Barridoff Galleries - Winter 2021 Catalog by Barridoff Auctions

Barridoff Galleries

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February 13th, 2021 @ 3pm

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LIVE AUDIENCE LIMITED SEATING

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Pursuant to State safety guidelines, our live audience is limited to a 50 person

To view the mobile version of this catalog, please scan the QR code

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

(the funny looking black box used to scan items like a bar code)

tion with Barridoff Galleries, and with registered bidders receiving priority. The

directly below with with your phone’s camera to be taken directly to

auction will be broadcast from a live stream on our website and on the Barridoff

our online catalog.

App, so if you cannot attend you can still watch the auction as it happens.

BARRIDOFF APP Download our new Barridoff App to peruse the catalog, watch the auction live or to bid. Available at the Apple App Store or for Androids at the Google Play Store.

REFERRAL PROGRAM

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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.

CONSIGN W ITH US 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

FRE E AUCTION E S T IMATES

Stay Tuned for the Return of Free Appraisal Days or Just Email a Photo of Your Fine Art to: fineart@barridoff.com (207) 772-5011 www.barridoff.com

Download the New “Barridoff Galleries” App Today!

The Winter

2021 International Fine Art Sale FEBRUARY 13, 2021 | 3:00PM

PREVIEW FEBRUARY 1-5, 2021

FEBRUARY 8-12, 2021

FEBRUARY 13, 2021

Monday-Friday | 10am-5pm

Saturday | 10am-3pm

- BY APPOINTMENT -

GALLERY

312 Gannett Drive | South Portland, ME 04106 | (207) 772-5011 3

BARRIDOFF GALLERIES

FEB 2021 CATALOG

ABOUT US

HISTORY Barridoff Galleries was established in the 70’s in Portland, Maine. Our auctions feature Old Masters, American, European, Russian, Asian, Modernist, and contemporary works, with works by Maine artists, locations and themes a specialty. We pride ourselves in our response time to consignors and buyers alike. We host two live auctions a year and a variety of online, estate and special auctions in between. We’re always looking for pieces of art to consider for our auctions! 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.

BARRIDOFF GALLERIES 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 sale, all bidders agree to the terms hereof.

FINE ART TERMS & CONDITIONS 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 sale, all bidders agree to the terms hereof. 1. The contract for sale for any item purchased at auction is between the consignor and the winning bidder. Barridoff Galleries acts as the consignor’s agent only, unless Barridoff Galleries is selling the item as principal. Barridoff Galleries may reject any bid for any reason. 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. Barridoff Galleries reserves the right to withdraw any item at any time before its actual sale. The buyer will be the highest bidder acknowledged by the auctioneer. Barridoff Galleries has the authority to decide any disputes over the auction process in its sole discretion, and its decision shall be final and binding. Absentee bidding, telephone bidding and online bidding options are available. As a convenience to clients who cannot attend a sale in person, absentee/telephone bid forms may be found on the Barridoff Galleries website. Online bidding may also be available on one or more online auctioneering websites as announced by Barridoff Galleries, the conduct of 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 that mistakes made by bidder are bidder’s responsibility. Bidder understands that any dispute regarding the auction or a purchased item is between the consignor and the winning bidder unless the dispute concerns the conduct of the sale or other issue within Barridoff Galleries’ sole responsibility and control. 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 bidder mistakenly bid on or otherwise unintentionally won that item. Attention to the item being bid on and the conduct of the bidder’s bidding, particularly while online bidding, is the sole responsibility of the bidder and 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. 2. Provenances are included in the catalog to the extent they are available. Estimates are included with each lot (See note on estimates in paragraph 8.) 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 paragraph 3. Barridoff Galleries, however, will endeavor to provide the most accurate and complete information on an item and 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). The auctioneer may make corrections and provide additional information as available at the time of sale. 3. Barridoff Galleries is not responsible for errors and omissions contained in the catalog, presented by the auctioneer or in any of the information detailed in paragraph 2. 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 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 the bidder acquires any reproduction rights of the item. Barridoff Galleries offers the opportunity for prospective bidders to examine an item and Barridoff Galleries undertakes no obligation to bidders 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 or literature. Bidders 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 representative 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. 4. 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 the hammer price for telephone and absentee bids -24% of the hammer price for online bidding with Barridoff Galleries -25% of the hammer price for live bidding (present in the room) -26% of the hammer price for online bidding with Bidsquare -27% of the hammer price for online bidding with Invaluable or Liveauctioneers A 2% discount of the premium will be given for any item paid for and removed by the end of the auction day. 5. Upon the fall of the auctioneer’s hammer, title to that item passes to the highest bidder, subject to the terms hereof, who is bound by the sale and assumes full risk and responsibility therefore. The winning bidder authorizes Barridoff Galleries to sign a sales record, which shall be conclusive as to the terms of the sale, on the winning bidder’s behalf. All items must be fully paid for, including any additional amounts owed Barridoff Galleries under paragraph 6 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. Barridoff Galleries is not responsible for any loss by the winning bidder as a result of the damage or theft of an item subsequent to the fall of the hammer for that item and encourages bidders to pay for and remove purchased items immediately after the sale. Payment for each item purchased must be made before the item is removed. Only cash, certified check or verified credit card will be acceptable unless other suitable arrangements have been made with Barridoff Galleries at least five days before the auction. If items won at auction are not paid for and removed from the premises within 5 business days after the sale, additional charges may apply. Shipping, packing, storage and any related expense of an item are the sole responsibility of the buyer of the item. All sales are final and no refunds will be given with the limited exception of circumstances under paragraph 7. 6. If the winning bidder does not comply with any applicable conditions herein, Barridoff Galleries and the consignor shall have all of the following nonexclusive rights and remedies, in addition to their other remedies at law or in equity: the right 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 shall be 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 and h) to charge winning bidders credit card on file with Barridoff Galleries for any amounts owed. The winning bidder is responsible for the winning bidder’s premium due Barridoff Galleries under paragraph 4 separate and apart from any other remedy listed in this paragraph. A winning bidder shall be deemed to have granted to Barridoff Galleries and its consignor as collateral for bidder’s obligations hereunder a security interest in any item of the winning bidder in the possession of Barridoff Galleries or its consignor, who shall have all of the rights of a secured party in Maine and the law of the location of the item. Barridoff Galleries shall have all of the rights of the consignor to pursue all rights and remedies hereunder, and Barridoff Galleries and its consignors shall be 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. 7. 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 article 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, which decision shall be at Barridoff Galleries’ sole discretion, an amount up to the purchase price, plus 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 law. In no event shall Barridoff Galleries’ or its consignor’s liability exceed the purchase price of the item sold.

FEB 2021 CATALOG 8. 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 more than the Galleries’ opinion of the item’s possible auction price. 9. All purchases are subject to Maine sales tax (5.5%) unless the bidder is located outof-state and shipping is arranged by Barridoff Galleries or the bidder possesses a sales tax exemption number issued by or acceptable to Maine Revenue Services and presents to Barridoff Galleries a valid signed certificate acceptable to Maine Revenue Services stating that Barridoff Galleries does not have to withhold Maine sales tax on the purchase. Maine sales tax is applicable to the full purchase price, which includes the hammer price plus the premium under paragraph 4. 10. The images and descriptions used in this catalog may not be reproduced in any manner without the written authorization of Barridoff Galleries. 11. The Uniform Commercial Code Title 11, Section 2-328 applies to this auction sale. These 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. 12. 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.

report is in no way a guarantee, nor should it be considered an expert opinion. All prints (etchings, lithographs, silkscreens, etc.), to the best of Barridoff Galleries’ knowledge, have full margins unless otherwise noted. 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.

ABBREVIATIONS

ADDITIONS AND ERRATA.

NOTES AND OTHER INFORMATION 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

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

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, that is on verso unless otherwise indicated. Signatures, initials, dates and titles, etc. may be noted but not quoted in the notes unless there is an unusual or noteworthy characteristic of the signature, initial, date or title, etc.

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 would be happy to arrange these services with another shipper at the buyer’s request. All packing and shipping charges are the responsibility of the buyer and Barridoff Galleries assumes no responsibility of any kind for providing this service. Buyers should otherwise make arrangements to collect or ship purchases in a timely manner following the sale.

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 and nothing about the frame is included in any catalog entry.

OLD MASTERS

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 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.

CONDITION REPORTS

Condition reports may be in the catalog and are available upon request. However, information provided by Barridoff Galleries pertaining to the condition of any auction lot is for the bidder to use or interpret as the bidder sees fit. As more fully described in paragraph 3, a condition

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. The terms regarding information in paragraph 3 apply to information regarding sizes provided by Barridoff Galleries.

LIVE PHONE BIDDING AND ONLINE BIDDING

Phone bids will be 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. Bidding may also be available online in real time at barridoff.com, bidsquare.com, invaluable.com, and liveauctioneers.com. Bidders are advised to familiarize themselves with the rules and procedures provided thereon prior to bidding. Barridoff Galleries is not responsible for any difficulties, technical or otherwise, that may be experienced through bidding other than in person. Mistakes made by bidders, including mistakenly bidding on and winning an item not intended by the bidder, is the bidder’s sole responsibility and Barridoff Galleries will not refund or rescind a sale bidder claimed was made by mistake.

Additions consigned too late to be included in the bound copy of the catalog may be found on a continually updated separate sheet and in the online catalog to the extent possible. All additions will be included on the final sheet available at the auction and will be placed sequentially at the end of the sale. Digital catalogs will be updated daily. Lot numbers will correspond with the printed catalog and additions sheets. Errata will also be published in the updated sheet listing any corrections of inaccuracies or additional information concerning the original catalog. Digital updates may not be noted so Barridoff Galleries urges bidders to refer to the most current posted auction information to remained accurately informed.

PROVENANCE

Provenance is listed insofar as it is known or is allowed to be published by the owner. The conditions regarding information in paragraph 3 apply to any provenance information provided by Barridoff Galleries.

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 used to identify the item.

OFFERS FOR PREVIOUS SALES

Barridoff Galleries accepts offers for items sold at former auctions at prices at or above the prior hammer price acceptable to participating winning bidders. 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 acceptance. If the winning bidder accepts the offer, the applicable standard conditions of sale apply to the transaction.

MAJOR CREDIT CARDS ACCEPTED

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

DISCOUNT FOR PAYING FOR/REMOVING PURCHASED ITEMS ON

AUCTION DAY Barridoff Galleries is offering a discount on the bidder’s premium under paragraph 4 an amount equal to 2% of the hammer price for items paid for and removed from the auction premises the day of the auction.

AUCTIONEER

BARRIDOFF GALLERIES

LOT 1

ÉMILE BERNARD (Fr. 1868-1941) “Senlis” Sepia watercolor on paper, framed under glass Signed, dated and titled l.r. 15 1/2” x 23 1/2” actual, 20 1/2” x 29” framed $800-$1,000

Provenance: Estate of Donald Brenwasser, New Jersey

FEB 2021 CATALOG

LOT 2

ÉMILE BERNARD (Fr. 1868-1941) “Pontoise Notre Dame” Sepia watercolor on paper, matted and framed under glass Signed l.r., titled l.l. 11” x 14” 1/2 sight, 20 1/4” x 23 3/4” framed $600 - $800

LOT 3

ÉMILE BERNARD (Fr. 1868-1941) “Cour du Musée du Tonnerre” 1920 Sepia watercolor on paper, matted and framed under glass Signed l.l., dated l.c., titled l.r., Hammer Galleries label on verso 19” x 12 1/2” sight, 25” x 19” framed $500-$700 Provenance: Estate of Donald Brenwasser, New Jersey

Provenance: Estate of Donald Brenwasser, New Jersey

BARRIDOFF GALLERIES

LOT 4

EURILDA LOOMIS FRANCE (Am. 1865-1931) Portrait of Woman with Hat Oil on canvas, framed “Loomis” faintly inscribed verso 9 1/2” x 6 1/2” actual, 13” x 10” framed $700-$900

Provenance: Private Collection Cumberland, Maine

LOT 5

KÄTHE KOLLWITZ (Ger. 1867-1945 Tod und Frau Etching and drypoint on wove paper, matted and framed under glass Signed in pencil l.r., “Orig. Ras von Kate Kollwitz” engraved on plate l.l., “Druck v. O. Felsing Berlin-Chittbg” engraved l.r. 18 3/4” x 18 1/2” sight, 28” x 27 3/4” framed $2,500-$3,500 Provenance: Sold to benefit Surf Point Foundation, York, Maine Literature: Klipstein 103 v/VIII

FEB 2021 CATALOG

MARY LEIGH-SMART, BEVERLY HALLAM AND SURF POINT FOUNDATION

urf Point Foundation in York, Maine, sits on over 40 acres of picturesque ocean front property – with a rocky shoreline, dramatic light, and misty gray-blue blur of color that is distinctly Maine. A residency for the visual arts community, Surf Point Foundation is the dream of two friends: Mary-Leigh Smart and Beverly Hallam, whose lives converged through art over the course of a 50+ year friendship. Mary-Leigh Smart (1917-2017) was an art collector and patron. Born in Illinois, her family purchased a house in Maine and spent their first summer in Ogunquit in 1918. Ogunquit was then in its prime as an art colony, and Mary-Leigh grew up spending summers there with her artist mother. Her mother was influenced by artist Charles Woodbury. Woodbury founded one of the most successful summer art colony schools and was one of the founders, along with Gertrude Fiske, of the Ogunquit Art Association. From 1929 through the 1930s, the Call family spent two months of each summer in Europe. “It was during these summer trips that [Mary-Leigh] became fluent in French and studied art history for three hours each morning at the Louvre with Bertha Fanning Taylor, the English language lecturer.”1 Mary-Leigh attended Wellesley College and received a M.A. from Columbia University. In 1951, Mary-Leigh she married Jack Smart, a painter, sculptor, and star of radio, stage, and film best known for his role on the radio detective show “The Fat Man.” They built a house and settled in Ogunquit. Together they founded Barn Gallery Associates. Mary-Leigh would continue to be affiliated with museums in Maine throughout the rest of her life. Beverly Hallam (1923-2013) was born in Massachusetts. She studied at the Massachusetts College of Art and in 1953, received an M.F.A. from Syracuse University. Following the completion of her time at Syracuse, she returned to “Mass Art” as an art teacher. For the next fifteen years, she taught painting, drawing, and design. She also introduced the first photography and theater arts courses.

