America's 250th: 18th 21st Century Fine Art

Lot: 1500 - POSSIBLY EUGENIA SHANKLAND , 19TH CENTURY, PORTHOLE PORTRAIT OF GEORGE WASHINGTON AFTER REMBRANDT PEALE, Oil on canvas, 40 x 36 1/8 in. (101.6 x 91.8 cm.)

POSSIBLY EUGENIA SHANKLAND 19TH CENTURY PORTHOLE PORTRAIT OF GEORGE WASHINGTON AFTER REMBRANDT PEALE Oil on canvas verso label on stretcher: JAMES M. BRYAN & SON / 107/ WEST 8TH STREET/ WILMINGTON DE Catalogue note: Eugenia Shankland is known to have made a copy of Rembrandt Peale's Porthole Portrait of George Washington for the office of the Vice-president of the Senate. The current painting has a Delaware label and Eugenia Shankland is known to have lived there as member of the order of the Visitation of Wilmington Delaware. ("The Part Taken by Women in American History," by Mrs John A. Logan, 1912)

Lot: 1501 - ABRAHAM G. D. TUTHILL, NEW YORK, VERMONT 1776-1843, PORTRAIT OF GEORGE WASHINGTON, Oil on panel, 25 1/8 x 19 in. (63.8 x 48.3 cm.), Frame: 30 1/4 x 23 3/8 in. (76.8 x 59.4 cm.)

ABRAHAM G. D. TUTHILL NEW YORK, VERMONT, 1776-1843 PORTRAIT OF GEORGE WASHINGTON Oil on panel verso labeled and tag attached Catalogue Note: Inventory of American Paintings: 80200138

Lot: 1502 - WALTER MAXWELL MACEWEN, AMERICAN 1860-1943, LA ROBE JAUNE, Oil on canvas, 74 x 43 in. (188 x 109.2 cm.), Frame: 84 x 53 in. (213.4 x 134.6 cm.)

WALTER MAXWELL MACEWEN AMERICAN, 1860-1943 LA ROBE JAUNE Oil on canvas Lower right signed: MacEwen; verso exhibition label: THE CORCORAN GALLERY OF ART, WASHINGTON, D.C. / THIRD EXHIBITION CONTEMPORARY AMERICAN OIL PAINTINGS 1910 / Walter Mac Ewen / La Robe Jaune verso partial label:

Lot: 1503 - MARTIN JOHNSON HEADE, AMERICAN 1819-1904, A FARM IN A VALLEY, ca. 1844, Oil on canvas, 22 x 36 in. (55.9 x 91.4 cm.), Frame: 25 x 39 in. (63.5 x 99.1 cm.)

MARTIN JOHNSON HEADE AMERICAN, 1819-1904 A FARM IN A VALLEY, ca. 1844 Oil on canvas Lower right signed: M.J. Heade Catalogue note: This is the first recorded landscape by the artist.

Lot: 1504 - FERDINAND ALEXANDER WÜST, DUTCH/AMERICAN 1837-1876, STATEN ISLAND, JUNE 9TH 1858, Oil on canvas, 28 x 46 1/4 in. (71.1 x 117.5 cm.), Frame: 31 3/4 x 50 in. (80.6 x 127 cm.)

FERDINAND ALEXANDER WÜST DUTCH/AMERICAN, 1837-1876 STATEN ISLAND, JUNE 9TH 1858 Oil on canvas Lower right signed and dated: Alex Wust N.Y. 1861 verso inscribed on canvas: June 9th 1858 / Staten Island / rain storms; verso stenciled on canvas: PREPARED / BY EDwd DECHAUX; verso on stretcher bar in black ink: June 9th 1858 / from / Staten Island / Storm; verso in black ink on stretcher bar: A poor ........

Lot: 1505 - AMERICAN SCHOOL , 19TH CENTURY, SAINT JOSEPH'S ACADEMY, EMMITSBURG, MARYLAND, Oil on canvas, 32 1/4 x 45 1/2 in. (81.9 x 115.6 cm.), Frame: 38 x 51 3/4 in. (96.5 x 131.4 cm.)

AMERICAN SCHOOL 19TH CENTURY SAINT JOSEPH'S ACADEMY, EMMITSBURG, MARYLAND Oil on canvas Lower center titled: St. Joseph's Academy Md. Catalogue note: Saint Joseph's Academy and Free School was an historical Catholic school for girls in Emmitsburg, Maryland, founded by Saint Elizabeth Ann Seton and the Sisters of Charity in 1809. It was the first free parochial school for girls in the United States and operated from 1809 to 1973.

Lot: 1506 - ROBERT EMMET COMMEMORATIVE MARBLE RELIEF 22in. high, 18.5in. wide, 3in. deep

ROBERT EMMET COMMEMORATIVE MARBLE RELIEF initialed at the base of the column 'O'H.' Catalogue note: 'Robert Emmet: Columbia's Tribute to Our Martyr' is a historical phrase and theme reflecting Irish-American commemoration of the Irish nationalist leader executed in 1803. Robert Emmet (1778-1803) was an Irish republican, orator and rebel leader who was inspired by the American democratic ideals. He became a hero to the Irish - American communities symbolizing courage and struggle against British rule. He was executed in 1803. "Robert Emmet: Columbia's Tribute to Our Martyr" is a historical phrase and theme reflecting Irish-American commemoration of the Irish nationalist leader executed in 1803.

Lot: 1507 - AFTER FREDERIC REMINGTON, AMERICAN 1861-1909, COMING THROUGH THE RYE, bronze, mounted on a conforming marble base, Height (including base): 29 × Width: 33 × Depth: 19 in. (73.7 × 83.8 × 48.3 cm)

AFTER FREDERIC REMINGTON AMERICAN, 1861-1909 COMING THROUGH THE RYE bronze, mounted on a conforming marble base Note: "Coming through the Rye" was inspired by the artist's own illustrations, one published in "Century Magazine" in October 1888 and the other in "Harper's Weekly" in December 1889. Four mounted cowboys, pistols raised aloft, keep a steady pace in a tight, boisterous group.

