso, titled on verso 8 5/8” x 7” actual, 14 1/4” x 11 3/16” framed $800-$1,200

Am. 1898-1991 “Grand Opera House” 1936 Gelatin silver print, framed Titled and dated on verso, Federal Art Project stamp on verso 9 1/4” x 7 3/8” sight, 20 1/4” x 16 1/4” framed $2,000-$3,000

Provenance: Sold to benefit Surf Point Foundation York, Maine Exhibitions: A Singular Vision: Selections from Two New England Collections (10/30-12/13/2004), The Art Gallery, University of New Hampshire Durham Other Notes: Additional information attached to verso

Provenance: Private Collection Cumberland Foreside, Maine

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LOT 20 BERND/HILLA BECHER Ger. 1931-2007/1934-2015

“Niederschelderheutte, Westerwald, Germany” 1989 Gerlatin silver print, framed Attributed, titled, dated on Sonnabend label attached to verso 23” x 18 3/8” sight, 36” x 28 7/8” framed $3,000-$5,000 Provenance: Private Collection Maine

LOT 21 THOMAS HART BENTON Am. 1889-1975

“Lonesome Road” 1938 Lithograph on paper, framed Signed on plate l.l. and on sheet l.r., biographical sheet attached to verso, Associated American Artists label attached to verso 10 1/4” x 13” sight 6 5/8” x 20 11/16” framed $1,200-$1,800

Provenance: Private Collection Falmouth, Maine

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LOT 22 THOMAS HART BENTON Am. 1889-1975

“Loading Corn (Shucking Corn)” 1945 Lithograph, framed Signed l.r.

13 3/8” x 10 1/8” sight, 18 7/16” x 21 1/2” framed $1,500-$2,500

Provenance: Sold to benefit Surf Point Foundation, York, Maine Other Notes: Edition of 250, Circulated by Associated American Artists, New York City Catalog: FATH 65

L O T 23 ROY LICHTENSTEIN Am. 1923-1997

Triptych: “As I Opened Fire” 1964 Lithograph on paper, framed 24 1/2” x 19 15/16” sight, 29 15/16” x 25 3/16” framed $1,000-$1,200 Provenance: Private Collection Portland, Maine

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LOT 24 JIMMY WRIGHT Am. b. 1944 “Sunflowers No. 1” 1994 Pastel and watercolor on paper, framed Signed, titled, and dated u.r., Midtown Payson Galleries label attached to verso, The New Yorker page attached to verso 41” x 29 1/8” actual 50 5/8” x 38 5/8” framed

$1,000-$1,500 Provenance: Sold to benefit Surf Point Foundation York, Maine

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L O T 25 YASUO KUNIYOSHI Jap./Am. 1893-1953 Café, Number 2, 1936 Lithograph, framed Signed and dated l.r., inscribed “100 Ed.” l.l., “Hallam purchased Summer 1964 from John Laurent in Cove.” inscribed on verso 3 1/8” x 10 7/16” sight, 19 15/16” x 16 5/8” framed $2,000-$3,000 Provenance: Sold to benefit Surf Point Foundation York, Maine Exhibitions: A Singular Vision: Selections from Two New England Collections (10/30-12/13/2004), The Art Gallery, University of New Hampshire Durham

LOT 26 YASUO KUNIYOSHI Jap./Am. 1893-1953

Plants & Flowers, c. 1935 Ink and brush on paper, framed Signed l.c., titled and dated on Salander-O’Reilly Galleries and M. Knoedler & Co labels attached to verso 15 11/16” x 10 3/4” sight, 25 7/8” x 21 3/8” framed $2,500-$3,500 Provenance: Private Collection Michigan

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IMAGE CREDIT www.britannica.com IMAGE DESCRIPTION George Grosz

AR T I S T corner George Grosz (Ger./Am. 1893-1959) G rosz’ enthusiasm for America, which went back to his childhood, had changed from a IMAGE DESCRIPTION youthful craze for the country into a conscious German born painter, aversion to hated Germany, and finally led to George Grosz working emigration in 1933. Grosz had left Berlin with a on a satirical painting that depicts Adolf heavy heart, but he was already well known in Hitler resting with New York when he settled there in 1933. Dinner skeletons at his feet, invitations widened his social connections and in studio at home solo exhibitions mounted by leading galleries acquainted the public with the work he produced in the U.S. Major figures in American public life and society were already familiar with the man and his work, and example, had met Grosz in Berlin already in 1919. The same year, the writer Dos Passos had come across books by Grosz in Paris, and Ernest Hemingway possessed a number of watercolors by him. In fact, with his move to America, Grosz started a new career, becoming one of the most important living American artists.

Grosz was fascinated by New York, by its architecture and streets, its people and the way of living. Having been living in the metropolis Berlin since 1912, and having been used to the turbulent life of a big city, Grosz fell immediately in love with New York when he arrived there in IMAGE CREDIT Time Life Pictures/ Getty Images

1932 for the first time in order to teach during the summer months at the Art Students League and when he settled there at the beginning of 1933 for good.

With his early Manhattan views of the years 1932-1934, Grosz continues in America the tradition of city views and street scenes from his Berlin years that played an important role in his oeuvre of the years 1925 to 1930. But Grosz did not transpose his Berlin visions and memories to the big city of New York he explored, but took all the impressions and the American way of life as he experienced them here and as they were.

In this watercolor, Grosz depicts a typical street scene downtown Manhattan with brownstone houses and a high rise building in the background. The street is busy with cars and people walking by. In the middle of the picture one can detect part of the elevated train track.

Grosz proves his excellent mastery of watercolor technique by working wet into wet. Only few lines of ink mark the basic composition, while the rest of this fascinating scene is done with sure brush strokes of watercolor, wet into wet

June 25, 2021, Ralph Jentsch, Managing Director, George Grosz Estate, Author of Catalogue Raisonné, Berlin, Germany

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LOT 27 GEORGE GROSZ Ger./Am. 1893-1959 New York, Downtown Manhattan, 1933 Watercolor on paper, framed Signed l.l.

26 1/8" x 17 1/2" actual, 29 3/4" x 21 1/8" framed $25,000-$35,000 Provenance: Studio of the Artist, Bayside, Lond Island, New York (1933), Private Collection New York, Private Collection Austin, Texas We would like to thank Ralph Jentsch for his assistance cataloguing this lot. A Letter from Mr. Jentsch accompanies this lot. This work will be included in the forthcoming Catalog Raisonné of the artist’s works on paper.

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LOT 28 JAMES FITZGERALD Am. 1899-1971 Seagulls Oil and watercolor on paper, framed 25 1/8” x 19” sight, 33 5/16” x 27 1/16” framed $6,000-$8,000 Provenance: Private Collection New York

LOT 29 BERNARD LANGLAIS

Am. 1921-1977 “Sunrise” 1962

Wood collage on panel, framed Signed and titled on verso, Matthew Marks Gallery label on verso, Art in America printout affixed to verso, frame verso inscribed “Tuveson Studio 2014” by frame maker 23” x 23” actual, 27 7/8” x 27 7/8” framed $2,000-$3,000 Provenance: Private Collection New Castle, New Hampshire

L O T 30 BERNARD LANGLAIS Am. 1921-1977 Five Bears Maquette Painted wooden assemblage Incised with signature on verso 19 3/4” x 8” x 7 3/4” approximately $10,000-$12,000 Provenance: Private Collection Portland, Maine Other Notes: A full size version of this sculpture is part of the Langlais Sculpture Preserve in Cushing, Maine

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LOT 31 ATTR. TO ROSA BONHEUR

Fr. 1822-1899 Study of Monkeys

Oil on paper laid to canvas, framed Christie’s label attached to verso 12 3/8” x 23 5/8” actual, 21 1/4” x 32 3/8” framed $800-$1,200

Provenance: Sold by Christie’s to Collection of Abbey Rockefeller to Private Collection Chester, New Hampshire

LOT 32 JESSE LEACH/ EURILDA LOOMIS FRANCE Am. 1862-1926 / 1865-1931 Two Works: 1] Country House 2] Table in the Shade 1-2] Oil on canvas, framed 1] 14 3/16” x 20 1/16” actual, 17 3/4” x 23 3/8” framed 2] 17 5/8” x 23” actual, 21 3/4” x 27 7/8” framed $800-$1,200 Provenance: Private Collection Cumberland, Maine

L O T 33 EURILDA LOOMIS

France/Am. 1865-1931

Boats by the Shore Oil on canvas, framed Attributed on verso 9” x 12” actual, 15 3/16” x 18 3/16” framed $500-$700 Provenance: Private Collection Raleigh, North Carolina

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LOT 34 ANDREAS SCHELFHOUT Dutch 1787-1870

A Coastal Scene with Flat-bottomed Boats in the Breakers and a Two-Master in the Distance c. 1840-1850 Indistinct wax seal on verso.

Oil on panel, framed Signed l.l.

4 3/4” x 5 13/16” actual, 8 1/8” x 9 1/8” framed $2,500-$3,500 Provenance: Private Collection Bangor, Maine Literature: We would like to thank Willem Laanstra for his assistance cataloguing this lot. A Letter from Mr. Laanstra accompanies this lot. This work will be included in the forthcoming Catalog Raisonné of the artist’s work.

Other Notes: Indistinct wax seal on verso.

L O T 35 EUGÈNE GALIEN-LALOUE Fr. 1854-1941

Along the River Oil on canvas, framed Signed with the pseudonym “E. Kermanguy” l.l.

19 1/4” x 25 3/4” actual, 24 15/16” x 32 1/8” framed $1,500-$2,500 Provenance: Private Collection California

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LOT 36 SUZANNE EISENDIECK Ger./Fr. 1908-1998

Beachside Portrait Oil on canvas, framed Signed l.l.

17 3/4” x 21 1/8” sight, 27 9/16” x 31 1/8” framed $1,000-$1,500 Provenance: Private Collection Portland, Maine

L O T 37 CHARLES H. WOODBURY Am. 1864-1940

LOT 38

“Dutch Fair” c. 1890 Oil on canvas, framed Signed on canvas verso, signed, titled and stamped by estate on stretcher verso, dated on Childs Gallery label attached to verso 20 1/16” x 27” actual, 28 5/8” x 35 1/2” framed $4,000-$6,000

MAURICE LEVIS Fr. 1860-1940

“La Seine à Hertlay” Oil on canvas, framed Signed and titled on verso 18 5/16” x 25 3/4” actual, 27” x 34 7/16” framed $700-$900

Provenance: Private Collection Massachusetts Exhibitions: Dutch Utopia: American Artists in Holland, 1880-1914, Telfair Museum of Art, Savannah, Georgia, September 2009-January 2010 and Singer Museum, the Netherlands, September 2010-January 2011

Provenance: Purchased in 2004 from Wiscasset Bay Gallery to Private Collection Raleigh, North Carolina

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LOT 39 SIDNEY RICHARD PERCY Br. 1822-1886

Camp in the Wilderness, 1880 Oil on canvas, framed Signed and dated l.r., Vose Galleries label attached to verso 20 3/4” x 35 3/4” actual, 26 3/16” x 41 1/8” framed $5,000-$7,000 Provenance: Private Collection New Hampshire

L O T 41

L O T 40

HENDRICKS A. HALLETT

JOHN WHITE ALLEN SCOTT

Am. 1847-1921

Am. 1815-1907

Ship in Port, 1880 Oil on canvas, framed Signed and dated l.r., Frost & Adams label on verso 12 1/2” x 18 15/16” actual, 19 3/4” x 26 3/8” framed $700-$900

Landscape with Hay Wagon, Possibly New Hampshire Oil on canvas, framed Initialed indistinctly l.r.

14 1/16” x 20 1/16” actual, 20 3/16” x 26 1/4” framed $800-$1,200 Provenance: Purchased in 1992 from Gleason

Provenance: Private Collection

Fine Art to Private Collection Raleigh, North Carolina

Raleigh, North Carolina

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LOT 42 WILLIAM STARBUCK MACY Am. 1853-1945

End of Day Oil on canvas, framed Signed l.c., Santa Barbara Museum of Art label attached to canvas verso 18 1/2” x 30” actual, 31 1/4” x 42 3/4” framed $3,000-$5,000 Provenance: Private Collection California

L O T 43 18TH/19TH CENTURY AMERICAN SCHOOL The Deer Hunt Oil on canvas, framed 27 1/4” x 35 3/8” sight, 37 1/4” x 45 1/4” framed $800-$1,200 Provenance: Private Collection Portland, Maine

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LOT 44

L O T 45

URIAH NORTON DYER

ALEXANDER POPE JR. Am. 1849-1924

Am. 1849-1927

Hunter’s Bounty Oil on canvas, framed Signed l.r.

20 1/8” x 14 1/16” actual, 27 1/4” x 21 1/16” framed $1,500-$2,500

Still Life with Cake, 1915 Oil on canvas, framed Signed and dated l.r.