IMAGE CREDIT In 1949, Beverly began spending Courtesy of Surfpoint Foundation summers in Ogunquit, where she IMAGE DESCRIPTION was introduced to the Ogunquit Mary Leigh Smart & Beverly Hallam Arts Association. Beverly relocated to Maine in 1962, purchased a studio on Shore Road in Ogunquit and began to paint full time. Beverly was among the first artists to experiment with polyvinyl acetate which would become more commonly known as acrylic. She became a master of the medium and traveled extensively, demonstrating its use. Working in acrylics, she created the seascapes, rock formations and large semiabstract florals that she is now known for. It was this new medium that would be the catalyst for the intersection of Smart’s and Hallam’s lives. Mary-Leigh had been tasked with choosing the lectures for the Ogunquit Art Association. She reached out to Beverly to speak about polyvinyl acetate, and thus began the friendship between the Smarts and Hallam. It was after the death of Jack Smart that Mary-Leigh would purchase the 46+ acre oceanfront property. Smart and Hallam then worked with architects Carter + Woodruff to build their duplex, Surf Point, on the property. The two envisioned that the home in which they lived for nearly 50 years would become a residency for artists and art professionals to think, connect, and create. This vision was led by the idea that supporting and encouraging artists would allow them the safe space to focus and create or complete a body of work. Friends of Smart and Hallam say that the two began planning the artist colony as early as the 1970s, but the Foundation was legally established in 1988. Surf Point Foundation welcomed its first residents in 2019, honoring the vision long ago articulated by its founders. Smart and Hallam shared in their commitment to excellence, generosity, and devotion to the Maine art community.

1. Maine Arts Commission, "MaineArtsMag, Winter 2006" (2006). Maine Arts Magazine. Book 17. http://digitalmaine.com/arts_magazine/17

BARRIDOFF GALLERIES

LOT 6

PABLO PICASSO (Spanish/Fr. 1881-1973) “On the Beach, I (Two Nude Women) from Quatre Lithographies, 1921” Lithography in black on ivory wove paper, matted and framed under glass Signed, dated and numbered “32/50” in pencil l.l. 6” x 9 1/2” sight, 17 7/8” x 20 3/4” framed $700-$900

Provenance: Private Collection South Portland,, Maine Same example of this print can be found in the Art Institute of Chicago. Published April 1923

LOT 7

PABLO PICASSO (Spanish/Fr. 1881-1973) Cruchon Hibou Pitcher Ceramic Pottery Madoura Plein Feu imprint (under glaze), “Edition Picasso” stamped on base, “Edition Picasso” inscribed on base 10 3/4” x 7” x 5” $3,000-$5,000

Provenance: Sold to benefit Surf Point Foundation, York, Maine Literature: Pablo Picasso-Catalog of the Edited Ceramic Works 1947-1971, by Alain Ramié, 293 Manufactured by Madoura Pottery - Vallauris France

FEB 2021 CATALOG

LOT 8

PABLO PICASSO (Spanish/Fr. 1881-1973) Jeune Sculpteur au Travail (Young Sculptor at Work), from La Suite Vollard (The Vollard Suite), 1933 Etching on Montval laid paper with Picasso and Galatea watermarks framed under glass Signed in pencil l.r. 10 ½ x 7 9/16” sight, 17 1/2 x 13 1/4 sheet $4,000-$6,000

Provenance: Collection of a Private New England Institution Literature: “Picasso” published in 1939 by Vollard, Paris, printed by Lacouriere, Paris, Geiser-Baer 309, Bloch 156, Edition of 260.

BARRIDOFF GALLERIES

LOT 9

LUCIO FONTANA (It./Argentinian 1899-1968) “Concetto Spaziale A” 1968 Etching in black relief on black paper, framed under hard plastic Signed and dated l.r., numbered “8/210” l.l., “Collection of Mary-Leigh Smart” label on verso, A Singular Vision exhibition label on verso, article and information on verso 25 1/2” x 19 1/4” $3,000-$5,000 Provenance: Sold to benefit Surf Point Foundation, York, Maine Exhibitions: A Singular Vision: Selections from Two New England Collections, The Art Gallery, University of NH Durham, October 30 - December 13, 2004 Literature: Accompanied by article on piece

FEB 2021 CATALOG

LOT 10

NORIKO SAKANISHI (Japanese 20th Century) “Portal” 2004 Relief, mixed media Signed and dated l.r. verso, “Collection of Mary-Leigh Call Smart” label verso 22” x 22” x 4” $500-$700

Provenance: Sold to benefit Surf Point Foundation, York, Maine

LOT 11

ROBERT INDIANA (Am. 1928-2018) “V/H” 1982 Lithograph, matted and framed under glass Signed and dated l.r., titled l.c., numbered “3/125” l.l., “Collection of Mary-Leigh Smart” label on verso, A Singular Vision exhibition label on verso 25 1/4” x 24” sight, 34 3/4” x 33 1/4” framed $1,500-$2,500

Provenance: Sold to benefit Surf Point Foundation, York, Maine Exhibitions: A Singular Vision: Selections from Two New England Collections, The Art Gallery, University of NH Durham, October 30 - December 13, 2004

BARRIDOFF GALLERIES

IMAGE CREDIT: The Morning Call IMAGE DESCRIPTION: William Wegman

WILLIAM WEGMAN

“Shooting outside presents certain logistical difficulties. Polaroid film likes to be 68 degrees. Colder and it looks cloudy, milky, purple. Light streaks in through the bellows. Dust blows on the wet print. Wind kicks up suddenly and the picture becomes a sail. The camera likes to be in a nice clean room, warm, and level. Its little wheels are useless on the sandy, rocky, swampy shore of a Maine lake. We came to the conclusion the camera has no business being outside. During bad weather, we set the camera up inside my log cabin. After the lights were set up and the drying racks brought in, the space became ludicrously cramped. My sister, Pam, who recently moved into the house next door to mine at the lake had a dog named Liebe. Liebe was not a good dog. Even my sister Pam will tell you that. Liebe would not sit still for a second. For 1/60th of a second? Just. By sheer persistence, I managed to pull off one work: Man Ray & Mrs. Lubner (that was Liebe) in Bed Watching TV. After each strobe blast she bolted, taking lights and set with her. Finally, after several takes. I got the shot.” 16

Wegman, W., 2002. Polaroids. New York: Harry N. Abrams, Inc., p.33.

LOT 12

WILLIAM WEGMAN (Am. b. 1943) “Man Ray & Mrs. Lubner in Bed Watching T.V.” 1981 Color photograph, polaroid, matted and framed under glass “Collection of Mary-Leigh Smart” label on verso, Holly Solomon Gallery label on verso, A singular Vision exhibition label on verso 24” x 20” sight, 30 5/8” x 26 5/8” framed $6,000-$8,000

FEB 2021 CATALOG

LOT 13

ANDY WARHOL (Am. 1928-1987) Nude Male Model Polaroid print, matted and framed under glass Christies labels on verso 4 1/4” x 3 3/8” actual, 12 5/8” x 11 1/8” framed $2,500-$3,500 Provenance: Private Collection Ypsilanti, Michigan Literature: Certificate of provenance from Christies included Private purchase from Warhol Foundation through Christie’s, New York

LOT 14

DAVID HOCKNEY (Am. b. 1937) Pink Flower, 2009 Digital print, matted and framed Signed and dated l.r., “Printer’s Proof I” l.l., Zwemmer Gallery label verso 12” x 8” sight, 17 5/8” x 13 1/4” framed $8,000-$12,000

Provenance: Private Collection London, United Kingdom

BARRIDOFF GALLERIES

AMOS FERGUSON

“

Like the griot of ancient Africa and the sage of Europe, Mr. Amos Ferguson is arguably most important as storyteller, philosopher and teacher. It is incidental, though an added feature, that he has been inspired to use paint as his medium of expression. What is most important is that he continues a visual tradition passing on the folk history of our people to future generations…Mr. Ferguson presents an identity that goes far beyond the ‘sand and sea.’ His prolific production demonstrates to the world the rich and diverse heritage the reinforces a unique Bahamian culture, people and environment.” ~an excerpt from the film Amos Ferguson – Match Me If You Can Amos Ferguson (1920-2009) was one of the Bahamas’ best known intuitive artists. Born in Exuma in 1920, he was one of fourteen children. He attended Roker’s Point Primary School and worked and maintained a small farm with his father who was a Baptist preacher and carpenter. Amos set off for Nassau at the age of 14 to learn a trade of his own, first trying his hand at carpentry, upholstery, and ultimately painting. During World War II, the U.S. was suffering from a shortage of labor and contracted with Bahamian men to come and pick fruit. Ferguson decided to go abroad as a contract worker. He spent 5 years and 11 months as a migrant laborer in Minnesota, Florida, and Virginia. Upon his return to the Bahamas, Ferguson earned a living painting houses and signs. His attention shifted to art in his forties, after receiving a message in a dream conveyed IMAGE CREDIT to him by his nephew. According National Art Gallery of the Bahamas to his nephew’s dream, Jesus IMAGE DESCRIPTION came out of the sea with a Amos Ferguson painting in his hands and said that Mr. Ferguson was wasting his talent for painting. Shortly after, he began to paint scenes from his imagination using the materials readily available to him. He used exterior enamel house paint

“No-one can teach me what God teaches me… I paint by faith not by sight.” IMAGE CREDIT on pieces of cardboard, glass, any “Match Me if You Can” Ferguson materials he could find. Art Exhibition of Paintings Catalog His wife Beatrice was a basket IMAGE DESCRIPTION maker who sold her creations to The photograph (above) shows the tourists at the Straw Market. Amos work on the wall of the artist’s Home and Art Gallery on Exuma Street had begun to use plywood and the in Nassau Bahams, which was later cardboard sheets that Beatrice changed to Amos Ferguson Street. used in her basket making as his canvas. Beatrice took the paintings to the market with her where they became popular with tourists but remained largely unnoticed by Bahamians. During this time, his focus centered on painting his visions, observations, and other subjects that held deep, personal meaning to him. The result was the vibrantly colored bible stories and depictions of Bahamian life that became his distinctly Caribbean signature. He began exhibiting his work at galleries in the Bahamas in 1972. Widespread recognition came to him after 1978, when Sukie Miller, an American collector, bought several of his paintings. She showed them to Ute Stebich, a dealer in Haitian art in Lenox, Mass. The women traveled back to Nassau to photograph his work. The images were sent to the Wadsworth Atheneum Museum in Hartford, Connecticut in the hopes that the museum would purchase some of Ferguson’s work. Throughout the late 70s-early 80s, his local reputation grew and appreciation for his work had

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begun to spread outside of his community. The turning point in Ferguson’s career came in 1985 when the Wadsworth organized the exhibition, Paint by Mr. Amos Ferguson, comprised of fifty of his paintings. The exhibition traveled the world for two years and served to establish Ferguson on the international folk-art scene. He continued painting through the final years of his life, in spite of failing eyesight. Amos Ferguson died in Nassau in October 2009.

“To paint, the Lord gives you a vision, a sight that you go by,” he once told a reporter. “But don’t forget you have to see and check that Bible and don’t forget God. And the more you keep up with your Bible, and get the understanding, the better you paint.” The body of Ferguson’s work from his paintings to sculptures, is a lesson in authenticity. He relied on his imagination, his religious tradition, his personal relationship with God, and his own memories for inspiration and subject matter. Whether consciously, or an aspect of his own spirited personal truth, Ferguson rejected the traditional artistic narrative. His independence led him to use the LOT 15 modest materials that were available to him and to find AMOS FERGUSON his voice while challenging longstanding ideas about what (Bahamian 1920-2009) can be considered art and who should be considered an Mermaid and Red Sailboat artist. Enamel on paperboard, laid to Barridoff is pleased to offer Eight Bananas. This Masonite, framed painted plaster sculpture is the first of Ferguson’s work 17 7/8” x 15 1/2” actual, 21 1/2” x 19 1/2” of this medium to come on the market. Likely created framed $5,000-$7,000 with his own homemade plaster, Ferguson is pictured Provenance: Property with this exact work clearly visible hanging behind him in LOT 16 of the Israel Johnson Bahamas Collection the photo. In addition to his own unique designs, Ferguson AMOS FERGUSON We would like to thank Amanda Coulson, also often chose fruit as the subject his sculptures. Here he Director of the National Art Gallery of the (Bahamian 1920-2009) chose bananas, a subject which has appeared in a few of his Bahamas for her assistance cataloging this Eight Bananas lot. A letter from Ms. Coulson paintings and possibly harkens back to his time spent as a Painted plaster accompanies this lot. young man picking fruit. His typical vibrant pallet translates 6 1/2” x 9 1/2” beautifully to sculpture as a medium and echoes the vibrant $2,000-$3,000 Provenance: Property of the colors found in his lush tropical surroundings in the Bahamas. Vanguard Museum Collection, Mermaid and Red Sail is a classic example of Ferguson’s intuitive style. From the vibrant pallet Bahamas to the subject matter which could have come directly from one of his visions. “On the surface A photograph of the artist shows this sculpture in the background. We would these works appear simple and are often childlike to the uninitiated eye. Serious inspection reveals like to thank Amanda Coulson, Director however that Mr. Ferguson has succeeded in taking…native folklore and created true Bahamian of the National Art Gallery of the mythology.” From Match Me If You Can, An exhibition of paintings by Mr. Amos Ferguson, Bahamas for her assistance cataloging this lot. A letter from Ms. Coulson Central Bank of the Bahamas Art Gallery, April 19, 1991. accompanies this lot.

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LUCE TURNIER

LOT 17

LUCE TURNIER (Haitian 1924-1994) Portrait of a Woman, 1949 Oil on board, framed Signed and dated u.r., “Collection of Mary-Leigh Call Smart” label on verso 34 5/8” x 19 5/8” actual, 38 3/4 “ x 23 3/4” framed $2,500-$3,500 Provenance: Sold to benefit Surf Point Foundation, York, Maine

uce Turnier (1924-1995) was a pioneer of Haitian art and is one of Haiti’s bestknown artists. She was born in Jacmel in 1924. Luce and her family relocated to Port-au-Price following the 1935 Haiti hurricane which had devasted the towns of Jacmel and Jérémie in southern Haiti. She began painting in 1944 when she enrolled as a student at Le Centre d’Art in Port-au-Prince where she became one of the art school/gallery’s few founding female members. Le Centre d’Art would prove to be a cornerstone for Haitian art as it was founded at a time in Haiti’s history when there were no galleries or public art schools. During the late 1940s-1950s Haitian artists began to emerge onto the global scene. Concurrently, European and U.S. audiences began to form stereotypes about what Haitian art should look like and what style of Haitian art would be considered market worthy. As McCarthyism prevailed in the U.S., the Haitian Renaissance was in full bloom. The combination resulted in a decided lack of interest in emerging Haitian modernist art.