Lot: 1508 - DE LANCEY WALKER GILL, VIRGINIA 1859-1940, COASTAL LANDSCAPE, Oil on board, Sight: 14 3/4 x 12 1/2 in. (37.5 x 31.8 cm.), Frame: 18 1/2 x 15 3/4 in. (47 x 40 cm.)

DE LANCEY WALKER GILL VIRGINIA, 1859-1940 COASTAL LANDSCAPE Oil on board Lower right signed: De Lancey Gill

Lot: 1509 - MAX WEYL, 1837-1914, (POTOMAC) MARSHLANDS WITH US CAPITOL, Oil on canvas, 10 3/4 x 15 3/4 in. (27.3 x 40 cm.), Frame: 16 1/2 x 21 1/2 in. (41.9 x 54.6 cm.)

MAX WEYL 1837-1914 (POTOMAC) MARSHLANDS WITH US CAPITOL Oil on canvas Lower right inscribed and signed and dated: To dear Leda Pinkham / Max Weyl

Lot: 1510 - MAX WEYL, WASHINGTON, D.C. 1837-1914, ROCK CREEK AT THE POTOMAC, Oil on canvas, 20 x 24 in. (50.8 x 61 cm.), Frame: 31 x 34 7/8 in. (78.7 x 88.6 cm.)

MAX WEYL WASHINGTON, D.C., 1837-1914 ROCK CREEK AT THE POTOMAC Oil on canvas Lower left signed: Max Weyl; on verso canvas titled: Rock Creek at the Potomac

Lot: 1511 - MAX WEYL, WASHINGTON, D.C. 1837-1914, LANDSCAPE, Oil on canvas, 18 x 24 in. (45.7 x 61 cm.), Frame: 24 x 30 1/2 in. (61 x 77.5 cm.)

MAX WEYL WASHINGTON, D.C., 1837-1914 LANDSCAPE Oil on canvas Lower right signed: Max Weyl

Lot: 1512 - MAX WEYL, WASHINGTON, D.C. 1837-1914, LANDSCAPE WITH FIELD STONE WALL, Oil on canvas, 15 x 21 in. (38.1 x 53.3 cm.), Frame: 20 1/2 x 26 1/2 in. (52.1 x 67.3 cm.)

MAX WEYL WASHINGTON, D.C., 1837-1914 LANDSCAPE WITH FIELD STONE WALL Oil on canvas Lower right signed: Max Weyl

Lot: 1513 - ALEXANDER HELWIG WYANT, AMERICAN 1836-1892, LANDSCAPE, Watercolor, Sight: 13 3/4 x 9 3/4 in. (34.9 x 24.8 cm.), Frame: 22 x 18 in. (55.9 x 45.7 cm.)

ALEXANDER HELWIG WYANT AMERICAN, 1836-1892 LANDSCAPE Watercolor Lower right signed: A.H. Wyant; verso labeled

Lot: 1514 - JOHN JAMES AUDUBON, AMERICAN 1785-1851, WHITE-BREASTED BLACK-CAPPED NUTHATCH (SITTA CAROLINENSIS), Hand colored engraving, Plate: 25 1/4 x 21 in. (64.1 x 53.3 cm.), Frame: 39 x 34 in. (99.1 x 86.4 cm.)

JOHN JAMES AUDUBON AMERICAN, 1785-1851 WHITE-BREASTED BLACK-CAPPED NUTHATCH (SITTA CAROLINENSIS) Hand colored engraving Audubon print of Nuthatches; Havell Dimensions: framed - 34.25" wide x 39.5" high J. Whatman watermark upper left

Lot: 1515 - JOHN JAMES AUDUBON, AMERICAN 1785-1851, SPERMOPHILUS ANNULATUS, PLATE LXXIX, Hand colored lithograph, Sight: 20 1/2 x 25 1/2 in. (52.1 x 64.8 cm.), Frame: 30 3/4 x 35 3/4 in. (78.1 x 90.8 cm.)

JOHN JAMES AUDUBON AMERICAN, 1785-1851 SPERMOPHILUS ANNULATUS, PLATE LXXIX Hand colored lithograph Upper left: No. 16; upper right Bowen Edition Lower left: Drawn From Nature by J. J. Audubon; lower center: Spermophilus Annulus, Aud. 8 Bach. / Annulated Marmot Squirrel / lower right: Lith. Print & Color. by J. T. Bowen, Philadel. 1845

Lot: 1516 - WILLIAM R. BARNET, AMERICAN 1911-2012, PETER and THE BOOK from "IMAGES OF CHILDREN", Woodblock

WILLIAM R. BARNET AMERICAN, 1911-2012 PETER and THE BOOK from "IMAGES OF CHILDREN" Woodblock "Peter;" woodcut on japan paper; Plate: 11 1/4 x 9 in. (28.6 x 22.9 cm.), Sheet: 20 x 17 in. (50.8 x 43.2 cm.) lower left titled: Peter; lower center numbered: 46/60; lower right signed: Will Barnet ; "The Book." etching on Rives paper: 13/4 x 13 1/2 in. (27.3 x 34.3 cm.), Sheet: 16 x 19 3/4 in. (40.6 x 50.2 cm.); lower center numbered: 56/60; lower right signed; Plate: 10 From the edition of 60 published by Associated American Artists in a portfolio of 8 prints in 1982. (2)

Lot: 1517 - ERIC FISCHL, AMERICAN b. 1948, UNTITLED (BEACH SCENE), Relief pressure print on collage paper, Sheet: 13 1/4 x 20 1/4 in. (33.7 x 51.4 cm.)

ERIC FISCHL AMERICAN, b. 1948 UNTITLED (BEACH SCENE) Relief pressure print on collage paper Lower left numbered and signed: 21/125 / Eric Fischl Pace Editions, New York, publisher. Note: A "relief pressure print" is a form of collage-based printing where the "plate" or "matrix" is built up rather than carved away, using raised materials to create an image on a letterpress or similar printing machine.