18” x 28 1/4” actual, 24 1/2” x 34 5/8” framed $2,500-$3,500 Provenance: Cyr Auctions 2003 to Private Collection Exeter, New Hampshire

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Provenance: Private Collection Portland, Maine

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LOT 46 AIDEN LASSELL RIPLEY Am. 1896-1969

Cataracts-Toledo, 1925 Oil on canvas, framed Signed and dated u.l., titled on biographical sheet attached to verso, Guild of Boston Artists label attached to verso 24 5/16" x 30 7/8" actual, 31 5/16" x 37 3/4" framed $2,000-$4,000 Provenance: Private Collection Massachusetts Exhibitions: St. Botolph Club, February 1927 "Aiden Lassell Ripley Retrospective", Guild of Boston Artists, September 1996

L O T 47

LOT 48

LAWRENCE IRVINE

LAWRENCE IRVINE Am. 1918-1998

Am. 1918-1998

Trout I Woodcarving 10 1/2” x 23 1/8” x 2 3/4” approximately $1,000-$1,500

Trout IV Woodcarving 13” x 30” x 4 3/8” approximately $1,000-$1,500

Provenance: Private Collection Maine

Provenance: Private Collection Maine

Other Notes: Faded inscription on verso

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L O T 49 LAWRENCE IRVINE Am. 1918-1998

Trout III Woodcarving 12” x 28” x 4” approximately $1,000-1,500 Provenance: Private Collection Maine

LOT 50 LAWRENCE IRVINE

Am. 1918-1998

Trout II Woodcarving 11 3/4” x 28” x 3 1/2” approximately $1,000-$1,500 Provenance: Private Collection Maine, Other Notes: Faded inscription on verso

LOT 51 LAWRENCE IRVINE Am. 1918-1998

Yellow Perch Woodcarving 6 1/8” x 17 13/16” x 2 3/8” approximately $1,000-$1,500 Provenance: Private Collection Maine

LOT 52 LAWRENCE IRVINE Am. 1918-1998

Pickerel Woodcarving 12” x 28 3/16” x 3 1/2” approximately $1,000-$1,500 Provenance: Private Collection Maine

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L O T 53 GEOFFREY DASHWOOD Br. b. 1947

Sandpiper Patinated bronze sculpture Incised with signature and edition “12/12” on top of base 6 1/2” x 10” x 3 1/2” approximately $2,500-$3,500 Private Collection York, Maine

LOT 54 NEIL WELLIVER Am. 1929-2005

“Trout and Reflected Tree” Lithograph, framed Signed l.r., numbered “32/90” l.l.

20 3/4” x 23 1/2” sight, 28 1/16” x 30 5/16” framed $800-$1,200 Provenance: Purchased from O’Farrell Gallery 1987 to Private Collection Harpswell, Maine

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L O T 55 ALEX KATZ Am. b. 1927

“Moose” 1984 Aquatint in colors, framed Signed and numbered “23/50” l.r.

22 5/8” x 41” sight, 24 15/16” x 43 5/16” framed $3,000-$5,000 Provenance: Purchased from O’Farrell Gallery 1990 to Private Collection Harpswell, Maine

LOT 56 ATTR. TO UTAGAWA KUNISADA Jap. 1786-1865

Autumn Scene at a Villa, 1853 Woodblock print on paper in three parts, unframed Printer’s stamp l.l. or l.c.

14 3/4” x 10 3/16” each, 14 3/4” x 29 1/2” overall $700-$900 Provenance: Private Collection Maine Other Notes: Another edition is held in the collection of the MFA Boston

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L O T 57 ATTR. TO UTAGAWA KUNISADA Jap. 1786-1865

Woman and Crouching Guard Woodblock print on paper, unframed Printer’s stamp at center of right-hand edge 14 1/2” x 9 5/8” actual $300-$500 Provenance: Private Collection Maine

LOT 58

L O T 59

ATTR. TO UTAGAWA HIROSHIGE

ATTR. TO UTAGAWA HIROSHIGE

Jap. 1797-1858

Jap. 1797-1858

Seven-Mile Beach in Sagami Province from the series One Hundred Famous Views of the Provinces Woodblock print on paper, unframed Printer’s stamp along lower left-hand edge 13 7/8” x 9 3/8” actual $1,000-$1,500

Hara: Mount Fuji in the Morning from the series Fifty-three Stations of the Tokaido Woodblock on paper, unframed Printer’s stamp along lower left-hand edge 6 9/16” x 9 13/16” actual $2,000-$3,000

Provenance: Private Collection Maine

Provenance: Private Collection Maine, Other Notes: Another edition in the collection of the Metropolitan Museum of Art

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Other Notes: Other editions included in the collections of the MFA Boston and Yale University Art Gallery

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LOT 60 WOLF KAHN

Am. 1927-2020 Purple Trees, Orange Hill Pastel on paper, framed Signed l.c.

18 7/8” x 24 1/4” sight, 26 7/16” x 31 5/8” framed $8,000-$12,000

Provenance: Acquired directly from Artist to Private Collection New York City

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A R T I S T corner Wolf Kahn (Am. 1927-2020) Vibrant and joyous. Both words used to describe the palette of bold, brilliant colors used by Wolf Kahn. His work in pastel and oil blended realism, abstraction, color, and light, to create landscapes that are part memory, part imagination, and a creation all their own.

the Kindertransport program. In 1940, Kahn was reunited with his father and siblings in New York City.

“Dostoyevsky said that only five percent of humanity ever realizes the dreams of their youth, and I’ve always wanted to be an artist. I don’t remember ever having the idea of wanting to be anything else. I was drawing from the time I was four or five years old.”2

“I am always trying to get to a danger point in color, where color either becomes too sweet or it becomes too harsh, it becomes too noisy or too quiet, and at that point I still want the picture to be strong, forceful, and the carrier of everything that a painting has to have: contrast, drama, austerity”1

After graduating from the High School of Music and Art in New York City and a brief stint in the Navy, Kahn attended the New School under the tutelage of Stuart Davis. He went on to study with Hans Hofmann. Hofmann encouraged students to find spiritual connection with nature. Kahn became Hofmann’s studio assistant and was encouraged to explore the use of imagination, color, and light as individual entities.

Wolf Kahn was born the fourth child of a Jewish family in Stuttgart, Germany in 1927. His father, Emil, was a musician appointed to the Stuttgart Philharmonic Orchestra. His mother, Nellie Budge Kahn, was an artist who died when Wolf was three years old. He was then sent to live with his paternal grandmother. It was his grandmother who signed him up for private art lessons in 1937. In 1939, faced with increasing anti-Semitism in Germany, and impending war, Kahn’s grandmother arranged for him to leave for England as part of

In 1957, Kahn married fellow painter Emily Mason. The couple, both having been awarded Fulbright Scholarships, traveled extensively, added two daughters to their family and eventually returned New York City to begin their careers. Kahn’s early

IMAGE CREDIT www.eaglestimes.com IMAGE DESCRIPTION Wolf Kahn and Emily Mason

IMAGE CREDIT www.sothebys.com IMAGE DESCRIPTION Wolf Kahn Footnotes- 1. exhibit-E.com. (n.d.). Wolf Kahn. http://www.wolfkahn.com/exhibitions/2013-06-06_wolf-kahn. 2 & 3. Kapp, R. B. and D. (2007, May 4). Wolf Kahn with David Kapp and Robert Berlind. The Brooklyn Rail. https://brooklynrail.org/2007/05/art/wolf-kahn-with-david-kapp-and. 4. Vermont artist Wolf Kahn shows his true colors. Kevin O’Connor Jun 18 2017June 19 et al. https://vtdigger.org/2017/06/18/vermont-artist-wolf-kahn-shows-true-colors/

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work drew its inspiration from nature, but with a subtlety and monochromatic palette absent from his later work. It was during the mid 1960s that Kahn’s work took a turn toward the vibrant landscapes that would become his signature style.

“It was the summer of 1967, when I was in Maine, painting in a little shack on the edge of a cove of the harbor in Deer Isle.

Every evening I look down the coast and there’s a sunset. I thought to myself, how can I do something with a sunset and be monochromatic? So I started introducing— first somewhat hesitantly—some color.”3 In 1967 the couple began looking for a summer home. Initially interested in a large parcel of land in Maine, they would find and settle into a shingled farmhouse in Brattleboro, Vermont. They continued to divide their time between Vermont and New York City. Wolf Kahn died on March 15, 2020, at his home in Manhattan.

IMAGE CREDIT www.fineartestates.com

“Wolf Kahn is to southern Vermont what Winslow Homer is to the coast of Maine, Georgia O’Keeffe to the New Mexico high desert and Claude Monet to the French countryside.”

Danny Lichtenfeld, Director Brattleboro Museum & Art Center”4

I don’t remember ever having the idea of wanting to be anything else. I was drawing from the time I was four or five years old.

IMAGE DESCRIPTION Wolf Kahn in Studio W O L F

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LOT 61 WOLF KAHN

Am. 1927-2020 Pastel Landscape Pastel on paper, framed Signed l.c.

21” x 29 1/4” sight, 28” x 36 1/16” framed $12,000-$16,000 Provenance: Acquired directly from Artist to Private Collection New York City

LOT 62 WOLF KAHN

Am. 1927-2020 Blue Runs Through It, 2004 Oil on linen, framed Signed l.c., titled and dated on Thomas Segal Gallery label attached to verso, inscribed “Tuveson Studio 2012” on frame verso by frame maker 25 7/8” x 30” actual, 28 3/4” x 32 3/4” framed $25,000-$30,000 Provenance: Private Collection New Castle, New Hampshire

L O T 63 WOLF KAHN Am. 1927-2020 Purple View Pastel on paper, framed Signed l.l.

28 1/4” x 43 3/8” sight, 37 5/8” x 52 3/4” framed $20,000-$25,000 Provenance: Acquired directly from Artist to Private Collection New York City

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LOT 64 WOLF KAHN Am. 1927-2020

Behind the Barn Pastel on paper, framed Signed l.c.

28 7/8” x 38 3/8” sight, 38 3/8” x 47 7/8” framed $18,000-$22,000 Provenance: Acquired directly from Artist to Private Collection New York City

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LOT 1 NEIL WELLIVER (AM. 1929-2005) Landscapes: a Portfolio of Six Works, 1973 "Briggs Meadow", Each signed l.r., numbered "121/144" l.l. 39 7/16" x 39 3/8" sight, 46 3/8" x 46 3/8" framed. $10,000$15,000

LOT 1 NEIL WELLIVER (AM. 1929-2005)

LOT 65

Landscapes: NEIL WELLIVER a Portfolio of Six Works, 1973 Am. 1929-2005 "Briggs Meadow", Each signed Landscapes: A Portfolio of Six Works, 1973: 1] “Briggs Meadow” 2] l.l.

“Greer’s l.r., numbered "121/144" 39 Bog” 3] “Spring Freshet” 4] “Duck Trap” 5] “Si’s Hill” 6] “Maiden’s Cliff” 7/16" x 39 3/8" sight, 46 3/8" x1-6] Woodblock print on paper, framed 1-6] Signed l.r., numbered “121/144” l.l.

46 3/8" framed.

1-6] 39 7/16” x 39 3/8” sight, $10,000-$15,000 46 3/8” x 46 3/8” framed $10,000-$15,000 Provenance: Purchased from O’Farrell Gallery 1990 to Private Collection Harpswell, Maine Other Notes: This collection is one of only two portfolios the artist created. All works in this group lot have the same edition number.

“LANDSCAPES: by NEIL WELLIVER A portfolio of six original color screenprints, each hand signed and numbered by the artist in an edition of 144 with 18 portfolios issued hors commerce. The editions are printed by Fine Creations on Buckeye 80 lb. cover.

Published by HKL Ltd, Boston, Mass. 1973” printed on verso

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LOT 66 WILLIAM LESTER STEVENS Am. 1888-1969 “Carver’s Cove, Grande (sic) Manan N.B.” c. 1960 Oil on masonite, framed Signed l.l., titled and inscribed “Grande Manan, N.B.” on verso 30” x 35 13/16” actual, 37 1/2” x 43 1/2” framed $3,000-$5,000 Provenance: Private Collection Massachusetts

LOT 66A WILLIAM LESTER STEVENS Am. 1888-1969

“Birches on Route 2, Shelburne Falls” c. 1960 Oil on masonite, framed Signed l.r., titled, signed and inscribed "ACR. finish" on verso 30 1/4" x 35 7/8" actual, 37 1/2" x 43 1/2" framed $3,000-$5,000 Provenance: Private Collection Massachusetts

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LOT 67 JOHN F. CARLSON

Swedish/Am. 1874-1945 "Ice-bound Locks" Oil on canvas board, framed Signed l.l., titled and signed on verso, Vose Galleries labels and stamp on verso 13 1/4” x 17 5/16” actual 17 3/8” x 21 3/8” framed $4,000-$6,000 Provenance: Vose Galleries, Private Collection Massachusetts

LOT 68 ALDRO THOMPSON HIBBARD Am. 1886-1972

Winter River Oil on board, framed Signed l.l.