“At the beginning…painting was not sellable. It started to be sellable (in Haiti) twelve years ago, I wasn’t here (in Haiti.) I said to myself, ‘if I have been waiting 35 years without being commercial, why should I start now?”

In the 1950s, Luce received scholarships from the French and Haitian governments to study abroad. She left Haiti to study in New York and then Paris. In 1954 she married Italian painter, Eugenio Carpi de Resmini with whom she had two children. The couple would eventually split. In 1965 she was remarried to French painter, Christian Lemesle whose work was considered abstract influenced by surrealism. It was during this time that she began to produce work that was free of the outside influence and the pressures of what looked “Haitian.” Her work became more abstract and she experimented with collage which resulted in art that was influenced solely by her need to continue to work and create. In a 1983 interview for the Chicago Gallery of Haitian Art, Turnier states that she considered 1965-1972 in Paris to be the period during which she experienced the most growth. “That was more abstract, that’s a special period…That’s the time in my life that I had more concentration in my own life…That’s when I started collage for the first time.” She continues, “I didn’t meet people. I didn’t have any stimulation except I had the desire to survive as a painter; to survive without any stimulation, without any public…nor anybody around to tell me what I was doing was good. It was a difficult period because my husband was a painter and he didn’t want me to, even if he doesn’t want me to, I will survive...” After returning to Haiti in 1972, Turnier had settled into her own and had gained notoriety within her home country and abroad. In 1978 she exhibited at the French Institute of Haiti and participated in several exhibitions showcasing the work of female artists. She continued to work in collage until her death in Paris in 1994.

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LOT 18

SACHA TEBÓ (Am./Haitian 1934-2004) Abstract Portrait, 1979 Mixed media on canvas, unframed Signed and dated l.r. 12” x 13” $400-$600

Provenance: Private Collection Cumberland, Maine

LOT 19

EMILCAR SIMILIEN (Haitian b. 1944) Black and gold portrait, 1979 Lacquer on panel, panel floated on other panel for framing purposes Signed and dated upper right 31” x 31” actual, 37 3/4” x 37 3/4” framed $2,000-$3,000 Provenance: Private Collection Cumberland, Maine

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LOT 20

BERNARD SEJOURNE (Am./Haitian 1947-1999) Woman Looking Over Shoulder, 1979 Unknown medium, framed Signed and dated l.r. 12 3/4” x 10 3/8” actual, 19 1/2” x 17” framed $2,500-$3,500

Provenance: Private Collection Cumberland, Maine

LOT 21

LYNNE DREXLER (Am. 1928-1999) “Buggles” 1972 Oil on canvas, framed Signed, titled and dated on verso, artist’s inventory no. “LD-OC-141” on back edge of canvas verso 31” x17 1/4” actual, 35 3/4” x 22” framed $4,000-$6,000 Provenance: Private Collection Biddeford, Maine

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LOT 22

PETER JOYCE (Br. b. 1964) “Evening Bridge” 2009 Acrylic on board, framed under glass, panel floated on other panel for framing purposes Initialed and dated l.l., signed, dated and titled on verso, artist’s label on verso 7 1/2” x 5 1/2” actual, 15 1/4” x 13 3/8” framed $1,200-$1,800 Provenance: Private Collection Massachusetts

LOT 23

PETER JOYCE (Br. b. 1964) “Marching Camp” 2007 Acrylic on board, framed, panel floated on other panel for framing purpose Signed, dated and titled on verso, artist’s label on verso, Samuel Robson Fine Art, Ltd. label on verso 5” x 11 5/8” actual, 10 1/2” x 17 3/8” framed $1,200-$1,800 Provenance: Private Collection Massachusetts

LOT 24

PETER JOYCE (Br. b. 1964) “La Coupelasse” 2008 Acrylic and collage on board, framed, panel floated on other panel for framing purposes Signed, titled and dated on verso, artist’s label on verso 36” x 32” actual, 42 5/8” x 38 5/8” framed $8,000-$10,000 Provenance: Private Collection Massachusetts

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LOT 25

JIM HODGES (Am. b. 1957) For Creative Time, 2006 Mixed media, framed under glass 30 1/8” x 22 1/4” actual, 34 1/4” x 26 3/4” framed $2,500-$3,500

Provenance: Private Collection Portland, Maine

LOT 26

WILLIAM TOLLIVER (Am. 1951-2000) Blue Nude Oil canvas, framed Signed l.l. 59 1/2” x 35 3/8” actual, 65 1/4” x 41 1/4” framed $6,000-$8,000 Provenance: Purchased from Galerie Royale Ltd., New Orleans, Louisiana to Private Collection Dover, New Hampshire

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LOT 27

STUART SHILS (Am. b. 1954) Green Trees - Blue Sky Oil monotype, image on sheet, framed under glass Signed on sheet l.c. 9” x 9” image, 22 1/4” x 15 1/8” sheet, 24 1/4” x 17” framed $1,200-$1,800 Provenance: Private Collection Massachusetts

LOT 28

STUART SHILS (Am. b. 1954) “The Delaware River, Towards Camden” 1982 Watercolor, matted and framed under glass Signed, titled and dated on verso, dedication to Professor Rieff inscribed on verso 8” x 11 1/2” sight, 15 1/2” x 18 5/8” framed $800-$1,200 Provenance: Private Collection Massachusetts

LOT 29

NELL BLAINE (Am. 1922-1996) Tree in the City Watercolor, matted and framed under glass Signed l.l. 9” x 11 3/4” sight, 16 3/4” x 20 3/4” framed $2,000-$3,000 Provenance: Private Collection New York City

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LOT 30

ANTONIA (TONY) NELL (Am. 1881-1960) Portrait of Girl in Orange Dress Watercolor on paperboard, matted and framed Signed l.l., 28 3/8” x 19 1/4” sight $1,000-$1,500

Provenance: From collection of Louis Schanker by descent to Private Collection New York 27

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LOT 31

KARL KNATHS (Am. 1891-1971) “Frontier” Tempera on paper, framed under glass Signed l.r., Kennedy Galleries, Inc. label on back 7 3/4” x 23 5/8” actual, 12 3/8 x 28 3/8 framed $1,500-$2,500 Provenance: Private Collection Rye, New Hampshire

LOT 32

KARL KNATHS (Am. 1891-1971) “Harbor Moon” (Provincetown) 1959 Oil on canvas, framed Signed l.r., signed, dated and location inscribed on stretcher, artist’s notations on medium inscribed on stretcher, Paul Rosenberg & Co. label on stretcher 23 3/4” x 47 5/8” actual, 33” x 57” framed $12,000-$15,000 Provenance: Private Collection Massachusetts

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IMAGE CREDIT Wikipedia IMAGE DESCRIPTION Louis Schanker

LOUIS SCHANKER

ouis Schanker lived his life against the grain. As a teenager he studied briefly at Cooper Union before, in 1919, leaving his home of New York City to live as a vagrant for two years. He rode the rails, shoveled coal, threshed wheat fields in the great plains, and even joined the Barnum and Bailey circus. Eventually he returned to New York and began to study art in earnest. In 1931 he traveled to Europe and studied at the Académie de la Grande Chaumière in Paris. Back in the United States, Schanker was ready to make his impact on the art world. He had his first solo exhibition in 1933 at the Contemporary Arts Gallery, and it was explosively successful. Schanker spent the next two decades working and creating in New York City. His prints were so successful that he was made the graphic arts supervisor for the WPA. Eventually, he was hired as an assistant professor at Bard College, where he taught for thirty years before retiring. Schanker’s most notable mediums were oil painting and colored woodcut prints. Inspired by cubism and the abstract movement, he strove to use abstract art to depict the patterns and rhythms of the natural world. One of the cornerstones of Schanker’s legacy is furthering the acceptance of abstract and impressionist movements in American modern art. In the 1930’s, America was resistant to abstract ideas. Even where the art was accepted, there was often the expectation that it would be geometric and aesthetically pleasing. Schanker

“Though much of my work is generally classified as abstract, all of my work develops from natural forms. I have great respect for the forms of nature and an inherent need to express myself in relation to those forms.” banded together with likeminded artists to challenge these preconceptions, and they began hosting several exhibitions under the name “The Ten Whitney Dissenters.” Schanker was also a founding member of the American Abstract Artists, an artist’s group with similar philosophies to The Ten that was also one of the few artist organizations to survive the great depression. These groups were installments in a long line of artists banding together to push the boundaries of their culture. Schanker’s works can be found in notable institutions all around the country: the AlbrightKnox Art Gallery, the Addison Gallery of American Art, the Amon Carter Museum of American Art, the Asheville Art Museum, the Museum of Fine Art Boston, the Brooklyn Museum, the Smithsonian American Art Museum, the Metropolitan Museum, the National Gallery of Art, the Fogg Art Museum at Harvard, the Whitney Museum of American Art and the Worcester Art Museum.

LOT 33

LOUIS SCHANKER (Am. 1903-1981) Feeding the Sheep, 1848 Black and white abstract figures Ink on paper, matted and framed under glass 13” x 16” sight, 25 3/4” x 28 3/8” framed $300-$500

Provenance: By descent from Artist to Private Collection New York Provenance: Collection of Barbara DeJoseph Jamestown, New York

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LOT 36

LOT 34

LOUIS SCHANKER (Am. 1903-1981) “Geometric Landscape” Oil on canvas, framed Signed l.r., The Concoran Gallery of Art Twentieth Biennial Exhibition label on verso 30” x 40” actual, 30 1/2” x 40 1/2” framed $2,500-$3,500

Provenance: By descent from Artist to Private Collection New York

LOT 35

LOUIS SCHANKER (Am. 1903-1981) Blue and Coral Geometric Abstract, 1948 Oil on canvas, framed Signed l.r., The Concoran Gallery of Art Twentieth Biennial Exhibition label on verso 30” x 40” actual, 30 1/2” x 40 1/2” framed $2,500-$3,500

Provenance: By descent from Artist to Private Collection New York

LOUIS SCHANKER (Am. 1903-1981) “Movement” 1942 Oil on canvas, framed Signed and dated u.r., signed on canvas verso, artist name, address and title inscribed on verso 24” x 30” sight, 24 1/2” x 30 1/2” framed $1,200-$1,800

Provenance: By descent from Artist to Private Collection New York

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LOT 37

LOUIS SCHANKER (Am. 1903-1981) Blue, Green, and Red-Orange Abstract, 1944 Oil on canvas, unframed Signed and dated l.r., dated u.r. 24” x 30” $1,200-$1,800

Provenance: By descent from Artist to Private Collection New York

LOT 38

HELEN FRANKENTHALER (Am. 1928-2011) “Card” 1971 Offset lithograph on Jeff Goodman handmade paper, framed under glass Signed in pencil l.r., “Helen Frankenthaler: “Card” Published and copyright © 1971, by Telemon Editions Limited, West Islip, New York” printed in small type l.l., monogram l.l. 12 1/2” x 17” sheet, 14 7/8” x 19 1/8” framed $1,200-$1,800

Provenance: Private Collection New York City Unnumbered Edition 85, commissioned for the Whitney Museum of American Art

LOUISE NEVELSON LOT 39

LOUISE NEVELSON (Am. 1899-1988) “Moon Zag III” 1984 Wooden Sculpture painted black Pace Gallery label, on verso, Hokin Gallery label on verso 56” x 79” x 23 1/2” $100,000-$150,000 Provenance: Shown in Pace Gallery, New York City 1984, purchased by owner from Hokin Gallery, Florida, Private Collection New York, NY Copy of original receipt from 1986 from Hokin Gallery included with lot

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LOT 40

PAUL CAPONIGRO (Am. b. 1932) “Clouds Reflected in Water, Adirondack Mountains”1958 Gelatin silver print, mounted, matted. Signed in pencil on the mount l.r. 7 1/2” x 9 1/2” actual, 14” x 17” mount, 20” x 16” mat $2,000-$3,000

Provenance: Private Collection Cumberland Foreside, ME Printed in 1962 for inclusion in Portfolio One: Twelve Photographs, Boston, The Cricket Press

LOT 41

TODD WEBB (Am. 1905-2000) “From Fulton Street El Station, New York” 1946 Vintage gelatin silver print, unframed Inventory number l.r., signed, titled, and dated on verso, Artist’s stamp and copyright on verso 13 7/8” x 10 7/8” $2,000-$3,000 Provenance: Private Collection Cumberland Foreside, ME

LOT 42

DOROTHEA LANG (Am. 1895-1965) “Migrant Mother, Nopomo, California” 1936 Gelatin silver print, matted and framed Library of Congress stamp, notations on verso 8 7/8” x 6 7/8” sight, 15 3/8” x 13” framed $5,000-$7,000 Provenance: Private Collection Cumberland Foreside, ME

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LOT 43

BERENICE ABBOTT (Am. 1898-1991) “Church on the Battery: Our Lady of Rosary, 7 State Street, Manhattan” 1937 Vintage gelatin silver print, matted Titled and dated on verso, artist’s stamp on verso, “Federal Arts Project ‘Changing New York’ Photographs by Berenice Abbott” stamped on verso, “Duplicate” stamp on verso 9 7/8” x 7 7/8” actual 17” x 14” mat $4,000-$6,000 Provenance: Private Collection Cumberland Foreside, ME

LOT 44

NICHOLAS DEAN (Am. 1933-2005) 1] Seaweed and Rock, 1961 Gelatin silver print, mounted Signed and dated l.r., numbered “1/10” l.l. , titled and dated on verso 7 1/4” x 9 1/4” actual, 13 1/2” x 16 3/8” mount 2] Ice Floe, 1964 Gelatin silver print, mounted Signed and dated l.r., numbered “1/20” l.l. 5 3/4” x 9 1/4” actual, 14” x 17” mount $500-$700 Provenance: From the Estate of Nicholas Dean

LOT 45

NICHOLAS DEAN (Am. 1933-2005) Portrait of Yoshiaki Shimuzi, 1962 Gelatin silver print, mounted Signed and dated l.r., numbered “1/15” l.l., “Yoshiaki Shimuzu” on verso 6 5/8” x 8 1/2” actual, 14” x 17” mount $500-$700 Provenance: From the Estate of Nicholas Dean

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EDWARD WESTON

LOT 46

EDWARD WESTON (Am. 1886-1958) Pepper, #38P, 1930 Gelatin silver print, mounted, likely printed in the 1940’s Artist’s initials and date written in pencil on mount, artist’s name, title, date, and numeric inscriptions written in pencil on mount verso, Eindhoven stamp on mount on verso print 7 7/16” x 9 5/16” Mount 13” x 16” Framed $30,000-$50,000

Provenance: Received directly from artist in 1956, from the Estate of Nicholas Dean Exhibitions: Possibly Internationale Foto-Tentoonstelling van Forographie, Stedelijk Van Abbe Museum, Eindhoven, The Netherlands,1950; Fotographie als Uitdrukkingsmiddel: Internationale Fotoentoonstelling, Stedelijk Van Abbe Museum, Eindhoven, The Netherlands, 1952 (A letter dated October 1949 exists from the Stedelijk Van Abbe Museum inviting the artist to submit work to the 1950 exhibition, and a listing of works for the 1952 exhibition denotes “Pepper” as one of the items submitted by artist, so the existence of the Einhoven stamp on verso of the mount indicates that the photograph was in at least one, if not both, of the exhibitions). Literature: Cover of the International Foto-Tentoonstelling van Fotogtafie 1950 exhibition catalog, Eindhoven, The Netherlands Likely printed in the 1940’s. Also included with this item are copies and contents of the correspondence between the artist and Mr. Dean concerning the purchase of this photograph from the artist for $25. The original letters, with envelopes and postmarks, are being donated to the Center for Creative Photography, Tuscon, Arizona. We would like to thank Paul Messier, conservator of photographs and works on paper, for his diligent work and research regarding this photograph.

