Dallas Auction Gallery

D A L L A S A U C T I O N G A L L E R Y

AMERICAN and EUROPEAN ARTWEDNESDAY • APRIL 30, 2014

For Telephone and Absentee Bidding Arrangements Contact Us at:PHONE: 214-653-3900 FAX: 214-653-3912 TOLL FREE: 866.653.3900 EMAIL: [email protected]

Scott H. Shuford, TXL #13769 : Jerry W. Holley, TXL #10262


AMERICAN and EUROPEAN ARTW E D N E S D AY • A P R I L 3 0 , 2 0 1 4

P R E V I E W :April 28 | 10am - 5pmApril 29 | 10am - 5pmApril 30 | 10am - 6pm

A U C T I O N :April 30 | 6 pm CST

214-653-39002235 Monitor Street | Dallas, Texas 75207

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C O N T E N T S

Texas, Southwest and American Art 4

European Art 30

Modern and Contemporary Art 48

Guide for Prospective Buyers 86

Terms and Conditions 88

T E X A S , S O U T H W E S T

A N D A M E R I C A N A R TL O T S 1 - 4 1

6

1 • V I R G I N I A T R U E(American, 1900-1989)CactusOil on canvas, 1931. Signed lower right,V-True 31. Verso inscribed with artistsname and address in Boulder.

Canvas: 24.5"H x 18.5"W; Frame: 31.75"H x 25.75"W.

Note: True spent the years between1929-1935 in Boulder, CO, within easytraveling distance of the New Mexicolandscape. Greatly influenced by VictorHiggins, True took what she observedin the landscape and expressed itthrough bold geometric forms andsweeping lines.

$2000 - 4000

7

2 • R O B E R T W I L L I A M W O O D(American/Texas, 1889-1979) Spring LandscapeOil on canvas laid on board. Signed lower left “Robert Wood.” Stamped en verso “Painted by Robert Wood.”

Board: 8"H x 9.875"W; Frame: 13.75"H x 15.75"W.

Exhibited: Zigler Museum of Art, Jennings, Louisiana, 2004.

$2000 - 3000

8

3 • J O S E P H A C E V E S (American, 1909-1968)LandscapeOil on canvas. Signed lower right with artist’s thumbprint “joseph aceves.”

Canvas: 30"H x 36.25"W; Frame: 35.25"H x 41.5"W.

$2500 - 4500

9

4 • F R A N K G E R V A S I (American, 1895-1986) CattleOil on canvas. Signed lower left “F. Gervasi.” Inscribed en verso “Frank Gervasi Cattle.”

Canvas: 20"H x 30"W; Frame: 26.75"H x 36.75"W.

Provenance: Elmer Fox & Company, Wichita, KS.

Note: Frank Gervasi was the only artist fromwhom G. Harvey ever took a painting lesson.

$2000 - 3000

5 • M O R R I S R I P P E L(American, 1930-2009)Sunrise at KayentaWatercolor on board, 1989.Signed, dated, and copyrightedlower right, “M. Rippel 1990.” Inscribed “Nawa” – National Academy of Western Arts. En verso: “To Jack and Suzanne with best regards – enjoy thepainting – Morris.”

Sight: 7.5"H x 12"W; Frame: 14"H x 18.5"W.

$2000 - 3000

10

6 • P E T E R H U R D (American, 1904-1984) New Mexico LandscapeWatercolor on paper. Signed lower left “Peter Hurd.”

Sight: 21.375"H x 30"W; Frame: 33.375"H x 41.375"W.

$10,000 - 15,000

11

7 • P O R F I R I O S A L I N A S (American, 1910-1973)Countryside with BluebonnetsOil on canvas. Signed lower left “Porfirio Salinas.”


$15,000 - 25,000

8 • C H A R L E S U M L A U F (American, 1911-1994)NudeBronze sculpture.

35"H x 8.5"W x 8"D.

$15,000 - 20,000

12

1 0 • K E L LY F E A R I N G (American, 1918-2011)The Poet, 1955Oil on canvas. Signed lower left, “Kelly Fearing.”Titled, signed, and dated en verso, “The PoetsKelly Fearing, 1955.”


Provenance: Estate of Mary Jo Vaughn Rauscher,Dallas, TX.

Note: Fearing has been referred to “as magical realist, mystical naturalist and Romantic surrealist.”(askart.com). He was a member of the Ft. WorthCircle. In the present example we see the artistcombining his interest in spirituality and hismeticulous representation of the landscape.

$7000 - 9000

9 • O T I S D O Z I E R (American, 1904-1987)South & West, 1977Oil on canvas. Signed lower right, “Otis Dozier ‘77.” Inscribed on stretcher, “Sep, 1977.”


$12,000 - 18,000

13

1 1 • P O R F I R I O S A L I N A S (American, 1910-1973)Texas Wild FlowersOil on canvas. Signed lower left “Porfirio Salinas.” Inscribed en verso “Texas Wild Flowers 25 x 30 Porfirio Salinas, Jr.”


Provenance: J.R. Mooney Galleries of Fine Art, San Antonio, Texas.

$20,000 - 30,000

14

1 2 • G E R A L D H A R V E Y (American/Texas, b. 1933)A Spring SoakingOil on canvas, 2013. Signed and copyrighted lower right “G. Harvey.” Inscribed and copyrighted en verso “#KBEE A Spring Soaking g. harvey.”

Canvas: 20"H x 16"W; Frame: 35"H x 31.125"W.

$40,000 - 50,000

15

1 3 • L O R E N M O Z L E Y (American, 1905-1989)View of QueretaroOil on canvas. Signed lower right, “Mozley.”


Note: The artist was know for his Cezanne-like scenes of the American Southwest and Mexico. As a highly respectedprofessor and artist, he was called upon to help found the art department at University of Texas at Austin in the 1930s.

The proceeds of this lot will benefit the Tyler Foundation, the charitable arm of Tyler Technologies (NYSE:TYL) responsible for gifts to charities, in which their employees are involved.

$30,000 - 50,000

16

1 4 • D A N I E L S M I T H (American, b. 1954)Echo Bay- Loon FamilyOil on canvas. Signed and copyrighted lower right “Smith93.” Inscribed en verso liner “Dan Smith-Loons.”

Board: 19"H x 36"W; Frame: 25.75"H x 42.75"W.

Note: “No other bird can evokefeelings of nostalgia like the common loon. It’s always thrillingto hear their unique calls echoingthrough the glacial shield wilder-ness. On a still night, their callsseem to reverberate for miles. I truly hope these unique andwonderful birds will have a placein our fragile ecosystem for all future generations to enjoy.” - Daniel Smith.

$6000 - 8000

1 5 • B R I A N G R I M M (American, b. 1968) High Plains DriftersOil on canvas, 2005. Signed anddated lower right, “Brian Grimm 05.”Signed, titled and dated verso.“High Plains Drifters © Brian A.Grimm 2005.”


$5000 - 8000

17

1 6 • PA U L G R I M M(American, 1891-1974)Barrel Cacti in Devils GardenOil on board. Signed lower left “Paul Grimm.”


$1500 - 2500

1 7 • L O R E N E N T Z(American, b. 1949) Life on the FarmPencil on paper. Signed lower left “Loren Entz.” Inscribed by artist en verso, “Thanks Jack, you purchased this the day I was elected to the Cowboy Artists of America. Oct 21, 92 Loren Entz CA.”

Sight: 13"H x 10"W; Frame: 20.5"H x 17.5"W.

Provenance: Pierce Fine Art, Scottsdale, Arizona.

$3000 - 5000

18

1 8 • M E L V I N C H A R L E S W A R R E N(American/Texas, 1920-1995) Rio Grande RiverOil on canvas laid on board, 1966. Signed lower right “Melvin C. Warren 1966.” Inscribed en verso “Rio Grande River, Big Bend Nat. Park, painted on location by Melvin C. Warren Spring 1965.”

Canvas: 17.625"H x 21.5"W. Frame: 22.125"H x 26.125"W.

$3000 - 5000

2 0 • L O W E L L E L L S W O R T H S M I T H (American, 1924-2008)Holy Week at CholulaWatercolor and pencil on paper.Signed and copyrighted lower right“Lowell Ellsworth Smith.” Inscribed“A.W.S.” and “N.A.W.A.” (meaning American Watercolor Society and National Academy of Western Arts, respectively).


$1500 - 2500

1 9 • J O H N G R A V E SOf Birds and Texas, 198627.75"H x 22"W.

Gentling Editions, Ft. Worth Texas, illustrated by Scott and Stuart Gentling, 1986. Edition 112 of 500 copies featuring 50 bird and landscape plates. Issued loose leaf in two linenportfolios inside a linen covered case. The limitation page numbered and signed by Graves and Gentling brothers.

$2500 - 4500

19

2 1 • R O L L A S I M S T A Y L O R (American, 1872-1970)Irish Flats SAOil on canvas laid on board. Signed lower right “Rolla Taylor.” Inscribed en verso “Irish Flats SA Rolla Taylor.”

Canvas: 12.125"H x 16"W; Frame: 20.25"H x 24"W.

