Skinner American & European Paintings & Prints Auction 2507

American & European Paintings & PrintsSale 2507 May 21, 2010 Boston

SKINNERJ

AUCTION 2507

PREVIEW

Tel: 617.874.4318Fax: 617.350.5429

Online: www.skinnerinc.com

GENERAL INQUIRIES

617.350.5400

COVER: 535 (DETAIL); FRONTISPIECE: 81 (DETAIL); BACK COVER: 548

Robin S. R. StarrDepartment Director508.970.3259

Kathy Wong508.970.3297

Elizabeth C. Haff508.970.3258

American & European Paintings & Prints

SPECIALISTS IN CHARGE

American & European Paintings & Prints Department - 508.970.3206

General Inquiries: [email protected]

Wednesday, May 19, 2010 12 to 5 p.m.Thursday, May 20, 2010 12 to 8 p.m.Friday, May 21, 2010 9 to 10:30 a.m.

Friday, May 21, 2010Prints & Photography at 12 noonPaintings & Sculpture at 4 p.m.

63 Park PlazaBoston, Massachusetts

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TABLE OF CONTENTS

1 Auction & Specialist Information

2 Web Site & Online Bidding

4-5 Event Announcements

6 Provenance

9 Prints & Photography - Lots 1-188

81 Paintings & Sculpture - Lots 200-580

310 Glossary of Terms

311 Artist Index

314 Conditions of Sale

315 Absentee Bid Form

316 Company Directors & Specialty Departments

317 Administrative Staff & Client Services

318 Map & Driving Directions

319 Catalogue Subscription Form

Please Note: All lots sold subject to our Conditions of Sale.

Please refer to page 314 of this catalogue for the full terms and conditions governing your purchase.

Copyright © Skinner, Inc. 2010All rights reserved

SKINNER presents aFine Art Gallery Walk

Presented by Robin Starr, Director of Skinner’sPaintings Department

Thursday, May 20, 2010

5:30 p.m. Reception/6:00 p.m. Gallery Walk

63 Park PlazaBoston, MA

R.S.V.P. 617.350.5400Reservations are Limited

Gallery Walk held in conjunction with a preview of Skinner’sMay 21st auction of American & European Paintings & Prints

Laura Coombs Hills (American, 1859-1952), Rosy Morns

Dean Cornwell (American, 1892-1960), Portrait of a YoungWoman Reading

Edward Hopper (American, 1882-1967), Night Shadows, 1921

Upcoming Auction

Consignment Deadline:June 30th, 2010

For more information please contact ourPaintings & Prints department at 508.970.3206

or email [email protected]

www.skinnerinc.com

American & European Paintings & PrintsSeptember 24th, 2010

Boston, MA

Collection of Melvin B. Nessel, Boston, MassachusettsLots: 522, 534

Estate of Anne P. Owsley, Delray Beach, Florida, and Isleboro, MaineLot: 315

Estate of Sir Edwin A.G. MantonLot: 254A

Estate of Eleanor Kanegis Levin, East Gloucester, MassachusettsLots: 38, 107, 120, 134, 523

Estate of Joan E. Goody, Boston, MassachusettsLots: 527, 573, 574

Estate of Mary Lee Ingbar, Cambridge, MassachusettsLots: 8, 27, 28, 59, 63, 65-67, 75, 78, 81, 89, 98, 103, 117, 135, 140-144, 147-149, 154, 164,490, 530, 535, 552, 554, 559, 566

Estate of N. David Scotti, Providence, Rhode IslandLots: 201, 223, 243, 330

The Property of Samuel E. Codman, Charles G. Loring House, Prides Crossing, MassachusettsLot: 321

Through the Collection of Carl Augustus Weyerhaeuser, by family descentLot: 433

Through the Collection of Henry Lee Higginson, by Higginson family descentLots: 298, 323, 346, 348

Provenance

Session IPrints & PhotographyLots 1-188

to be sold Friday, May 21st, 2010 at 12 noon

1.Yaacov Agam (Israeli, b. 1928)

Untitled. Signed “Agam” in blue ink l.r., inscribed and numbered“H.C. 7/25” in blue ink l.l. Color agamograph, sight size 13 1/2 x 133/4 in. (34.2 x 34.9 cm), framed.Condition: Not examined out of frame.