17 7/16” x 23 1/2” sight, 26 15/16” x 32 15/16” framed $4,000-$6,000 Provenance: Private Collection Massachusetts

LOT 68A ALDRO THOMPSON HIBBARD Am. 1886-1972

Still Life with Fruit Oil on canvas, framed Signed l.r., Shannon’s Fine Art Auctioneers label attached to verso 12 3/4” x 15 3/4” actual, 15 7/8” x 18 3/4” framed $2,500-$3,500 Provenance: Private Collection Massachusetts

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LOT 69 EMILE ALBERT GRUPPE

Am. 1896-1978 Fishing Boats Oil on canvas, framed Signed l.l., business card of Harold N. Pike with inscription attached to verso (see notes) 25 1/8" x 30" actual, 30 1/2" x 35 9/16" framed $6,000-$8,000

Provenance: Private Collection Massachusetts Other Notes: Business card inscription faintly reads "#2A Fishing Boats by Emile Gruppe 25 x 30, Valued by artist at [?] 750.00 [?] 350.00, Personal;" Harold Pike was a known collector of Gruppe works and may have owned the piece at one time

L O T 70 PAUL STRISIK Am. 1918-1998 “Gloucester Wharf” Oil on canvas, framed Signed l.l., titled on verso, artist’s studio stamp on verso 20” x 24” actual 27 1/2” x 31 1/2” framed $2,000-$4,000 Provenance: Private Collection Owl’s Head, Maine

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L O T 71 FRANK HENRY SHAPLEIGH

Am. 1842-1906

“On Pleasant Beach Cohasset, Mass” 1893 Oil on canvas, framed 10” x 16 1/8” actual, 13” x 19 1/8” framed $2,000-$3,000 Provenance: Private Collection Rhode Island

L O T 72 MARGUERITE STUBER PEARSON Am. 1898-1978 Regatta Oil on canvas, framed Signed l.l., Walter F. Caverly and H.R. Finn Antiques Restoration labels attached to frame verso 18 1/8" x 24 1/4" actual, 23 1/2" x 29 1/2" framed $1,000-$3,000 Provenance: Private Collection Milton, Massachusetts

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L O T 73 WILLIAM WALLACE GILCHRIST Am. 1846-1916

Peggy with the Sailboat Oil on canvas, framed Signed l.r.

20 3/16” x 16 1/8” actual, 23” x 19 1/16” framed $5,000-$7,000 Provenance: Private Collection Harleysville, Pennsylvania

L O T 74 WILLIAM WALLACE GILCHRIST Am. 1846-1916

Summer Days (Portrait of Margaret Gilchrist Griffin) Oil on canvas, framed Signed l.r.

27 1/2” x 21 1/2” sight, 31 1/2” x 25 1/2” framed $5,000-$7,000 Provenance: Private Collection Harleysville, Pennsylvania

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L O T 75 WILLIAM WALLACE GILCHRIST Am. 1846-1916

“High Tide - Maine Coast” 1918 Watercolor, framed Signed l.r., titled and dated on verso 13 3/16” x 18 7/8” sight, 22 7/8” x 28 7/8” framed $600-$800 Provenance: Private Collection Harleysville, Pennsylvania

L O T 75 A WILLIAM WALLACE GILCHRIST Am. 1846-1916

Bathers Watercolor, framed Signed l.r., Newman Galleries label on verso 13 5/16” x 19” sight, 23 9/16” x 29 5/16” framed $1,000-$1,500 Provenance: Private Collection Harleysville, Pennsylvania

L O T 76 ERNEST LUDVIG IPSEN Am. 1869-1951

Marblehead, Massachusetts, 1898 Oil on canvas, framed Signed and dated l.l., titled on Vose Galleries label attached to verso 12 1/16" x 18 1/8" actual, 21 1/2" x 27 3/8" framed $2,500-$5,000 Provenance: Private Collection Milton, Massachusetts

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on THE influence MUSIC HAD on her WORK: “I would sit and draw through the opera…to the music.

Just in pencil, but then I’d go translate them into color in painting. It was just the soaring, the gloriousness of the music…the beauty…the power and the glory of it.”1

on other ARTISTS

ARTIST c o r n er

“I think the worst thing an artist can do after they’ve found their own voice is stick exclusively with other artists. It stifles you. It strangles you. You need the openness of other people and other ideas.”2

Lynne Mapp Drexler

on LIVING on Monhegan Island:

(Am. 1928-1999)

“I came to believe in myself and my own inner resourcefulness Living here revealed a strength and depth in me I didn’t know I had. Recognition, fame, and applause became trappings that were no longer important, and I opted out of a competitive situation that had nothing to do with what I was trying for in my art. When you live here you learn to see who you really are. You are very close to nature, and nature clarifies you to yourself. At night I feel a sense of awe in the way the black ocean stretches out to meet the black sky, and I'm aware of what it means to live in a universe.

Everything here is reduced to essentials. I've forgotten how to act on shore. On shore is the false reality. Here, is the true reality.”3

L ynne Mapp Drexler was born in

Newport News, Virginia in 1928 and moved to New York City in the mid to late 1950s. Her interest in abstract expressionism grew under the tutelage of Robert Motherwell and Hans Hofmann. Their influence can be seen in her composition and bold color palette.

Drexler and husband, John Hultberg, began spending summers on Monhegan Island, dividing their time between the island and New York City. They eventually purchased a house near Lighthouse Hill in 1971.

In 1983, Lynne moved to the island permanently where she continued to reside until her death in 1999.

IMAGE CREDIT www.wikipedia.com

1 & 2. A Roger Amory Film. (2008). Lynne Drexler: A Life in Color.

3. Katherine Tarbox, “John Fowles’s Islands: Landscape and Narrative’s Negative Space,” in John Fowles and Nature: Fourteen Perspectives on Landscape, ed. James R. Aubrey (Madison, NJ: Fairleigh Dickinson University Press, 1999), 58. Accessed via Questia Online Library, a subscription required service.

IMAGE DESCRIPTION Lynne Mapp Drexler

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LOT 77 LYNNE DREXLER Am. 1928-1999

Red, Yellow, and Blue Patterned Abstract, 1959 Watercolor on paper, framed Signed and dated on verso, 8 1/4” x 13” actual $3,000-$4,000

L O T 78 LYNNE DREXLER Am. 1928-1999

Provenance: Estate of Lynne Drexler to Private Collection Maine

“Yellow Monologue” 1972 Oil on canvas, framed Signed, titled, and dated on verso, 29 1/2" x 35 1/2" actual $8,000-$10,000 Provenance: Estate of Lynne Drexler to Private Collection Maine

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L O T 79 WALTER INGLIS ANDERSON Am. 1903-1965

“Dunes-Horn Island” 1958 Watercolor and pencil on paper, framed Titled, dated and inscribed "207" and 28-L" on verso, additional inscription on verso of frame backing paper (see notes) 8 1/2" x 10 15/16" actual, 13 13/16" x 15 5/8" framed $5,000-$7,000

L O T 80

Provenance: Private Collection Falmouth, Maine Exhibitions: The World of Walter Anderson 1903-1965 Brooks Memorial Art Gallery Memphis, Tennessee Other Notes: Inscription: "Title on back of watercolor 'Dunes- Horn Island 1958" #207. 'The World of Walter Anderson' 1903-1965 in Brooks Memorial Art Gallery Overton Park Memphis, Tenn. Daddy and I each bought one of his unsigned watercolors when we were at meetings in Memphis (Daddy's choice). I just came across this booklet today and was glad I could at least tell the story of how we got there. 9-8-84"

AMOS FERGUSON Bahamian 1920-2009

Large Leaf Plaster, steel, enamel and glitter 11" x 9 1/2" x 1 1/2" approximately $1,500-$2,500 Provenance: Private Collection Nassau, Bahamas Large Plaster sculptures by the artist are exceedingly rare as they were never known to have been exhibited or sold. Made from a combination of homemade plaster, wire, paint and occasionally glitter, these works were only intended for personal consumption and are a clear continuation of the bright colors and shapes that had inspired his paintings. Works like these can be seen in a number of photos and videos from inside the artists home.

Given their size and homemade nature these works are quite delicate. This vibrant work was acquired with a number of other works from the artist’s personal collection many requiring conservation given their uniqueness and fragility. *We would like to thank Amanda Coulson, Director of the National Art Gallery of the Bahamas for her assistance cataloguing this lot. A letter from Ms. Coulson accompanies this work.

This work was undergoing conservation at the time this catalog was printed. Please see website for updated images.

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L O T 8 0A AMOS FERGUSON Bahamian 1920-2009

Pinecone Assemblage, Plaster, enamel and glitter Signed on bottom 2 1/4" x 2" x 2 1/4" approximately $2,000-$3,000

Provenance: Private Collection Nassau, Bahamas As Amos Ferguson and his work leapt into the public eye around the 1980’s, it was his brightly colored paintings for which he became so renowned. Far more scarce were his small pine sculptures like this work. This small work is even more rare than most given it is clearly signed on the base of the sculpture. Small works such as this could at times be found for sale in Amos’ Home and Art Gallery in the Bahamas. *We would like to thank Amanda Coulson, Director of the National Art Gallery of the Bahamas for her assistance cataloguing this lot. A letter from Ms. Coulson accompanies this work.

L O T 80B AMOS FERGUSON

LOT 81

Bahamian 1920-2009

Walking the Dog Enamel on paperboard laid to panel, framed 14” x 17 1/8” actual $4,000-$6,000

FREDERICK LYNCH Am. 1935-2016

“Painting 971” 1994 Oil on canvas Signed, titled and dated on verso 48" x 34" actual $800-$1,000

This work is not in auction

Provenance: Private Collection Nassau, Bahamas Another wonderful example of the artist’s work, here a young girl appears to be enjoying a ride on a large white poodle.

Amos frequently depicted animals being ridden in his paintings, most common were horses or donkeys. Sometimes though he would even depict animals riding other animals as can be found in this work called “The Apple Tree,” sold in 2016, where a monkey can be seen riding a donkey. *We would like to thank Amanda Coulson, Director of the National Art Gallery of the Bahamas for her assistance cataloguing this lot. A letter from Ms. Coulson accompanies this work.

Provenance: Private Collection Massachusetts

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LOT 82 FREDERICK LYNCH Am. 1935-2016

“Sabinal, West Port Island” 1981 Watercolor on paper, framed Signed and dated l.r., Barridoff Galleries labels on verso 42” x 29 3/16” actual, 43 7/16” x 31 1/8” framed $700-$900 Provenance: Purchased from Barridoff Galleries to Private Collection Portland, Maine

L O T 83 FREDERICK LYNCH

Am. 1935-2016

Blue and Orange Patterned Abstract, 1985 Painting on wood construction Signed l.r., dated on verso 15 3/4” x 23 3/4” x 1 3/4” actual $600-$800 Provenance: Private Collection Maine

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LOT 84 FREDERICK LYNCH Am. 1935-2016

Satellite Series/Vega Acrylic and mixed media on wood assemblage Signed l.c., titled on verso, Barridoff Galleries label attached to verso 48” x 98” approximately $800-$1,200 Provenance: Purchased from Barridoff Galleries to Private Collection Portland, Maine

L O T 85 FREDERICK LYNCH

Am. 1935-2016

Landscape, Fabrics and Shoes, 1977 Watercolor on paper, framed Signed and dated l.c.

22 1/8” x 30 1/8” sight, 23 3/4” x 31 7/16” framed $500-$700 Provenance: Private Collection Harpswell, Maine

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LOT 86 JOSEPH GUALTIERI Am. 1916-2015

“Age of Steel” 1953 Oil on canvas, framed Signed l.r. and verso, titled and dated on verso 25 7/8” x 32 1/8” actual, 30 1/4” x 36 11/16” framed $1,500-$2,500 Provenance: Private Collection Rhode Island

LOT 87 JOSEPH GUALTIERI Am. 1916-2015

“Urban” 1950 Oil on canvas, framed Signed l.r. and verso, titled and dated on verso,Complements Art Gallery label on verso 30" x 36 3/16" actual, 33 13/16" x 39 15/16" framed $2,000-$3,000 Provenance: Private Collection Rhode Island

L O T 88 LOUIS SCHANKER Am. 1903-1981

Three Forms Oil on canvas, framed 19 1/2” x 23 7/8” actual $1,000-$1,500 Provenance: By descent from Artist to Private Collection New York

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LOT 89 LOUIS SCHANKER Am. 1903-1981

Geometric Abstract Oil on canvas, framed 24” x 29 3/4” actual $1,200-$1,800 Provenance: By descent from Artist to Private Collection New York

L O T 90 LOUIS SCHANKER Am. 1903-1981

White, Grey, and Black Abstract, 1951 Oil on canvas, framed Signed and dated l.r. and verso 30 1/8” x 36 1/16” sight, 30 7/16” x 36 5/8” framed $1,500-$2,500 Provenance: By descent from Artist to Private Collection New York

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LOT 91 FERNANDO GERASSI Am. 1899-1974

Abstract Forms, 1955 Oil on canvas, framed Signed and dated on verso 36 1/4” x 53 3/4” actual, 37 1/16” x 55 5/16” framed $1,000-$1,500 Provenance: Private Collection New Hampshire

LOT 92 JOHN STEPHAN

Am. 1906-1995

Abstract View, 1953 Watercolor on paper, framed Signed and dated l.r.