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Timeline of EDWARD WESTON & NICHOLAS DEAN 1886 - Edward Weston is born in Highland Park, Illinois 1902 - Edward Weston receives his first camera, a Bullseye Kodak, and his career begins at the age of 16 1904 - Edward Weston comes to California to visit and stays to open a portrait photographic studio in Glendale 1923 - Weston leaves California for Mexico City where he is a participant in the “Mexican Renaissance” Late 1920s - Weston begins taking a series of close-up photos of different objects he calls “still lifes” 1927 - Weston makes his first photograph of a pepper 1929 - Weston starts a new series that focused on peppers alone. He recorded twenty-six negatives of peppers taken during 1929, mostly taken against plain burlap or muslin backdrops August 2-6, 1930 - Weston took at least thirty more negatives of peppers. For these images he thought the contrast between the plain muslin or white cardboard backdrop and the pepper was too stark. On August 2 he found a large tin funnel, and, placing it on its side, he set a pepper just inside the large open end 1932 - Weston’s book The Art of Edward Weston is published 1933 - Nicholas Dean is born in Huntington, NY 1937 - Weston receives a Guggenheim Foundation fellowship. His work was simple. He never used an enlarger or artificial light. He did no retouching and rarely took a second shot of the same subject 1940 - Weston’s book California and the West is published 1947 - Edward Weston exhibit at the Museum of Modern Art in New York 1948 - Willard Van Dyke was commissioned by the State Department to create the film, An American Photographer about Weston October 4, 1949 - Martien Coppens sends an invitation to Weston to participate in the 1950 Internationale Tentoonstelling van Fotografie in Eindhoven, The Netherlands, a congress held by the United Dutch Professional Photographers. From the correspondence, it is likely that "Pepper #38P” 1930 was included in this exhibition 1950 - Weston's book “My Camera on Point Lobos” is published 1952 “#38, 1930” was exhibited in Fotografie als Uitdrukkingsmiddel: Internationale Fototentoonstelling exhibition catalogue, Eindhoven, The Netherlands, 1952 October 1 - 17, 1953 - Nick Dean’s first one man show, an exhibition of his photographs, is held at the Art Wood Gallery in Boston February 27, 1954 - Nick Dean sends Edward Weston a letter which includes a check for $25 for the purchase of a print of “Pepper, 1930” which would be a delayed wedding present for Dean’s wife. March 1, 1954 - Weston receives Dean’s letter requesting a print and makes a notation to send “38P, 1930” November 30, 1955 - Dean writes to Brett Weston requesting about 20 mounted prints of his father, Edward’s work for a showing in Boston at the Art Wood Gallery. The exhibition is to benefit Edward Weston and Dean mentions in the letter that Art Wood, gallery owner, has refused to take a commission January 3, 1956 - Weston sends the print of "Pepper #38P" 1930 (lot #46) to Nick Dean March 24, 1956 - Weston’s prints are exhibited at the Art Wood Gallery, Newbury, Massachusetts. Nick Dean was a patron of this exhibit The photograph North Wall, Point Lobos 1946 (lot #47) was possibly the one included in this exhibition 1956-1966 - Nicholas Dean is a Technical Specialist with Polaroid Corporation Research Laboratories June 25, 1957 – Nick Dean, traveling with Ansel Adams, takes a trip to Carmel, California to meet with Edward Weston. During the visit, Dean takes 3 4”x5” Polaroid photos of Weston. Dean kept a daily journal and sent correspondence to his wife in which he wrote, “The tragic note, is Alan said - that my image of him may be the last - He's not been pictured for several years nor is there likelihood of future ones - But although they do not show him as I would like to have known him, they show him as I did know him and in one the eyes have a sparkle that makes ___ of the rest. The phrase would be, I think - that he is a beautiful man." He continues, “This has been a mystical experience for me – I am shaken still. But I have seen genius.” January 1, 1958 - Edward Weston dies at the age of 71 January 28, 2005 - Nicholas Dean dies at the age of 71 37

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LOT 47

EDWARD WESTON (Am. 1886-1958) “North Wall, Point Lobos” 1946 Gelatin silver print, mounted Initialed and dated in pencil on mount l.r., “Portfolio Print No. 9” stamped on mount on verso 9 1/2” x 7 3/4” actual, 16” x 13 3/4” mounted $2,000-$3,000

Provenance: Collection of Nicholas Dean, Waldoboro, Maine Printed by Brett Weston in 1951 for the 50th Anniversary Portfolio

NICHOLAS DEAN

EDWARD WESTON

LOT 48

BRETT WESTON (Am. 1911-1993) Cracked Glass, 1978 Gelatin silver print, mounted, matted. Signed and dated on mount in pencil l.r. 13 3/8” x 10 5/8” image, 18” x 15” mount, 20” x 16” $1,500-$2,500

- The above photographs are courtesy of the Estate of Nicholas Dean -

Provenance: Private Collection Cumberland Foreside, Maine

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LOT 51

LOT 49

JOHN BISBEE (Am. b. 1965) Untitled, 2014 Hammered and welded steel nails 13” x 13” $3,000-$4,000

Provenance: Private Collection Scarborough, Maine

CONGER METCALF (Am. 1914-1998) “The Brown Trompe L’Oeil” Oil and tempera on gessoed panel, framed under glass Signed l.r., Margaret Brown Gallery label and Ellen Donovan Gallery stamp on verso 7” x 9” actual, 11 1/4” x 13 1/4” framed $800-$1,200 Provenance: Private Collection Portland, Maine

LOT 50

JOHN BISBEE (Am. b. 1965) Large Circle, 2009 Hammered and welded steel nails 48” diameter $15,000-$18,000

Provenance: Private Collection Scarborough, Maine 39

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LOT 52

ERIC AHO (Am. b. 1966) “Winter Windham County” Pastel on paper, matted and framed under glass Signed and titled l.r. 11” x 13 3/4” sight, 18 1/8” x 20 3/4” framed $1,200-$1,800 Provenance: Artist to Private Collection Massachusetts

LOT 53

ERIC AHO (Am. b. 1966) “The Sky on September 21st” 1999 Oil on canvas, framed Signed, titled and dated on verso 24” x 24” actual, 25 3/8” x 25 3/8” framed $8,000-$10,000

Provenance: Artist to Private Collection Massachusetts

LOT 54

ERIC AHO (Am. b. 1966) “Copperfield Suite II” 2006 Oil monotype, image on sheet, framed under glass Signed l.r., numbered “II” l.l. 15 5/8” x 33 1/4”, 22 1/2” x 41 1/2” sheet, 25 1/2” x 44 3/4” framed $2,500-$3,500

Provenance: Artist to Private Collection Massachusetts Literature: Paired with book for provenance 40

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LOT 55

REUBEN TAM (Am. 1916-1991) “Rising Sea” Gouache on paper, matted and framed Signed l.r., titled l.l. 8 1/2” x 10” 1/4 sight, 16 3/4” x 17” framed $800-$1,200

Provenance: Private Collection Ypsilanti, Michigan

LOT 56

HENRY KALLEM (Am. 1912-1985) Monhegan House Watercolor on paper, matted and framed Estate stamp on verso 19” x 24” sight $800-$1,200

Provenance: Private Collection Harwich Port, Massachusetts

BARRIDOFF GALLERIES

LOT 57

HOWARD RACKLIFFE (Am. 1917-1987) “Dock and Boats” 1984 Oil on board, framed Signed, titled and dated on verso 28” x 33 5/8” actual, 29 1/2” x 35” framed $2,500-$3,500 Provenance: Private Collection Massachusetts

LOT 58

MORRIS SHULMAN (Am. 1912-1978) “Burnt Head, Monhegan” 1948 Oil on board, framed under glass Signed and dated, l.r., signed, titled and dated on verso 15 1/4” x 21” sight, 25 3/8” x 31 3/8” framed $2,000-$3,000 Provenance: Private Collection Massachusetts

FEB 2021 CATALOG

LOT 59

MORRIS SHULMAN (Am. 1912-1978) Green Abstract (Monhegan), 1962 Oil on canvas, framed Signed and dated u.r. 44” x 54” actual, 45 1/8” x 55” framed $3,000-$5,000

Provenance: Private Collection Massachusetts

LOT 60

HOWARD RACKLIFFE (Am. 1917-1987) “Antigonish” (Nova Scotia) Oil on board, framed Titled on verso 9 3/8” x 17 “ actual, 17 3/4” x 25 3/8” framed $2,500-$3,500 Provenance: Private Collection Massachusetts

BARRIDOFF GALLERIES

LOT 61

ABRAHAM BOGDANOVE (Am. 1886-1946) “Monhegan Island Surf” 1931 Oil on canvas, framed Signed and dated l.l., Ogunquit Museum of Art loan tag on verso, Ogunquit Museum of Art exhibition label on verso, Spanierman Gallery LLC label on verso, Dowling Walsh Gallery label on verso 19 3/8” x 23 1/4” actual, 24 1/4” x 28 1/4” framed $2,500-$3,500

Provenance: Private Collection Rye Beach, New Hampshire Exhibitions: “Abraham J. Bogdanove: Paintings of Monhegan” Ogunquit Museum of Art, Ogunquit, ME 1999

LOT 62

JAMES GALE TYLER (Am. 1855-1931) An American Cruiser at Sea Oil on canvas, framed Signed l.l. 19 1/2” x 15 1/2” actual, 27 1/2” x 23 1/2” framed $700-$900

Provenance: Private Collection New Castle, New Hampshire

FEB 2021 CATALOG

LOT 63

ROBERT SANDERS (Am. 20th Century) Portrait of a Square-Rigger Ship c.1790 Oil on canvas, framed 29 1/4” x 39 1/8” actual, 40 1/4” x 50 1/4” framed $300-$500

Provenance: Private Collection New Castle, New Hampshire

LOT 64

HENRY B. SNELL (Am. 1858-1943) “Steamer-Sail at Sunset” Watercolor, matted and framed Signed l.l. 17 1/2 x 25 3/4 sight, 25 3/4 x 33 5/8 framed $500-$700 Provenance: Private Collection Wiscasset, Maine

BARRIDOFF GALLERIES

LOT 65

WILLIAM PIERCE STUBBS (Am. 1842-1909) Gloucester Schooner “Gloriana” Oil on canvas, framed 21” x 35 1/2” actual, 29 1/4” x 43 1/4” framed $2,000-$3,000 Provenance: Private Collection New Castle, New Hampshire

LOT 66

THEODORE VICTOR CARL VALENKAMPH (Am. 1866-1924 ) Square Rigged Ship & Schooner Oil on canvas, framed 23 1/2” x 35 1/2” sight, 28” x 40” framed $900-$1,200

Provenance: Private Collection New Castle, New Hampshire

FEB 2021 CATALOG

LOT 67

LEON KROLL (Am. 1884-1974) “Gloucester Ships” Oil on board, framed Name placard l.c., cut-out of artist’s signature in pencil adhered to verso, artist’s estate stamp on verso, “728” inscribed on verso 8 1/4” x 10” actual, 15” x 16 3/4” framed $3,500-$4,500 Provenance: Private Collection Wiscasset, Maine

LOT 68

EMILE ALBERT GRUPPE (Am. 1896-1978) “Rockport Harbor” Oil on canvas, framed Signed l.r., signed and titled on verso 20” x 24” actual, 25” x 29” framed $3,000-$5,000

Provenance: Private Collection New Castle, New Hampshire

LOT 69

ANTHONY THIEME (Am. 1888-1954) House on Pond Oil on canvas, framed Signed l.l., Outer Cape Auctions label on verso 18 5/8” x 27 3/8” actual, 24 1/4” x 33 1/4” framed $3,000-$5,000 Provenance: Private Collection Massachusetts

BARRIDOFF GALLERIES

ELWYN GEORGE GOWEN

lwyn George Gowen (1895- 1954) was born in Sanford, Maine. For nearly two decades, he was affiliated with the School of the Museum of Fine Arts (SFMA), Boston. Beginning with his studies in 1914, he immersed himself in the school’s Design Department, working with noted artist Henry Hunt Clark. Impressed by his work, Clark hired Gowen to be in charge of the design and decoration of the SMFA’s building, which opened in 1927. Gowen spent the early part of his career in the fields of design and arts and crafts. Graduating from the SMFA during the height of the Arts and Crafts Movement, Gowen’s career lead him to work as a teacher, master craftsman, designer, and the owner of an interiordecorating firm. By 1922, Gowen was named a master craftsman by the Society of Arts and Crafts Boston, highlighting his excellence in the field of design. His design work appeared in the Society’s showrooms in Boston and New York throughout the decade. Gowen’s move from Boston to Maine in 1932 signaled a shift in both scenery and style. Under the guidance of Charles Woodbury, Gowen changed his focus from design to painting.x Gowen immersed himself in Woodbury’s methods-- observation of light, motion, and time. Gowen focused his attention to capturing Ogunquit on canvas. Having impressed Woodbury with his talent,

LOT 70

ELWYN GEORGE GOWEN (Am. 1895-1954) Cambridge - Brick Works, 1940 Watercolor on paper, matted and framed under glass Signed and dated l.r. 14 1/4” x 20 1/2” sight, 22 1/8” x 28 1/8” framed

$600-$800 Provenance: Private Collection Maine Exhibitions: Elements of Expression: The Art and Design of Elwyn George Gowen, Tufts Art Gallery, Medford MA, May 3- 20, 2012

Gowen quickly transitioned from student to colleague and for several years taught in Woodbury’s school. A prolific painter his seascapes and landscape painting reflect the elements he learned of both color and design theory and are present within the compositional layout and color palette of the paintings exemplified here. Charles Woodbury’s influence is clearly seen in these works, both in their subject matter (Perkins Cove) and their technical execution (Esso Station and Cambridge-Brick Works). In these works and the others in the auction, Gowen interprets his vision of the landscape through a loose but purposeful brush stroke, evocative color palettes, and an inspired use of light, rhythm and composition. A member of the Ogunquit Art Association, Elwyn George Gowen regularly exhibited at its Barn Gallery in the 1930’s and 1940’s. During this period he also exhibited at many other galleries including the Jordan Marsh Art Gallery, Boston. Solo exhibitions of his work were held at the Collins Gallery, Kennebunk, Maine in 2000 and the Tufts University Art Gallery, Medford, Massachusetts in 2012. The latter show subsequently traveled to the artist’s home town and was exhibited at the Sanford-Springvale Historical Museum in Maine in 2012.