Lot: 1518 - FRANK WILLIAM CUPRIEN, CALIFORNIA 1871-1948, A SUMMER AFTERNOON, Oil on canvas, 24 x 36 in. (61 x 91.4 cm.), Frame: 31 x 43 in. (78.7 x 109.2 cm.)

FRANK WILLIAM CUPRIEN CALIFORNIA, 1871-1948 A SUMMER AFTERNOON Oil on canvas Lower right signed: F.W.CUPRIEN; verso titled: A SUMMER AFTERNOON/ CAL

Lot: 1519 - PAUL STRISIK, MASSACHUSETTS (ROCKPORT) 1918-1998, OCTOBER SUNLIGHT (LANDSCAPE WITH FLOWING RIVER), Oil on canvas, 16 x 24 in. (40.6 x 61 cm.), Frame: 22 1/2 x 33 3/4 in. (57.2 x 85.7 cm.)

PAUL STRISIK MASSACHUSETTS (ROCKPORT), 1918-1998 OCTOBER SUNLIGHT (LANDSCAPE WITH FLOWING RIVER) Oil on canvas Lower left signed: P. Strisik; on verso, backing board stamps: Reproduction Rights Reserved by the Artist; Artist name and address; label: Paul Strisik Gallery/ Rockport, Mass.; 16 'x 24; October Sunlight; $375.00

Lot: 1520 - ROCKWELL KENT, AMERICAN 1882-1971, WINDY DAY, Oil on canvas, 16 x 20 in. (40.6 x 50.8 cm.), Frame: 18 1/2 x 22 5/8 in. (47 x 57.5 cm.)

ROCKWELL KENT AMERICAN, 1882-1971 WINDY DAY Oil on canvas Verso inscribed on canvas: BELLOWS (note Belllows in marked out / CEDERQUIST Verso label: This painting by Rockwell Kent / was given by him to me /for having used my canvas for it / Arthur E. Cederquist verso partial label: Property of Arthur E. Cederquist / Property of George S. Hellman verso on canvas: Art supply stencil verso on upper stretcher bar collection stamp in black: George S. Hellman Collection This painting will be included in the Checklist of Paintings by Rockwell Kent, by Scott R Ferris.

Lot: 1521 - ERNEST LAWSON, NEW YORK, CONNECTICUT 1887-1939, HILLS COLORADO, Oil on canvas, 9 x 12 in. (22.9 x 30.5 cm.), Frame: 13 1/8 x 16 1/8 in. (33.3 x 41 cm.)

ERNEST LAWSON NEW YORK, CONNECTICUT, 1887-1939 HILLS COLORADO Oil on canvas Lower left signed: E. Lawson; verso inscribed: Hills / Colorado

Lot: 1522 - MICHAEL COLEMAN, UTAH B. 1946, ON THE SOUTH FORK, 1983, Watercolor on paper, Sight: 10 1/4 x 7 in. (26 x 17.8 cm.), Frame: 20 x 16 in. (50.8 x 40.6 cm.)

MICHAEL COLEMAN UTAH, B. 1946 ON THE SOUTH FORK, 1983 Watercolor on paper lower left signed and dated: MICHAEL COLEMAN 1983; verso gallery label: WUNDERLICH & COMPANY

Lot: 1523 - CHARLES SCHULZ, AMERICAN, CALIFORNIA 1922-2000, SMILING SNOOPY, Ink and marker on paper, Sight: 18 1/2 x 14 1/2 in. (47 x 36.8 cm.), Frame: 31 1/2 x 27 1/2 in. (80 x 69.9 cm.)

CHARLES SCHULZ AMERICAN, CALIFORNIA, 1922-2000 SMILING SNOOPY Ink and marker on paper Lower left signed: Schulz

Lot: 1524 - GARNET W. JEX, WASHINGTON DC 1895–1979, PORTRAIT OF KNUTE ROCKNE, ALL AMERICAN, Oil on Masonite, 45 1/2 x 30 1/4 in. (115.6 x 76.8 cm.), Frame: 53 1/8 x 38 in. (134.9 x 96.5 cm.)

GARNET W. JEX WASHINGTON DC, 1895–1979 PORTRAIT OF KNUTE ROCKNE, ALL AMERICAN Oil on Masonite Lower right signed: JEX; verso inscribed Rockne Catalog note: From the collection of the Touchdown Club, Wash. D.C. (est. 1935);

Lot: 1525 - AFTER GERALD DREXLER GARSTON, CONNECTICUT 1925-1994, PORTRAIT OF A BASEBALL PLAYER WITH THE AMERICAN FLAG, Tempera on carved wood panel, Sight: 39 1/2 x 23 5/8 in. (100.3 x 60 cm.), Frame: 40 1/2 x 25 in. (102.9 x 63.5 c

AFTER GERALD DREXLER GARSTON CONNECTICUT, 1925-1994 PORTRAIT OF A BASEBALL PLAYER WITH THE AMERICAN FLAG Tempera on carved wood panel The figure and landscape is similar to the composition by Gerald Garston, "PASTIME," 1984 from the collection of Norman and Ruthellen Gahm. That image was used on a poster for the New York State Museum, 1987

Lot: 1526 - PROBABLY MCLOUGHLIN BROTHERS, INC., BROOKLYN 19TH CENTURY, A BASEBALL GAME IN PROGRESS, WASHINGTON PARK, BROOKLYN - 1886, Oil on canvas, 35 x 43 3/4 in. (88.9 x 111.1 cm.), Frame: 51 x 60 in. (129.5 x 152.4 cm.)

PROBABLY MCLOUGHLIN BROTHERS, INC. BROOKLYN, 19TH CENTURY A BASEBALL GAME IN PROGRESS, WASHINGTON PARK, BROOKLYN - 1886 Oil on canvas No signature observed Catalogue note: The painting was likely executed by an artist at McLoughlin Brothers (Brooklyn) to be used as the prototype for the board game "Home Base Ball" (1886). The picture depicts a baseball game in progress with the pitcher preparing to pitch and runners on 1st and 2nd bases (2nd base runner is leading off). The location is the first baseball field at Washington Park in Brooklyn, 1884-1890.