20 5/8” x 28 1/2” sight, 22 5/8” x 30 5/16” framed $600-$900 Provenance: Private Collection Massachusetts

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L O T 93 MILTON RESNICK Am. 1917-2004

Two Figures, 1996 Oil on paper, framed Signed and dated on verso 19 1/4” x 13 13/16” sight, 21 3/16” x 15 3/4” framed $5,000-$7,000 Provenance: Private Collection Massachusetts

L O T 94 ROBERT DE NIRO SR. Am. 1922-1993

Reclining Nude, 1971 Pastel on paper, framed Signed and dated l.r., Salander-O’Reilly Galleries label attached to verso 19 5/8” x 25 5/8” sight, 27 1/8” x 33 1/16” framed $5,000-$7,000 Provenance: Private Collection Massachusetts

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LOT 95 ANDY WARHOL

Am. 1928-1987

Heart of Ice and Snow Photographic print, unframed 11” x 14” actual $1,500-$2,500 Provenance: The Estate of Harriett Gould to Collection of Jon Gould to Private Collection Michigan Other Notes: America by Andy Warhol and certificate of provenance provided by consignor, stored in file; Certificate of Provenance: Jon Gould, son of Harriet Gould, was Andy’s “closest friend and companion in the 1980’s.”

LOT 96 ELIOT PORTER Am. 1901-1990

“Portfolio Two: Iceland” 1975 Complete portfolio of 12 dye transfer prints Signed and numbered “42” on verso of portfolio foldout, each Image stamped by Eliot Porter studio, numbered “42” and numbered “1” to “12” respectively on verso Portfolio measures 20 1/2” x 15 1/2” x 1” $4,000-$6,000 Provenance: Private Collection Cumberland Foreside, Maine

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LOT 97 BERENICE ABBOTT

Am. 1898-1991

“Union Square, Manhattan” 1936 Gelatin silver print, matted Titled and dated on verso, Federal Art Project stamp on verso, Berenice Abbott studio stamp on verso 8 1/4" x 10" actual $4,000-$6,000 Provenance: Private Collection Cumberland Foreside, Maine

LOT 98 BERENICE ABBOTT Am. 1898-1991

“‘El’ Station, 9th Avenue Line, Christopher Street, Manhattan” 1936 Gelatin silver print, matted Titled and dated on verso, Federal Art Project stamp on verso, Berenice Abbott studio stamp on verso 9 1/8" x 7 1/2" actual $3,000-$4,000 Provenance: Private Collection Cumberland Foreside, Maine

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LOT 99 RACHEL HARTLEY Am. 1884-1955

New York Street Scene Oil on board, framed Provenance and biographical information printed and attached to verso 19 3/4" x 15 13/16" actual, 25 13/16" x 21 7/8" framed $2,500-$3,500 Provenance: Private Collection Massachusetts

L O T 100 ARTHUR B. DAVIES Am. 1862-1928

“165 West 46th Street N.Y.C.” Gouache and ink on paper, framed Signed l.r., titled l.c., Portland Museum of Art label on verso 12 3/4” x 16” sight, 23 11/16” x 27 1/8” framed $1,500-$2,500 Provenance: Private Collection Troy, Ohio

L O T 101 JOHN MOORE Am. b. 1941

“Flag Day #2” 1995 Oil on canvas, framed 30 1/8” x 33 1/4” actual, 38 11/16” x 41 15/16” framed $2,000-$3,000 Provenance: Private Collection California

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L O T 102 DOUGLAS HUEBLER Am. 1924-1997

“Crocodile Tears II: Buried Treasure (Picasso)” 1989 Sheet 1] Pencil, ink, watercolor on paper Sheet 2] Ink on paper, framed Sheet 1] Signed, titled, and dated l.c. Sheet 2] Signed and inscribed l.r., J. Todd Galleries label on verso 20 3/16” x 27 11/16” framed Sheet 1] 10 1/16” x 12” sight Sheet 2] 17” x 11” sight $2,500-$3,500 Provenance: Private Collection Massachusetts

L O T 103 JEAN COCTEAU Fr. 1889-1963

Satyrs Playing Flutes in the Sunshine Colored pencil and pencil on paper, framed Signed l.l.

11 1/2” x 15 3/16” sight, 22 3/8” x 26 1/8” framed $1,500-$2,500 Provenance: Private Collection Kittery Point, Private Collection York, Maine, Estate of Richard Holland York, ME

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L O T 104 KEES VAN DONGEN Dutch/Fr. 1877-1968

Le Renard Argenté au Steeple-chase Aquatint in colors, framed Signed and numbered “46/200” l.l.

23 1/2” x 15 5/8” sight, 30 11/16” x 22 3/8” framed $600-$800 Provenance: Private Collection Troy, Ohio

L O T 105 KEES VAN DONGEN Dutch/Fr. 1877-1968

Avenue du Bois (Ginestet & Pouillon 656) Aquatint in colors, framed Signed and numbered “125/200” l.l., plate by Jacques Villon (1875-1963) 19 3/8” x 15” sight, 26 9/16” x 21 9/16” framed $600-$800 Provenance: Private Collection Troy, Ohio

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LOT 106 YVONNE JACQUETTE Am. b. 1934

Five Prints: Winging It, 1990 1-5] Etching in color, unframed 1-3] Signed and dated l.r., numbered “A.P. 3/5” 4] Signed and dated l.r., numbered “2/20” 5] Signed and dated l.r., numbered “13/40” 1-5] 25 3/8” x 25 1/8” actual $2,000-$3,000 Provenance: Private Collection Cumberland Foreside, Maine

L O T 107 STANTON MACDONALD-WRIGHT Am. 1890-1973

“Moonrays” Oil on board, framed Artist's name and title inscribed on stretcher verso 10 13/16" x 11 5/8" actual, 13 7/8" x 14 3/4" framed $3,000-$4,000 Provenance: Estate of the Artist, Private Collection Maine Other Notes: Unfinished composition on verso

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L O T 108 KATHERINE BRADFORD

Am. b. 1942

Geometric Abstract in Black, White, and Beige Monoprint, framed Initialed l.l., signed l.r.

27 1/4” x 22 1/4” sight, 29 3/4” x 24 1/4” framed $700-$900 Provenance: Purchased from ICON Contemporary Art 1996 to Private Collection Harpswell, Maine

L O T 109 KATHERINE BRADFORD Am. b. 1942

“Steamboat Red Yellow” 2013 Monotype, unframed Signed and dated l.r., numbered “1/1” l.l., titled on verso 18 1/4” x 15 11/16” actual $1,200-$1,800 Provenance: Private Collection Massachusetts

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L O T 110 KATHERINE BRADFORD Am. b. 1942

Steamboat Red and Orange, 2013 Carborundum mezzotint, unframed Signed and dated l.r., numbered “7/10” l.l.

16 1/16” x 18” actual $1,200-$1,800 Provenance: Private Collection Massachusetts

L O T 1 11 KATHERINE BRADFORD

Am. b. 1942

“Wings” Oil on canvas, framed Signed on verso 9" x 12" actual, 10 13/16" x 13 7/8" framed $3,000-$5,000 Provenance: Purchased at the Leighton Gallery Blue Hill, Maine 1986 to Private Collection Dayton, Ohio

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L O T 112 KATHERINE BRADFORD Am. b. 1942

“Pharoah” 1987 Oil on linen, unframed Signed and dated on verso 80” x 68 1/4” actual $10,000-$15,000 Provenance: Private Collection Portland, Maine

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L O T 113 ROBERT ESHOO Am. 1926-2018

“Racing with the Moon” 2003 Shadowbox construction Signed, titled and dated on verso 14 9/16” x 21 1/2” x 3 1/4” actual $1,500-$2,500 Provenance: Private Collection Massachusetts

L O T 1 13 A ROBERT ESHOO Am. 1926-2018

“Galaxy” 2003 Shadowbox construction Signed, titled and dated on verso 18 1/8” x 15 11/16” x 3 1/4” actual $1,500-2,500 Provenance: Private Collection Massachusetts

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L O T 114 CHARLES LEWIS FOX Am. 1854-1927

“Portrait of Henrietta M. Fox Designing the ‘Bird of Paradise’” 1924 Oil on canvas on strainer Signed and dated l.r.

37 3/8” x 47 1/8” actual, 45 3/4” x 55 1/2” framed $2,000-$3,000 Provenance: Gifted from Charles Lewis Fox Trust to the Farnsworth Art Museum in 1960, deaccessioned from museum in 1987 and acquired by Private Collection Massachusetts

L O T 1 15 ROBERT VICKREY Am. 1926-2011

L O T 1 16 SAMUEL BAK

Polish/Am. b. 1933

“Opening” Oil on linen, framed Signed l.l. and on verso, titled on verso, Pucker/Safari Gallery label on verso 17 13/16” x 14 5/8” sight, 24 3/4” x 21 1/2” framed $3,000-$5,000 Provenance: Private Collection California

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Portrait of Blonde Girl Egg tempera on panel, framed Signed l.r., The Harmon Gallery label on verso 8 3/4” x 6 13/16” actual, 16 7/16” x 14 7/16” framed $1,500-$2,500 Provenance: Private Collection Portland, Maine

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L O T 117 SAMUEL BAK Polish/Am. b. 1933

“Sounds of Silence” 1995 Oil on linen, framed Signed and dated l.r., titled on verso, Pucker Gallery label on verso 32" x 39 1/2" actual, 38 9/16" x 46 3/16" framed $8,000-$12,000 Provenance: Private Collection California

L O T 118 PETER SCULTHORPE

Am. b. 1948

Waiting for Sunny Weather Watercolor on paper, framed Signed l.r., Whistler’s Daughter Gallery label attached to verso 58 1/2” x 38 1/4” sight, 73 5/8” x 53” framed $2,500-$3,500 Provenance: Private Collection California

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L O T 119 JOEL BABB Am. b. 1947

Rough Road, 1994 Oil on canvas laid to board, framed Signed and dated l.r., framer information attached to verso, "To Sydney - from Grampy Moores' Collection 5/17/14" inscribed on verso 20 1/4" x 16 1/16" actual, 22 1/16" x 17 15/16" framed $2,500-$3,500 Provenance: Private Collection Maine

L O T 12 0 MICHAEL WORKMAN Am. b. 1959

“Early Morning Studio View” 2005 Oil on linen laid to panel, framed Signed l.r., titled l.l., dated l.c., signed, titled and dated on Meyer-Munson Gallery label on verso 14 15/16" x 14 15/16" actual, 21" x 21" framed $3,000-$5,000 Provenance: Private Collection Mount Desert Island, Maine

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LOT 121 ERIC AHO

Am. b. 1966

Purple-Blue Sea Pastel on paper, framed Signed l.c.

11” x 13 1/2” sight, 18 1/8” x 20 3/4” framed $1,200-$1,800 Provenance: Private Collection Massachusetts

L O T 12 2 ERIC AHO Am. b. 1966

House and Field Acrylic on paper, framed Signed l.c.

11” x 11 1/8” actual, 14 7/8” x 15” framed $1,500-$2,500 Provenance: Private Collection Massachusetts

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L O T 1 23 ERIC AHO Am. b. 1966

Rainstorm Oil on paper, framed Signed u.c.

10 1/2" x 12 1/16" sight, 15 1/8" x 16" framed $1,200-$1,800 Provenance: Private Collection Massachusetts

LOT 124 ERIC AHO

Am. b. 1966

“House at Point O Woods” 2004 Oil on linen, unframed Signed l.l. and stretcher verso, titled and dated on stretcher verso 12 1/8” x 24” actual $5,000-$7,000 Provenance: Private Collection Massachusetts

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L O T 125 RAY RUSECKAS

Am. Late 20th/Early 21st Century

“White Barn” 2001 Pastel on paper, framed Signed and dated l.r., artist’s name and title on verso 4 3/4” x 6 7/17” sight, 10 1/4” x 13 1/2” framed $1,000-$1,500 Provenance: Private Collection Massachusetts

L O T 12 6 ARTHUR CLIFTON GOODWIN Am. 1864-1929

Two Works: 1] Summer Sky 2] Clear View 1-2] Pastel on paper, framed 1] Signed l.r., S.C. Rose and Co. label attached to verso 2] Signed l.l., Fenway Art Center label attached to verso 1] 18 3/8” x 23 7/16” sight, 26 13/16” x 31 5/8” framed 2] 13 1/2” x 17 3/4” sight, 19” x 23 1/4” framed $300-$500 Provenance: Private Collection Milton, Massachusetts

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L O T 12 7 JOHN JOSEPH ENNEKING

Am. 1841-1916

Homestead in Bloom Oil on canvas, framed Signed l.r., J. Eastman Chase label attached to frame verso, H.R. Finn Antiques Restoration label attached to frame verso 14" x 18 1/8" actual, 21 1/2" x 25 9/16" framed $1,000-$2,000 Provenance: Private Collection Milton, Massachusetts

L O T 12 8 FRANK HENRY (HECTOR) L. TOMPKINS Am. 1847-1922

The Embankment, Parker Hill, Boston, 1910 Oil on canvas, framed Signed and dated l.l., titled on Vose Galleries label attached to verso, additional label fragments indistinct on verso 26” x 32” actual, 33 5/8” x 39 3/4” framed $4,000-$8,000 Provenance: Private Collection Milton, Massachusetts

L O T 12 9 ARTHUR CLIFTON GOODWIN Am. 1864-1929

Eastern Pt. Gloucester Pastel on paper, framed Signed l.l.