$600-800

2.Anni Albers (German, 1899-1994)

Fox II, 1972, edition of 150. Signed and dated “Anni Albers 1972” inpencil l.r., titled and numbered “...92/150” in pencil l.l. Screenprint inbrown and gray on paper, image size 13 1/4 x 14 3/4 in. (33.7 x 37.4cm), framed.Condition: Margins over 2 1/2 inches, not examined out of frame.

$400-600

3.Ivan Le Lorraine Albright (American, 1897-1983)

Fleeting Time Thou Hast Left Me Old, 1945, edition of 250,published by Associated American Artists (Grayson, 11). Signed“Ivan Le Lorraine Albright” in pencil l.r., titled in pencil l.l., identified ona label from AAA affixed to the mat. Lithograph on paper, image size13 3/4 x 9 3/4 in. (34.8 x 24.7 cm), matted, unframed.Condition: Margins 1 inch or more with three edges deckled,unobtrusive toning.

$300-500

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4.Niels Yde Andersen (Danish/American, 1888-1952)

Lot of Three Images: Steam Pipes and Cat Walks, lithograph;Repairs, etching and aquatint; and The Crossing, etching.Unsigned. Image/plate sizes to 11 7/8 x 9 7/8 in. (30.1 x 25.0 cm),unmatted, unframed.Condition: Most edges deckled, unobtrusive soiling, nicks, tears andcreases to some edges, additional handling marks and/or creases.

$200-250

5.James Aponovich (American, b. 1948)

Still Life with Leeks, edition of 100. Signed “J Aponovich” in pencill.r., titled in pencil l.c., numbered “41/100” in pencil l.l. Lithograph onpaper, image size 18 x 24 in. (45.5 x 61.0 cm), framed.Condition: Not examined out of frame.

$200-300

6.Karel Appel (Dutch, 1921-2006)

Untitled (Figure), 1976, edition of 99. Signed and dated “appel 76”in pencil l.r., numbered “97/99” in pencil l.l. Color lithograph oncream paper, image size 23 1/4 x 14 1/2 in. (59.0 x 36.7 cm),framed.Condition: Margins over 1 1/2 inches, subtle toning/staining, notexamined out of frame.

$500-700

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7.Karel Appel (Dutch, 1921-2006)

Untitled (Two Figures), edition of 125. Signed “appel” in pencil l.r.,numbered “41/125” in pencil l.l. Color lithograph on cream paper,image size 28 3/8 x 20 7/8 in. (72.0 x 53.0 cm), framed.Condition: Margins 2 inches or more with a deckled upper edge,subtle toning/staining.

$500-700

8.Hans (Jean) Arp (French, 1886-1966)

Dreams and Projects, published in 1952 by Curt Valentin, New York,edition of 320, unbound containing two sets of the twenty-eightwoodcuts (one printed on Arches, the other on Japan paper). Signed“Arp-” in pencil and numbered “3” on the colophon, signed andnumbered “Arp- Arp- 3/25” in pencil on the folder for the set onJapan paper. Sheet sizes 11 1/4 x 9 in. (28.5 x 22.8 cm), presentedin the original slipcover.Condition: Extremely subtle toning, minor transfer staining to some ofthe Arches sheets, ex libris label from Nelson A. Rockefeller to interiorfolder of slipcase.

Provenance: Ex-collection of Nelson Aldrich Rockefeller, New York;purchased from Coleart, Inc., New York, 1977; the estate of Mary LeeIngbar, Cambridge, Massachusetts.

$2,000-3,000

9.Alexander Archipenko (Ukrainian/American, 1887-1964)

Stillleben, from the DIE SCHAFFENDEN Portfolio, 1922, totaledition of 125 (Karshan, 28). Signed “Archipenko” in pencil l.r., drystamped “DIE SCHAFFENDEN” u.l. Lithograph on paper, image size11 1/2 x 15 in. (29.2 x 38.2 cm), unmatted, unframed.Condition: Margins 1/4 inch or more with deckled edges,unobtrusive toning and foxing.