Lot: 1527 - HOWARD WORNER, PENNSYLVANIA 1913-2006, INDUSTRIAL MILL SCENE WITH WORKERS, Watercolor and gouache on paper: 19 x 27?, Sight: 19 3/4 x 24 3/4 in. (50.2 x 62.9 cm.), Frame: 28 1/2 x 33 1/2 in. (72.4 x 85.1 cm.)

HOWARD WORNER PENNSYLVANIA, 1913-2006 INDUSTRIAL MILL SCENE WITH WORKERS Watercolor and gouache on paper: 19 x 27? Lower right signed: HOWARD WORNER

Lot: 1528 - EVERETT L. SHINN, AMERICAN 1876-1953, THE GOLDEN LANCET, ACT I - THE LABORATORY OF THE GOLDEN LANCET OFF THE CATACOMBS PARIS, 1934, Watercolor, ink and watercolor on board, Sight: 16 3/4 x 21 in. (42.5 x 53.3 cm.), Frame

EVERETT L. SHINN AMERICAN, 1876-1953 THE GOLDEN LANCET, ACT I - THE LABORATORY OF THE GOLDEN LANCET OFF THE CATACOMBS PARIS, 1934 Watercolor, ink and watercolor on board Lower left signed and dated: Everett Shinn 1934 Verso on dust jacket label: The Golden Lancet / Act I / The laboratory of the Golden Lancet - off the Catacombs Paris / Property of Everett Shinn / 130 - West 57th Street. New York Verso on dust jacket gallery label: ELAINE GRAHAM WEITZEN / FINE ARTS NEW YORK

Lot: 1529 - BRISTOW ADAMS, AMERICAN 1875-1957, CORNELL POSTER (POTOMAC PRESS), Color lithograph, Sheet: 22 3/4 x 14 1/4 in. (57.8 x 36.2 cm.)

BRISTOW ADAMS AMERICAN, 1875-1957 CORNELL POSTER (POTOMAC PRESS) Color lithograph Lower right signed in print; lower center in print: Copyright 1902 by the Potomac Press Publishers Washington D.C.; lower center below border: Andrew B. Graham, Photo-litho, Washington D.C. ; lower beneath border: Allen S. Hulbert Note: The Potomac Press was a Washington, D.C.-based publishing entity active in the early 20th century, specifically around 1902–1908. It appears to have been a publisher of biographical directories, historical records, and, in some cases, prints and posters. Associated with works by or involving Bristow Adams (journalism/art), and often worked with printer Andrew B. Graham of Washington.

Lot: 1530 - JOHN EMMET SHERIDAN, AMERICAN 1880-1945, HARVARD POSTER (POTOMAC PRESS) - 1901, Color lithograph, Sheet: 22 3/4 x 14 1/4 in. (57.8 x 36.2 cm.)

JOHN EMMET SHERIDAN AMERICAN, 1880-1945 HARVARD POSTER (POTOMAC PRESS) - 1901 Color lithograph Lower right signed and dated in print: John E. Sheridan 1901; Lower center in print above border: Copyright 1901 by The Potomac Press Publishers, Washington D.C.; Lower center beneath border: Andrew B. Graham, Photo-litho, Washington D.C.; upper right: Allen S. Hulbert Note: The Potomac Press was a Washington, D.C.-based publishing entity active in the early 20th century, specifically around 1902–1908. It appears to have been a publisher of biographical directories, historical records, and, in some cases, prints and posters. Associated with works by or involving Bristow Adams (journalism/art), and often worked with printer Andrew B. Graham of Washington.

Lot: 1531 - BRISTOW ADAMS, AMERICAN , HARVARD TRACK AND FIELD POSTER (POTOMAC PRESS) - 1905, Color lithograph, Sheet: 22 3/4 x 14 1/4 in. (57.8 x 36.2 cm.)

BRISTOW ADAMS AMERICAN HARVARD TRACK AND FIELD POSTER (POTOMAC PRESS) - 1905 Color lithograph Lower right signed in print; Lower center in print above border: Copyright 1905 by The Potomac Press Washington D.C.; lower center beneath border: Andrew B. Graham, Photo-litho, Washington D.C.; lower right along edge: Allen S. Hulbert Note: The Potomac Press was a Washington, D.C.-based publishing entity active in the early 20th century, specifically around 1902–1908. It appears to have been a publisher of biographical directories, historical records, and, in some cases, prints and posters. Associated with works by or involving Bristow Adams (journalism/art), and often worked with printer Andrew B. Graham of Washington.

Lot: 1532 - MYRA REYNOLDS RICHARDS, AMERICAN 1882-1934, CLARENCE CAMERON WHITE, Bronze

MYRA REYNOLDS RICHARDS AMERICAN, 1882-1934 CLARENCE CAMERON WHITE Bronze signed and dated PARIS 1922, with Valsuani foundry mark Clarence Cameron White (August 10, 1880 – June 30, 1960) was an American neoromantic composer and concert violinist. Dramatic works by the composer were his best-known, such as the incidental music for the play Tambour, and the opera Ouanga. During the first decades of the twentieth century, White was considered the foremost black violinist. Born in Clarksville, Tennessee, his father was doctor and school principal, and his mother was a violinist who studied at Oberlin Conservatory of Music. His father died when he was only two years old. In 1890, his mother remarried relocated with his family to Washington, D.C., whose black communities had rich and active music scenes. Myra Reynolds Richards (1882– 1934) was an American sculptor and teacher born in Indianapolis. She studied at the Herron Art Institute in Indianapolis mainly Mary Y. Robinson, Roda Selleck, Otto Stark, J. Ottis Adams, William Forsyth, Clifton Wheeler, Rudolf Schwarz, and George Julian Zolnay. She also studied in New York under Isidore Konti, and in Paris with Charles Despiau at the Académie Scandinave. She was an instructor of anatomy and modeling class at the Herron Art Institute, Indianapolis from 1918 to 1920, and became the head of the department until she resigned in1929.