16 1/2” x 19 3/4” sight, 25 1/2” x 29 1/16” framed $800-$1,200 Provenance: Private Collection Troy, Ohio

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L O T 130 MORRIS HALL PANCOAST Am. 1877-1963

“The Little Harbor in Winter” Oil on board, framed Signed l.r., “Prof Rogers Summer Home in [?] MA” inscribed l.l., signed and titled on verso 12” x 16” actual, 18 7/16” x 22 5/16” framed $1,000-$3,000 Provenance: Private Collection Milton, Massachusetts

L O T 131 ELIZABETH F. WASHINGTON Am. 1871-1953

Two Works: 1] “Boats at Low Tide, Rockport, Mass.” 2] “Looking Up the Creek” 1] Pastel on paper, framed 2] Pastel on board, framed 1] Signed l.l., titled on label attached to frame verso 2] Signed l.r., titled on label attached to frame verso 1] 8 1/2” x 10 5/8” sight, 16” x 19” framed 2] 9 1/2” x 10 3/4” sight, 20 5/8” x 21 3/4” framed $500-$1,000 Provenance: Private Collection Milton, Massachusetts

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L O T 132 ALFRED BIRDSEY Br./Bermudian 1912-1996

Swan Boats in Boston Common, 1980 Mixed media on paper, framed Signed and dated l.r.

15 3/4” x 20 7/8” sight, 23 1/4” x 28 1/8” framed $400-$600 Provenance: Private Collection Milton, Massachusetts

L O T 133 ALFRED BIRDSEY

Br./Bermudian 1912-1996

Faneuil Hall Mixed media on paper, framed Signed l.r., S.C. Rose and Co. label attached to verso 15 7/8” x 20 7/8” sight, 23 1/4” x 28 1/16” framed $400-$600 Provenance: Private Collection Milton, Massachusetts

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L O T 134 REYNOLDS BEAL Am. 1867-1951

“St. Helena” 1934 Watercolor and pencil on paper, framed Signed, titled and dated l.r.

8” x 11 1/2” sight, 14 1/4” x 17 1/4” framed $100-$300 Provenance: Private Collection Milton, Massachusetts

L O T 135 SAM VOKEY Am. b. 1963

Swan Boats Oil on canvas, framed Signed l.r.

12” x 15” actual, 17 3/8” x 20 3/8” framed $300-$600 Provenance: Private Collection Milton, Massachusetts

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L O T 136 THOMAS RUSSELL DUNLAY Am. b. 1951

“Mt. Vernon St. Winter Afternoon, Boston Ma.” 1984 Oil on canvas, framed Signed l.r., titled, dated and inscribed “For D. Marr Boys Club Boston” on canvas verso 18 7/8” x 21 3/4” actual, 26 3/8” x 29 7/16” framed $2,000-$4,000 Provenance: Private Collection Milton, Massachusetts

L O T 137 THOMAS RUSSELL DUNLAY Am. b. 1951

“At the Water’s Edge” 2003 Oil on canvas, framed Signed l.r., signed, titled and dated on verso, “The Artist’s Daughter Caroline” inscribed on canvas verso 11 1/16” x 8 5/8” actual, 17 15/16” x 15 1/2” framed $500-$1,000 Provenance: Private Collection Milton, Massachusetts

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L O T 138 SAMUEL A. BIGGIN Am. 20th Century

“J. Whorf Sketching” 1924 Pastel on paper, framed Signed, dated and inscribed “To my friend Whorf” and “Segovia” l.r., titled, attributed and dated on label attached to verso 11 5/16” x 14 3/8” sight, 17 1/16” x 20 1/4” framed $200-400 Provenance: Private Collection Milton, Massachusetts

L O T 13 9 JOHN WHORF

Am. 1903-1959

Swan Boat Watercolor on paper, framed Signed l.r.

14 3/4” x 21 3/4” sight, 24 1/8” x 31 1/16” framed $5,000-$10,000 Provenance: Private Collection Milton, Massachusetts

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L O T 14 0 JOHN WHORF Am. 1903-1959

Winter Birches Watercolor on paper, framed Signed l.r.

12 3/8" x 17 5/8" sight, 17 3/4" x 23" framed $800-$1,200 Provenance: Private Collection Michigan

L O T 1 41 CHARLES H. WOODBURY (Attr.)

Am. 1864-1940

Bare Trees in Winter Oil on canvas, framed 17” x 21” actual, 22 3/16” x 26 1/16” framed $800-$1,200 Provenance: Private Collection Michigan

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L O T 14 2 CHARLES H. WOODBURY Am. 1864-1940

Evening, Ogunquit Oil on canvasboard, framed Signed l.r., signed and numbered "38" on verso 10" x 13 7/8" actual, 18 3/16" x 21 15/16" framed $2,500-$3,500 Provenance: Private Collection New Castle, New Hampshire Other Notes: Indistinct inscription on verso

LOT 142A CHARLES H. WOODBURY Am. 1864-1940

“Morning-Dominica, 1936” Watercolor on paper, framed Inscribed indistinctly l.r., attributed, titled, dated, stamped by estate and inscribed with reference numbers “46” “WW251” on verso 14 1/2” x 21” sight, 22 3/16” x 28 11/16” framed $600-$800 Provenance: Private Collection Massachusetts

L O T 143 CHARLES H. WOODBURY Am. 1864-1940

“Limerick Maine” 1932 Oil on canvas board, framed Signed l.l., titled, dated and stamped by studio on verso 11 7/8” x 16 15/16” actual, 18 7/8” x 23 3/4” framed $2,500-$3,500 Provenance: Private Collection Rhode Island

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L O T 14 4 ANNE CARLETON Am. 1878-1968

“Pushing Off” Oil on board, framed Signed l.l., titled on verso, Fort Wayne Museum of Art label attached to verso 8" x 10" actual, 14 13/16" x 16 7/8" framed $2,000-$3,000 Provenance: Private Collection New Hampshire Exhibitions: “Lasting Impressions: American Women Artists from the Sellars Collection,” Fort Wayne Museum of Art, Fort Wayne, Indiana, 11/20/99 - 2/20/00

L O T 1 45 NELLIE AUGUSTA KNOPF Am. 1875-1962

The Fountain Oil on canvas, framed Signed l.r.

20 1/8” x 24 1/8” actual, 27 7/16” x 31 7/16” framed $2,000-$3,000 Provenance: Private Collection Michigan

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L O T 14 6 SUSAN RICKER KNOX Am. 1874-1959

“Portrait of Einar Hansen” 1925 Oil on canvas, framed Signed l.r., label inscribed "Portrait Einar Hansen 'Violinist' by 'Susan Ricker Knox'" attached to verso, label inscribed "Einar Hansen - First Violin of the Boston Symphony Orchestra 1925" attached to verso 30 1/8" x 25 1/8" actual, 37" x 32 3/16" framed $700-$900 Provenance: Private Collection Massachusetts

L O T 1 47 GERTRUDE FISKE

Am. 1878-1961

“The Shawl” Oil on canvas, framed Signed l.r., “WT” and “Thulin 1926” incised on frame verso by maker (Walfred Thulin), label on verso inscribed “Mr. Percival Lowell 180 Beacon Street” 30 1/4" x 36 1/4" actual, 35 3/4" x 41 3/4" framed $6,000-$8,000 Provenance: Purchased 9/26/2019 from Skinner, Inc. to Private Collection Michigan

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L O T 14 8 ELWYN GEORGE GOWEN Am. 1895-1954

“Haystack Mountain” 1938 Oil on canvas, framed Signed l.r., titled and dated on verso 20 1/4” x 26 1/4” actual, 23 1/2” x 29 1/2” framed $1,000-$1,500 Provenance: Private Collection Sanford, Maine

L O T 149 ELWYN GEORGE GOWEN Am. 1895-1954

“Kennebunkport” 1932 Oil on board, framed Signed l.r., signed, titled and dated on verso 13 5/8" x 19 9/16" actual, 22" x 28" framed $800-$1,200 Provenance: Private Collection Sanford, Maine

L O T 15 0 ELWYN GEORGE GOWEN Am. 1895-1954

Dory, 1933 Oil on board, framed Signed and dated on verso 7 15/16” x 9 15/16” actual, 11 7/16” x 13 3/8” framed $700-$900 Provenance: Private Collection Sanford, Maine

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L O T 1 51 ELWYN GEORGE GOWEN Am. 1895-1954

Shore Shacks Oil on board, framed 8” x 10” actual, 11 7/16” x 13 7/16” framed $800-$1,200 Provenance: Private Collection Sanford, Maine

L O T 15 2 ELWYN GEORGE GOWEN Am. 1895-1954

Houses on the Shore, 1933 Oil on board, framed Dated on verso 8” x 10” actual, 11 7/16” x 13 3/8” framed $800-$1,200 Provenance: Private Collection Sanford, Maine

L O T 153 ELWYN GEORGE GOWEN Am. 1895-1954

“Northwest Day” 1936 Oil on canvas, framed Signed l.l., titled and dated on verso 20 1/8” x 26 1/8” actual, 23 5/8” x 29 5/8” framed $1,500-$2,500 Provenance: Private Collection Sanford, Maine

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L O T 15 4 WALT KUHN Am. 1877-1949

“River Smith” 1928 Ink and watercolor on paper, framed Signed and dated l.r., titled l.l., Maynard Walker Gallery label on verso, University of Arizona label on verso 7 15/16” x 11 3/16” sight, 15 5/8” x 18 15/16” framed $800-$1,000 Provenance: Private Collection Michigan, Exhibitions: “Walt Kuhn-Painter of Vision” University of Arizona, February 6-March 31, 1966

L O T 15 4 A WALT KUHN Am. 1877-1949

“Clown on White Horse, Allez-oop!” 1941 Watercolor on paper, framed Signed and dated l.l., titled on Maynard Walker Gallery label on verso, University of Arizona label on verso 8 1/2” x 12” actual, 14 7/8” x 18 3/8” framed $800-$1,000 Provenance: Private Collection Michigan

L O T 155 WALT KUHN Am. 1877-1949

“Raymond” 1941 Watercolor and ink on paper, framed Signed and dated at center right, titled l.r., Doyle label attached to verso 8 7/8” x 6 1/2” sight, 16 13/16” x 14 5/16” framed $800-$1,000 Provenance: Private Collection Connecticut

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L O T 15 6 WALT KUHN Am. 1877-1949

“The Tumbler” 1927 Watercolor on paper, framed Signed and dated l.l., Kennedy Galleries label on verso, San Francisco Museum of Art label on verso, Salander-O’Reilly Galleries label on verso, Ollendorff Fine Arts label on verso 17 1/4” x 10 5/8” sight, 25 7/8” x 19 5/16” framed $14,000-$16,000 Provenance: Private Collection Michigan, Exhibitions: “Arts of the Circus” San Francisco Museum of Art, April 1942

L O T 15 8 ROBERT LAURENT

Am. 1890-1970

Saint Christopher Carved walnut Signed on top of base 25 7/8” x 6 3/4” x 6 5/8” actual $3,000-$5,000 Provenance: Theodore Dreier to Private Collection Boston, Massachusetts to Paul Brouillard Castine, Maine to Private Collection Maine Exhibitions: Exhibition of Sculpture by Robert Laurent, March 4th to March 25th, 1922, Bourgeois Galleries, New York, illustrated in the exhibition catalog

L O T 15 7 WALT KUHN Am. 1877-1949

“Seascape” 1944 Oil on canvas, framed Signed and dated l.l., titled on verso, Farnsworth Museum label on verso, Walt Kuhn Gallery label on verso 20 1/4” x 24 1/16” actual, 26 3/16” x 24 1/16” framed $12,000-$18,000 Provenance: Private Collection Kensington, Connecticut Exhibitions: Farnsworth Museum “20th Century Masters in Maine” October 1979

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L O T 15 9 LEON KROLL Am. 1884-1974

Reclining Nude Mixed media on paper, framed Signed l.r.

10 3/8” x 17 3/8” sight, 17 3/8” x 23 11/16” framed $800-$1,200 Provenance: Private Collection Portland, Maine

L O T 16 0 LEON KROLL Am. 1884-1974

Friends Pencil and charcoal on paper, framed 20 3/16” x 27 1/8” sight, 28 1/4” x 35 3/16” framed $300-$500 Provenance: Estate of the Artist

LOT 161 LEON KROLL Am. 1884-1974

On Her Knees Pencil and charcoal on paper, framed Greenhut Galleries label on verso 27” x 20 5/16” sight, 35 1/8” x 28 1/8” framed $300-$500 Provenance: Estate of the Artist

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LOT 162 CARL SPRINCHORN

Am. 1887-1971

Two Works: 1] Cat Study 2] Let Sleeping Cats Lie 1-2] Ink wash on paper, framed 1] Initialed l.r. 2] Initialed l.r.

1-2] 9” x 12” actual $700-$900 Provenance: Estate of Donald Brenwasser, New Jersey

L O T 163 CARL SPRINCHORN Am. 1887-1971

Wood Pile, 1939 Charcoal and pastel on paper, framed Signed and dated l.l.

12" x 18" actual $700-$900 Provenance: Estate of Donald Brenwasser, New Jersey

L O T 16 4 CARL SPRINCHORN

Am. 1887-1971

Two Works: 1] Cherries 1936 2] Swooning Figures 1-2] Watercolor and pencil on paper, matted unframed 1] Signed l.r., dated on verso 1] 10” x 7 5/8” actual 2] 11 3/8” x 8 3/4” actual $700-$900 Provenance: Estate of Donald Brenwasser, New Jersey

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L O T 16 5 CARL SPRINCHORN Am. 1887-1971

“Autumn on the Penobscot (The Bend at Matagamon)” 1944 Oil on board, framed Initialed l.l. and l.r., signed, titled and dated on verso 9 7/8” x 12 15/16” actual, 12” x 15 1/8” framed $1,000-$1,500 Provenance: Estate of Donald Brenwasser, New Jersey

L O T 16 6 CARL SPRINCHORN Am. 1887-1971

Tree Study, Santo Domingo Watercolor on paper, framed Signed l.r.