$1500 - 2500

2 2 • M O R R I S R I P P E L (American, 1930-2009) SunburstWatercolor on board, 1989. Signed, dated, and copyrighted lower right“M. Rippel 1989.” Inscribed lower right, “NAWA” – National Academy ofWestern Arts.

Sight: 13.5"H x 22"W; Frame: 21.5"H x 30"W.

$1500 - 2500

2 3 • G R A N T M A C D O N A L D (American/Texas, b. 1944) Sunset in the MountainsOil on board, 1989. Signed, dated, and copyrighted lower right “Grant MacDonald 1989.”


$1800 - 2500

2 4 • M I C H A E L S T A C K (American, b. 1947)Summer CloudsOil on canvas, 1983. Signed lower right, “Michael Stack 83.”


$1500 - 2500

20

2 5 • G E O R G E E L B E R T B U R R (American, 1859-1939)Three George Elbert Burr Etchings.(1) “Springtime, Paradise Valley Arizona”Titled lower right; Signed lower left “George Elbert Burr.”

Sight: 11.75"H x 9.75"W; Frame: 21.875"H x 17.875"W.

(2) “Arizona Canal - Evening”Titled lower right; Signed lower left “George Elbert Burr.”

Sight: 5.875"H x 8.875"W; Frame: 13"H x 15.75"W.

(3) “Evening - Navajo Country - Arizona”Titled lower right; Signed lower left “George Elbert Burr.”


$1200 - 1800

21

2 6 • C Y R U S A F S A R Y (American, b. 1941)Afternoon StrollOil on board. Signed lower right“Cyrus Afsary.”


$1200 - 1800

2 7 • J U L I A N O N D E R D O N K (American, 1882-1922)Countryside at SunsetOil on board. Signed lower left “Julian Onderdonk.”

Board: 6"H x 9"W; Frame: 13"H x 15.875"W.

$5000 - 7000

22

2 8 • H A M I LT O N H A M I LT O N (American, 1847-1928) LandscapeOil on canvas, 1887. Signed lower right “HH 87.”

Canvas: 22"H x 36"W; Frame: 30"H x 43.75"W. Re-lined.

$4000 - 6000

2 9 • W I L L I A M L E S T E R S T E V E N S (American, 1888-1969)North HeadOil on board. Signed lower right “W. Lester Stevens N.A.A.W.S.” Inscribed en verso “North Head Grand Manan WLester Stevens N.A.”

Board: 32"H x 35.75"W; Frame: 41.25"H x 45.5"W.

Note: After moving away from Cape Ann in 1944, Stevensspent the summers in Vinalhaven, ME, painting the coastalareas of nearby Bay of Fundy. Grand Manan is the largestof the Fundy Islands.

$6000 - 8000

23

3 0 • E M I L E A L B E R T G R U P P E (American, 1896-1978) Winter SplendorOil on canvas. Signed lower right “Emile A. Gruppe.”


$12,000 - 18,000

24

3 1 • A L F R E D H E N R Y M A U R E R (American, 1868-1932)Hudson RiverOil on canvas. Partial abraded signature, lower right. Inscribed en verso, “Hudson River Ulster County.”


Note: Every year from 1916-1932, Maurer stayed at the Shady Brook Boarding house, in Ulster County, from April-November.

$8000 - 12,000

25

3 2 • E M I L E A L B E R T G R U P P E (American, 1896-1978) The ClamerOil on canvas. Signed lower left, “Emile A Gruppe.” Inscribed on stretcher, “The Clamer by Emile A Gruppe.”


$8000 - 12,000

26

3 3 • J O H N F A B I A N C A R L S O N (American, 1875-1947) Winter StreamOil on board. Signed lower right, “John F. Carlson.” Inscribed en verso, “John F. Carlson Winter Stream.”

Board: 19.125"H x 26"W; Frame: 24"H x 30.5"W.

$4000 - 6000

3 4 • W I L L I A M L E S T E R S T E V E N S (American, 1888-1969) Gloucester DocksOil on canvas. Signed lower right “W Lester Stevens.” Inscribed en verso“W Lester Stevens Gloucester Docks.”

Canvas: 23.5"H x 30"W; Frame: 27"H x 33.25"W.

$4000 - 6000

27

3 5 • J U L I A N O N D E R D O N K(American, 1882-1922)Landscape with StreamOil on board. Signed lower right “Julian Onderdonk.”

Board: 4.375"H x 7.5"W; Frame: 11.25"H x 14.375"W.

$5000 - 7000

3 6 • A L F R E D T H O M P S O N B R I C H E R(American, 1837-1908) Fishing Boats, the ThamesWatercolor on paper. Signed lower right “AT Bricher.” Titled and inscribed en verso “Fishing Boats, the Thames – Pool of England.”

Paper: 15"H x 20.5"W; Frame: 24.75"H x 30.5"W.

$3000 - 5000

28

3 8 • F R A N K S O LT E S Z(American, 1898-1972) Their Last Run (Penn Station)Watercolor on paper, 1975. Signedlower right “Frank Soltesz AWS.”


$3500 - 4500

3 7 • T H O M A S H I L L(American, 1829-1908) Ride at DawnOil on canvas. Signed lower right, “T. Hill.”


$4000 - 5000

29

4 0 • C H A R L E S B U R C H F I E L D(American, 1893-1967)TreeCharcoal on paper, 1912.Signed lower right “Chas Burchfield.”

Paper: 17"H x 11"W; Frame: 23.75"H x 17.75"W.

Provenance: Gemini Gallery,Palm Beach, Florida.

$1200 - 1800

4 1 • S A M U E L C O L E M A N(American, 1832-1920)Church of San Fernando, City of MexicoWatercolor on paper, 1892. Titled and dated lower left “The Church of San Fernando, City of Mexico March 15, 1892.”

Paper: 8"H x 18.75"W; Frame: 15"H x 18.75"W.

Provenance: Alexander Gallery, New York, New York.

$500 - 700

3 9 • A L F R E D T H O M P S O N B R I C H E R (American, 1837-1908) Coastal View with SailboatsWatercolor on paper laid down on board. Signed lower right “AT Bricher.”

Board: 10"H x 21.25"W; Frame: 18"H x 29.5"W.

$1000 - 2000

E U R O P E A N A R TL O T S 4 2 - 7 0

32

4 2 • D E L P H I N E N J O L R A S (French, 1857-1945) A Good BookOil on canvas. Signed lower left/center “D Enjolras.”


Provenance: Kurt E. Schon Ltd., New Orleans, Louisiana; Private Collection, Austin, TX.

Note: Enjolras was noted as an accomplished genre painter and excelled in conveying a sensual tone as expressed in this example.

$20,000 - 30,000

33

4 3 • W E N C E S L A S V A C L A V B R O Z I K(Czech, 1851-1901) A Dashing CavalierOil on canvas. Signed lower right “Brozik.”

Canvas: 30"H x 17.75"W; Frame: 38"H x 25.75"W.

Provenance: Kurt E. Schon Ltd., New Orleans, Louisiana;Private Collection, Austin, TX.

Note: Brozik was noted for his exacting detailed portraiture and genre scenes.

$12,000 - 18,000

34

4 4 • P I O R I C C I (Italian, 1850-1919) Music MasterOil on canvas. Signed lower left “Pio Ricci.”


Provenance: Kurt E. Schon Ltd., New Orleans, Louisiana; Private Collection, Austin, TX.

$8000 - 12,000

35

4 5 • R O S A B O N H E U R (French, 1822-1899)Landscape with CattleOil painting on canvas. Signed lower right,“Rosa Bonheur.”


$6000 - 8000

4 6 • J A M E S B A L D O C K (British, 1822-1898)The HuntOil on canvas, 1855. Signed and dated lower left, “J. Baldock, 1855.”


$6000 - 8000

4 7 • C H A R L E S S PA L D I N G (British, 1810-1871)ElisOil on canvas, 1888. Signed lower left,“CB Spalding 1888” and titled in thecenter, “ELIS.”

Canvas: 27.875"H x 35.875"W; Frame: 34.25"H x 42"W.

$3000 - 5000

36

4 8 • E D M U N D J O H N N I E M A N N (British, 1813-1876)Richmond CastleOil on canvas. Signed and titledlower center, “Richmond YorksNiemann.”

Canvas: 39.75"H x 60"W; Frame: 44.5"H x 64.75"W.

$6000 - 8000

4 9 • K AT E N E W E N H A M G R A Y (British, fl. 1880-1920) Cottage MusicOil on canvas. Signed lower right anddated indistinctly, “Kate Gray 18—.”

Site: 19.5"H x 23.5"W; Frame: 25"H x 29"W. Re-lined.

Provenance: Estate of Mrs. W.A. “Betty” Criswell, Dallas, Texas.

$1500 - 2500

37

5 0 • E U G E N E G A L I E N - L A L O U E (French, 1854-1941) Sortie de théâtreGouache and watercolor. Signedlower left, “E. Galien Laloue.”

Image: 7.5"H x 12.5"W; Frame: 13.25"H x 18"W.

Provenance: Paul Daudon, Paris;Private Collection, Dallas, TX.

Note: The authenticity of this workhas been confirmed by Noe Willer.

$10,000 - 15,000

5 1 • A N T O I N E B L A N C H A R D (French, 1910-1988)Quai du LouvreOil on canvas. Signed lower right,“Antoine Blanchard.”