$300-500

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10.Alexander Archipenko (Ukrainian/American, 1887-1964)

Torso in Space, 1952, edition of 50 (Karshan, 37). Numbered andsigned “11/50 Archipenko” in ink l.l. Color screenprint withlithography and embossing on paper, image/sheet size 14 7/8 x 24in. (37.8 x 61.0 cm), matted, unframed.Condition: Several small deformations to image, masking tape tosome edges on the reverse.

$3,000-3,500

11.Georg Baselitz (German, b. 1938)

Head, 1984, edition of 10. Numbered, signed, and dated “8/10 GBaselitz 84” in pencil l.r., identified on a label from The Alpha Gallery,Boston, on the backing. Color woodcut on paper, image size 25 1/2x 19 5/8 in. (64.6 x 49.7 cm), framed.Condition: Margins 1/2 inch or more, not examined out of frame.

$3,500-4,500

12.Leonard Baskin (American, 1922-2000)

Lot of Eight Animal Images: Beetle, 1951, printed in red, for the1961 edition (Fern & O’Sullivan, 100); Crows, 1951 (Fern &O’Sullivan, 103); Flea, 1951, printed in red (Fern & O’Sullivan, 105);Mandrill, 1951 (Fern & O’Sullivan, 111); Still Life/New Year’sGreeting, 1953 (Fern & O’Sullivan, 227); Ex-Libris for Samuel D.Lockshin, 1954, impression outside of the edition with letters, printedin red-orange (Fern & O’Sullivan, 245); Boar, 1957 (Fern & O’Sullivan,304); and Stag, 1957 (Fern & O’Sullivan, 306). Each signed “Baskin”in pencil l.r. Wood engravings and linocuts on paper, sheet sizesapproximately 10 x 12 in. (25.0 x 30.5 cm), unmatted, unframed.Condition: Good.

$500-700

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Lot of Three Images of Heads: Page Thirty-four, from A POEMCALLED THE TUNING OF ELYNOUR RUMMYNGE, 1953 (Fern &O’Sullivan, 239); Jacques Callot, 1958 (Fern & O’Sullivan, 724); andBartleby the Scrivener, 1959 (Fern & O’Sullivan, 378). Each signed“Baskin” in pencil l.r. Woodcuts on paper, sheet sizes approximately10 x 12 in. (25.0 x 30.5 cm), unmatted, unframed.Condition: Good.

$250-350


William Blake, from ETCHINGS OF TEN FAVORITE ARTISTS,1962, edition of 50 (Fern & O’Sullivan, 425). Signed “Baskin” inpencil l.r., inscribed “A.P.” in pencil l.l. Etching and aquatint on paper,plate size 17 1/2 x 14 1/2 in. (44.4 x 36.7 cm), framed.Condition: Not examined out of frame.

$300-500


William Rimmer. Signed “Baskin” in pencil l.r., titled in pencil l.c.,inscribed “Monotype - Touched” in pencil l.l. Color monotype withgraphite on paper, image size 4 7/8 x 3 7/8 in. (12.3 x 9.7 cm),unmatted, unframed.Condition: Deckled lower edge, hinging residue to upper corners onthe reverse.

$250-350

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Lot of Two Images: Torso, 1967, edition of 90 (Fern & O’Sullivan,731), and Death Bearing Angel, 1968, edition of 90 (Fern &O’Sullivan, 732). Both signed “Baskin” in pencil l.r., numbered “...90”in pencil l.l., and signed and dated in the plate. Etchings on paper,plate sizes to 17 3/4 x 11 3/4 in. (44.8 x 29.8 cm), unmatted,unframed.Condition: Very minor handling creases.

$250-350


Lot of Two Classical Subjects: Aeneas Carrying his Father fromthe Ruins of Troy, 1971, edition of 160 (Fern & O’Sullivan, 599); andPatriarch/Oedipus at Colonus, 1971, edition of 160 (Fern &O’Sullivan, 603). Both signed “Baskin” in pencil l.r. and numbered“.../160” in pencil l.l. Lithographs on paper, sheet sizes 34 x 24 in.(86.4 x 61.0 cm), unmatted, unframed.Condition: Minor handling creases to edges.