21 3/4” x 14 1/2” sight, 29” x 21 1/2” framed $800-$1,200 Provenance: Estate of Donald Brenwasser, New Jersey

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LOT 167 CARL SPRINCHORN

Am. 1887-1971

Autumn Farm Landscape Watercolor on paper, framed Initialed l.r.

15 1/2” x 22 1/2” actual $1,000-$1,500 Provenance: Estate of Donald Brenwasser, New Jersey

L O T 16 8 FLORENCE DREYFOUS Am. 1868-1950

Two Works: 1] Portrait of a Young Woman 2] Portrait of a Child 1-2] Watercolor and pencil on paper, unframed 1] Signed l.l., additional image of a young boy on verso 2] Signed on verso 1] 13” x 10 1/4” actual 2] 14 1/2” x 11” actual $600-$800 Provenance: Estate of Donald Brenwasser, New Jersey

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L O T 16 9 PHILIP SHERROD Am. b. 1935

"Jacque" 1974 Oil on canvas, framed Signed and dated u.c., titled, attributed and dated on stretcher verso 50" x 44" actual, 50 1/2" x 44 1/2" framed $2,500-$3,500 Provenance: Private Collection New Hampshire

L O T 170 PAUL CADMUS Am. 1904-1999

Standing Nudes (Quickies), 1967 Sheet 1-2] Crayon on brown Strathmore paper, framed Sheet 1-2] Signed u.r., titled and dated on verso, Midtown Payson Gallery labels on verso, DC Moore Gallery label on verso, Arthur Roger Gallery label on verso 16 15/16” x 22 3/4” framed Sheet 1] 11 1/8” x 7 7/8” sight Sheet 2] 11 1/4” x 7 15/16” sight $1,000-$1,500 Provenance: Private Collection Kensington, Connecticut

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L O T 171 MOSES SOYER Am. 1899-1974

White Chemise, 1940 Oil on linen, framed Signed u.r., titled on ACA and Fischbach Gallery labels attached to verso 16 1/8” x 12 1/4” actual, 25 5/16” x 21 1/4” framed $1,000-$1,500 Provenance: Private Collection Connecticut

LOT 172 HELEN STEIN

Am. 1896-1964

Two Works: 1] Still Life with Table 2] Resting on the Shore 1-2] Oil on board, framed 1-2] Stamped Estate of Helen Stein on verso, biographical information printed an attached to verso 1] 15 7/8” x 12” actual, 17 13/16” x 14” framed 2] 11 7/8” x 15 7/8” actual, 13 3/16” x 17 13/16” framed $600-$800 Provenance: Estate of the Artist to Private Collection Massachusetts

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L O T 173 ROBERT KULICKE Am. 1924-2007

Flowers in White Vase Gouache on paper, framed Signed u.c.

5 1/2” x 5 7/8” sight, 13 3/4” x 14 1/16” framed $700-$900 Provenance: Private Collection Massachusetts

L O T 1 74 ROBERT KULICKE Am. 1924-2007

Bright Bouquet Gouache on paper, framed Signed u.c.

7 5/8” x 6 7/8” sight, 15 7/8” x 15 1/16” framed $800-$1,200 Provenance: Private Collection Massachusetts

L O T 175 ROBERT KULICKE

Am. 1924-2007

Peeled Orange Gouache on paper, framed Signed l.c.

7 1/8” x 6 3/8” sight, 14 5/8” x 13 13/16” framed $800-$1,200 Provenance: Private Collection Massachusetts

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LOT 176 ROBERT KULICKE Am. 1924-2007

Pastel Blooms Gouache on paper, framed Signed l.c.

6 11/16” x 7” sight, 14 1/2” x 14 3/4” framed $700-$900 Provenance: Private Collection Massachusetts

LOT 177 STUART SHILS Am. b. 1954

“Still Life with Red Table and Dark Shapes” 1995 Acrylic on paper, framed Signed and dated l.r., titled and inscribed "For Ray Roberts" on verso 4 1/8" x 5 15/16" sight, 13 5/8" x 15" framed $800-$1,200 Provenance: Private Collection Massachusetts

LOT 178 STUART SHILS Am. b. 1954

“Still Life with Yellow Table” 1995 Acrylic on paper, framed Signed and dated l.l., titled and inscribed “For Ray Roberts” on verso 5 1/16” x 4 1/2” sight, 14 3/4” x 13 5/8” framed $800-$1,200 Provenance: Private Collection Massachusetts

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L O T 179 WENDY TURNER

Am. b. 1954

“Dusty Miller in Autumn” 1984 Watercolor on paper, framed Signed l.r., Varley & Stevens Galleries label and biographical clippings attached to verso 14” x 10 3/16” sight, 21 15/16” x 17 9/16” framed $1,500-$2,500 Provenance: Sold to benefit Surf Point Foundation York, Maine

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L O T 18 0 SYLVIA PLIMACK MANGOLD Am. b. 1938

“Pin Oak” 1986 Etching, aquatint and dry point on paper, framed Signed and dated l.r., numbered “21/50” l.l.

20 7/8” x 25” sight, 29” x 33 5/16” framed $400-$600 Provenance: Purchased from O’Farrell Gallery 1987 to Private Collection Harpswell, Maine

L O T 1 81 NEIL WELLIVER Am. 1929-2005

“Birches” Woodblock print on paper, framed Signed l.r., numbered “2/100” l.l.

32” x 32” sight, 40 3/8” x 39 7/8” framed $3,000-$4,000 Provenance: Purchased from O’Farrell Gallery 1988 to Private Collection Harpswell, Maine

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L O T 18 2 NEIL WELLIVER Am. 1929-2005

“New Dams in Meadow” 1984 Woodblock print on paper, framed Signed l.r., numbered “13/80” l.l.

31 1/2” x 31 1/2” sight, 40 13/16” x 40 5/16” framed $1,200-$1,800 Provenance: Purchased from O’Farrell Gallery 1986 to Private Collection Harpswell, Maine

L O T 1 83 CHRIS HUNTINGTON

Am. b. 1938

“April-Ramsey's Cove” 1982 Oil on panel, framed Signed and dated l.c.

20 3/8" x 24 3/8" framed $700-$900 Provenance: Purchased from O'Farrell Gallery 1990 to Private Collection Harpswell, Maine

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L O T 18 4 CHRIS HUNTINGTON Am. b. 1938

“Churning Sea-Monhegan” 1989 Oil on board, framed Dated and initialed l.l., titled on verso, Frost Gully Gallery label on verso 16” x 22” actual, 24 13/16” x 30 13/16” framed $800-$1,200 Provenance: Private Collection Maine

L O T 1 85 IRVING B. HAYNES, Am. 1927-2005

Abstraction, 1990 Acrylic on paper mounted to canvas, framed, 41 5/8" x 29 3/8" actual, 42 13/16" x 30 5/8" framed $800-$1,200

L O T 18 6 IRVING B. HAYNES, Am. 1927-2005,

China Lake, Maine, 2001 Acrylic on paper, framed, 49 15/16" x 38 1/16" actual, 51 5/16" x 39 9/16" framed $1,000-$1,500

Provenance: Private Collection Raymond, Maine

Provenance: Private Collection Raymond, Maine

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LOT 187 IRVING B. HAYNES, Am. 1927-2005,

Landscape View with River Reflections, 1974 Watercolor on paper, framed, 28 7/16" x 21 3/8" sight, 29 1/8" x 36 1/16" framed $500-$700 Provenance: Private Collection Raymond, Maine

L O T 18 7A IRVING B. HAYNES, Am. 1927-2005,

Abstraction, 1996 Acrylic on paper mounted to canvas, framed Initialed and dated l.r.

39 3/8" x 27 3/4" actual, 40 9/16" x 28 7/8" framed $800-$1,200 Provenance: Private Collection Raymond, Maine

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L O T 18 8 KEITH OEHMIG Am. Late 20th/Early 21st Century

Moorings, 2001 Oil on panel, framed Signed and dated l.l., Wiscasset Bay Gallery label on verso 16 1/8” x 20 3/16” actual, 22 5/8” x 26 7/16” framed $700-$900 Private Collection Colorado Springs, Colorado

LOT 189

L O T 18 9 A

WILLIAM THON

WILLIAM THON

Am. 1906-2000

Am. 1906-2000

Wave Watercolor on paper, framed Attributed, titled, inscribed “Estate # 2277-25” on Caldbeck Gallery label attached to verso 12 7/8” x 15 7/8” sight, 20 ¾” x 23 ¾” framed $700-$900

Woods Watercolor on paper, framed Attributed, titled, inscribed “Estate # 2277-31” on Caldbeck Gallery label attached to verso 13” x 15 15/16” sight, 20 ¾” x 23 11/16” framed $700-$900

Provenance: Private Collection Portland, Maine

Provenance: Private Collection Portland, Maine

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L O T 19 0 WILLIAM LIPPINCOTT Am. 1849-1920

“Ogunquit, Maine” 1914 Oil on masonite, framed Signed, titled and dated l.l., Tilden-Thurber Art Gallery label attached to frame verso 18 1/8” x 24 1/16” actual, 25” x 30 5/8” framed $2,000-$3,000 Provenance: Private Collection Michigan

L O T 1 91 STEPHEN MORGAN ETNIER

Am. 1903-1984

Milkweed Oil on canvas, framed 16 1/4” x 24 1/8” actual, 25 3/8” x 33 1/4” framed $2,000-$3,000 Provenance: Private Collection Rye Beach, New Hampshire

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L O T 19 2 BERTRAM HARTMAN Am. 1882-1960

“Church Near Stonington on Deer Isle Maine” Oil on board, framed Signed l.r., titled and attributed on verso, Ellen Traut Collection label on verso 20 1/4” x 16 1/8” actual, 24 1/2” x 20 1/4” framed $1,000-$1,500 Provenance: Private Collection Kensington, Connecticut

L O T 193 WILLIAM THON Am. 1906-2000

Spring Woods Mixed media on paper, framed Signed l.r., price tag adhered to frame face, Midtown Galleries NY label on verso, American Watercolor Society label on verso dated 1958, Blanchard’s Auction Services label on verso 19 13/16” x 25 3/4” sight, 33 11/16” x 39 5/8” framed $1,500-$2,500 Provenance: Purchased 8/14/2020 from Blanchard’s Auction Services to Private Collection Michigan Literature: According to Blanchard’s catalog: “From a camp on Mount Arab Lake in the Adirondack Mountains”

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L O T 19 4 WILLIAM THON Am. 1906-2000

“Cornish Town” Watercolor on paper, framed Signed l.r., titled on verso 20 1/2” x 27” actual, 28 1/4” x 35 13/16” framed $1,200-$1,800 Provenance: Private Collection York, Maine

L O T 1 95 DENIS BOUDREAU Am. b. 1941

‘“Fireball” 2007 Acrylic on masonite, framed Signed, dated and titled on verso, initialed l.r.

48 3/8” x 36 3/4” actual, 49 7/16” x 37 7/8” framed $700-$900 Provenance: Private Collection Maine

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L O T 19 6 JOHNNIE ROSS Am. b. 1949

“...It Always Turns Out for the Best” 1981 Mixed media on paper, framed Signed l.r., titled l.c., dated l.l.

29 3/4” x 29 3/8” sight, 31 9/16” x 31 9/16” framed $200-$400 Provenance: Private Collection Sherborn, Massachusetts

LOT 197 DAHLOV IPCAR Am. 1912-2017

“Fox and Geese” Woodblock print, framed Signed l.r., titled and numbered “18/50” l.l., inscribed “For Mike + Carol” l.c., The Inkwell label on verso 16 3/4” x 12 7/8” sight, 23 3/8” x 19 1/2” framed $1,000-$1,500 Provenance: Private Collection Corvallis, Oregon

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L O T 19 9

L O T 1 98

DAHLOV IPCAR

DAHLOV IPCAR

Am. 1912-2017

Am. 1912-2017

“Wild Dog Hunt” 1994 Watercolor on paper, framed Signed and dated l.r., Portland Museum of Art and Dahlov Ipcar gallery labels in mylar envelope attached to verso 13 3/16” x 20 1/4” sight, 22 1/4” x 28 7/8” framed $2,000-$3,000

“Cheetah & Antelope” 1995 Watercolor on paper, framed Signed and dated l.r., Portland Museum of Art and Dahlov Ipcar gallery labels in mylar envelope attached to verso 11 3/8” x 12 3/4” sight, 21 5/8” x 22 3/16” framed $1,500-$2,500

Provenance: Private Collection Owl’s Head, Maine Exhibitions: Dahlov Ipcar:

Provenance: Private Collection Owl’s Head, Maine

Seven Decades of Creativity, Portland Museum of Art 10/2/2001-1/27/2002

Exhibitions: Dahlov Ipcar: Seven Decades of Creativity, Portland Museum of Art 10/2/2001-1/27/2002

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L O T 2 00 GROUP LOT HAITIAN SCHOOL Haitian 20th Century

Two Works: 1] Zebras Watering 2] Roosting, 1986 1] Oil on panel, framed 2] Oil on canvas, framed 1] Signed l.l.