Lot: 1533 - RICHARD DEMPSEY, AMERICAN, WASHINGTON DC 1909-1987, MUSIC FESTIVAL, HAITI, Oil on canvas, 19 x 25 5/8 in. (48.3 x 65.1 cm.), Frame: 26 5/8 x 33 1/2 in. (67.6 x 85.1 cm.)

RICHARD DEMPSEY AMERICAN, WASHINGTON DC, 1909-1987 MUSIC FESTIVAL, HAITI Oil on canvas Lower right signed: Dempsey Haiti; verso label: Weschler's on verso Catalogue Note: This work was done during one of Dempsey's trips to Haiti. Richard William Dempsey balanced a career as a painter as well as an illustrator with the Federal Government with teaching at the Corcoran School of Art. Despite the fact that his usual style skewed abstract, one of Dempsey's greatest public projects was the creation of one hundred portraits of notable Black historical figures. Dempsey was born in Ogden, Utah, but while still a child he moved to Oakland, California. He attended Sacramento Junior College (now Sacramento City College) between 1929 and 1933, followed by two years at the California School of Arts and Crafts (now California College of Arts and Crafts), a private school located in Oakland at the time he was a student. Between 1935 and 1940 Dempsey was associated with the Students Art Center, which was possibly a community art center connected to the Federal Art Project. At some point he studied sculpture with Sargent Johnson, a Black artist living and working in California who was known for his Modernist sculptures. By 1941 Dempsey had moved to Washington, DC, where he was first employed as an engineering draftsman with the Federal Power Commission. Subsequently, he switched to the General Services Administration as an illustrator, and at his retirement had completed thirty years as a federal employee. In 1946 Dempsey was awarded a Julius Rosenwald Fellowship as part of an initiative to foster creativity among Southern as well as Black artists. Other recipients during this period were: Augusta Savage, Charles Alston, Richmond Barthé, Selma Burke, Haywood Rivers, Aaron Douglas, Jacob Lawrence, Charles Sebree, and Elizabeth Catlett. Dempsey's grant of fifteen hundred dollars funded a series portraying iconic Black community members such as Ethel Waters, Duke Ellington, Thurgood Marshall, Joe Louis, Adam Clayton Powell, and fellow artist Lawrence. In Washington, Dempsey took classes at Howard University where he studied lithography with James Lesesne Wells. In 1951 he exhibited at the Barnet Aden Gallery, the first successful Black-owned art gallery in the country; Alma Thomas served as the gallery's vice president from the time of its founding. Dempsey taught at the Corcoran School of Art in the late 1960s as well as at Glen Echo Park, an arts and cultural center located in a Maryland suburb. Dempsey made extensive trips to North Carolina, Mexico, Jamaica, and Haiti, often abstracting the scenery he encountered with vivid color and agitated brushstrokes. Source: The Johnson Collection, Spartanburg, South Carolina thejohnsoncollection.org

Lot: 1534 - DAN TERRY REID, AMERICAN (ILLINOIS) CA. 1908-, PORTRAIT OF LOIS MAILOU JONES, 1931, Pastel on paper, Sight: 23 1/2 x 17 1/2 in. (59.7 x 44.5 cm.), Frame: 31 1/4 x 35 3/8 in. (79.4 x 89.9 cm.)

DAN TERRY REID AMERICAN (ILLINOIS), CA. 1908- PORTRAIT OF LOIS MAILOU JONES, 1931 Pastel on paper Lower right signed and dated: REID / 31; verso labels: Dan Terry Reid / Portrait of Lois Mailou Jones / Pastel / 31 1/2" x 25 1/2" / 1931 / Collection of Lois Mailou Jones; PASTEL PORTRAIT / OF LOIS MAILOU JONES by Dan Terry Reid / 1931; Chapman Pharmaceutical / Health Foundation / 800 Falls Lake Dr. / Mitchellville, MD 20721 / Weschler's tag Catalogue Note: was a prolific African American portraitist and draftsman best known for his pastel and charcoal portraits. He received his Bachelor of Science from Howard University in 1931. As the fourth graduate of the Department of Art, Reid was the only member of the commencement class that year. (Loïs Mailou Jones was recruited to Washington, D.C., by James Vernon Herring, the founder of the Howard University art department. She was professor of design and watercolor painting for 47 years from 1930 to 1977). Reid continued his studies at the Art Institute of Chicago and the Wicker School of Fine Arts in Detroit, Michigan. He painted portraits of Howard University luminaries such as President Mordecai W. Johnson; Lucy Diggs Slowe, Dean of Women; Benjamin Brawley Griffith, Professor of English; and Gallery of Art Curator, Alonzo Aden. (Source: Howard University).

Lot: 1535 - ELIZABETH CATLETT, AMERICAN 1915-2012, CHILDREN WITH FLOWERS, Lithograph in colors, Plate: 24 7/8 x 18 in. (63.2 x 45.7 cm.), Frame: 34 x 27 in. (86.4 x 68.6 cm.)

ELIZABETH CATLETT AMERICAN, 1915-2012 CHILDREN WITH FLOWERS Lithograph in colors Lower left numbered: HC 1/15; lower right signed and dated: E CATLETT 1995 Catalogue note: Published by J. K. Fine Art Editions. Children with Flowers was printed for the Smithsonian Art Collectors Program to benefit the Smithsonian Associates' educational and cultural programs.

Lot: 1536 - RUTH BERNHARD, AMERICAN 1905–2006, AFRICAN SCULPTURE, 1959, Gelatin silver print

RUTH BERNHARD AMERICAN, 1905–2006 AFRICAN SCULPTURE, 1959 Gelatin silver print Verso signed, titled and dated: Ruth Bernhard / African Sculpture 1959 / Vintage; verso red stamp with artist initials: RB; verso stamped: RUTH BERNHARD / 2982 CLAY ST., WALNUT 1-3653 / SAN FRANCISCO 15, CALIF.