FEB 2021 CATALOG

LOT 70A

ELWYN GEORGE GOWEN (Am. 1895-1954) “Sketch” July 1935 Oil on canvas, framed Signed, dated and titled on verso, “Shown Ogunquit Art Assoc. 1935” inscribed on verso 7 3/8” x 9 3/8” actual, 11 3/8 x 13 3/8” framed $500-$700 Provenance: Private Collection Maine

LOT 71

ELWYN GEORGE GOWEN (Am. 1895-1954) Esso Station, May 15th, 1933 Oil on board, framed Signed and dated on verso, “Shown in studio Nov 1 1943 - Nov 1 1944” inscribed on verso 13 1/4” x 19 3/8” actual, 19 7/8” x 26” framed $1,200-$1,800

Provenance: Private Collection Maine Exhibitions: Elements of Expression: The Art and Design of Elwyn George Gowen, Tufts Art Gallery, Medford MA, May 3- 20, 2012

LOT 72

ELWYN GEORGE GOWEN (Am. 1895-1954) “Carnival” 1936 Oil on canvas, framed Signed l.r., title, date and location inscribed on verso, “Badger’s Island” inscribed on stretcher 20” x 26” actual, 26 1/4” x 32 1/8” framed $2,000-$3,000

Provenance: Private Collection Maine Exhibitions: Elements of Expression: The Art and Design of Elwyn George Gowen, Tufts Art Gallery, Medford MA, May 3- 20, 2012 Copy of a vintage photograph depicting nearly the same scene and location included with this lot

BARRIDOFF GALLERIES

LOT 73

MARCIA OAKES WOODBURY (Am. 1865-1913) Portrait of Woman with Hat Dutch Woman in a Flower Garden Oil on canvas, framed Initialed on edge of canvas u.r. 11 1/2” x 14” $400-$600

Provenance: Private Collection Portland, Maine

LOT 74

HERMANN DUDLEY MURPHY (Am. 1867-1945) Moonrise Oil on canvas Artist’s estate stamp on stretcher 16” x 24” $1,200-$1,800

Provenance: Private Collection Portland, Maine

LOT 75

SEARS GALLAGHER (Am. 1869-1955) “The West Wind” Etching, matted and framed under glass Signed in pencil l.l., artist’s monogram in the plate l.r. 6” x 7” sight, 14” x 14 1/4” framed $700-$900 Provenance: Private Collection Wiscasset, Maine

FEB 2021 CATALOG

LOT 76

GERTRUDE FISKE (Am. 1878-1961) The Fens, Winter Oil on canvas, framed Artist’s estate stamp on verso 7 5/8” x 9 5/8” actual, 15 1/2” x 17 1/2” framed $2,000-3,000

Provenance: Estate of the artist, Tom Veilleux Gallery, Maine, Fichera Fine Art, Maine, Private Collection Ypsilanti, Michigan

LOT 77

MABEL MAY WOODWARD (Am. 1877-1945) Under the Green Umbrella at the Beach Oil on board, framed 10” x 13” actual, 17” x 20” framed $2,500-$3,500

Provenance: From a large collection of Woodward works from a Rhode Island estate, Private Collection Ypsilanti, Michigan

LOT 78

CHARLES WOODBURY (Am. 1864-1940) Sketch for North West Wind Oil on canvas, framed Artist’s Estate stamp on verso 35 1/4” x 47 1/4” actual, 43” x 55” framed $1,500-$2,500

Provenance: Strong Museum, Rochester, New York, Vose Gallery “Painting in Motion”, Cottone Auctions sale (11/06/2010 lot 356) Private Collection Ypsilanti, Michigan Literature: Illustrated in Vose Galleries “Painting in Motion” catalogue, Fall 2002

BARRIDOFF GALLERIES

LOT 79

ANTONIO “TONY” MATTEI (Am. 1900-1956) “Perkins Cove” 1942 Oil on board, framed Signed and dated l.r., “Collection of Mary-Leigh Call Smart” label on verso 15 1/2” x 40 1/4” actual, 24 1/2” x 49 1/4” framed $1,000-$2,000 Provenance: Sold to benefit Surf Point Foundation, York, Maine

FEB 2021 CATALOG

LOT 80

HENRY H. STRATER (Am. 1896-1987) “Ripe Bananas and Watermelon” Ogunquit, Maine August 1960 Oil on Masonite, framed Signed and dated l.r., artist’s name, date, title and location inscribed on verso 17 1/2” x 23 3/8” actual, 25” x 31” framed $500-$700

Provenance: Private Collection Sanford, Maine

LOT 81

GEORGE KUNKEL (Am. 1922-1984) White and Green Abstract Lacquer on panel, framed Signed l.r. 15 1/4” x 29 1/2” actual, 21 1/4” x 35 1/2” framed $500-$700

Provenance: Private Collection Cumberland, Maine

BARRIDOFF GALLERIES

LOT 82

URIAH NORTON DYER (Am. 1849-1927) Still Life with Cake, 1915 Oil on board, framed Signed and dated l.r. 17 1/2” x 27 5/8” actual, 24 1/2 x 34 5/8” framed $2,500-$3,500

Provenance: Cyr auctions 2003, Private collection Exeter, NH

LOT 83

PERCY SANBORN (Am. b. 1849-1929) Still Life of Fruit, Nuts, Champagne, and Glass Oil on canvas, framed Signed l.l. 17 1//2” x 13 1/2” actual, 23 1/4 x 19 1/2” framed $1,000-$1,500

Provenance: Private Collection Lincolnville, Maine

FEB 2021 CATALOG

LOT 84 JOSEPH GUALTIERI

(Am. 1916-2015) “Tavola Povera” 1996 Oil on canvas, framed Signed and dated l.r. 34” x 41 3/4” actual, 34 1/2” x 42 1/2” framed $3,000-$5,000 Provenance: Private Collection Massachusetts

BARRIDOFF GALLERIES

LOT 85

ROBERT KULICKE (Am. 1924-2007) Flowers Oil on board, framed Incised signature u.c. 6 3/4” x 8 1/2” actual, 10 3/4” x 12 1/2” framed $3,000-$5,000 Provenance: Private Collection Massachusetts

LOT 86

ROBERT KULICKE (Am. 1924-2007) Vase with Pink, Red, and Blue Flowers Watercolor, matted and framed under glass Signed in pencil u.c. 8 1/8” x 8 1/8” sight, 15 1/4” x 15 1/4” framed $1,200-$1,800 Provenance: Private Collection Massachusetts

LOT 87

ROBERT KULICKE (Am. 1924-2007) Pears Oil on board, framed Incised signature u.r. 4 7/8” x 7” actual, 8 7/8” x 11” framed $2,500-$3,500

Provenance: Private Collection Massachusetts

FEB 2021 CATALOG

LOT 88

WOLF KAHN (Am. 1927-2020) “Vineyard Headland” Pastel on paper, framed under glass Signed l.r., title inscribed in pencil on stretcher, inventory number ASG-WK12 (Allen Stone Gallery) inscribed on back, “Stone 9085-B” inscribed twice on stretcher in pencil 14” x 11” sight, 18 1/2” x 15 5/8” framed $6,000-$8,000

Provenance: From the Allan Stone collection, Private Collection New York City

LOT 89

WOLF KAHN (Am. 1927-2020) Maine Harbor Pastel on paper, framed Signed l.l. 11” x 14” $6,000-$8,000

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

BARRIDOFF GALLERIES

LOT 90

WOLF KAHN (Am. 1927-2020) Frontal Barn Pastel on paper, framed Signed l.c. 23 7/8” x 33 3/8” $12,000-18,000

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

LOT 91

WOLF KAHN (Am. 1927-2020) Red, Green, Yellow Pastel on paper, framed under glass 17 1/4” x 21” actual, 25 1/2” x 33 1/2” framed $12,000-$15,000 Provenance: Acquired directly from artist to Private Collection New York City

FEB 2021 CATALOG

LOT 93

CARL SPRINCHORN (Am. 1887-1971) Autumn River Landscape, Maine Watercolor on paper, matted and framed under glass Initialed l.l. 8 3/4” x 11 5/8” sight, 16 1/2” x 19 1/2” framed $700-$900 Provenance: Estate of Donald Brenwasser, New Jersey

LOT 92

CARL SPRINCHORN (Am. 1887-1971) 1] Autumn Trees Watercolor on paper, framed under glass Signed l.r. 25 1/4” x 19” 1/4 actual, 28 1/24” x 22 5/8” framed 2] Springtime, Maine, Woodland Watercolor on paper, framed under glass Signed l.r. 25 1/4” x 19 1/4” actual, 27 7/8” x 21 3/4” framed $1,200-$1,800 Provenance: Estate of Donald Brenwasser, New Jersey

LOT 94

CARL SPRINCHORN (Am. 1887-1971) “Logan - Autumn” (Maine Woods) 1944 Oil on board, framed Signed, titled and dated on verso 9 1/4” x 12”1/2 actual, 12 1/2” x 16” framed $800-$1,200

Provenance: Estate of Donald Brenwasser, New Jersey

BARRIDOFF GALLERIES

LOT 95

CARL SPRINCHORN (Am. 1887-1971) “Woodcutters and Team” Oil on canvas, framed 29 1/2” x 39 1/2” actual, 38 1/2” x 48 3/8” $12,000-$15,000

Provenance: Estate of the artist, Tom Veilleux Gallery, Maine, Private Collection Ypsilanti, Michigan Literature: Illustrated in the two books that are included with the painting

FEB 2021 CATALOG

LOT 96

EMILY MUIR (Am. 1904-2003) “The Japanese Dolls” 1929 Watercolor on paper, matted and framed under glass Signed and dated l.l., signed in pencil l.r. 13 3/4” x 19 3/4” sight, 19 3/4” x 25 7/8” framed $700-$900

Provenance: Private Collection Scarborough, Maine

LOT 97

EMILY MUIR (Am. 1904-2003) Washing the Nets Watercolor on paper, matted and framed under glass Signed l.r. 17 3/4” x 22 7/8” sight, 25 5/8” x 30 5/8” framed $1,500-$2,500 Provenance: Private Collection Scarborough, Maine

LOT 98

EMILY MUIR (Am. 1904-2003) Hauling the Nets Watercolor on paper, matted and framed under glass Signed l.l., Union River Gallery label on verso 16 1/2” x 23” sight, 24 1/4” x 29 5/8” framed $1,500-$2,500

Provenance: Private Collection Scarborough, Maine

BARRIDOFF GALLERIES

LOT 99

LYNNE DREXLER (Am. 1928-1999) “Enclose” 1965 Oil on canvas, framed Signed, titled and dated on verso, inventory no. LD-OC.038 inscribed on stretcher 8 3/4” x 6 3/4” $1,500-$2,500 Provenance: Private Collection Biddeford, Maine

LOT 100

LYNNE DREXLER (Am. 1928-1999) “Green Entry” 1963 Oil on canvas, framed Signed, titled and dated on verso, title and inventory no. “LD-OC-017” inscribed on flat edge of canvas 30” x 38” $7,000-$9,000 Provenance: Private Collection Biddeford, Maine

FEB 2021 CATALOG

LOT 101

DAHLOV IPCAR (Am. 1912-2017) 1] “Fox & Geese” Tempera on paper, matted and framed under glass Signed l.l., title and artist’s name on label on verso, “100% acid free mat & backboard 2009” inscribed on verso, note from Mr. Peladeau “Dahlov hoped this would become a fabric design” attached to verso. 5” x 7 1/2” sight, 9 5/8” x 11 5/8” framed 2] Stripes: Tiger, Zebra, and Gazelle , 1/27/86 Pencil on paper, matted and framed under glass Signed l.r., dated and inscribed on front, “Given to Marius with fond regards on his Golden Jubilee Charles and Nancy Burden” inscribed on verso, artist bio attached on verso 8 3/4” x 7 5/8” sight, 14 1/8” x 12 1/8” framed $700-$900 Provenance: Collection of Marius Peladeau, Readfield, Maine Other Notes: Mr. Peladeau is Director Emeritus and former Director of the Farnsworth Art Museum, Rockland, Maine

LOT 102

DAHLOV IPCAR (Am. 1917-2017) “Tree of Bandipur” 1996 Oil on canvas, framed Signed and dated l.r., artist’s label on back 36” x 20” actual, 37 3/8” x 21 1/4” framed $4,000-$6,000 Provenance: Private Collection Maine Accompanied by personal note from the artist