Provenance: Rehs Galleries Inc.,New York.

Note: This work is included in theRehs Galleries’ Antoine Blanchardonline catalogue, registrationnumber: LVQLW1821.0001.

$8000 - 12,000

38

5 2 • E D O U A R D L E O N C O R T E S (French, 1882-1969) Marché de LagnyOil on canvas. Signed lower right “E. Cortes.” Inscribed en verso “Cortes Ed Marché de Lagny.”


Provenance: 1969, Atelier Edouard Cortes; Collection Particuliere, France; Andrew Roughton Fine Art; Private Collection, Texas.

Literature: “Edouard Cortes raisonne de l’oeuvre peint”, 2002, Nicole Verdier, No. 131.

Note: Cortes was born in Lagny. This particularly sunny and active market scene was painted between 1930-1935.

$25,000 - 35,000

39

5 3 • J U L E S R . H E R V E (French, 1887-1991) Flower MarketOil on canvas. Signed lower right,“Jules R. Herve” and inscribed enverso “Jules R. Herve.”

Canvas: 24.875"H x 31.25"W;Frame: 34"H x 40.5"W.

$7000 - 9000

5 4 • A N T O I N E B L A N C H A R D (French, 1910-1988)Champs ElyseesOil on canvas, 1960. Signed lower right “Antoine Blanchard.” Inscribed en verso.


Provenance: Rehs Galleries Inc., New York.

Note: This work is included in the Rehs Galleries’ AntoineBlanchard online catalogue, registration number:ATCEN1318.0003.

$5000 - 7000

40

5 5 • E D O U A R D L E O N C O R T E S(French, 1882-1969) Coin de jardin, LagnyGouache on paper board laid onpanel. Signed lower right “Ed. Cortes.”

Sheet: 18.5"H x 11"W; Frame: 31"H x 24.5"W.

Provenance: 1969, Atelier EdouardCortes; Collection Particuliere,France; Andrew Roughton Fine Art; Private Collection, Texas.

Literature: Nicole Verdier, “EdouardCortes Catalogue raisonne de l’oeuvre peint,” 2002, No. 98.

$8000 - 12,000

41

5 6 • J U L E S R E N E H E R V E(French, 1887-1981)Place de L’OperaOil painting on canvas. Signed lower right “Jules R.Herve.” Inscribed en verso “Jules R. Herve.”

Canvas: 25.5"H x 32"W; Frame: 33.375"H x 39.625"W.

$7000 - 9000

5 7 • A N T O I N E B L A N C H A R D (French, 1910-1988)Place de Bastille, 1960Oil on canvas. Signed lower right “Antoine Blanchard.” Inscribed en verso.



Note: This work is included in theRehs Galleries’ Antoine Blanchardonline catalogue, registrationnumber: PBRL1318.0001.

$5000 - 7000

42

5 8 • V U C A O D A M (Vietnamese, 1908-2000)Les MusiciennesOil on canvas, 1984. Signed and dated lower right, “Vu Cao Dam 84.” Titled and signed en verso, “Les Musiciennes Vu Cao Dam.”


Provenance: Wally Findlay Galleries.

$15,000 - 20,000

43

5 9 • C O N S T A N T I N E K L U G E(French, 1912-2003)Le Carrefour SoufflotOil on canvas. Signed lower right “C. Kluge”, titled on thestretcher.

Canvas: 28.25"H x 35.75"W;Frame: 36.625"H x 44.125"W.


$5000 - 7000

6 0 • A N T O I N E B L A N C H A R D (French, 1910-1988)Place de la ConcordeOil on canvas. Signed lower right “Antoine Blanchard.” Signed and titled en verso,“Place de la Concorde Antoine Blanchard.”



Note: Included in the Rehs Galleries’ Antoine Blanchard online catalogue, registration number: CCPCMD1318.0000.

$5000 - 7000

44

6 2 • H U G H E S C L A U D E P I S S A R R O(French, b. 1935)Le Petit FilsOil on canvas. Signed lower left, “H. Claude Pissarro.”Inscribed en verso, “H. Claude Pissarro Le Petit Fils La Maison des Trois Safins, au confluent de la Vèze et du Noizeau, à Pont-Esanbourg.”


$5000 - 7000

6 1 • V U C A O D A M(Vietnamese, 1908-2000)Le PoèteOil on canvas, 1984. Signed and datedlower left, “Vu Cao Dam 84.” Titled andsigned en verso, “Le Poète Vu Cao Dam.”



$10,000 - 15,000

45

6 3 • N I C O L A S I M B A R I(Italian, 1927-2012)Summer BreezeOil on canvas. Signed lower right “Simbari.”

Canvas: 35.5"H x 39.5"W; Frame: 41.25"H x 45"W.

Provenance: Florence Art Gallery, Florence, Italy; From a collection assembled by the late Mr. & Mrs. I.C. Deal, Dallas, Texas.

$3000 - 4000

6 4 • V U C A O D A M(Vietnamese, 1908-2000)La RencontreOil on canvas, 1977. Signed and dated lower right, “Vu CaoDam 77.” Titled, signed, and dated en verso, “La Rencontre Vu Cao Dam 1977.”

Canvas: 28.875"H x 21.625"W;Frame: 36.5"H x 29"W.


$7000 - 9000

6 5 • V U C A O D A M (Vietnamese, 1908-2000)Le PoèteOil on canvas, 1984. Signed and dated lower right, “Vu CaoDam 84.” Titled, signed, and dated en verso “Le Poète Vu Cao Dam 1984.”



$4000 - 6000

46

6 6 • M A R C E L M O U LY (French, 1918-2008) Dans le Jardins de ParadeniyaOil on canvas, 2006. Signed lowerright “M. Mouly 06.” Inscribed enverso “M. Mouly Dans le Jardinsde Paradeniya (Ceylon).”


$3000 - 5000

6 7 • V U C A O D A M (Vietnamese, 1908-2000)Les FiancésOil on canvas, 1984. Signedand dated lower right, “VuCao Dam 84.” Titled, signed,and dated en verso, “Les Fiancés Vu Cao Dam 1984.”



$4000 - 6000

6 8 • V U C A O D A M (Vietnamese, 1908-2000)CompositionOil on canvas, 1984. Signed and dated lower right, “Vu Cao Dam 84.” Titled, signed, and dated en verso, “Composition Vu Cao Dam 1984.”

Canvas: 18.125"H x 15.25"W; Frame: 22"H x 18.875"W.


$4000 - 6000

47

6 9 • G U Y B A R D O N E (French, b. 1927)Barques à AlteaOil on canvas, 1958. Signed lower center “Bardone.” Inscribed en verso “G. Bardone 58 Barques à Altea.”

Canvas: 32"H x 25.25"W; Frame: 39.5"H x 33"W.

Provenance: Marlborough Fine Art, Ltd., London.

$1800 - 2500

7 0 • V U C A O D A M (Vietnamese, 1908-2000)La Robe RoseOil on canvas, 1984. Signed and dated lower right, “Vu Cao Dam 84.” Titled, signed, and dated en verso, “La Robe Rose Vu Cao Dam 1984.”



$3000 - 5000

M O D E R N A N D

C O N T E M P O R A R Y A R TL O T S 7 1 - 1 1 9

50

7 3 • B R Y A N H U N T (American, b. 1947)Buddha Contemplating YouthPencil, linseed oil and watercolor onpaper, 1982. Titled, signed, and datedlower right, “Buddha ContemplatingYouth Bryan Hunt ‘82.”


Provenance: Blum Helman Gallery Inc., NY; Acquired from the above in November 1982. From a collection assembled by the late Mr. & Mrs. I.C. Deal, Dallas, Texas.

$2500 - 3500

7 2 • H E N R I D E T O U L O U S E - L A U T R E C (French, 1864-1901)À TablePencil drawing on paper, 1881. Signed lower right “H T L 1881.”

Sheet: 6.375"H x 10.875"W; Frame: 21.75"H x 25.5"W.

Provenance: Mrs. Norman Laski, London.

Literature: M.G. Dortu, “Toulouse-Lautrec et son oeuvre”, New York, 1971, vol. V,p. 320, no. D.1.924 (illustrated, p. 321). Maurice Joyant, “Lautrec II”, Arno Press,New York, 1968, pg. 181.

Exhibited: Nice, 1957, Palais de la Méditerranée, Toulouse Lautrec Exhibition,cat no. 29.

$2000 - 3000

7 1 • G E O R G E R O D R I G U E (American, 1944-2013)Blue Dog SeriesMixed media on board, 1991.Signed lower left “Rodrigue.”Copyrighted, dated, and stampeden verso. “Mixed media ©1991Blue Dog Series.”


Provenance: The Rodrigue Gallery,New Orleans, Louisiana.

$8000 - 12,000

51

7 4 • T H O M A S D O W N I N G (American, 1928-1985)WingAcrylic on unprimed canvas,1966. Inscribed en verso “Downing - ‘66 Wing.”


Note: The proceeds of the sale ofthis lot will benefit the HollycroftFoundation. The Hollycroft Foundation, a non-profit 501(c)(3)corporation, is committed to developing a public awareness of cultural values. Dedicated to affirming that design and the artsinfluence every facet of our dailylives, the Foundation has promotedlectures, seminars, multi-mediacurricula and various exhibitions.