$600-800


Lot of Two Standing Figures: Olympus/The Athlete, 1974, editionof 200 (Fern & O’Sullivan, 637); and Universal Man, 1974-1975,edition of 200 (Fern & O’Sullivan, 656). Both signed “Baskin” inpencil l.r. and numbered “.../200” in pencil l.l. Color lithographs onpaper, sheet sizes 42 x 29 3/4 in. (106.8 x 75.6 cm), unmatted,unframed.Condition: Deckled edges (some with subtle staining), minor handlingcreases.

$800-1,200

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Indian Faces, 1974, edition of 100 (Fern & O’Sullivan, 642). Signed“Baskin” in pencil l.r., numbered “31/100” in pencil l.l., signed anddated in the matrix, dry stamp l.l. Color lithograph on paper, imagesize 26 1/2 x 34 3/4 in. (67.0 x 88.4 cm), unmatted, unframed.Condition: Margins over 1 inch with deckled edges, subtle staining toedges, very minor handling creases.

$800-1,200


Isaiah, 1976, edition of 100 (Fern & O’Sullivan, 664). Signed“Baskin” in pencil l.r., numbered “89/100” in pencil l.l., signed anddated in the matrix, dry stamp l.l. Color lithograph on paper,image/sheet size 41 3/4 x 29 1/4 in. (106.2 x 74.4 cm), unmatted,unframed.Condition: Deckled edges to all but the right, very minor handlingnicks and creases near edges.

$700-900

21.Thomas Hart Benton (American, 1889-1975)

Jesse James, 1936, final state of two, edition of 100 (Fath, 13).Signed “Benton” in pencil l.r. and in the matrix. Lithograph on paper,image size 16 x 22 in. (40.7 x 56.0 cm), framed.Condition: Unobtrusive toning, subtle mat burn, rippling, notexamined out of frame.

$1,500-2,500

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The Race, alternatively titled Homeward Bound, 1942,edition of 250, published by Associated American Artists(Fath, 56). Signed “Benton” in pencil l.r. and in the matrix,identified on a label from AAA on the backing. Lithographon paper, image size 8 7/8 x 13 1/4 in. (22.5 x 33.5 cm),framed.Condition: Unobtrusive toning and mat burn, notexamined out of frame.

$1,000-1,500


Night Firing, 1943, edition of 250, published byAssociated American Artists (Fath, 57). Signed “Benton”in pencil l.r. and in the matrix. Lithograph on paper, imagesize 8 5/8 x 13 1/4 in. (22.0 x 33.3 cm), matted,unframed.Condition: Laid down, margins 1 1/4 inches or more withtwo deckled edges, unobtrusive toning and mat burn,glue/paper residue to margins.

$700-900


After the Blow, 1946, edition of 250, published byAssociated American Artists (Fath, 70). Signed “Benton”in pencil l.r. and in the matrix. Lithograph on paper, imagesize 9 7/8 x 13 7/8 in. (25.0 x 35.3 cm), matted,unframed.Condition: Margins over 1 inch, subtle toning andrippling.

$1,000-1,500

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25.Richard Bergere (American, b. 1912)

Twilight Over Brooklyn Bridge, edition of 250, published byAssociated American Artists. Signed “Richard Bergere” in pencil l.r.,identified on a label from AAA affixed to the frame. Lithograph onpaper, image size 9 x 12 5/8 in. (22.7 x 32.0 cm), matted, unframed.Condition: Margins over 1 inch with deckled lower edge, subtletoning.

$200-250

26.Richard Evett Bishop (American, 1887-1975)

Getting Out, 1928. Signed “REBishop” in pencil l.r., titled in pencill.l., signed and dated within the plate. Etching on paper, plate size 83/4 x 14 7/8 in. (22.2 x 37.7 cm), framed.Condition: Unobtrusive mat burn, subtle toning, not examined out offrame.