Lot: 1537 - RUTH BERNHARD, AMERICAN 1905–2006, BONE AND PASSION FLOWER, Gelatin silver print

RUTH BERNHARD AMERICAN, 1905–2006 BONE AND PASSION FLOWER Gelatin silver print: Lower right signed in graphite: Ruth Bernhard; verso in graphite: Bone and Passion Flower n.d. / Ruth Bernhard

Lot: 1538 - RUTH BERNHARD, AMERICAN 1905–2006, CYPRAEA, Gelatin silver print

RUTH BERNHARD AMERICAN, 1905–2006 CYPRAEA Gelatin silver print: Lower right signed in graphite: Ruth Bernhard; verso in graphite: RB-7 Cypea (sic) Shell / Cyprea (Shell) 1943 / Ruth Bernhard

Lot: 1539 - JOSEPH STELLA, AMERICAN 1877-1946, PEASANT - MAN WITH CANE, CIRCA 1929, Oil on canvas, 23 x 16 1/2 in. (58.4 x 41.9 cm.), Frame: 27 x 20 1/4 in. (68.6 x 51.4 cm.)

JOSEPH STELLA AMERICAN, 1877-1946 PEASANT - MAN WITH CANE, CIRCA 1929 Oil on canvas Lower left signed: Joseph Stella; verso inscribed: Peasant / Oil Painted / by Joseph Stella; attached Pensler Galleries label / Joseph Stella

Lot: 1540 - JOSEPH STELLA, AMERICAN 1877-1946, PORTRAIT STUDIES and PORTRAIT, ca. 1905, graphite on paper

JOSEPH STELLA AMERICAN, 1877-1946 PORTRAIT STUDIES and PORTRAIT, ca. 1905 graphite on paper Lower right initialed: J.S. "Portrait," 1900; graphite and white chalk: lower right estate stamp in blue: J. STELLA / JML COLL Both Unframed (2)

Lot: 1541 - JOSEPH STELLA, AMERICAN 1877-1946, ABSTRACTION, CA. 1919, Watercolor, Sheet: 9 1/2 x 12 1/4 in. (24.1 x 31.1 cm.), Mat: 16 x 20 in. (40.6 x 50.8 cm.)

JOSEPH STELLA AMERICAN, 1877-1946 ABSTRACTION, CA. 1919 Watercolor Lower left estate stamp in blue: J. STELLA / JML COLL

Lot: 1542 - JOSEPH STELLA, AMERICAN 1877-1946, SERIES OF STUDIES, ca. 1920, Watercolor and ink on card, Card: 6 5/8 x 10 1/2 in. (16.8 x 26.7 cm.)

JOSEPH STELLA AMERICAN, 1877-1946 SERIES OF STUDIES, ca. 1920 Watercolor and ink on card Lower right estate stamp in blue: J. STELLA / JML COLL verso: Diederich Exhibition (Catalogue of the first American exhibition of sculpture by Hunt Diederich, Kingore Galleries, 1920) Unframed

Lot: 1543 - JOSEPH STELLA, AMERICAN 1877-1946, A GROUP OF FIVE DOG PORTRAITS, CA. 1930, Graphite and colored pencil on paper

JOSEPH STELLA AMERICAN, 1877-1946 A GROUP OF FIVE DOG PORTRAITS, CA. 1930 Graphite and colored pencil on paper Each with estate stamp in blue: J. STELLA / JML COLL Unframed (5)

Lot: 1544 - LEON BERKOWITZ, WASHINGTON, DC 1919-1987, UNTITLED, Oil on canvas, 30 x 24 in. (76.2 x 61 cm.), Frame: 37 x 31 1/2 in. (94 x 80 cm.)

LEON BERKOWITZ WASHINGTON, DC, 1919-1987 UNTITLED Oil on canvas Lower right signed: L. BERKOWITZ Leon Berkowitz established the Washington Workshop Center for the Arts

Lot: 1545 - LEON BERKOWITZ, WASHINGTON DC 1919-1987, FIGURE LEANING AGAINST A WORKBENCH, Oil on canvas, 30 1/4 x 18 1/2 in. (76.8 x 47 cm.), Frame: 36 x 54 in. (91.4 x 137.2 cm.)

LEON BERKOWITZ WASHINGTON DC, 1919-1987 FIGURE LEANING AGAINST A WORKBENCH Oil on canvas Lower right signed Berkowitz; verso inscribed on stretcher: L.Berkowitz 1919-19th Street / Washington DC

Lot: 1546 - SAM GILLIAM, 1933-2022, CHILDREN THREE, 1976, Acrylic and canvas collage on bevelled edge canvas, 47 3/4 x 1 1/4 x 54 in. (121.3 x 3.2 x 137.2 cm.)

SAM GILLIAM 1933-2022 CHILDREN THREE, 1976 Acrylic and canvas collage on bevelled edge canvas Verso titled and signed: Children Three '76 / Sam Gilliam Verso Gallery Label: DART GALLERY, INC., / DC-4-77-31 / SAM GILLIAM / CHILDREN THREE. 1976 / 48 X 54" /SUITE 205/612 N. MICHIGAN AVE. / CHICAGO, IL 60611/ (312)787-6366

Lot: 1547 - GENE DAVIS, AMERICAN 1920-1985, UNTITLED from PEACE PORTFOLIO - 1974, Screenprint in colors, Sight: 32 3/4 x 22 3/4 in. (83.2 x 57.8 cm.), Frame: 33 3/8 x 22 3/4 in. (84.8 x 57.8 cm.)

GENE DAVIS AMERICAN, 1920-1985 UNTITLED from PEACE PORTFOLIO - 1974 Screenprint in colors Lower left numbered 16/90 and signed and dated: Gene Davis 74

Lot: 1548 - GENE DAVIS, WASHINGTON D C 1920-1985, SMITHSONIAN 20TH ANNIVERSARY PRINT, 1985, Screenprint on paper, Sight: 31 3/8 x 27 in. (79.7 x 68.6 cm.), Frame: 44 1/2 x 36 in. (113 x 91.4 cm.)

GENE DAVIS WASHINGTON D C, 1920-1985 SMITHSONIAN 20TH ANNIVERSARY PRINT, 1985 Screenprint on paper Smithsonian 20th Anniversary Print, 1985; lower left numbered: 50/200; lower right signed and dated: 1985

Lot: 1549 - HILDA SHAPIRO THORPE, WASHINGTON DC 1920–2000, UNTITLED, Gauze, pulp and color mounted in a plexi box, ca. 1976, 48.24 x 80 3/4 in. (122.5 x 205.1 cm.)