BARRIDOFF GALLERIES

LOT 103

DAHLOV IPCAR (Am. 1917-2017) Gazelle, 1977 Soft sculpture Signature embroidered on abdomen 13” x 12 3/4” $800-$1,000

Provenance: Collection of Marius Peladeau, Readfield, Maine Mr. Peladeau is Director Emeritus and former Director of the Farnsworth Art Museum, Rockland, Maine

LOT 104

DANIEL WENTWORTH (Am. 1850-1934) Early Fall Day Oil on masonite, framed 26 1/2” x 21 1/2” sight, 33 1/4” x 28 1/4” framed $1,200-$1,800 Provenance: Private Collection Massachusetts

FEB 2021 CATALOG

LOT 105

CHARLES WILSON KNAPP (Am. 1823-1900) Cattle at the River Oil on canvas, framed Signed l.r. 23 1/2” x 41” actual, 31 1/4” x 48 1/2” framed $2,500-$3,500 Provenance: Private Collection Cape Elizabeth, Maine

LOT 106

WILLIAM ZORACH (Am. 1887-1966) Winter Landscape Watercolor, matted and framed under glass Signed l.r. 14 1/2” x 21 1/4” sight, 21 3/4” x 28 5/8” framed $2,000-$3,000 Provenance: Private Collection Ypsilanti, Michigan

LOT 107

BERNARD LANGLAIS (Am. 1923-1977) “Sweet Pea” Oil and wood on board, unframed Signed and titled on verso, Allen Stone Projects label on verso 24” x 24” $1,000-$1,500

Provenance: Private Collection Ypsilanti, Michigan

BARRIDOFF GALLERIES

LOT 108

BERNARD LANGLAIS (Am. 1921-1977) Seagull, 1970 Wood sculpture/assemblage No visible signature 127” x 305” $8,000-$10,000

Provenance: Private Collection Bar Harbor, Maine Hung on facade of 3 Main St., Bar Harbor, Maine for 50 years, restored in 2013

LOT 109

VIVIAN AKERS (Am. 1886-1966) Group Lot: 1] “Bridge over Wild River Winter, Gilead, Maine May 12, 1949” Oil on panel, Signed, titled and dated on verso 8 1/2” x 6 1/2” 2] “Fir Trees Winter, Norway, Maine, Sept. 14, 1947” Oil on panel, Signed, titled and dated on verso 7” x 6” $600-$800 Provenance: Private Collection Marion, Massachusetts

FEB 2021 CATALOG

LOT 110

VIVIAN AKERS (Am. 1886-1966) Lake Through the Trees, 1931 Oil on canvas, framed Signed and dated l.r., dated on stretcher 11 3/4” x 8 3/4” actual, 15 3/8” x 12 3/8” framed $600-$800

Provenance: Private Collection Marion, Massachusetts

LOT 111

JOHN CALVIN STEVENS (Am. 1855-1940) Cape Elizabeth Oil on canvas, framed Signed l.r., “Personal Collection of Jason Schoen Houston Texas” stamped on verso 13 1/4 x 19 1/4 actual, 18 1/4 x 24 1/4 framed $2,000-$3,000 Provenance: Private Collection Wiscasset, Maine

BARRIDOFF GALLERIES

CHARLES LEWIS FOX

LOT 112

CHARLES LEWIS FOX (Am. 1854-1927) “Forever Indian” 1920 Oil on canvas, unframed Signed “Gwerksus, 1920” l.l., Estate Stamp “Estate of Charles Lewis Fox No. 74” on stretcher 60” x 36” $2,500-$3,500 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 Exhibitions: Memorial Exhibition of the Work of Charles Lewis Fox, Sweat Memorial Art Museum (Portland Museum of Art) , Portland ME July 5 - August, 31 1927 Literature: Copies of various newspaper articles and other documents about the artist and the piece are provided with the lot “Gwerksus” is the artist’s alternate name. The artist was an architect from M.I.T and two-time socialist candidate for governor for the State of Maine and studied art under Leon Bonnat at École de Beaux Arts, Paris. Fox was a well-regarded artist at the time and taught many Maine artist at his summer art commune in North Bridgton, Maine and the utopian Fox Art School in Portland that the artist cooperatively ran with Curtis Perry, his partner in life, with the motto “to work and paint for the brotherhood of mankind.” Marsden Hartley attended the summer commune in July 1901, writing approvingly that Fox’s and Perry’s aim was “to live the higher life and to apply it to their art.” Much of Fox’s art focused on Native American lore and legend and the artist lived with Native Americans for several years out West and with the Penobscots in Old Town, Maine. His alternate name, Gwerksus, meaning “Little Fox” in Wabnaki, was given affectionately to him by the Penobscots, a rare honor afforded few white people. While much of Fox’s art was created among the Native Americans, this painting is reported to have been painted in Portland, Maine. The bulk of the artist’s estate was donated to the Farnsworth Museum in Rockland, Maine.

FEB 2021 CATALOG

BARRIDOFF GALLERIES

LOT 113

EURILDA LOOMIS FRANCE (Am. 1865-1931) Field with Distant Houses Oil on canvas, framed “Loomis” inscribed on canvas verso 12” x 15 3/8” actual, 15” x 18 3/8” framed $300-$500

Provenance: Private Collection Cumberland, Maine

LOT 114

EURILDA LOOMIS FRANCE (Am. 1865-1931) Woman Amid the Flowers Oil on canvas laid to panel, framed 21 1/4” x 13 1/2” actual, 25 1/4” x 17 3/8” framed $1,200-$1,800

Provenance: Private Collection Cumberland, Maine

FEB 2021 CATALOG

LOT 115

E. BOYD SMITH (Am. 1860-1943) 1] Tree with Pink Blossoms Oil on canvas laid to board, framed Signed l.l. 25 3/4” x 19 1/2” actual, 30 5/8” x 23 1/2” framed 2] Hay Stack, 1895 Oil on canvas laid to board, framed Inscribed “12 June” ‘95” l.l. Signed l.l. 12 3/8” x 15 7/8” actual, 13 5/8” x 17 1/8” framed $1,000-$1,500 Provenance: Private Collection Cumberland, Maine

LOT 116

E. BOYD SMITH (Am. 1860-1943) Woman in Field Oil on canvas laid to Masonite, framed Signed l.r. 16 3/4” x 20 1/8” actual, 19 3/4” x 23 1/4” framed $800-$1,200

Provenance: Private Collection Cumberland, Maine

BARRIDOFF GALLERIES

LOT 117

CARL SPRINCHORN

(Am. 1887-1971) Autumn Farm Landscape/Logging River Watercolor on paper Initialed l.r. on verso, double sided 15” x 22” $700-$900

Provenance: Estate of Donald Brenwasser, New Jersey

LOT 118

CARL SPRINCHORN (Am. 1887-1971) Male Dancer Ink wash on paper, matted Signed l.l., additional study on verso 9 1/2” x 7 1/2” sight, 13 3/4” x 12” mat $300-$500 Provenance: Estate of Donald Brenwasser, New Jersey

LOT 120

LOT 119

CARL SPRINCHORN (Am. 1887-1971) Maine Woodland Colored pencil on paper, matted and framed under glass Initialed l.r. 16 3/8” x 13 1/2” sight, 23 3/8” x 20 1/8” framed $500-$700 Provenance: Estate of Donald Brenwasser, New Jersey

CARL SPRINCHORN (Am. 1887-1971) Summer, Shin Pond Maine Oil on canvas on board, framed Initialed l.r., signed on verso 12” x 16” actual, 14 1/4” x 18 3/8” framed $1,200-$1,800 Provenance: Estate of Donald Brenwasser, New Jersey

FEB 2021 CATALOG

LOT 121

FLORENCE DREYFOUS (Am. 1868-1950) Young Female Watercolor on paper, matted and framed under glass Signed l.l. 14” x 11” sight, 19 1/4” x 16 3/8” framed $400-$600 Provenance: Estate of Donald Brenwasser, New Jersey

LOT 122

FLORENCE DREYFOUS (Am. 1868-1950) Female Portrait (Verso/Girl) Watercolor on paper, matted and framed under glass Signed l.l., double-sided (watercolor portrait of girl on verso) 13 1/2” x 10 1/2” sight, 19 1/4” x 16 3/8” framed $400-$600 Provenance: Estate of Donald Brenwasser, New Jersey

BARRIDOFF GALLERIES

LOT 123

EWILLIAM THON (Am. 1906-2000) “Old Quarry” Mixed media, matted and framed under glass Signed l.c., titled on verso, Caldbeck Gallery label on verso 17 3/4” x 23 3/4” actual, 25” x 31” framed $800-$1,000 Provenance: Private Collection Portland, Maine

LOT 124

WILLIAM THON (Am. 1906-2000) “Misty Night” Oil on canvas, framed Signed l.r., titled on verso, Midtown Galleries label on verso 22 3/8” x 47 1/8” actual, 31 1/4” x 56 1/4” framed $3,000-$5,000 Provenance: Private Collection Rye, New Hampshire

FEB 2021 CATALOG

LOT 125

WALTER FELDMAN (Am. 1925-2017) “At the Shrine” 1954 Oil on canvas, unframed Signed and dated l.r., partial Kraushaar Galleries label on verso 26” x 40” $600-$800

Provenance: Private Collection Providence, Rhode Island

LOT 126

WALTER FELDMAN (Am. 1925-2017) “Yellow Bull” 1954 Oil on linen, framed Signed and dated u.r., titled in pencil on stretcher, “El Toro 1954” inscribed in marker on stretcher, Brown University Trustee Walter S. Feldman Trust for Artwork stamp on stretcher 24” x 20” actual, 25 3/8” x 21 3/8” framed $400-$600 Provenance: Private Providence, Rhode Island

BARRIDOFF GALLERIES

LOT 127

GUSTAV WILLIAM VON SCHLEGELL (Am. 1884-1950) A Pot of Flowers Oil on board Estate stamp on verso 19 3/4” x 15 3/4” $300-$500 Provenance: Private Collection Portland, Maine

LOT 128

JOHN LOUIS LAURENT (Am. 1921-2005) Blue Oil on canvas, framed Signed l.r., Art Conservation Laboratory, Inc. label on verso 17 3/4” x 23 5/8” actual, 20 1/2” x 26 1/4” framed $2,000-$3,000 Provenance: Private Collection Rye, New Hampshire

LOT 129

ROBERT ERIC MOORE (Am. 1927-2006) Crashing Waves Watercolor on paper, matted and framed under glass Signed l.r. 14” x 21” sight, 22 1/2” x 29” framed $400-$600 Provenance: Collection of Anthony Moore, York, Maine

FEB 2021 CATALOG

LOT 130

JOHN HELIKER (Am. 1909-2000) “Still Life with Sugar Bowl” Oil on canvas, framed Signed l.r., Kraushaar Gallery labels on verso 39 3/4” x 39 3/4” actual, 45 1/2” x 45 1/2” framed $2,500-$3,500

Provenance: Private Collection Ypsilanti, Michigan Exhibitions: Contemporary American painting and sculpture 1967, Krannert Art Museum, Champaign, IL, March 5 - April 9, 1967; The Humanist Tradition in Contemporary American Painting, New School Art Center, New York, NY, October 15 - November 23, 1968

BARRIDOFF GALLERIES

LOT 131

ELWYN GEORGE GOWEN (Am. 1895-1954) Perkins Cove Oil on board, framed Pencil study on verso 7 3/8” x 9 3/8” actual, 11 1/2” x 13 1/2” framed $700-$900

Provenance: Private Collection Maine Exhibitions: Elements of Expression: The Art and Design of Elwyn George Gowen, Tufts Art Gallery, Medford MA, May 3- 20, 2012

LOT 132

ELWYN GEORGE GOWEN (Am. 1895-1954) “Sketch” July 1935 Oil on board, framed Signed, dated and titled on verso, “Shown Ogunquit Art Assoc. 1935” inscribed on verso 7 3/8” x 9 3/8” actual, 11 3/8” x 13 3/8” framed $500-$700 Provenance: Private Collection Maine Exhibitions: Elements of Expression: The Art and Design of Elwyn George Gowen, Tufts Art Gallery, Medford MA, May 3- 20, 2012

FEB 2021 CATALOG

LOT 133

ERIC AHO (Am. b. 1966) “Hankasalmi, Long Shadows” 2003 Oil on canvas, unframed Signed u.c., signed, titled and dated on verso 12” x 24” $6,000-$8,000 Provenance: Private Collection Massachusetts

LOT 134

WOLF KAHN (Am. 1927-2020) Maine Island Pastel on paper, framed Signed l.r. 9 1/2” x 17” $6,000-$8,000

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

BARRIDOFF GALLERIES

LOT 135

WOLF KAHN (Am. 1927-2020) Hillside in Vermont Pastel on paper, framed Signed l.c. 22 1/4” x 29 3/4” $12,000-$15,000

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

FEB 2021 CATALOG

LOT 137

WOLF KAHN (Am. 1927-2020) Green Tree Screen Pastel on paper, framed Signed l.c. 30” x 44” $15,000-$20,000 Provenance: Acquired directly from artist to Private Collection New York City

BARRIDOFF GALLERIES

LOT 138

JAMES KNOX (Am. 1866-1942) Winter Sunset, 1940 Oil on canvas, unframed Signed and dated l.r. 16” x 20 1/8” $800-$1,200

Provenance: Private Collection Cumberland, Maine

LOT 139

HARRY B. WAGONER (Am. 1889-1950) “Desert Vista” Oil on canvas, framed Signed l.r., DuMouchelles tag on verso, Nedra Matteucci Galleries label on verso 17 5/8” x 25 5/8” sight, 25 5/8” x 33 5/8” framed $1,200-$1,800

Provenance: Private Collection Phoenix, Maryland Photograph of artist attached with short bio on back and stamped “REF. DEPT. Jul 5 1933 N.E.A.” (Newspaper Enterprise Association)

LOT 140

GEORGE GARDNER SYMONS (Am. 1861-1930) Country Road Oil on canvasboard, framed Initialed l.r., signed on verso, artist’s stamp on verso 8 3/4” x 11 5/8” sight, 15 1/4” x 18 3/8” framed $1,500-$2,000 Provenance: Private Collection New Castle, New Hampshire

FEB 2021 CATALOG

LOT 141

LAURENCE A. CAMPBELL (Am. b. 1939) “Dredge Doing Pier Works for Arco on the Delaware River circa 1965” 1993 Oil on canvas Signed and dated l.r., signed and titled verso 24” x 36” $5,000-$7,000