$200-300

27.Pierre Bonnard (French, 1867-1947)

Dingo, by Octave Mirbeau, published in 1924 by Ambroise Vollard,Paris, bound with fifty-five etchings, total edition of 370. Identifiedand numbered “318” on the justification page. Sheet sizes 14 3/4 x10 3/4 in. (37.4 x 27.2 cm), presented in a brown leather (morocco)binding with stamped decoration signed “FRANZ” and with gildededges to pages.Condition: Wear to slipcase, ex libris label from Nelson A. Rockefellerto inside cover.


$2,000-3,000

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28.Georges Braque, illustrator (French, 1882-1963)

La Théogonie d’Hésiode, published in 1955 by Maeght,Paris, edition of 150, unbound with twenty etchings.Signed “G Braque” in pencil and numbered “38” on thecolophon page. Sheet sizes 17 1/4 x 13 in. (43.7 x 33.0cm), presented in the artist’s original cover with wrapperand within a collaged slipcase.Condition: Wear to wrapper, ex libris label from Nelson A.Rockefeller to inside cover.

Provenance: Ex-collection of Nelson Aldrich Rockefeller,New York; purchased from Coleart, Inc., New York, 1977;the estate of Mary Lee Ingbar, Cambridge, Massachusetts.

N.B. A copy of Derrière le Miroir regarding Théogonie(number 71-72, December 1954-January 1955)accompanies the lot.

$7,000-9,000

29.George Elbert Burr (American, 1859-1939)

High Street, Oxford (Seeber, 82). Signed “George ElbertBurr” in pencil l.l., monogrammed within the plate, titled inpencil l.r. Etching and drypoint on paper, plate size 9 7/8 x11 7/8 in. (25.0 x 30.0 cm), framed.Condition: Not examined out of frame.

$300-500

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30.Alexander Calder (American, 1898-1976)

Untitled (Black Sun), 1968. Signed and dated in the matrix.Lithograph in black and red on paper, image size 23 1/4 x 32 in.(59.2 x 81.3 cm), unmatted, unframed.Condition: Nicks and minor tears to edges, handling creases.

$400-600


Lot of Two Images: Untitled (Balloon Forms), 1968; and Untitled(Circles and Lines). The former signed and dated in the matrix, thelatter signed “Calder” in pencil l.r. and inscribed “EA” in pencil l.l.Lithographs in black and red (Balloon with orange) on paper,sheet/image sizes to 31 1/4 x 45 in. (79.3 x 114.0 cm), unmatted,unframed.Condition: Staining, toning, nicks to edges, handling marks andcreases, Circles with puncture to image l.l.

$500-700


Untitled (Lines and Circles), 1973. Signed and dated in the matrix.Color lithograph on paper, sight size 30 x 22 1/2 in. (76.0 x 57.0 cm),framed.Condition: Subtle toning, not examined out of frame.

$600-800

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Untitled (Amorphous Shapes), edition of 100. Signed “Calder” inpencil l.r., numbered “68/100” in pencil l.l. Color lithograph on paper,sight size 22 1/2 x 30 3/4 in. (57.0 x 78.0 cm), framed.Condition: Staining to lower edge, subtle rippling, unobtrusive toning,not examined out of frame.

$600-800


Untitled (Pyramid and Disks), edition of 100. Signed “Calder” inpencil l.r., numbered “62/100” in pencil l.l. Color lithograph on paper,sight size 30 x 22 1/2 in. (76.0 x 57.0 cm), framed.Condition: Staining to lower edge, subtle toning, not examined out offrame.

$600-800


Untitled (Spades, Hearts, Diamond and Club). Signed “Calder” inpencil l.r., inscribed “E.A.” in pencil l.l. Color lithograph on creampaper, image size 22 1/2 x 29 3/4 in. (57.0 x 75.5 cm), framed.Condition: Deckled edges, not examined out of frame.

$800-1,200

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36.Leonetto Cappiello (French, 1875-1942)

Maurin Quina, 1906. Signed and identified within the matrix. Colorlithographic poster, sight size 63 x 46 1/2 in. (160.0 x 118.0 cm),framed.Condition: Subtle toning, pale staining, not examined out of frame.