$4500 - 6500

7 5 • R O B E R T A R T H U R G O O D N O U G H (American, 1917-2010) Colors on Pale Purple-GreenOil and acrylic on canvas, 1976. Inscribed en verso “Colors on Pale Purple-Green.”


Provenance: M. Knoedler & Co., New York; Acquired from the above in May 1977, Estate of Mary Jo Vaughn Rauscher, Dallas, TX.

$3000 - 5000

52

7 6 • D M I T R I H A D Z I (American, b. 1921)Thebes III Bronze sculpture, 1980.

65.5"H x 44"W.

Provenance: Albert Landry, NY;Acquired from the above in June 1980; From a collection assembled by the late Mr. & Mrs. I.C. Deal, Dallas, Texas.

Note: Hadzi’s sculpture often incorporate mythological themes in abstracted forms as is the case in this example.

$8000 - 12000

53

7 7 • S T A N L E Y W I L L I A M H A Y T E R (British/American, 1901-1988)NereidesOil and acrylic on canvas, 1958. Signed and dated lower right, “Hayter 58.” Titled, signed, and dated en verso, “Nereides Hayter ‘58.”

Canvas: 78.75"H x 67.25"W; Frame: 80"H x 68.5"W.

Provenance: Howard Wise Gallery, NewYork; Acquired from the above in 1964,Estate of Mary Jo Vaughn Rauscher,Dallas, TX.

Exhibited: University of Texas Art Museum, Austin, TX (partial exhibitionlabel on reverse).

Literature: “Hayter”, Limbour, Georges,Le Musee de Poche, Paris, 1962. Pg. 51;“Studio”, Watt, Alexander, Volume 166,No. 843, July 1963. Illustrated pg.35.

Note: According to a letter dated March 12, 1964, from the artist to Mrs.Vaughn, “Sir John Rothenstein wantedto buy it (Nereides) for the Tate GalleryLondon.” The artist continues his dialogdiscussing his process, “For your draw-ings the Rembrandt use some of thesame pigments; the way I use them onlythree to five pure colours are used ineach one… the variants coming frominterference of transparencies. SuggestBlue, Green, Orange, Red Violet (blueshade) and Yellow only… experimentwith one field color predominant andsee what happens. Almost any three ofthese can give equivalent of saturatedfull color.”

$10,000 - 15,000

54

7 8 • B A R B A R A H E P W O R T H (British, 1903-1975)Summer Dance Painted, polished, and patinated bronze in two parts, 1971. Inscribed, “Barbara Hepworth 3/6 1971;” with the foundry mark,“Morris Singer Founders London.”

36"H x 38"W x 14"D.

Provenance: Marlborough Gallery NY, acquired July 1984; Estate of Mary Jo Vaughn Rauscher, Dallas, TX.

Exhibited and Illustrated: Marlborough Galerie, Zurich, ‘Barbara Hepworth’ exhibition, August-October 1975, cat. 19, reprod. p. 41; “Barbara Hepworth Carvings and Bronzes” May 5-June 29 1979, Marlborough Gallery, New York; catalogue no. 51, illustrated pg. 15.

Note: This work is recorded in the Catalogue Raisonne as BH No. 540, that is being revised by Dr. Sophie Bowness; :“SummerDance” was created while the artist lived and worked in the Trewyn Studio. Nicholas Wadley suggests that, “The use of colouron bronze evolved from her painted carvings, as did the relation of the internal and external lives of a form.”* The artist feltstrongly that her sculpture should be used employing all one’s senses and viewed from all angles. *”Barbara Hepworth Carv-ings and Bronzes” May 5-June 29 1979, Marlborough Gallery, New York.

$500,000 - 700,000

55

56

7 9 • V I C T O R PA S M O R E (British, 1908-1998)Linear MotifRelief painting with gravure and oil on plastic and panel, 1967. Initialed, signed, and dated en verso, “VP Victor Pasmore 1967.”

Panel: 48"H x 48"W.

Provenance: Marlborough Fine Art, London; Acquired from above in January 1986; Estate of Mary Jo Vaughn Rauscher, Dallas, TX.

Literature: Alan Bowness and Luigi Lambertini, “Victor Pasmore: A Catalogue Raisonne of the Paintings, Constructions, and Graphics,1926-1979,” Rizzoli: New York, 1980, pg. 309, illustrated pg. 308. Marlbourgh-Gerson Gallery, catalog by Dennis Duerden, “Victor Pasmore: The Space Within, New Paintings and Constructions,” Marlbourgh-Gerson Gallery: New York, 1967, pg.12.

Exhibited: Marlbourgh-Gerson, New York, 1967. Arts Council of Great Britain. Cartwright Hall, Bradford, February 2-March 1980. Walker Art Gallery, Liverpool, March 15-May 11 1980. Sainstbury Centre, UEA, Norwich; May 20-June 1980. Leicestershire Museum & Art Gallery, Leicester June21-July 20 1980. Laing Art Gallery, Newcastle upon Tyne, July 26-August 25 1980. Diploma Galleries, Royal Academy, London; September 19-October 1980.

Note: Alan Bowness remarks, “The projective reliefs of 1954-1966 demonstrate clearly Pasmore’s new ideas of a space-time continuum.The spectator needs to move in order to see the work, and because of the projecting forms and the way they are colored and lit, thepainting changes as we view it. Although we know intellectually that the art object is static and determined, our senses tell us that it is variable and undetermined. Again, there is a creative tension built into the work by the artist, a dialectic established that invites further experiment towards resolution.” (Alan Bowness and Luigi Lambertini, “Victor Pasmore: A Catalogue Raisonne of the Paintings,Constructions, and Graphics, 1926-1979,” Rizzoli: New York, 1980.)

$80,000 - 120,000

57

58

8 0 • V I C T O R PA S M O R E (British, 1908-1998)Linear MotifGravure and oil on plastic and panel, 1966-1967. Initialed, signed, and dated en verso, “VP Victor Pasmore 1967.”

Panel: 48"H x 48"W.

Provenance: Marlborough Fine Art, London; Acquired from the above January, 1986, Estate of Mary Jo Vaughn Rauscher, Dallas, TX.

Exhibited: Marlbourgh-Gerson, New York, 1967.

Literature: Alan Bowness and Luigi Lambertini, “Victor Pasmore: A Catalogue Raisonne of the Paintings, Constructions, and Graphics, 1926-1979,” Rizzoli: New York, 1980, pg. 308, illustrated pg. 78. Marlbourgh-Gerson Gallery, catalog by Dennis Duerden, “Victor Pasmore: The Space Within, New Paintings and Constructions,” Marlbourgh-Gerson Gallery: New York, 1967, pg.13.

Note: “There is a direct connection between Pasmore’s compositional practices and topological mathematics, where the properties of indeterminate shapes are investigated… works are often sequential, each picture taking one idea a stage further, as with the Linear compositions of 1961-67.” (Alan Bowness and Luigi Lambertini, “Victor Pasmore: A Catalogue Raisonne of the Paintings, Constructions, and Graphics, 1926-1979,” Rizzoli: New York, 1980).

$80,000 - 120,000

59

60

8 1 • J A C Q U E S L I P C H I T Z (French, 1891-1973)The MeetingLead sculpture, 1913. Inscribed, “J Lipchitz 1913” with the artist’s thumbprint.

31.5"H

Provenance: Otto Gerson Gallery – acquired from the artist; Marlborough-Gerson Gallery, NYC; Acquired in November 1964, Estate of Mary Jo Vaughn Rauscher, Dallas, TX.

Exhibited: “Sculpture Twentieth Century,” Dallas Museum of Fine Arts, May 12-June 13, 1965, No. 44; “Dallas Collects: Impressionist and Early Modern Masters,” Dallas Museum of Fine Arts, January 24-February 26, 1978; No.11.

Literature: “The Sculpture of Jacques Lipchitz A Catalogue Raisonne Volume One The Paris Years 1910-1940,” by Alan G. Wilkinson, No. 15; “Jacques Lipchitz His Sculpture” by Harry N. Abrams, No.12 (illustrated); “Lipchitz in Otterlo,” A.M. Hammacher, pg. 2.

Note: Upon seeing “The Meeting,” the viewer is “immediately struck by the geometrical scheme, the symmetry, straight lines and curves and strong places that determine the structure.” One could also observe that although the figures are embraced there is no overt sexuality to the piece. (“Lipchitz in Otterlo,” A.M. Hammacher, 1977).

$600,000 - 800,000

61

62

8 2 • PA B L O P I C A S S O(Spanish, 1881-1973)Sebastia Junyer-Vidal a MajorquePencil and color crayon on paper, Summer/Fall 1903. Signed lower right, “Picasso.”

Sheet: 14"H x 11"W; Frame: 22.5"H x 19.5"W.

Provenance: Collection of Sebastia Junyer Vidal; Howard Samuel Esquire; Alex J. Rosenburg, NY; Acquired from the above in January 1981,Estate of Michael Rosenburg, Dallas, TX. Dallas Auction Gallery, May 13, 2004 Lot 298; Private Collection Dallas, TX.