2] Signed indistinctly and dated l.r.

1] 12" x 24" actual, 17 5/8" x 29 5/8" framed 2] 16" x 20" actual, 21 1/8" x 25 1/8" framed $600-$800 Provenance: Private Collection Cumberland, Maine Other Notes: 1] Artist is André Naval b.

1949 2] Artist is 20th Century Haitian School

L O T 2 01 PHILIP BARTER Am. b. 1936

“Yard Birds #1” 1992 Oil on canvas, framed Signed l.r., titled and dated on verso 36" x 47 7/8" actual, 37 1/4" x 49 1/4" framed $600-$800 Provenance: Private Collection Portland, Maine

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L O T 2 02 PHILIP BARTER Am. b. 1936

“Red Tulips with Indian Pot” 1991 Oil on canvas, framed Signed l.r., dated and titled on verso 30 1/4” x 24 1/16” actual, 31 1/4” x 25 3/16” framed $500-$700 Purchased in 1994 from Wiscasset Bay Gallery to Private Collection Raleigh, North Carolina

L O T 2 03 PHILIP BARTER

Am. b. 1936

“Hacheta (sic) Mts, NM” 2001 Acrylic on linen, framed Signed l.r., titled and dated on verso 24” x 30” actual, 24 5/8” x 30 5/8” framed $1,000-$1,500 Provenance: Private Collection Mount Desert Island, Maine

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L O T 2 04 ERIC HOPKINS Am. b. 1951

“Lady Bottle Form” 1983 Mixed media on newsprint, framed Signed l.r., titled l.c., dated l.l.

22 3/4” x 13 3/4” sight, 24 3/4” x 15 7/8” framed $2,000-$3,000 Provenance: Private Collection Maine

LOT 205 CLAYTON LEROY MORSE Am. 1913-1997

Lubec Docks Oil on board, framed Signed and inscribed “Lubec Maine” on verso 19 7/8” x 23 7/8” actual, 21 7/16” x 25 1/2” framed $600-$800 Provenance: Collection of Gerard Gaboury, Augusta, Maine

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L O T 2 06 EMILY/WILLIAM H. MUIR Am. 1904-2003 / 1902-1964

Two Works: 1] Ferry Boat 2] Stonington Street 1-2] Pencil on paper, framed 1] Signed l.l.

2] Signed l.r. 1] 7 3/8” x 9 7/8” sight, 14 3/8” x 16 7/8” framed 2] 8 5/16” x 11 1/4” sight, 15 3/8” x 18 3/16” framed $800-$1,000 Provenance: Private Collection Boothbay Harbor, Maine

LOT 207 EMILY/WILLIAM H. MUIR Am. 1904-2003 / 1902-1964

Two Works: 1] “Chins - Newford” 1943 2] Ames Brothers 1-2] Pencil on paper, framed 1] Signed l.c., titled and dated l.l. 2] Signed l.l.

1] 8 3/8” x 11 1/4” sight, 15 3/8” x 18 1/4” framed 2] 8 1/4” x 11 1/4” sight, 15 3/8” x 18 1/4” framed $800-$1,000 Provenance: Private Collection Boothbay Harbor, Maine

L O T 2 08 EMILY MUIR Am. 1904-2003

Stonington Vista Crayon on paper, framed Signed l.r.

8 3/8” x 11 1/4” sight, 15 3/8” x 18 1/4” framed $500-$700 Provenance: Private Collection Boothbay Harbor, Maine

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L O T 2 09 EMILY MUIR Am. 1904-2003

Stonington Main Street Watercolor on paper, framed Signed l.r.

24 3/8" x 29 5/8" sight, 27" x 32 1/16" framed $1,000-$1,500 Provenance: Purchased in 1991 from Gleason Fine Art to Private Collection Raleigh, North Carolina

L O T 2 10 THOMAS NADEAU Am. 20th Century

Portland Breakwater Lighthouse Oil on canvas, framed Signed l.l.

48" x 34 7/8" actual, 48 7/8" x 35 13/16" framed $1,000-$1,500 Provenance: Private Collection Portland, Maine

L O T 2 11 MORRIS SHULMAN Am. 1912-1978

Tree Roots Monhegan, 1949 Mixed media on paper, framed Signed and dated l.r.

19 3/4” x 27 9/16” sight, 24 1/8” x 31 15/16” framed $1,200-$1,800 Provenance: Private Collection Massachusetts

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L O T 2 12 MORRIS SHULMAN Am. 1912-1978

Young Cormorants, 1954 Oil on panel, framed Signed and dated l.r., Duveen-Graham label attached to verso 26” x 40” actual, 29 3/4” x 43 5/8” framed $2,000-$3,000 Provenance: Private Collection Brooklyn, New York

L O T 2 13 ERNEST FIENE

Ger./Am. 1894-1965

Church Oil on canvas, framed Signed l.r.

24” x 19 3/4” actual, 29 7/8” x 25 3/8” framed $2,000-$3,000 Provenance: Private Collection Rye Beach, New Hampshire

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LOT 214 ERNEST FIENE Ger./Am. 1894-1965

“Lobster House, Monhegan Island” c. 1950 Oil on canvas, framed 20 1/8" x 24 1/4" actual, 26" x 30 1/16" framed $2,000-$3,000 Provenance: Private Collection Michigan

L O T 2 15 ALEX MINEWSKI Am. 1917-1979

“Cod Skull” Casein on board, mounted to support Signed l.r., titled and attributed on verso 29 15/16” x 42” actual, 30 1/4” x 42 1/2” mounted $1,000-$1,500 Provenance: Private Collection New Hampshire

114

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L O T 2 15 A ALEX MINEWSKI Am. 1917-1979

Monhegan Harbor Oil on canvas, framed Signed l.r.

26" x 32 1/8" actual, 32 5/8" x 38 5/8" framed $800-$1,200 Provenance: Purchased from the Boston Art Club 2012 to Private Collection Virginia

L O T 2 16 HENRY KALLEM Am. 1912-1985

“Monhegan Harbor, 1” Watercolor on paper, framed Attributed and titled on Boston Art Club label attached to verso 15 5/8” x 20 9/16” actual $800-$1,200 Provenance: Private Collection Massachusetts

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L O T 217 MORRIS SHULMAN Am. 1912-1978

“Kelp at Low Tide” 1953 Casein on paper, framed Signed and dated l.r., titled, attributed and inscribed “1978WC Inv #33” on verso 25 3/16” x 38 5/8” sight, 30 5/8” x 44” framed $1,200-$1,800 Provenance: Private Collection Massachusetts

L O T 218 MORRIS SHULMAN Am. 1912-1978

Shore View, 1952 Oil on board, framed, Signed and dated u.r.

25 9/16” x 39 1/2” sight, 28 11/16” x 42 11/16” framed $1,200-$1,800 Provenance: Private Collection Massachusetts

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L O T 2 19 HOWARD RACKLIFFE Am. 1917-1987

“Fog Passage” Oil on board, framed Signed l.r., titled on vero 31 3/4” x 47 1/2” sight, 32 7/8” x 48 9/16” framed $1,500-$2,500 Provenance: Private Collection Massachusetts

LOT 220 WILLIAM PARTRIDGE BURPEE

Am. 1846-1940

Burpee's Palette with Blackhead, Monhegan Island c. 1926 Oil on shaped palette, framed, Titled and attributed on verso 11 1/2" x 7 1/8" sight, 17 1/8" x 23" framed $600-$800 Provenance: Private Collection Massachusetts Exhibitions: William Partridge Burpee: American Marine Impressionist: Anglo-American Museum of Art, Baton Rouge, LA, January 13, 1991 - March 31, 1991; Greenville Museum of Art, Greenville, NC, April 15, 1991 - May 31, 1991; Westmoreland Museum of Art, Greensburg, PA, July 21, 1991 - September 8, 1991; Marietta/Cobb Museum of Art, Marietta, GA, November 7, 1991 - December 28, 1991; Knoxville Museum of Art, Knoxville, TN, January 17, 1992 - March 22, 1992; The William A. Farnsworth Library and Art Museum, Rockland, ME, May 3, 1992 - July 5, 1992; Philadelphia Maritime Museum, Philadelphia, PA, July 22, 1992 - September 20, 1992; Peabody Museum of Salem, Salem, MA, October 15, 1992 - April 15, 1993; Emerson Gallery, Hamilton College Clinton, NY, June, 1993 - September, 1993; Asheville Museum of Art, Asheville, NC, July 28, 1994 - September 18, 1994; Albany Museum of Art, Albany, GA, June 22, 1995 - July 30, 1995. Literature: D. Roger Howlett. William Partridge Burpee : American Marine Impressionist. Boston: Copley Square Press, 1991. p.85 illustrated

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LOT 221 ALEX KATZ

Am. b. 1927

Passing, Man in Hat Silkscreen print in color, framed Signed and numbered “20/150” l.l.

32 3/8” x 35 3/4” actual $1,500-$2,500 Provenance: Private Collection Portland, Maine

LOT 222 GEORGE DE LYRA Am. 1929-1999

Window View Oil on masonite, framed Signed l.l.

23 1/4" x 32" actual, 25 3/16" x 34" framed $800-$1,000 Provenance: Private Collection Portland, Maine

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L O T 2 23 GEORGE DE LYRA Am. 1929-1999

Meeting at the Dirigible Oil on masonite, framed Attributed on label attached to verso 47 5/8” x 23 1/4” sight, 48 3/8” x 24” framed $800-$1,000 Provenance: Private Collection Maine

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LOT 224 COURTNEY BRECHT Am. 20th/21st CENTURY

“Candy-Striped Legs” 2004 Oil and oilstick on canvas, framed Signed, titled and dated on verso 48 1/16” x 35 7/8” actual, 48 9/16” x 36 7/16” framed $3,000-$4,000 Provenance: Private Collection Harpswell, Maine

L O T 2 25 FRANK MASON Am. 1921-2009

Portrait of a Woman, 1991 Oil on panel, framed Signed and dated l.r.

19 5/16” x 15 5/16” sight, 28 3/4” x 24 13/16” framed $1,200-$1,800 Provenance: Private Collection Maine

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LOT 226 LAURENCE PHILIP SISSON Am. 1928-2015

Study for Cochiti Passage Oil on canvas, framed, Signed l.l., Michael Wigley Galleries label on verso 18" x 24" actual, 26 3/8" x 32 3/8" framed $1,500-$2,000 Provenance: Private Collection Malibu, California

LOT 227

LOT 228

LAURENCE PHILIP SISSON

LAURENCE PHILIP SISSON

Am. 1928-2015

Am. 1928-2015

Farm View with Mountain, 1949 Oil on board, framed Signed and dated l.r., Jameson Gallery and Frame label attached to verso 19 7/16” x 29 1/2” sight, 23” x 33” framed $600-$800

“Orchard Nambe” Watercolor on paper, framed Signed l.l., titled on verso 21” x 28 13/16” sight, 28 15/16” x 36 15/16” framed $800-$1,200

Provenance: Private Collection Portland, Maine

Provenance: Private Collection Maine

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LOT 229 LAURENCE PHILIP SISSON Am. 1928-2015

“Hurricane Morning” Oil on masonite, framed Signed l.l., titled and signed on verso 23 7/16” x 35 3/4” actual, 29 1/4” x 41 3/16” framed $800-$1,200 Provenance: Private Collection Massachusetts

L O T 23 0 LAURENCE PHILIP SISSON Am. 1928-2015

“Indian River” Oil on masonite, framed, Signed l.r., titled on verso 41 5/8” x 83 5/8” sight, 43 1/4” x 85 1/4” framed $2,000-3,000 122

Provenance: Private Collection Massachusetts

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L O T 231 JANICE ANTHONY Am. 20th Century

Two Falls, Sebec Lake Acrylic on linen, framed Signed l.l.

19 3/4" x 29 3/4" sight, 21 9/16" x 31 9/16" framed $800-$1,200 Provenance: Private Collection Boothbay Harbor, Maine

L O T 23 2 PHIL POIRIER Am. late 20th Century

“The Way In/Hunter's Brook (Mt. Desert Isle)” Oil on masonite, framed Signed l.r. and verso, titled on verso 15 15/16" x 24" actual, 16 13/16" x 24 13/16" framed $1,500-$2,500 Provenance: Private Collection Maine

123

L O T 233 SALLY LADD COLE Am. 21st Century

“Waves Against Gull Rocks” Oil on canvas, framed Signed l.l., The Banks Gallery label on verso 36” x 48” actual, 41 5/8” x 53 7/16” framed $6,000-$8,000 Provenance: Private Collection Portsmouth, New Hampshire Exhibitions: “The 18 Miles: Paintings of the New Hampshire Seacoast,” Banks Gallery, Portsmouth, New Hampshire

L O T 23 4 WILLIAM IRVINE Am. b. 1931

“Morning Gossip (Ullapool, Scotland)” Oil on board, framed Signed l.r., attributed and titled on verso 24 13/16” x 34 15/16” sight, 31 3/16” x 41 3/16” framed $1,500-$2,500 Provenance: Purchased from Blackwood/ March Auctioneers to Private Collection New York, New York

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L O T 235 MICHAEL WILLIS Am. 20th Century

“A Night at the Bethel Inn” 1980 Oil on board, framed Signed l.r., titled, dated and inscribed “Michael Willis 45 Exchange St. Portland Maine” on verso 19 1/4” x 23 1/4” sight, 25 1/2” x 29 3/8” framed $600-$800

L O T 23 6 RICHARD BOSMAN

Provenance: Private Collection Fircrest, Washington

Australian/Am. b. 1944

“Sunset” Woodcut print on paper, framed Signed l.r., numbered “13/40” l.l.