$1,500-2,000

37.Clarence Holbrook Carter (American, 1904-2000)

Lot of Two Images: Standing Nude, 1978, edition of 200; andDoorway, 1978, edition of 200. Both signed and dated “Clarence H.Carter 1978” in pencil l.r. and numbered in pencil l.l. Colorscreenprints on paper, image sizes to 35 3/4 x 23 in. (90.7 x 58.0cm), unmatted, unframed.Condition: Margins 1 1/2 inches or more.

$500-700

38.Marc Chagall (Russian/French, 1887-1985)

David Before Saul, plate 64 from BIBLE, 1956, total edition of 295(Cramer, 29). Unsigned, identified on a label from the Retina Gallery,Boston, on the backing. Etching on paper, plate size 12 1/4 x 9 1/4in. (31.0 x 23.4 cm), framed.Condition: Subtle rippling, margins 1/2 inch or more, not examinedout of frame.

$400-600

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39.Samuel V. Chamberlain (American, 1895-1975)

Lot of Three Views of Boston: Mount Vernon Street, Boston, c.1940, proof of the first state of three (Chamberlain & Kingsland, 262);The Tontine Crescent, Franklin Place, Boston, 1928, edition of 100(Chamberlain & Kingsland, 270); and Doorway of the Harvard Club,Boston, c. 1948, edition of 100 (Chamberlain & Kingsland, 278). Thethird signed “Samuel Chamberlain” in pencil l.r., each numbered orinscribed in pencil l.l. Drypoints on paper, plate sizes to 8 1/2 x 5 1/2in. (21.5 x 13.8 cm), matted, unframed.Condition: Margins over 1 inch, Crescent with tear to right margin,tape and losses to corners, and annotations.

Provenance: Through the family of the artist.$200-250


Lot of Two Views of Chartres: Porch of the Virgin of Chartres, AVista, c. 1940, proof edition (Chamberlain & Kingsland, 263); andThe Town of Chartres, c. 1940, proof of the second state(Chamberlain & Kingsland, 265). Unsigned, both inscribed in pencill.l. Drypoints on paper, plate sizes approximately 6 3/4 x 4 1/2 in.(17.0 x 11.3 cm), matted, unframed.Condition: Margins 1 inch or more.



Lot of Two Proof Impressions of The Transept of the Cathedral ofNotre Dame, Paris, c. 1940, a first and a fourth state impression(Chamberlain & Kingsland, 266). Unsigned, both inscribed with stateand numbered in pencil l.l. Drypoint on paper, plate sizes 6 3/4 x 41/2 in. (17.0 x 11.3 cm), in a common mat, unframed.Condition: Margins approximately 1 1/4 inches.


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Lot of Two Proof Impressions of Winter Evening on BeaconStreet, Boston, c. 1940, both proofs of the third state (Chamberlain& Kingsland, 269). Unsigned, both inscribed “Third State.../VII” inpencil l.l. Drypoint with aquatint on paper, plate sizes 6 5/8 x 4 1/2in. (16.8 x 11.4 cm), in a common mat, unframed.Condition: Margins approximately 1 1/4 inches, annotations to lowermargins.



Mediterranean Village, Villefranche-sur-Mer, 1939, edition ofapproximately 300 (Chamberlain & Kingsland, 272). Signed “SamuelChamberlain” in pencil l.r. Drypoint on paper, plate size 8 1/4 x 111/2 in. (20.8 x 29.2 cm), matted, unframed.Condition: Margins over 1 1/4 inches with deckled edges,annotations to lower margin.



Early Morning Market, Senlis, 1939, edition of 300 (Chamberlain &Kingsland, 273). Signed “Samuel Chamberlain” in pencil l.r.,inscribed “...WORKING PROOF” on the mat. Drypoint on paper,plate size 9 1/8 x 6 3/4 in. (23.0 x 17.0 cm), matted, unframed.Condition: Margins over 1 1/2 inches, annotations to lower margin.