Exhibited: New York, Sidney Janis Gallery; London, O’Hana Gallery; “Picasso: Exhibition of Pastels and Drawings of the Blue Period,” 1960,No. 27; Geneva, Musée de l‘Athénée, “Exposition Picasso” July 11 - September 21 1963; London, Brook Street Gallery, illustrated in color inthe catalogue “Picasso 60 Years of Graphic Work & Drawings 1900-1910,” 1967, No. 1.

Literature: Christian Zervos, Pablo Picasso, Vol. 6, Supplement aux Volumes 1 A 5, illustrated pl. 346 (with incorrect date); OPP.03:012,Mallen, Enrique, ed. Online Picasso Project. Sam Houston State University. Accessed 2014. Josep Palau i Fabre, “Picasso en Cataluna.”Poligrafa: Barcelona, 1966, No. 62; Alexandre Cirici Pellicer, “Picasso antes de Picasso,” Iberia J. Gil Editores: Barcelona, 1946, No. 123. AlanWofsy, “Picasso’s Paintings, Watercolors, Drawings & Sculpture,” Alan Wofsy Fine Arts: San Francisco, 2003, Vol. 3, No. 156. Josep Palau i Fabre,“Picasso Vivent (1881-1907),” Ediciones Poligrafa: Barcelona, 1980, Vol 1., No. 870. Maria-Teresa Ocana, “Picasso Landscapes 1890-1912,” Little Brown, Boston, 1994, No. 82.

Note: In “Picasso Landscapes 1890-1912,” the author notes, “The use of landscape as a means of plastic expression is not very commonin the artist’s humorous production at this time. In spite of that, it serves at times to put more emphasis on what he wants to commu-nicate. These works surprise us, often, with scenes which are an amusing description, precise and immediate, of the atmospherewhich surrounds him, at times depicted in a natural way, at times in an allusive manner. In any case, they are nearly always related toone or several human figures, the artist’s own or those of his friends. They are an anecdotal account of the world in which he moves, inwhich between 1903-1904, his friend Junyer has a privileged place.” In the present example we see Picasso, “attempt to reinforce theartistic language through caricature is shown also in the multiple drawings, refreshing and impudent, of Sebastia Junyer. In four draw-ings Junyer is set in natural surroundings, enjoying the rocky coast and the sea… and even, in a true sublimation of the classic world,setting him, dressed in a tunic, in front of the sea, with a harp in his hand, as though he is about to pluck a rhapsody, surely dedicatedto the beauty of nature in Mallora. Not in vain was he passionate about this place, ‘the delicate painter of Mallora’ Cirici called him.Junyer is distinguished for the poetic manner in which he painted the island landscapes.” Here we see one on Picasso’s closest compa-triots depicted in a place he holds dear. This drawing also from the artist’s blue period has a markedly different tone than that of his"Portrait of Sebastia Junyer Vidal” also painted in Barcelona in the same year.

This lot is accompanied by a letter of authenticity from Jacques Kaplan.

Condition: Hinged at top edge. Overall foxing accurately shown in images. Lower left corner with approximate one inch silver loss, see image. Top edge of paper slightly uneven.

$250,000 - 350,000

63

64

8 3 • J U L E S O L I T S K I (American, 1922-2007)Other Flesh 12Acrylic on canvas, 1972. Signed, titled, and dated on verso, “Jules Olitski 1972 Other Flesh 12.”

Canvas: 73"H x 23"W; Frame: 74"H x 24"W.

Provenance: Lawrence Rubin, NY; acquired from the above in May1973; Estate of Mary Jo Vaughn Rauscher, Dallas, TX.

Note: With his use of glazing and subtle impasto as seen in this work,Olitski, “produced a surface which could literally be seen into, andwhich therefore appeared more or less saturated with color as it thick-ened and thinned.” (“Jules Olitski and The Tradition of Oil Painting,”Terry Fenton; 1979).

$14,000 - 18,000

65

8 4 • J U L E S O L I T S K I (American, 1922-2007)Irkutsk DawnAcrylic emulsion on canvas, 1970-71. Signed, titled, and dated en verso, “Jules Olitski Irkutsk Dawn 1970-713rd Years.”


Provenance: M. Knoedler & Co., Inc, NY; Acquired from the above in February 1982; Estate of Mary Jo VaughnRauscher, Dallas, TX.

Exhibited:Whitney Museum of American Art Jan 25-March 19, 1972, No. 85; Dallas Central Library, April 1984-April 1986.

Note: Jules Olitski (American 1922-2007). Olitski’s spray gun paintings are perhaps the most recognizable of his oeuvre. “Sprayed paint is the antithesis of the sculptural. It suggest mists and atmosphere and optical,illusionistic pictorial space (we see fogs by seeing into them).” In, “Irkutsk Dawn”, the artist adjusts our view of the picture by drawing the left margin. With this he, “exploits the fact that the tension and implied spaceacross an empty picture surface isn’t equal through-out, that the surface becomes more literally flat and immediate as it approaches an edge.” (“Jules Olitski and The Tradition of Oil Painting,” Terry Fenton; 1979).

$20,000 - 30,000

66

8 5 • B Y R O N G Á L V E Z (Mexican, b. 1941)Sitting SculptureBronze, 1989. Signed, dated, and editioned on base “Byron 89 005/100.”

21.25"H x 17.5"W x 12.375"D.

Note: During his European travels the artist was exposed to the works of Henry Moore, Brâncus, and Chillida. Their influence is reflected in his sculptural works.

$7000 - 10,000

67

8 6 • A H M E D PA R V E Z (Pakistani, 1926-1979)UntitledGouache and ink on paper, 1960.Signed center right, “Parvez ‘60.”


Note: The proceeds of the sale ofthis lot will benefit the HollycroftFoundation. The Hollycroft Foundation, a non-profit 501(c)(3)corporation, is committed to developing a public awareness of cultural values. Dedicated to affirming that design and the artsinfluence every facet of our dailylives, the Foundation has promotedlectures, seminars, multi-mediacurricula and various exhibitions.

$1500 - 2500

8 7 • G E O R G E D U N B A R(American/Louisiana, b. 1927)Beige LadyClay relief wall sculpture, 1991.

16.5"H x 20"W x 4.5"D including wooden base.

Provenance: Galerie Simonne Stern,New Orleans, LA; Estate of Mary JoVaughn Rauscher, Dallas, TX.

$2500 - 3500

68

8 8 • C H A R L E S A B E R G (American, 1945-1982)UntitledOil on canvas wrapped around wood.

Overall: 72.5"H x 108"W.

$4000 - 6000

8 9 • M A R K N E W S O N(Australian, b. 1963)for Cappellini modern wood chairOf uniform strips of bent naturalbeech heartwood, Circa 1988-1992.

26.5"H x 34" W x 41"D (14"H seat).

$2000 - 3000

69

9 0 • M A R G A R E T B O U R K E - W H I T E (American, 1904-1971) Dahlonega, Georgia, from the Collection “Have You Seen Their Faces?”

Gelatin silver print, 1937. Hand stamped in purple en verso “A MargaretBurke-White Photograph” and inscribed in pencil the number 605.

Sheet: 9.25"H x 13.25"W; Frame: 16.625"H x 20.5"W.Provenance: Erskine Caldwell’s wife (Mt. Vernon, Maine); to consignor’s father through descent, James D. Julia, 08/2010; Private Texas Collection.

Note: Bourke-White and Erskine Caldwell spent eighteen months travelingthe south documenting the daily hardships faced by sharecroppers. “Thesouth has been taking a beating for a long time, and the pain and indignityis beginning to tell. It can be seen any day now in the lean and hungry faces of men. It means unrest.” Erskine Caldwell. This image deftly capturesCaldwell’s sentiment and yet manages somehow to re-enforce the stead-fastness of the resolve of the people of the South to make it through thoselean times. This image was chosen as the cover of their book, “Have YouSeen Their Faces,” originally published in 1937.

$15,000 - 20,000

9 1 • E D W A R D W E S T O N (American, 1886-1958)Gulf Oil TankerGelatin silver print. Inscribed en verso in center “Ltd Ed Club, Inc.” and lower right “EWP53.” Paper clipping with typing pasted en verso“Song of the Exposition: #7) ‘With latest connections, works, the inter-transportation of the world, steam power…petroleum…withlines of steamships,’ etc…W 36.”

Photograph: 7.625"H x 9.5"W; Paper: 8.875"H x 11"W; Frame: 17"H x 21.125"W.

$8000 - 12,000

9 2 • M A R G A R E T B O U R K E - W H I T E (American, 1904-1971) Gaze of an Old ManGelatin silver print, 1936.

Sheet: 14"H x 11"W; Frame: 21"H X 18"W.

Provenance: Erskine Caldwell’s wife (Mt. Vernon, Maine); to consignor’s father through descent, James D. Julia, 08/2010; Private Texas Collection.

Note: Margaret Bourke-White and Erskine Caldwell spent eighteen months traveling thesouth documenting the daily hardships faced by sharecroppers.This intimate portrait shows theweathered face of a man who has clearly known years of hardwork. His steely gaze intimating his resoluteness to soldier on with little hope of improving his circumstances.