Provenance: Private Collection California

LOT 142

ROCKWELL KENT (Am. 1882-1971) “To Frances!” Woodcut on paper, matted and framed under glass Signed l.r., Kennedy Galleries, Inc. label on verso 8” x 3/4” sight, 17 7/8 x 14 5/8” framed $600-$800

Provenance: Private Collection Ypsilanti, Michigan Literature: The Prints of Rockwell Kent: A Catalogue Raisonné by Dan Burne Jones

LOT 143

ROCKWELL KENT (Am. 1882-1971) “Child” Oil on canvas on panel, framed Signed and date u.l., signed and titled on verso, “Among the Clouds” inscribed on verso 7 x 9 1/8 actual, 14 x 16 1/4 framed $4,000-$6,000 Provenance: Private Collection New Castle, New Hampshire

BARRIDOFF GALLERIES

LOT 144

MILTON AVERY (Am. 1885-1965) “Sleeping Beauty” 1932 Pencil on paper, matted and framed under glass Signed l.r., David Barnett Gallery label numbered “5863c” on verso 10 3/4”x 8 1/8*’ sight, 19 3/4” x 17 1/4” framed $1,000-$1,500

Provenance: Private Collection Ridgefield, Connecticut Exhibitions: Milton Avery, The 1930’s Period: an Exhibition of Seventy-four Oils, Watercolors, Gouaches, and Drawings, David Barnett Gallery, Milwaukee, WI, May 14 to July 23, 1988 Literature: Copy of David Barnett Gallery exhibition catalog included with lot

LOT 145

JACKSON LEE NESBITT (Am. 1913-2008) Woman with Hat and Green Dress Tempera on paperboard, framed under glass 16” x 12” sight, 23 3/4” x 19” framed $800-$1,200

Provenance: Purportedly from the collection of Albert and Elinor Marvin, Ogunquit, Maine to a Private Collection Ocean Park, Maine We would like to thank Henry Adams and Marianne Berardi for their assistance cataloguing this lot. They believe the work to be “entirely consistent with the work of Jackson Lee Nesbitt both in its execution and in the character of the woman’s expression.” They do note that it is hard to be definitive without a signature or more complete provenance but given the work is closely associated and was purchased with another work by the artist the attribution is “reasonably secure.”

FEB 2021 CATALOG

LOT 146

JOHN W. BENTLEY (Am. 1880-1951) Nude with Lantern Oil on canvas, framed Signed l.r. 15 5/8” x 19 3/4” actual, 22 3/4” x 26 3/4” framed $2,000-$3,000 Provenance: Private Collection Rye Beach, New Hampshire

LOT 147

19TH/20TH CENTURY AMERICAN SCHOOL Woman in White Oil on panel, framed 19 5/8” x 10 7/8” actual, 26 1/4” x 17 1/2” framed $400-600

Provenance: Private Collection South Berwick, Maine

LOT 148

GEORGE SLOANE (Am. 1864-1932) The Barrister Oil on panel, framed 9 3/4” x 7 3/4” actual, 13 3/4” x 11 3/4” framed $400-$600

Provenance: Private Collection New Castle, New Hampshire

BARRIDOFF GALLERIES

LOT 149

PAUL CADMUS (Am. 1904-1999) “Vermont Brook #3” Crayons on fabricant paper, matted and framed under glass Signed l.l., artist name and title on verso, Ten Studio Hill ink stamp on verso, Midtown Galleries labels on verso, Midtown Payson Galleries labels on verso, DC Moore Gallery labels on verso 13 1/2” x 18 1/4” sight, 22 1/8” x 26 1/4” framed $4,000-$6,000 Provenance: Collection of Paul Cadmus, Estate of Jon F. Anderson, Private Collection Ypsilanti, Michigan Exhibitions: Paul Cadmus: Drawings and Prints, Midtown Payson Galleries, New York, NY, March 12 - April 18 1992; Paul Cadmus: 90 Years of Drawing, DC Moore Gallery, New York, NY, May 5 - June 19 1998

LOT 150

JOHANN BERTHELSEN (Am. 1883-1972) “Union Square, Washington Statue” Oil on canvasboard Signed l.r. 23 1/2” x 30” actual, 32 1/4” x 37 1/4” framed $7,000-$9,000

Provenance: The Estate of Isabel Selinger

FEB 2021 CATALOG

LOT 151

JOHN WHORF (Am. 1903-1959) Skier in the Birch Trees Watercolor on paper, framed under glass Signed l.r. 14 1/4” x 21 1/4” sight, 23 1/2” x 30” framed $1,200-$1,800 Provenance: Private Collection Massachusetts

LOT 152

EMILY MUIR (Am. 1904-2003) Study of Working Fishermen Pencil on paper, framed under glass Artist’s notes as to colors to fill in on various figures and features of study throughout 8 1/2” x 11” sight, 15 3/8” x 17 7/8” framed $300-$500 Provenance: Private Collection Scarborough, Maine

LOT 153

WILLIAM MUIR (Am. 1902-1964) “Lesson in Finger Painting Brunswick USO, May 23, 1944” Pastel on paper, matted and framed under glass Signed, titled and dated l.r., O’Farrell Gallery label on verso, “Collection of Mildred C. and Marius B. Peladeau” inscribed on verso, “Bill’s work is in the permanent collection of the Farnsworth Art Museum” inscribed on envelope attached on verso 8 3/8” x 11 3/8” sight, 14” x 16 3/4” framed $700-$900 Provenance: Collection of Marius Peladeau, Readfield, Maine Literature: A letter to the seller dated 2/18/1990 which includes a copy of William Muir’s discharge papers in included; an invitation card to the Military/Community Spring Ball ‘90 with an image of another USO pastel by Muir used as the cover on the card is included The USO (United Services Organization) facility was built in 1944 on the corner of Center Street and Federal Street in Brunswick, Maine, to provide a venue for service members to mingle with civilians in a structured recreational environment. This pastel depicts Miss Helen Varney, long time art teacher in the Brunswick schools, teaching finger painting at the USO. Mr. Peladeau is Director Emeritus and former Director of the Farnsworth Art Museum, Rockland, Maine

BARRIDOFF GALLERIES

LOT 155

DAHLOV IPCAR (Am. 1917-2017) “Five Big Farms” Gouache on paper, matted and framed under glass Signed l.r., title, artist and medium inscribed on verso, Priscilla Hartley Gallery label on verso 13” x 16” sight, 21” x 24” framed $1,200-$1,800

Provenance: Private Collection Maine Literature: An image of the lot is included in the book “Ten Big Farms” by Dahlov Ipcar, 1958. The book is included with the lot.

LOT 154

WALDO PEIRCE (Am. 1884-1970) “Flowers in Kitchen” 1946 Oil on canvas, framed Signed and dated l.r., signed, titled and dated on verso 35 1/2” x 17 1/2” actual, 44 1/4” x 26 1/4” framed $1,000-$1,500 Provenance: Private Collection Cape Elizabeth, Maine

LOT 156

DAHLOV IPCAR (Am. 1917-2017) “Nepal Valley” 1997 Oil on canvas, framed Signed and dated l.r., artist label on back 18” x 35” actual, 19 1/4” x 36 3/8” framed $6,000-$8,000 Provenance: Private Collection Maine Accompanied by personal card from the artist gifting the painting to a friend

FEB 2021 CATALOG

LOT 157

WILLIAM ZORACH (Am. 1887-1966) View of Bow Bridge Watercolor on paper, matted and framed under glass Signed l.l. 11 1/4” x 15 3/8” sight, 23” x 26 3/8” framed $1,000-$1,500 Provenance: Private Collection Lincolnville, Maine

LOT 158

WILLIAM ZORACH (Am. 1887-1966) New Horizon (Study) Bronze sculpture with verdigris patina “© Zorach 0/5/6” engraved on back lower edge 10 1/8” x 9” x 5” $4,000-$6,000 Provenance: Private Collection Maine

BARRIDOFF GALLERIES

LOT 159

BETTY LOU SCHLEMM (Am. b. 1934) Farmhouses in Winter Watercolor, matted and framed under glass Signed l.r. 14 3/8” x 21 1/2” sight, 22” x 28 1/2” framed $300-$400 Provenance: Estate of Donald Brenwasser, New Jersey

LOT 160

WILLIAM THON (Am. 1906-2000) Italian Scene with Wrought Iron Gate Watercolor on paper Signed l.r., unfinished work on verso signed l.r. 20 1/5” x 27” actual $700-$900 Provenance: Private Collection York, Maine

LOT 161

WILLIAM THON (Am. 1906-2000) “February” Watercolor on paper Signed l.r., titled on verso 18” x 24” actual $800-$1,000 Provenance: Private Collection York, Maine

FEB 2021 CATALOG

LOT 162

LAURENCE PHILIP SISSON (Am. 1928-2015) “Strawberry Island” Oil on board, framed Signed l.r., title inscribed in pencil on stretcher, Maxwell Galleries label on verso 43 3/8” x 65 3/8” actual, 49 1/4” x 71 1/4” framed $2,000-$3,000

Provenance: Private Collection Lowell, Massachusetts

LOT 163

WILLIAM KIENBUSCH (Am. 1914-1980) Green and Blue, 1976 Crayon or pastel, matted and framed under glass Signed and dated l.l. 10 1/2” x 12” sight, 16 3/4” x 19 3/4” framed $500-$700

Provenance: Private Collection Mount Desert Island, Maine

LOT 164

REUBEN TAM (Am. 1916-1991) “Breaking Wave” 1948 Oil on board, framed Signed and dated l.r., artist’s name, title and date inscribed on verso, The Downtown Gallery label on verso 15 1/2” x 19 3/8” sight, 20 7/8” x 24 3/4” framed $3,000-$5,000 Provenance: Private Collection Massachusetts

BARRIDOFF GALLERIES

LOT 165

ANDREW WINTER (Am. 1893-1958) Coastal View Oil on canvasboard, framed Signed l.r., signed on verso 5 1/2” x 14 3/8” actual, 10 7/8” x 19 3/4” framed $600-$800

Provenance: Private Collection Lincolnville, Maine

LOT 166

MORRIS SHULMAN (Am. 1912-1978) Waves (Monhegan), 1949 Oil on canvas, framed under glass Signed and dated l.r. 13 3/8” x 19 3/8” sight, 21 1/4” x 27 1/4” framed $1,200-$1,800 Provenance: Private Collection Massachusetts

LOT 167

MORRIS SHULMAN (Am. 1912-1978) Red and Teal Abstract (Monhegan), 1959 Oil on paper, framed under glass Signed and dated l.r. 21 3/4” x 29 3/4” actual, 33 5/8” x 41 1/2” framed $1,500-$2,500 Provenance: Private Collection Massachusetts

FEB 2021 CATALOG

LOT 168

HENRY KALLEM (Am. 1912-1985) “Sun Burst” Oil on canvas, unframed Signed l.l., artist’s name and title inscribed on verso, John Heller Gallery, Inc. label on verso 20” x 24” $800-$1,200 Provenance: Private Collection Massachusetts

LOT 169

HENRY KALLEM (Am. 1912-1985) “Citadel” Oil on canvas, framed Signed l.r., titled on verso 38” x 48” actual, 40 5/8” x 50 5/8” framed $2,500-$3,500 Provenance: Private Collection Massachusetts

BARRIDOFF GALLERIES

LOT 170

REUBEN TAM (Am. 1916-1991) “Deep Night Deep Sea” (Monhegan) 1952 Oil on board, framed Signed and dated l.r., artist’s name, title and date inscribed on verso, The Downtown Gallery New York label on verso 19 3/4” x 23 3/4” actual, 28 1/2” x 32 1/2” framed $5,000-$7,000

Provenance: Private Collection Ypsilanti, Michigan Painted on Monhegan according to inscription; most likely original Tam frame

LOT 171

REUBEN TAM (Am. 1916-1991) “The Moon-Driven Sea” 1954 Oil on canvas, framed Signed and dated l.r., artist’s name, title and date inscribed on verso, The Montreal Museum of Fine Arts label on verso, The Alan Gallery label on verso 23 1/2” x 35 3/8” actual, 32 3/4” x 44 5/8” framed $7,000-$9,000

Provenance: The Alan Gallery, Hirschhorn Museum Collection, Sotheby’s NY, 1995, Private Collection Ypsilanti, Michigan Most likely original Tam frame

FEB 2021 CATALOG

LOT 172

ELENA JAHN (Am. 1938-2014) Group Lot: 1] ”Whitehead” 1961 India ink on paper, framed under glass Signed “E. Jahn” l.r. 3 3/8” x 16 3/8” sight, 17” x 21” framed 2] “Monhegan Rocks” 1961 India ink on paper, framed under glass Signed “E Jahn” l.r. 13 3/8” x 16 1/4” sight, 17” x 21” framed $600-$800 Provenance: Estate of the Artist

LOT 173

JOHN BISBEE (Am. b. 1965) “Iris” 2015 Welded steel nails circle 32” circumference $4,000-$6,000

Provenance: Private Collection Scarborough, Maine

BARRIDOFF GALLERIES

LOT 174

EMILY NELLIGAN (Am. 1924-2018) “June 89” Charcoal on paper, matted and framed under glass Signed l.r., artist’s name, title and date inscribed on verso 7 1/4” x 10 3/4” sight, 18 3/8” x 21 7/8” framed $6,000-$8,000 Provenance: Private Collection Massachusetts

LOT 175

DAVID HOCKNEY (Am. b. 1937) Shadowed Long-Stem Flowers Digital print, unframed Signed l.r., “Printers proof III” inscribed l.l. 15” x 11” $7,000-$9,000

Provenance: Private Collection London, England

LOT 176

DAVID HOCKNEY (Am. b. 1937) Silhouetted Flowers Digital print, matted and framed under glass Signed and dated l.r., initialed l.r., “Printer’s Proof I” inscribed l.l., Zwemmer Gallery label on verso, Digital Planet article about artist attached verso 12” x 8 1/8” sight, 17 5/8” x 13 1/4” framed $10,000-$15,000 Provenance: Private Collection London, England

FEB 2021 CATALOG

LOT 177

ALICE SPENCER (Am. b. 1944) Blue, Yellow and Red Abstract Monoprint, framed under glass Signed l.r., numbered “1/1” l.l., Robert Clements Gallery label on verso 6” x 6” actual, 24 1/4” x 20 1/4” framed $200-$300 Provenance: Private Collection Scarborough, Maine