HILDA SHAPIRO THORPE WASHINGTON DC, 1920–2000 UNTITLED Gauze, pulp and color mounted in a plexi box, ca. 1976 Lower left signed with monogram: HT within a circle Catalogue note: In 1976, Thorpe pioneered papermaking techniques, molding pulp into draped, layered forms on gauze and netting to explore light and sculptural abstraction, which she called a "revolution" in her process. A pivotal shift occurred in 1976 when Thorpe was introduced to papermaking during a visit to Vermont, an experience she described as sparking a "revolution" in her practice by enabling direct manipulation of wet pulp.[1] She began with a small 5-by-5-inch deckle and mold, soon advancing to applying pulp directly onto gauze and cotton netting to create layered, draped, or pooled structures that emphasized sculptural volume and fluidity.[1] In her paperworks, Thorpe explored the interplay of light, color, and form, using the medium's translucency to evoke shimmering effects and emotional depth, all while maintaining an improvisational process driven by intuitive responses to the materials.[1] Over four decades, this philosophy of spontaneous line, emergent form, and adaptive engagement with media defined her technical evolution, prioritizing process over preconceived outcomes.[1] Her innovations were lauded in a 1982 Washington Post review by Benjamin Forgey, who described her paper sculptures as "a marvelous demonstration of self-confident inventiveness in the abstract mode…simultaneously touch[ing] the very different poles of articulate structure and lyrical color." In her words: "a painter who sculpts, a sculptor who paints."

Lot: 1550 - HILDA SHAPIRO THORPE, WASHINGTON DC 1920–2000, EXHIBITION POSTER, 1979, Paper pulp, gauze and color mounted in a plexi box., 38.22 x 26 3/4 in. (97.1 x 67.9 cm.), Frame: 40.60 x 29 1/2 x 2 1/2 in. (103.1 x 74.9 x 6.4 cm.

HILDA SHAPIRO THORPE WASHINGTON DC, 1920–2000 EXHIBITION POSTER, 1979 Paper pulp, gauze and color mounted in a plexi box. Lower right signed with monogram "HT" within a circle; verso labeled: Hilda Thorpe / #1) 29 x 40 2 1/4" dp K Type Catalogue note: In 1976, Thorpe pioneered papermaking techniques, molding pulp into draped, layered forms on gauze and netting to explore light and sculptural abstraction, which she called a "revolution" in her process. A pivotal shift occurred in 1976 when Thorpe was introduced to papermaking during a visit to Vermont, an experience she described as sparking a "revolution" in her practice by enabling direct manipulation of wet pulp.[1] She began with a small 5-by-5-inch deckle and mold, soon advancing to applying pulp directly onto gauze and cotton netting to create layered, draped, or pooled structures that emphasized sculptural volume and fluidity.[1] In her paperworks, Thorpe explored the interplay of light, color, and form, using the medium's translucency to evoke shimmering effects and emotional depth, all while maintaining an improvisational process driven by intuitive responses to the materials.[1] Over four decades, this philosophy of spontaneous line, emergent form, and adaptive engagement with media defined her technical evolution, prioritizing process over preconceived outcomes.[1] Her innovations were lauded in a 1982 Washington Post review by Benjamin Forgey, who described her paper sculptures as "a marvelous demonstration of self-confident inventiveness in the abstract mode…simultaneously touch[ing] the very different poles of articulate structure and lyrical color." In her words: "a painter who sculpts, a sculptor who paints."

Lot: 1551 - HILDA SHAPIRO THORPE, WASHINGTON, DC 1919-2000, WENONA, 1967, Acrylic on canvas, 9 x 9 in. (22.9 x 22.9 cm.), Frame: 9 3/4 x 9 3/4 in. (24.8 x 24.8 cm.)

HILDA SHAPIRO THORPE WASHINGTON, DC, 1919-2000 WENONA, 1967 Acrylic on canvas Verso inscribed: Much Luck & Joy with Your Vessel/ Hilda / 12/17/86; dated and titled: 1967/ WENONA Catalogue Note: Born in Baltimore, Hilda Shapiro Thorpe moved to Alexandria, VA in 1940. Her career began in 1955, when Thorpe enrolled in America University's art program as a mother of three in her mid-thirties. Thorpe found success in painting and sculpture, exhibiting her work locally at the Corcoran Gallery of Fine Art and the Watkins Gallery. Her career emerged alongside Washington Color School artists like Thomas Downing, Kenneth Noland, Gene Davis and Sam Gilliam. In 1971, she joined the sculpture faculty of her alma mater, American University. She continued to exhibit at the Corcoran Gallery, as well as the National Collection of Fine Arts, the Baltimore Museum and the Phillips Collection, among others. Thorpe passed away in 2000. Her work is represented in the collections of the Smithsonian American Art Museum, the Phillips Collection and American University, among others.

Lot: 1552 - HILDA SHAPIRO THORPE, WASHINGTON DC 1920–2000, PAPER SCULPTURE, Paper pulp and feathers mounted in a plexi box., 13 1/2 x 13 in. (34.3 x 33 cm.), Frame: 18 5/8 x 18 5/8 in. (47.3 x 47.3 cm.)

HILDA SHAPIRO THORPE WASHINGTON DC, 1920–2000 PAPER SCULPTURE Paper pulp and feathers mounted in a plexi box. Verso signed with initials Catalogue note: In 1976, Thorpe pioneered papermaking techniques, molding pulp into draped, layered forms on gauze and netting to explore light and sculptural abstraction, which she called a "revolution" in her process. A pivotal shift occurred in 1976 when Thorpe was introduced to papermaking during a visit to Vermont, an experience she described as sparking a "revolution" in her practice by enabling direct manipulation of wet pulp.[1] She began with a small 5-by-5-inch deckle and mold, soon advancing to applying pulp directly onto gauze and cotton netting to create layered, draped, or pooled structures that emphasized sculptural volume and fluidity.[1] In her paperworks, Thorpe explored the interplay of light, color, and form, using the medium's translucency to evoke shimmering effects and emotional depth, all while maintaining an improvisational process driven by intuitive responses to the materials.[1] Over four decades, this philosophy of spontaneous line, emergent form, and adaptive engagement with media defined her technical evolution, prioritizing process over preconceived outcomes.[1] Her innovations were lauded in a 1982 Washington Post review by Benjamin Forgey, who described her paper sculptures as "a marvelous demonstration of self-confident inventiveness in the abstract mode…simultaneously touch[ing] the very different poles of articulate structure and lyrical color." In her words: "a painter who sculpts, a sculptor who paints."