$3000 - 5000

70

9 3 • J O A N M I R O (Spanish, 1893-1983)Grand Triptyque NoirColor etching and aquatint with carborundum, 1969. Signed lower right “Miro” and numbered lower left “21/50.”


Provenance: Waddington Galleries Ltd. London; Acquired from the above in February 1982, From a collection assembled by the late Mr. & Mrs. I.C. Deal, Dallas, Texas.

Literature: Jacques Dupin, No. 504.

$20,000 - 30,000

71

9 4 • J O A N M I R O (Spanish, 1893-1983)Le CharivariAquatint, 1976. Signed center right “Miro” and initialed lower right “H C” aside from the edition of 50.

Sheet: 63"H x 47.375"W; Frame: 75.5"H x 59.75"W.

Provenance: Waddington Galleries Ltd. London; Acquired from the above in February 1982, From a collection assembledby the late Mr. & Mrs. I.C. Deal, Dallas, Texas.

Literature: Jacques Dupin, No. 927.

$20,000 - 30,000

72

9 5 • R O B E R T M O T H E R W E L L (American/New York, 1915-1991)WaveColor lithograph on white Somerset mold-made paper, 1989. Signed and numbered lower right “Motherwell 84/92.”

Sheet: 41"H x 56.5"W; Frame: 50.5"H x 71"W.

Publisher: Tyler Graphics Ltd., Mount Kisco, New York.

Provenance: Tyler Graphics, NY; Acquired from the above in February 1990,From a collection assembled by the late Mr. & Mrs. I.C. Deal, Dallas, Texas.

Literature: Siri Engberg, “Robert Motherwell: The Complete Prints 1940-1991:Catalogue Raisonne,” Hudson Hills Press, New York, 2003, No. 475, Pg. 368.

$12,000 - 15,000

73

9 6 • S A M F R A N C I S (American, 1923-1994)SFM 80-800Monotype with woodcut, oil, ink and powderedpigments on handmade paper, 1980. Signedlower right, “Sam Francis,” inscribed on verso, “EXP-SF-30-#8-1980, 30 1/4" X 25" SFM 80-800.”


Provenance: Galerie Jean Fournier, Paris; Acquired from the above in October 1985;From a collection assembled by the late Mr. &Mrs. I.C. Deal, Dallas, Texas.

Note: This work is identified by the Sam FrancisFoundation with the interim identificationnumber of SFM80-800.

$10,000 - 15,000

9 7 • S A M F R A N C I S (American, 1923-1994)SFM 79-067Monotype with woodcut, oil, ink and powderedpigment on handmade paper, 1979. Signedlower right, “Sam Francis,” inscribed on verso,“30 1/8" x 25 3/8" SFM 79-067.”

Sheet: 30.125"H x 25.375"W; Frame: 35"H x 29.25"W.

Provenance: Galerie Jean Fournier, Paris; Acquired from the above in October 1985;From a collection assembled by the late Mr. &Mrs. I.C. Deal, Dallas, Texas.

Literature: Pontus Hulten, “The Monotypes ofSam Francis,” Nancy Mozur and Garner Tullis,Stuttgart, Germany: Daco-Verlag, 1994, pg. 80,illustrated pg. 81.


$10,000 - 15,000

74

9 8 • S A M F R A N C I S (American, 1923-1994)SFM 81-001Monotype with woodcut, oil, ink and powdered pigment on handmade paper,1981. Signed lower right. “Sam Francis,” inscribed on verso, “30 1/4" x 25 3/4" SFM 81-001.”


Provenance: Galerie Jean Fournier, Paris; Acquired from the above in October 1985;From a collection assembled by the late Mr. & Mrs. I.C. Deal, Dallas, Texas.



$10,000 - 15,000

75

9 9 • S A M F R A N C I S(American, 1923-1994)SFM 81-021Monotype with woodcut, oil, ink and powderedpigment on handmade paper, 1981. Signedlower right. “Sam Francis,” inscribed on verso,“30 1/2" x 25 1/16",“ “SFM 81-021.”


Provenance: Galerie Jean Fournier, Paris; Acquired from the above in October 1985;From a collection assembled by the late Mr. & Mrs. I.C. Deal, Dallas, Texas.



$10,000 - 15,000

76

1 0 0 • M . C . E S C H E R(Dutch, 1898-1972)DragonWood engraving, 1952. Signed lower left “MC Escher.” Inscribed lower right “Eigendruk.”


Literature: F.H. Bool, “M.C. Escher, His Life and Complete Graphic Work: With a Fully Illustrated Catalogue,” H.N. Abrams: New York, 1982, Pg. 303 and 340, No. 379.

$14,000 - 18,000

1 0 1 • M A R C C H A G A L L (French/Russian, 1887-1985)Bonjour Paris Color lithograph, 1972. Inscribed, dated, and signed in bluecrayon lower margin “1972 Pour Gerard – Marc Chagall.” Artist’sproof aside from the edition of 10,000.

Sheet: 33.75"H x 22"W; Frame: 52.25"H x 39.5"W.

Literature: No. 43, Fernand Mourlot and Charles Sorlier, “TheLithographs of Chagall,” Braziller: New York, 1960-1986.

$10,000 - 15,000

77

1 0 2 • S A M F R A N C I S (American, 1923-1994)UntitledAquatint and etching on Rives paper, 1987. Signed lower right “Sam Francis” and numbered lower left “18/20.”


Publisher: The Litho Shop, Inc., Santa Monica, CA.

Provenance: The Litho Shop, CA; acquired from the above in October 1990,From a collection assembled by the late Mr. & Mrs. I.C. Deal, Dallas, Texas.

Literature: Connie W. Lembark, “The Prints of Sam Francis, A CatalogueRaisonné 1960-1990,” Hudson Hills Press, New York, 1992, No. I77, pg. 90.

$6000 - 8000

1 0 3 • S A M F R A N C I S (American, 1923-1994)Senza Titolo IEtching and aquatint on fabriano paper, 1987. Signed lower right, “Sam Francis” and numbered lower left, “10/58.”


Publisher: 2RC Edizioni d’Arte, Rome, Italy (watermarked lower left corner of sheet).

Provenance: The Litho Shop, CA; acquired from the above in October 1990, Provenance: Waddington Galleries Ltd. London; From a collection assembled by the late Mr. & Mrs. I.C. Deal, Dallas, Texas.

Literature: Connie W. Lembark, “The Prints of Sam Francis, A Catalogue Raisonné 1960-1990,” Hudson Hills Press, New York, 1992, No. I87, pg. 102.

$5000 - 7000

78

1 0 4 • R E M B R A N D T H A R M E N S Z V A N R I J N(Dutch, 1606-1669)St. Jerome PrayingEtching, 1632.

Paper: 10.8 cm x 8.1 cm; Frame: 23.5"H x 22.5"W.

Literature: Biörklund’s state I/IV, with the brokenline on the right side of the arch; Usticke’s stateI/IV; White and Boon’s state I/IV. Bartsch 101;Biörklund 32-B; Hollstein (White and Boon) 101.

$5000 - 7000

1 0 6 • R O B E R T I N D I A N A (American/New York, b. 1928)LoveEtching with aquatint in colors, 1981.

Signed and dated lower right “R Indiana ‘81.” Titled lower left“Love, Red/Blue” and numbered18/25.

Sheet: 29.125"H x 29.625"W;Frame: 34.25"H x 34.25"W.

Note: Printed by Vinalhaven Presswith their blindstamp, publishedby Susan Sheehan Gallery to coincide with the release of“Robert Indiana Prints CatalogueRaisonne 1951-1991.”

$2500 - 3500

1 0 5 • PA B L O P I C A S S O (Spanish, 1881-1973)Colombe Volant à L’Arc en CielColor lithograph, 1952. Signedlower right, “Picasso,” and numbered lower left, “76/200.”


$3000 - 4000

79

1 0 9 • S A M F R A N C I S(American, 1923-1994)UntitledLithograph on rives paper, 1987.Signed lower right “Sam Francis”and numbered lower left “41/50.”

Sheet: 37"H x 28.5"W; Frame: 43.25"H x 34.625"W.

Publisher: The Litho Shop, Inc.,Santa Monica, CA.

Provenance: The Litho Shop, CA;acquired from the above in October 1990, From a collectionassembled by the late Mr. & Mrs.I.C. Deal, Dallas, Texas.

Literature: Connie W. Lembark,“The Prints of Sam Francis, A Catalogue Raisonné 1960-1990,”Hudson Hills Press, New York,1992, No. L274, pg. 378.

$1500 - 2500

1 0 7 • S A M F R A N C I S(American, 1923-1994)UntitledLithograph on PTI #120 waterleaf paper, 1989. Signed lowerright “Sam Francis” and numbered lower left “50/50.”

Sheet: 46.5"H x 29.75"W; Frame: 52.375"H x 35"W.

Publisher: The Litho Shop, Inc., Santa Monica, CA.

Provenance: The Litho Shop, CA; acquired from the above in October 1990, From a collection assembled by the late Mr. & Mrs. I.C. Deal, Dallas, Texas.

Literature: Connie W. Lembark, “The Prints of Sam Francis, A Catalogue Raisonné 1960-1990,” Hudson Hills Press, New York, 1992, No. L282, pg. 390.