34 1/2” x 26 1/4” sight, 44 1/2” x 35 1/2” framed $500-$700 Provenance: Purchased from O’Farrell Gallery 1987 to Private Collection Harpswell, Maine

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L O T 237 SZIKRA JÁNOS

Hungarian 1921-2009

“Tengerkék Balaton” (Ocean-Blue Lake Balaton) Oil on masonite, framed Signed and titled on verso, Hungarian gallery label attached to verso 23 1/4” x 31 7/16” actual, 33” x 41 1/4” framed $800-$1,200 Provenance: Private Collection Massachusetts

L O T 23 8 CALEB ARNOLD SLADE Am. 1882-1961

Monhegan Waves Oil on canvas, framed Signed l.l.

23 1/2" x 28 11/16" actual, 27 3/4" x 32 7/8" framed $2,500-$3,000 Provenance: Estate of the Artist to Roy and Sheila Mennell Collection of Cape Cod Art to Private Collection Massachusetts

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L O T 23 9 JOSEPH KAPLAN Rus./Am. 1900-1982

Monhegan Landscape Oil on canvas, framed Signed l.l., Harry Salpeter Gallery label attached to verso, Lore Degenstein Gallery label attached to verso, biographical information attached to verso 19 9/16" x 23 1/2" sight, 25" x 28 15/16" framed $1,200-$1,800 Provenance: Private Collection Rye Beach, New Hampshire

LOT 240 ELIZABETH JEWELL Am. 1874-1956 “A Summer Day, Monhegan Island, Me.” Oil on board, framed, Signed l.r., titled, inscribed “Title - A Summer Day, Monhegan Island, Me.

by Elizabeth C. Jewell 463 Lowell St Lawrence, Mass.

Price - $20.00,” estate stamp on verso 10” x 13 15/16” actual, 13 7/8” x 17 1/2” framed $700-$900 Provenance: Private Collection Rhode Island

L O T 2 41 PAUL BLACK Am. 1951-2014

Stream View in Frankfort, ME, 1993 Oil on canvas, framed Signed and dated l.r.

24” x 29 15/16” actual, 32 1/4” x 38 1/4” framed $700-$900 Provenance: Private Collection Biddeford, Maine

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LOT 242 CARL GORDON CUTLER Am. 1873-1945

Two Works: 1] Islands through the Trees 2] Island View 1-2] Watercolor on paper, framed 1] Signed l.r., Rhonda West Fine Art Conservation Framing label on verso, Gleason Fine Art Gallery label on verso 2] Signed l.l., Rhonda West Fine Art Conservation Framing label on verso, Gleason Fine Art Gallery label on verso 1] 17 1/4” x 23 3/4” sight, 30 1/8” x 36 7/16” framed 2] 18 3/4” x 24 3/8” sight, 31 1/2” x 37 1/8” framed $800-$1,200

L O T 2 43 PEGGY BACON

Am. 1895-1987

Three Works: 1] “Coming and Going III” 1952 2] “Coming and Going IV” 1952 3] “Ladies at Cafe Table” 1-2] Dry point, framed 3] Pencil on paper, framed, Kraushaar Galleries label on verso 1-2] Signed l.r., titled l.l., additional notes inscribed on verso 3] Signed l.l., “Purchased Oct. 1971 From Nasson College one man show” inscribed on verso, additional notes inscribed and attached to verso 1] 7 11/16” x 5 1/2” sight, 16 3/4” x 12 5/8” framed 2] 7 3/4” x 5 1/2” sight, 16 3/4” x 12 5/8” framed 3] 14 1/4” x 10 1/2” sight, 20 5/16” x 15 1/4” framed $1,000-$1,500

Provenance: Private Collection Boothbay Harbor, Maine

Provenance: 1-3] Sold to benefit Surf Point Foundation York, Maine

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LOT 244 DOZIER BELL

Am. b. 1957

“Flanders” Mixed media on paper, framed Titled on verso 12” x 9 7/8” sight, 19 3/16” x 16 7/16” framed $300-$500 Provenance: Purchased from Maine Coast Artists 1991 to Private Collection Harpswell, Maine

L O T 2 45 GARY D. HOFFMANN Am. b. 1947

Boston Public Garden Oil on canvas, framed Signed l.l.

20" x 24" actual, 25 3/4" x 29 3/4" framed $500-$1,000 Provenance: Private Collection Milton, Massachusetts

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LOT 246 GARY D. HOFFMANN Am. b. 1947

Nantucket Oil on canvas, framed Signed l.r.

30” x 24” actual, 39 9/16” x 33 7/16” framed $2,000-$4,000 Provenance: Private Collection Milton, Massachusetts

L O T 2 47 CONNIE HAYES

Am. 20th/21st Century

“Trefethen # 3” 1991 Oil on canvas, framed Signed and dated l.l., titled on verso, Maine College of Art label attached to verso 15” x 30” actual, 17 11/16” x 32 13/16” framed $3,000-$5,000 Provenance: Private Collection Maine

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LOT 248 ALFRED CHADBOURN Am. 1921-1998

“View of Stonington-Autumn” 1997 Oil on canvas, framed Signed l.r., titled and dated on verso 36 3/8” x 36” actual, 37 11/16” x 37 3/16” framed $2,000-$3,000 Provenance: Purchased from Leighton Gallery 1997 to Private Collection Harpswell, Maine

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INDEX

By Lot Number Abbott, Berenice.............................................. 18, 97, 98 Aho, Eric.......................................................... 121, 122, 123, 124 American School, 18th/19th Century.............. 43 Anderson, Walter Inglis................................... 79 Anthony, Janice............................................... 231 Babb, Joel......................................................... 119 Bacon, Peggy.................................................... 243 Bak, Samuel...................................................... 116, 117 Barnet, Will...................................................... 15 Barter, Philip.................................................... 201, 202, 203 Beal, Reynolds................................................. 134 Becher, Bernd/Hilla......................................... 20 Bell, Dozier...................................................... 244 Benton, Thomas Hart..................................... 21, 22 Biggin, Samuel A............................................. 138 Birdsey, Alfred................................................. 132, 133 Black, Paul........................................................ 241 Bonheur, Attr. to Rosa.................................... 31 Bosman, Richard............................................. 236 Boudreau, Denis.............................................. 195 Bradford, Katherine......................................... 108, 109, 110, 111, 112 Brecht, Courtney............................................. 224 Burpee, William Partridge............................... 220 Cadmus, Paul................................................... 170 Carleton, Anne................................................ 144 Carlson, John F. .............................................. 67 Chadbourn, Alfred.......................................... 248 Cocteau, Jean................................................... 103 Cole, Sally Ladd............................................... 233 Cutler, Carl Gordon........................................ 242 D’Amato, Paul................................................. 9 Dashwood, Geoffrey........................................ 53 Davies, Arthur B.............................................. 100 De Lyra, George............................................... 222, 223 De Niro Sr., Robert......................................... 94 Dongen, Kees van............................................ 104, 105 Drexler, Lynne................................................. 77, 78 Dreyfous, Florence........................................... 168 Dunlay, Thomas Russell.................................. 136, 137 Dyer, Uriah Norton......................................... 44 Eisendieck, Suzanne......................................... 36 Enneking, John Joseph..................................... 127 Eshoo, Robert.................................................. 113, 113A Etnier, Stephen Morgan.................................. 191 Ferguson, Amos............................................... 80, 80A, 80B Fiene, Ernest..................................................... 213, 214 Finkelstein, Henry........................................... 6 Fiske, Gertrude................................................ 147 Fitzgerald, James.............................................. 28 Fox, Charles Lewis........................................... 114 France, Eurilda Loomis.................................... 33 France, Eurilda Loomis and Jesse Leach.......... 32 Galien-Laloue, Eugène..................................... 35

Gerassi, Fernando............................................ 91 Gilchrist, William Wallace............................... 73, 74, 75, 75A Gilliam, Sam.................................................... 17 Goodwin, Arthur C......................................... 126, 129 Gowen, Elwyn George..................................... 148, 149, 150, 151, 152, 153 Grosz, George.................................................. 27 Gruppe, Emile Albert...................................... 69 Gualtieri, Joseph.............................................. 86, 87 Haitian School................................................. 200 Hallett, Hendricks A....................................... 41 Hartley, Rachel................................................ 99 Hartman, Bertram........................................... 192 Hayes, Connie.................................................. 247 Haynes, Irving B.............................................. 185, 186, 187, 187A Hibbard, Aldro Thompson............................. 68, 68A Hiroshige, Attr. to Utagawa............................ 58, 59 Hodgkin, Howard........................................... 13, 14 Hoffmann, Gary D.......................................... 245, 246 Hopkins, Eric................................................... 204 Huebler, Douglas............................................. 102 Huntington, Chris........................................... 183, 184 Ipcar, Dahlov................................................... 197, 198, 199 Ipsen, Ernest Ludvig........................................ 76 Irvine, Lawrence.............................................. 47, 48, 49, 50, 51, 52 Irvine, William................................................. 234 Jacquette, Yvonne............................................ 106 János, Szikra..................................................... 237 Jewell, Elizabeth............................................... 240 Kahn, Wolf....................................................... 60, 61, 62, 63, 64 Kallem, Henry................................................. 216 Kaplan, Joseph................................................. 239 Katz, Alex......................................................... 7, 55, 221 Knopf, Nellie Augusta..................................... 145 Knox, Susan Ricker......................................... 146 Kroll, Leon....................................................... 159, 160, 161 Kuhn, Walt....................................................... 154, 154A, 155, 156, 157 Kulicke, Robert............................................... 173, 174, 175, 176 Kunisada, Attr. to Utagawa............................. 56, 57 Kuniyoshi, Yasuo............................................. 25, 26 Langlais, Bernard............................................. 29, 30 Laurent, Robert............................................... 158 Levis, Maurice.................................................. 38 Lichtenstein, Roy............................................ 23 Lippincott, William......................................... 190 Lynch, Frederick.............................................. 81, 82, 83, 84, 85 MacDonald-Wright, Stanton........................... 107 Macy, William Starbuck................................... 42 Mangold, Sylvia Plimack................................. 180 Mason, Frank................................................... 225 Minewski, Alex................................................ 215, 215A Moore, John..................................................... 101 Morse, Clayton Leroy...................................... 205 Motherwell, Robert......................................... 2, 3, 4, 5

132

Muir, Emily...................................................... 208, 209 Muir, Emily and William H............................ 206, 207 Nadeau, Thomas............................................. 210 Nevelson, Louise.............................................. 11 Oehmig, Keith................................................. 188 Pancoast, Morris Hall...................................... 130 Pearson, Marguerite Stuber............................. 72 Percy, Sidney Richard...................................... 39 Poirier, Phil...................................................... 232 Pope Jr., Alexander.......................................... 45 Porter, Eliot...................................................... 96 Rackliffe, Howard............................................ 219 Reed, Robert................................................... 8, 8A Resnick, Milton............................................... 93 Ripley, Aiden Lassell........................................ 46 Ross, Johnnie................................................... 196 Ruseckas, Ray.................................................. 125 Schanker, Louis................................................ 88, 89, 90 Schelfhout, Andreas......................................... 34 Scott, John White Allen................................... 40 Sculthorpe, Peter.............................................. 118 Shapleigh, Frank Henry................................... 71 Sherrod, Philip................................................. 169 Shils, Stuart...................................................... 177, 178 Shulman, Morris.............................................. 211, 212, 217, 218 Sisson, Laurence Philip.................................... 226, 227, 228, 229, 230 Slade, Caleb Arnold......................................... 238 Soyer, Moses.................................................... 171 Sprinchorn, Carl.............................................. 162, 163, 164, 165, 166, 167 Stein, Helen..................................................... 172 Stella, Joseph.................................................... 1 Stephan, John.................................................. 92 Stevens, William Lester.................................... 66, 66A Strisik, Paul...................................................... 70 Thon, William................................................. 189, 189A, 193, 194 Tompkins, Frank Henry (Hector) L................ 128 Trova, Ernest.................................................... 10 Turner, Wendy................................................. 179 Vasarely, Victor................................................ 16 Vickrey, Robert................................................ 115 Vokey, Sam....................................................... 135 Warhol, Andy................................................... 95 Washington, Elizabeth F.................................. 131 Webb, Todd..................................................... 19 Welliver, Neil................................................... 54, 65, 181, 182 Whorf, John..................................................... 139, 140 Willis, Michael................................................. 235 Woodbury, Attr. to Charles H......................... 141 Woodbury, Charles H...................................... 37, 142, 142A, 143 Workman, Michael.......................................... 120 Wright, Jimmy.................................................. 24

Lot 30 Bernard Langlais