LOT 178

THOMAS CROTTY (Am. 1934-2015) “Three Hay Bales” 1994 Oil on board, framed Signed l.r., artist’s name, title and date inscribed on verso 10” x 12” actual, 18 1/8” x 21 1/8” framed $2,000-$3,000 Provenance: Private Collection California

BARRIDOFF GALLERIES

LOT 179

ANN LOFQUIST (Am. b. 1964) “Snowy Brunswick, Evening II” 1993 Oil on panel, framed Initialed and dated l.l., artist’s name, title and date inscribed on verso 7” x 13 1/8” actual, 7 7/8” x 14 1/8” framed $1,500-$2,500

From the Estate of Beverly Hallam, sold to benefit Surf Point Foundation, York, Maine Exhibitions: “Night Light” Barn Gallery, Ogunquit, ME 1993

LOT 180

DARRAGH PARK (Am. 1939-2009) “Freshly Mown” 1981 Oil on board, framed Signed l.r., name and title inscribed on verso, Tibor De Nagy Gallery 11 3/4” x 10” actual, 14 1/2” x 12 3/4” framed $3,000-$5,000 Provenance: Private Collection Massachusetts

FEB 2021 CATALOG

LOT 181

CONNIE HAYES (Am. b. 1952) “Portsmouth Light” Oil on panel, framed Signed l.r., title inscribed on verso 11 1/2” x 11 1/2” actual, 13 1/8” x 13 1/8” framed $1,500-$2,500

Provenance: Private Collection Scarborough, Maine

LOT 182

DON STONE (Am. 1929-2015) Sailboat Oil on canvas, framed Signed l.l. 10 1/2” x 13 1/2” actual, 18 5/8” x 21 5/8” framed $800-$1,200

Provenance: Private Collection Scarborough, Maine

LOT 183

JO SPILLER (Am. 20th Century) “Tulips, Anemones and Delphiniums” Watercolor, framed under glass Signed l.l. Label with title on verso u.l., titled in pencil on verso at upper left 22 3/4” x 30 1/4” actual, 35 5/8” x 42 1/4” framed $800-$1,200

Provenance: Private Collection Cumberland, Maine

BARRIDOFF GALLERIES

LOT 184

JANE DAHMEN (Am. 20th-21st Century) Looking Through the Window Acrylic on paper, framed under Plexiglas Signed l.l. 49 1/2” x 37 1/2” actual, 54 1/8” x 41 5/8” framed $2,500-$3,000

Provenance: Private Collection Hope, Maine

LOT 185

GREGORY GILLESPIE (Am. 1936-2000) Still Life with Root Vegetables on Clipboard Oil on clipboard, framed in shadowbox 13” x 8 3/4” actual, 20” x 16 1/2” framed $3,000-$5,000

Provenance: Private Collection Massachusetts Literature: Art New England article about artist August/September 1998, Boston Globe article about artist October 31, 1999 and Boston Globe article upon artist’s death c. 2000 attached verso

LOT 186

RICHARD BROWN LETHEM (Am. b. 1932) 1] Robin Oil on canvas, framed Initialed l.r. signed on verso, artist’s label on verso 10 5/8” x 11 3/4” actual, 13 1/4” x 14 1/4” framed 2] “Determination” 2014 Acrylic on canvas, framed Initialed l.r., signed and titled on verso, artist’s label on verso, “Home Body XXX” inscribed on verso 11” x 10” actual, 12 1/8” x 11 1/8” framed $500-$700

Provenance: Collection of Anthony Moore, York, Maine

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FEB 2021 CATALOG

LOT 187

C. MICHAEL LEWIS (Am. b. 1950) “Grand Trunk” 2018 Oil on wood, framed Initialed l.r. 22 1/8” x 42” actual, 23 1/2” x 43 1/4 “ framed $4,000-$6,000

Provenance: Private Collection Portland, Maine

LOT 188

C. MICHAEL LEWIS (Am. b. 1950) “Thrusters” 2006 Oil on wood, framed Initialed and dated l.r., signed on verso, artist’s name, title and date inscribed on verso 15 3/4” x 43 5/8” sight, 16 3/4” x 44 3/4” framed $2,500-3,500 Provenance: Private Collection Portland, Maine

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LOT 190

LOT 189

ALFRED CHADBOURN (Am. 1921-1998) “The Bridge - Damariscotta” 1979 Oil on canvas, framed Signed l.r., signed, titled, dated on verso 10 1/8” x 13 7/8” actual, 11 1/4” x 15 1/8” framed $1,000-$1,500

OLGA ANTONOVA (Am./Russian b. 1956) Still Life of a Pear, 1996 Oil on canvas, framed Monogrammed and dated l.l. 22” x 11 7/8” sight, 22 1/2” x 12 3/8” framed $400-$600

Provenance: Private Collection Tampa, Florida

Provenance: From the Artist to private collection Scarborough, Maine

LOT 191

NEIL WELLIVER (Am. 1929-2005) “Wood Duck” 1984 Hand colored etching, matted and framed under glass Signature l.r., numbered “82/90”, “Collection of Beverly Hallam” label on verso, A Singular Vision exhibition label on verso 23 3/4” x 25”1/2 actual, 37 1/2” x 35” framed $1,200-$1,800

FEB 2021 CATALOG

LOT 193

LOT 192

EDWARD LANGFORD (Am. 20th Century) “View from Baxter Boulevard” Oil on board, framed Signed l.l., Hobe Sound Galleries North label on verso 22 1/8” x 35 1/8” sight, 32” x 45” framed $600-$800

DOZIER BELL (Am. b. 1957) “Figure at a Window” Oil on linen, framed Signed and dated on verso 17” x 17” actual, 17 1/2” x 17 1/2” framed $400-$600

Provenance: Private Collection Cape Elizabeth, Maine

Provenance: Private Collection Falmouth, Maine

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LOT 194

ROBERT SOLOTAIRE (Am. 1930-2008) Portland City Hall, 1988 Oil on canvas, framed Signed and dated l.r., news article about artist and note about origin on verso 23 5/8” x 33 5/8” actual, 31 1/8” x 41 1/4” framed $800-$1,200

Provenance: Private Collection Tierra Verde, Florida Literature: Attached are newspaper articles from the Portland Press Herald including an article about the artist February 16, 1992, the artist’s obituary October 7, 2008 and an article about the history of Portland City Hall January 24, 2008 A retirement gift from BankNorth Group to John Menario. Menario, the consignor’s father, was Portland City Manager, Portland, Maine, from 1967-1976

LOT 195

LAURENCE PHILIP SISSON (Am. 1928-2015) “The Family Regatta” Oil on board, framed Signed l.l., Hobe Sound Galleries North label on verso 23 1/4” x 35 1/4” actual, 31 1/2” x 43 1/2” framed $2,000-$3,000 Provenance: Private Collection Cape Elizabeth, Maine

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FEB 2021 CATALOG

LOT 196

GROUP LOT PHOTOGRAPHY (Am. 21st Century) Group lot 1] “Polly’s Baby Shoes” 1988 Gelatin Silver Print Signed, initialed, titled and dated on verso, “Print of February 1997 DFC” inscribed on verso, numbered “22/25” on verso 23 3/4” x 19 7/8” 2] “Mandela’s Cell Mandala, South Africa” 2007-08 Pigment print Signed and dated l.r., titled l.r. 39 3/4” x 25 7/8 $400-$600 Provenance: Both prints acquired directly from artist, Private Collection Biddeford, Maine 1] Artist is Debbie Fleming-Caffery 2] Artist is Meridel Rubenstein

LOT 197

LARRY FINK (Am. b. 1941) “Blue Horizon, Philadelphia, Pennsylvania, January 1989” Gelatin Silver Print Signed, titled, and dated on verso 13 3/4” 14 1/8” sight, 19 7/8” x 15 3/4” actual, 24” x 20” matted $300-$500

Provenance: Purchased at charitable auction to which artist had directly donated print for inclusion in the auction, Private Collection Biddeford, Maine This same photo can be found in the collections of the Cleveland Museum of Art and the Philadelphia Museum of Art 105

BARRIDOFF GALLERIES

LOT 198

E AARON SISKIND

(Am. 1903-1991) “Martha’s Vineyard 112a” 1954 Gelatin silver print, mounted Signed and titled in pencil on verso 16 1/2” x 13 1/2” actual, 24” x 19” mounted $2,000-$3,000 Provenance: From the Estate of Nicholas Dean

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LOT 199

MINOR WHITE (Am. 1908-1976) Rocks and Shore, 1963 Gelatin silver print, mounted Signed in mount in pencil l.r., dated in pencil l.l. 9 1/2” x 7 1/4” actual, 17” x 14” mounted $800-$1,200 Provenance: From the Estate of Nicholas Dean

FEB 2021 CATALOG

LOT 200

NEIL WELLIVER (Am. 1929-2005) Salmon, 1977 Etching and watercolor on paper, framed under glass Signed l.r., numbered “8/40” l.l. 23 1/2” x 31” sight, 31” x 37 3/4” framed $1,200-$1,800 Provenance: Private Collection California

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I N DE X

B y L ot Nu mbe r Abbott, Berenice............................... 43 Aho, Eric........................................... 52, 53, 54, 133 Akers, Vivian.................................... 109, 110 American School, 19th/20th Century 147 Antonova, Olga................................ 189 Avery, Milton.................................... 144 Bell, Dozier....................................... 193 Bentley, John W................................. 146 Bernard, Emile.................................. 1, 2, 3 Berthelsen, Johann............................ 150 Bisbee, John...................................... 49, 50, 173 Blaine, Nell....................................... 29 Bogdanove, Abraham....................... 61 Cadmus, Paul.................................... 149 Campbell, Laurence A...................... 141 Caponigro, Paul................................ 40 Chadbourn, Alfred........................... 190 Crotty, Thomas................................. 178 Dahmen, Jane.................................... 184 Dean, Nicholas.................................. 44, 45 Drexler, Lynne.................................. 21, 99, 100 Dreyfous, Florence............................ 121, 122 Dyer, Uriah Norton.......................... 82 Feldman, Walter................................ 125, 126 Ferguson, Amos................................ 15, 16 Fink, Larry........................................ 197 Fiske, Gertrude................................. 76 Fontana, Lucio.................................. 9 Fox, Charles Lewis............................ 112 France, Eurilda Loomis..................... 4, 113, 114 Frankenthaler, Helen........................ 38 Gallagher, Sears................................. 75 Gillespie, Gregory............................. 185 Gowen, Elwyn George .70, 70A, 71, 72, 131, 132 Gruppe, Emile Albert....................... 68 Gualtieri, Joseph............................... 84 Hayes, Connie................................... 181 Heliker, John..................................... 130 Hockney, David................................ 14, 175, 176 Hodges, Jim...................................... 25 Indiana, Robert................................ 11 Ipcar, Dahlov.. 101, 102, 103, 155, 156 Jahn, Elena........................................ 172 Joyce, Peter........................................ 22, 23, 24 Kahn, Wolf........................................ 88, 89, 90, 91, 134, 135, 137

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Kallem, Henry.................................. 56, 168, 169 Kent, Rockwell................................. 142, 143 Kienbusch, William.......................... 163 Knapp, Charles Wilson..................... 105 Knaths, Karl...................................... 31, 32 Knox, James...................................... 138 Kollwitz, Käthe................................. 5 Kroll, Leon........................................ 67 Kulicke, Robert................................ 85, 86, 87 Kunkel, George................................. 81 Lang, Dorothea................................. 42 Langford, Edward............................. 192 Langlais, Bernard.............................. 107, 108 Laurent, John Louis.......................... 128 Lethem, Richard Brown................... 186 Lewis, C. Michael.............................. 187, 188 Lofquist, Ann................................... 179 Mattei, Antonio “Tony”................... 79 Metcalf, Conger................................ 51 Moore, Robert Eric........................... 129 Muir, Emily....................................... 96, 97, 98, 152 Muir, William................................... 153 Murphy, Hermann Dudley.............. 74 Nell, Antonia (Tony)........................ 30 Nelligan, Emily................................. 174 Nesbitt, Jackson Lee......................... 145 Nevelson, Louise............................... 39 Park, Darragh.................................... 180 Peirce, Waldo..................................... 154 Photography, Group Lot 5............... 196 Picasso, Pablo.................................... 6, 7, 8 Rackliffe, Howard............................. 57, 60 Sakanishi, Noriko............................. 10 Sanborn, Percy.................................. 83 Sanders, Robert................................ 63 Schanker, Louis................................. 33, 34, 35, 36, 37 Schlegell, Gustav William von ......... 127 Schlemm, Betty Lou......................... 159 Sejourne, Bernard............................. 20 Shils, Stuart....................................... 27, 28 Shulman, Morris............................... 58, 59, 166, 167 Similien, Emilcar............................... 19 Siskind, Aaron.................................. 198 Sisson, Laurence Philip..................... 162, 195 Sloane, George.................................. 148 Smith, E. Boyd.................................. 115, 116

Snell, Henry B................................... 64 Solotaire, Robert.............................. 194 Spencer, Alice.................................... 177 Spiller, Jo........................................... 183 Sprinchorn, Carl............................... 92, 93, 94, 95, 117, 118, 119, 120 Stevens, John Calvin......................... 111 Stone, Don........................................ 182 Strater, Henry H............................... 80 Stubbs, William Pierce...................... 65 Symons, George Gardner................. 140 Tam, Reuben.................................... 55, 164, 170, 171 Tebó, Sacha....................................... 18 Thieme, Anthony............................. 69 Thon, William.................................. 123, 124, 160, 161 Tolliver, William............................... 26 Turnier, Luce.................................... 17 Tyler, James Gale............................62 Valenkamph, T.V.C....................... 66 Wagoner, Harry B.........................139 Warhol, Andy..................................13 Webb, Todd................................... 41 Wegman, William.......................... 12 Welliver, Neil........................ 191, 200 Wentworth................................... 104 Weston, Brett................................ 48 Weston, Edward...................... 46, 47 White, Minor............................... 199 Whorf, John.................................. 151 Winter, Andrew............................165 Woodbury, Charles........................78 Woodbury, Marcia......................... 73 Woodward, Mabel May.................77 Zorach, William..............106, 157, 158

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