$2500 - 3500

1 0 8 • H E N R I T O U L O U S E - L A U T R E C (French, 1864-1901) SagesseLithograph, 1893. Signed and numbered lowerleft “T-Lautrec No. 7.” Stamped lower left “E.D. Kielmann, Paris, 3 Rue de la Victoire.”


$2500 - 3500

80

1 1 0 • PA B L O P I C A S S O (Spanish, 1881-1973)La Ronde de la JeunesseColor lithograph on Arches, 1961. Signed in pencil lower right, “Picasso,” numbered in pencil lower left, “119/200.”


$1500 - 2500

1 1 1 • J O A N M I R O (Spanish, 1893-1983)Composition IIColor lithograph. Signed lower right “Miro” and initialedlower left “HC” aside from the edition of 125.


Publisher: Centre Georges Pompidou, Paris.

Provenance: Edward Dean Gallery, South Windsor, Connecticut.

Note: Patrick Cramer, “Joan Miro, lithographs,” Maeght Editeur, Paris, Vol. 6, Pg. 35, No. III0.

$1200 - 1800

81

1 1 2 • F R A N C E S C O G U A R D I (Italian, 1712-1793)Attributed to Francesco GuardiLandscape with Arch and FiguresBrown ink, sepia wash, sanguine pencil with highlights on grey-brown vellum.

Sheet: 5.625"H x 8"W; Mat: 20"H x 22.5"W.

Provenance: Estate of Don ZanFagna.

$1200 - 1800

1 1 3 • F O L L O W E R O F A N B I B A L C A R R A C C I (Italian, 1560-1609)The Wine God, DionysusSanguine on laid paper, pasted at the corners.

Sheet: 8"H x 11.25"W; Mat: 20"H x 24"W.

Provenance: Estate of Don ZanFagna.

$1400 - 1800

82

1 1 4 • R . C . G O R M A N (American, 1932-2005) Thistle JarColor lithograph, 1987. Signed and dated lower left “R.C. Gorman 1987”and numbered 20/200.

Sight: 30"H x 39.5"W; Frame: 44.75"H x 54.25"W.

$1500 - 2500

83

1 1 6 • R . C . G O R M A N(American, 1932-2005) Woman Harvesting CornLithograph, 1986. Signed anddated lower left “R.C. Gorman1986.” Inscribed lower right “A/P.”


Provenance: Houshang’s Gallery,Dallas, Texas (label on reverse).

$1500 - 2500

1 1 5 • R . C . G O R M A N(American, 1932-2005) HarvestColor lithograph, 1987. Signed and dated lower left “R.C. Gorman 1987” and inscribed lower right “A/P.”

Sight: 27.25"H x 35"W; Frame: 42"H x 49.75"W.

Provenance: Houshang’s Gallery,Dallas, Texas (label en verso).

$2000 - 3000

84

1 1 8 • G E O R G E R O D R I G U E (American, 1944-2013) Carmel Edition ISilkscreen, 1991. Signed lowerright “George Rodrigue” andnumbered 30/90.

Sight: 33.875"H x 25.625"W;Frame: 35.625"H x 27.25"W.

$800 - 1200

1 1 7 • G E O R G E R O D R I G U E (American, 1944-2013)Home on the MoonOffset lithograph. Signed lower right “Rodrigue.”

Sight: 10.75"H x 22"W; Frame: 22.75"H x 30.75"W.

$800 - 1200

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1 1 9 • T E R R Y W I N T E R S (American, b. 1949)BombColor lithograph, 1987. Signed,dated, and editioned upper left,“T. Winters 41/71 1987.”


Provenance: From a collection assembled by the late Mr. & Mrs. I.C. Deal, Dallas, Texas.

$600 - 900

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GUIDE FOR PROSPECTIVE BUYERSDallas Auction Gallery is an established international antiques and fine artauction house known for integrity, simplicity and personal service for both thebuyer and seller.

When it comes to auctions, some people find the buying process complicated.Our experienced auction specialists are available to work with you personallyto ensure an experience that is clear and straight forward. We welcome you toattend an auction or two, in person before ever bidding on anything. Ask anauction specialist questions about the process and items. This will allow you tobecome comfortable and knowledgeable within the auction environment.

Today’s technology and global marketplace allow for buyers around the worldto participate in auctions.

Dallas Auction Gallery provides several options for you to preview items priorto the auction. You can view our online catalogues two weeks prior to eachsale. There is a detailed description and photographs of each lot offered in the auction.

In addition to our catalogues, Dallas Auction Gallery offers an open house pre-view for several days prior to each auction. Items are professionally displayedin the gallery and our auction experts are available to consult with clients. Weencourage you to inspect each item of interest carefully as all items are sold“as is.” Antiques by nature, show signs of use and age, which often enhancestheir unique characteristics and creates their value, as in a fine patina. If youare unable to inspect the items of interest in person, please request a condi-tion report and our experts will inspect the item for you and provide a writtenreport of its condition.

Items available at auction are valued at “auction estimates” in a range which isbased on the research of what similar items have sold at auction. They do notnecessary indicate the highest amount an item will sell for. The market andbidding will determine final hammer prices.

BID IN PERSONThe traditional form of bidding is live, in person during the auction offering anexciting and fast paced experience. All buyers must register prior to biddingand receive a bid card which is raised to indicate a bid to the auctioneer. Oncethe auction starts, the lots are offered in sequential order. You will receive aprinted catalogue to follow along. When your desired item is offered, be sure

to make your bid obvious by raising your card and make eye contact with theauctioneer. Auctions are fast paced and you must make decisions and com-municate quickly. If you are the winning bidder, the auctioneer will close theitem by saying “sold,” the final hammer price and announce your bid cardnumber.

TELEPHONE BIDDINGFor buyers unable to attend the auction in person, Dallas Auction Gallery of-fers phone bidding. You participate live on the phone with one of our trainedprofessionals who manages phone bids around the world during each auc-tion. Our auction professionals are fluent in English and Mandarin. Telephonebid requests must be placed at least 24 hours prior to the auction. All tele-phone bidders are encouraged to leave an absentee bid or safety bid in theevent a call should fail. Each registered phone bidder is bound by the termsand conditions of sale. Telephone Bid Form is available on our Website and bycalling an auction specialists 214-653-3900.

ABSENTEE BIDDINGFor buyers unable to participate in the live bidding process, Dallas AuctionGallery accepts Absentee Bids. We bid on your behalf just as if you were in the auction house, up to your pre-determined maximum bid. Dallas AuctionGallery will not use your maximum bid as a starting bid and always attempt to purchase your desired item at the lowest possible price.

You must provide a specified fixed maximum bid, we do not accept openended “buy” bids. We execute absentee bids as a convenience for our clients,however under no circumstances will we be responsible for inadvertently failing to execute bids or for errors relating to execution of bids includingtechnology related errors.

In the event of identical absentee bids, the earliest received will take priority.Completed and signed bid forms must be received by Dallas Auction Galleryno later than 5pm (EST) on the evening of the auction.

ABSENTEE BIDDING ONLINE AT DAGWhen leaving an absentee bid online on our website, please click on the “viewcatalog” link, and then click “new bidder”. You will be asked to resubmit yourpersonal information. Once registered online, you will be able to quickly log inand bid on any future auctions.

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LIVE ON-LINE BIDDINGDallas Auction Gallery conducts auctions live online through LiveAuctioneers.You can participate in real time via a live audio and video feed. LiveAuction-eers does require you to register in advance to bid.

http://www.liveauctioneers.com/browse/seller/dallasauctiongallerySelect Dallas Auction Gallery (you may have to click the link to “View all auctions”). Follow auction registration instructions.

PAYMENT OPTIONSDomestic Clients: We accept bank wire transfers, cash, personal or companycheck with proper ID, cashier's check, travelers check, money order, Visa, Mas-terCard, or Discover. There is a maximum of $10,000 that may be charged tocredit cards, per client invoice.

(a) Items purchased in person must be paid for on the day of the auction. Ifyou leave without paying, your credit card will be charged the next day.

(b) For items purchased via phone or absentee bidding, your credit card willbe charged the day after the auction. If other payment arrangements havebeen made and good funds have not been received by the 5th businessday after the auction, your credit card will be charged.

(c) For items purchased online, you will be emailed an invoice the day after the auction. It is your responsibility to contact DAG via telephone 866-653-3900 or email at [email protected] to make payment.

(d) If paying by check, DAG reserves the right to hold all purchases until thecheck has cleared to the satisfaction of DAG and its bank.

International Clients: We accept wire transfers, Visa, MasterCard, or Discover.There is a maximum of $10,000 that may be charged to credit cards, perclient invoice.

(a) For items purchased via phone or absentee bidding, your credit card willbe charged the day after the auction. If other payment arrangements havebeen made and good funds have not been received by the 5th businessday after the auction, your credit card will be charged.

(b) For items purchased online, you will be emailed an invoice the day afterthe auction. It is your responsibility to contact DAG via telephone 866-653-3900 or email at [email protected] to make payment.

CONDITION REPORT REQUESTSDownload a Condition Request Form from our website. (requires Adobe Acrobat Reader)

Submit an Condition Request Form Online.