Lot: 1553 - HELEN PASHGIAN, CALIFORNIA 1934, UNTITLED, Mixed media (epoxy) on plexi panel, 35 x 1 x 28 in. (88.9 x 2.5 x 71.1 cm.)

HELEN PASHGIAN CALIFORNIA, 1934 UNTITLED Mixed media (epoxy) on plexi panel Catalogue Note: Helen Pashgian is an American visual artist who lives and works in Pasadena, California. She is a primary member of the Light and Space art movement of the 1960s.

Lot: 1554 - RICHARD ANUSZKIEWICZ, POLISH / AMERICAN 1930-2020, SUN SQUARED, ca. 1968, Liquitex on canvas, 60 x 60 1/4 in. (152.4 x 153 cm.), Frame: 63 3/4 x 64 1/8 in. (161.9 x 162.9 cm.)

RICHARD ANUSZKIEWICZ POLISH / AMERICAN, 1930-2020 SUN SQUARED, ca. 1968 Liquitex on canvas Verso labels

Lot: 1555 - ALEXANDER CALDER, AMERICAN 1898-1976, SPIRALS AND FORMS (ESCARGOT), C. 1965, Lithograph in colors, Sheet: 25 1/2 x 37 1/4 in. (64.8 x 94.6 cm.), Frame: 37 x 48 1/4 in. (94 x 122.6 cm.)

ALEXANDER CALDER AMERICAN, 1898-1976 SPIRALS AND FORMS (ESCARGOT), C. 1965 Lithograph in colors Lower left numbered: 22/125; lower right signed: Calder Catalogue note: Also called 'Spirals and Forms' and/or 'Escargot.' Illustrated on the cover of Park West Auctions catalogue, 26 October 1976.

Lot: 1556 - JAMES ROSENQUIST, 1933-2017, SPEED OF LIGHT, Colour offset lithograph on laid paper, Sheet: 37 3/4 x 32 in. (95.9 x 81.3 cm.), Frame: 51 1/2 x 41 1/2 in. (130.8 x 105.4 cm.)

JAMES ROSENQUIST 1933-2017 SPEED OF LIGHT Colour offset lithograph on laid paper Titled, numbered, signed and dated: Speed of light 26/58 James Rosenquist 1999

Lot: 1557 - MEL RAMOS, AMERICAN 1935-2018, CHIC FROM 11 POP ARTISTS - 1966, Screenprint

MEL RAMOS AMERICAN, 1935-2018 CHIC FROM 11 POP ARTISTS - 1966 Screenprint Lower left numbered on image: 107/200; lower right signed on image Catalogue note: Edition of 200 + 50 AP. An example of this print from the portfolio '11 Pop Artists' is in the collection of the Museum of Modern Art (#274.1966.1i).

Lot: 1558 - LEROY NEIMAN, NEW YORK 1921-2012, TOOT'S SHOR BAR, 1975, Screenprint, Plate: 25 1/4 x 31 in. (64.1 x 78.7 cm.), Frame: 36 x 40 1/2 in. (91.4 x 102.9 cm.)

LEROY NEIMAN NEW YORK, 1921-2012 TOOT'S SHOR BAR, 1975 Screenprint Lower left numbered: 41/300; lower right signed

Lot: 1559 - HOWARD FINSTER, AMERICAN 1916-2001, CAT - VISION OF OTHER CREATURE - VISION OF OTHER WORLDS - 1984, Paint and marker on cut out panel, 48 x 23 x 7 1/2 in. (121.9 x 58.4 x 19.1 cm.)

HOWARD FINSTER AMERICAN, 1916-2001 CAT - VISION OF OTHER CREATURE - VISION OF OTHER WORLDS - 1984 Paint and marker on cut out panel verso signed, dated and inscribed: Howard Finster Jan. 1984

Lot: 1560 - JOHN PETREY, TENNESSEE (CHATTANOOGA) b. 1958, DRESS WALL SCULPTURE, mixed media

JOHN PETREY TENNESSEE (CHATTANOOGA), b. 1958 DRESS WALL SCULPTURE mixed media Brass label on reverse inscribed "Petrey". Catalogue note: Collections: Tennessee State Museum, Nashville; FirstBank, Nashville;

Lot: 1561 - LORRIE GOULET, AMERICAN 1925-2021, MÉNADES, Brown serpentine stone sculpture., Height: 21.5 in. overall. Width: 32 in. Depth: 7 in.

LORRIE GOULET AMERICAN, 1925-2021 MÉNADES Brown serpentine stone sculpture. Signed Goulet on right side. Provenance: Carolyn Hill Gallery

Lot: 1562 - RICHARD BINDER, MARYLAND 20TH/21ST CENTURY, UNTITLED, Stainless steel, 38 1/2 in. (97.8 cm.) x 24 x 8 1/4 in. (99.1 x 61 x 21 cm.)

RICHARD BINDER MARYLAND, 20TH/21ST CENTURY UNTITLED Stainless steel signed and dated on the edge of the curve: MB 2003

Lot: 1563 - LILA KATZEN, NEW YORK, NEW YORK 1925-1998, ABSTRACT METAL SCULPTURE, 8 1/8 x 3 1/2 x 8 3/4 in. (20.6 x 8.9 x 22.2 cm.)

LILA KATZEN NEW YORK, NEW YORK, 1925-1998 ABSTRACT METAL SCULPTURE signed © Lila Katzen 1981 in two sections