We encourage you to inspect each item of interest carefully as all items aresold “as is.” Antiques by nature, show signs of use and age, which often enhances their unique characteristics and creates their value, as in a finepatina. If you are unable to inspect the items of interest in person, please request a condition report via email ([email protected]) or telephone (866.653.3900) and our experts will inspect the item for you andprovide a written report of its condition, and additional images if needed.

BID INCREMENTS$0 – 999 $ 50

$1,000 – 2,499 $ 100

$2,500 – 4,999 $ 250

$5,000 – 9,999 $ 500

$10,000 – 24,999 $ 1,000

$25,000 – 49,999 $ 2,500

$50,000 – 99,999 $ 5,000

$100,000 – 249,000 $ 10,000

$250,000 – 499,999 $ 25,000

$500,000 – 999,999 $ 50,000

$1,000,000 $ 100,000

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The following as amended by any posted notices or oral announcements duringthe sale, constitutes the entire terms and conditions on which property listed inthe catalogue shall be offered for sale or sold by Dallas Auction Gallery, Ltd.(“DAG”) and any consignor of such property for whom we act as agent. By bid-ding at an auction, whether in person or by agent, absentee bid, telephone orother means, the buyer or bidder agrees to be bound by these Conditions of Sale.

TERMS AND CONDITIONS OF SALE1. All items are sold “AS IS, WHERE IS” with all faults. There are no warranties

or representations of merchantability, of fitness, nor of any other kind, ex-press or implied. All items are available for your examination prior to bid-ding. Written and oral descriptions are our opinions and should in no waybe construed as a guarantee of any kind as to authenticity, age, condition,materials or any other feature of items being sold. DAG attempts to cata-log every lot correctly and will attempt to point out any defects but willnot be responsible or liable for the correctness of the catalog or other de-scriptions of the lot. We recommend prospective bidders examine all itemsin which they have an interest. By placing a bid, either in person, by phone,absentee or via the Internet, you signify that you have examined the itemsas fully as you desire to or that you have chosen not to examine them. Ifyou require absolute certainty in all areas of authenticity, and the results ofyour evaluation leave uncertainty in your mind, we recommend you havean expert examine the lot for you or do not bid on the item in question. Ifyour item(s) are damaged in shipping, you will need to contact the shipperto file a claim. If your item(s) are being shipped and there is a conditionproblem upon receipt, you are expected to notify us immediately byphone at 866-653-3900. Any condition concerns will be null and void afterthe 10th business day following the end of the auction. Please note that ifyou pay late and thus receive your item(s) late, this does not qualify you forspecial privileges. We do not give refunds! All sales are final!

2. All property is sold “AS IS, WHERE IS” and neither DAG nor the consignormakes any warranties or representations of any kind or nature with respectto property or its value, and in no event shall be responsible for the cor-rectness of description, genuineness, attribution, provenance, authentic-ity, authorship, completeness, condition of property or estimate of value.No statement (oral or written) in this catalog, at the sale, or elsewhere shallbe deemed such a warranty or representation, or any assumption of re-sponsibility. All measurements are approximate.

3. The successful bidder is the highest bidder acknowledged by the auction-eer. In the event of any dispute between bidders, or in the event of doubton DAG’s part as to the validity of any bid, the auctioneer will have the finaldiscretion either to determine the successful bidder or to re-offer and resell the article in dispute. If any dispute arises after the sale, DAG’s salerecord is conclusive. DAG records the audio portion of each auction.

4. The purchaser assumes full responsibility for items at the fall of the hammer.

5. As a convenience to customers, absentee bids and phone bids will be executed by DAG personnel in a competitive and confidential manner.Phone bid arrangements must be made 24 hours prior to start of theauction. DAG will not be responsible for failure to execute absentee orphone bids.

6. There will be a buyer’s premium of 25% added to the hammer price ofeach lot for the portion up to and including $50,000; 20% on the portionfrom $50,001 through $1,000,000, and 12% on the portion exceeding$1,000,000 and all will be considered part of the total purchase price. Allpurchases will be subject to an 8.25% Texas sales tax unless

(1) you are an out-of-state resident and your purchases are being shippedout of Texas or

(2) if you are a Texas resident and you possess a valid tax-exempt number.DAG must have a blanket exemption certificate with permit numberand signature on any tax exempt sale.

7. PAYMENT: DOMESTIC CLIENTS: We accept bank wire transfers, cash, personal or com-pany check with proper ID, cashier's check, travelers check, money order,Visa, MasterCard, or Discover. There is a maximum of $10,000 that maybe charged to credit cards, per client invoice. (a) Items purchased in per-son must be paid for on the day of the auction. If you leave without pay-ing, your credit card will be charged the next day. (b) For items purchasedvia phone or absentee bidding, your credit card will be charged the dayafter the auction. If other payment arrangements have been made andgood funds have not been received by the 5th business day after the auc-tion, your credit card will be charged. (c) For items purchased online, youwill be emailed an invoice the day after the auction. It is your responsibilityto contact DAG via telephone 866-653-3900 or email at [email protected] to make payment. (d) If paying by check, DAG reserves theright to hold all purchases until the check has cleared to the satisfaction ofDAG and its bank.

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INTERNATIONAL CLIENTS: We accept wire transfers, Visa, MasterCard, orDiscover. There is a maximum of $10,000 that may be charged to creditcards, per client invoice. (a) For items purchased via phone or absenteebidding, your credit card will be charged the day after the auction. If otherpayment arrangements have been made and good funds have not beenreceived by the 5th business day after the auction, your credit card will be charged. (b) For items purchased online, you will be emailed an invoicethe day after the auction. It is your responsibility to contact DAG via tele-phone 866-653-3900 or email at [email protected] tomake payment.

8. SHIPPING: It is the buyer’s responsibility to arrange for and pay for shipping. On the30th calendar day following the auction, all lots that have not been re-moved from DAG will be moved to an off-site storage facility and incurstorage fees of $10.00 per lot per day until removed. For a recommendedlist of shippers and a Shipping Authorization Form, please click the "Ship-ping" link under the "Services" tab of our homepage at www.dallasauc-tiongallery.com. We must have a signed, completed ShippingAuthorization to release your lots.

9. If we are prevented by fire, theft, or any other reason whatsoever from delivering any property to the purchaser, our liability shall be limited tothe sum actually paid, by the purchaser for such property.

10. DAG reserves the right to withdraw any lot at any time before the auction without liability.

11. The auctioneer reserves the right to reject any bid not commensurate withthe value of the property offered.

12. A range of estimates is given on each lot with a low and a high estimate.Estimates should not be relied on as a prediction of the actual selling price.

13. If any applicable conditions herein are not complied with by the purchaser,in addition to other remedies available to it by law, including without limi-tation the right to hold the purchaser liable for the total purchase price,DAG at its option may either (a) cancel the sale, retaining as liquidateddamages all payments made by the purchaser or (b) resell the property at public auction without reserve or minimum selling price, and the purchaser will be liable for any deficiency and costs, including handlingcharges, expenses of both sales, the commission on both sales at regularrates, all other charges due hereunder and incidental damages.

14. In the unlikely event that we lose our internet connection, DAG reservesthe right in its sole and absolute discretion to cancel the remainder ofthe auction.

15. Some lots may be offered with a “reserve” which is the minimum pricebelow which the lot will not be sold. DAG may act to protect the reserveby bidding through the auctioneer. The auctioneer may open the biddingon any lot below the reserve by placing a bid on behalf of the consignor.The auctioneer may continue to bid on behalf of the consignor up to theamount of the reserve, either by placing bids in response to other biddersor by placing consecutive bids. In no event will the reserve exceed thelow estimate.

16. These terms and conditions of sale, as well as the respective rights and ob-ligations of DAG and any purchasers or bidder at any sale of DAG, shall begoverned by and construed and enforced in accordance with the laws ofthe State of Texas.

17. The auctioneer is licensed and regulated by the Department of Licensingand Regulation. Licensure with the Department does not imply approvalor endorsement by the State of Texas. If you have an unresolved com-plaint, it should be directed to: Texas Department of Licensing and Regula-tion, P.O. Box 12157, Austin, Texas 78711, 512-463-6599.

Scott H. Shuford, TXL #13769 : Jerry W. Holley, TXL #10262

214.653.39002235 MONITOR STREE T

DALLAS T X 75207

DALLASAUC TIONGALLERY.COM

DALLAS AUCTION GALLERYM A Y S A L E D A T E S

FINE JEWELRY – MAY 21, 2014

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VINTAGE COUTURE ANDCONTEMPORARY LUXURY GOODS

MAY 22, 2014

DEPARTMENT OF FINE ART:Adriane Shuford Crosland, Director of Fine Art

[email protected]

Elizabeth Rhodes, Fine Art [email protected]

PHOTOGRAPHY:Gary Heiner

CATALOGUE DESIGN:WinshipPhillips

www.winshipphillips.com


AMERICAN and EUROPEAN ARTW E D N E S D AY • A P R I L 3 0 , 2 0 1 4

D A L L A S A U C T I O N G A L L E R YC A L L • C O N S I G N • C O L L E C T

214-653-39002235 Monitor Street | Dallas, Texas 75207 | www.dallasauctiongallery.com

© 2014 Dallas Auction Gallery

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Dallas Auction Gallery