4243

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45.Asa Cheffetz (American, 1897-1965)

Lot of Three Landscape Views: Winter in Southampton; BucolicFarm; and Deserted Farm. Each signed “Asa Cheffetz-” in pencill.r., the first and last identified on a label from AAA affixed to the mat.Wood engravings on paper, image sizes to 4 3/4 x 10 in. (12.0 x 25.5cm), matted, unframed.Condition: Margins over 1 inch, subtle toning.

$200-300

46.James Coignard (French, 1925-2008)

Team, 1986, edition of 75 (Bergström et al., 656). Signed “J.Coignard” in pencil l.r., numbered “59/75” in pencil l.l., identified on alabel on the reverse. Color carborundum with collage on heavypaper, plate size 21 x 16 1/2 in. (53.3 x 41.8 cm), framed.Condition: Subtle rippling, not examined out of frame.

N.B. James Coignard lived and worked near Nice, where in 1950 hebecame friendly with Braque, Matisse, and Chagall. He laterbefriended the modernist painter, Henri Goetz, who in 1967 inventedthe carborundum print (silicon carbide engraving). Goetz immediatelytaught this medium to Coignard, Joan Miró, and Antoni Clavé. Miróhad a solo exhibition of his carborundum prints at MoMA in 1970.Coignard, however, was the most compulsive of this group of earlyexperimenters with carborundum, and achieved critical acclaim forcreating prints that possessed all of the texture of a painting withheavy impasto. Their painting-like appearance, marked by the deep,heavy texture of a bas-relief was owed, in part, to his thick,handmade papers. Coignard worked in vibrant primary colors—dramatic swashes of blue, red, yellow, green, and black—which arethe signature accents of his abstract compositions.

$300-350


Lot of Two Works: Etude masse bleue, 1988, edition of 95; andVecteur rouge, 1989, edition of 95. Numbered and signed “65/95 J.Coignard” in pencil l.l. and l.r., respectively, identified on labels on thereverse. Color carborundum on heavy paper, sheet sizesapproximately 19 x 26 in. (66.0 x 48.3 cm), framed.Condition: Subtle rippling, not examined out of frames.

$500-700

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Lot of Two Works: Lumiere, 1990, edition of 95; and L’axe blanc,1994, edition of 95. Both signed “...J. Coignard” in pencil l.r.,numbered in pencil l.r. and l.l., respectively, identified on labels on thereverse. Color carborundum on heavy paper, sheet sizesapproximately 19 x 26 in. (66.0 x 48.3 cm), framed.Condition: Subtle rippling, not examined out of frames.

$500-700


Espaces rouges 58, 1994, edition of 95. Signed “J. Coignard” inpencil l.r., numbered “5/95” in pencil l.l., identified on labels on thereverse. Color carborundum on paper, sheet size 26 3/4 x 19 1/2 in.(67.8 x 49.5 cm), framed.Condition: Subtle rippling, not examined out of frame.

$300-350

50.Corneille (Belgian, b. 1922)

Le Soleil rouge, 1963, edition of 200 plus proofs. Inscribed, signed,and dated “Epreuve d’essai Corneille 1963 5 couleurs jaune rose grisrouge noir” in pencil l.l., titled in pencil l.r. Color lithograph on BFKRives paper with partial watermark, image size 25 7/8 x 19 5/8 in.(65.5 x 49.8 cm), framed.Condition: Margins over 2 inches with deckled right edges, toning,staining to edges, handling creases, crease to corner of margin u.l.,annotations verso.

$250-350

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51.Miguel Covarrubias (Mexican, 1904-1957)

Tehuantepec River, 1951, edition of 250, published by AssociatedAmerican Artists. Signed “COVARRUBIAS” in pencil l.r., identified ona label from AAA affixed to the mat. Lithograph on paper, image size12 1/4 x 9 1/4 in. (31.0 x 23.4 cm), matted, unframed.Condition: Margins over 1 1/4 inches with two deckled edges,unobtrusive toning.

$500-700

52.Robert Cottingham (American, b. 1935)

Art at the Palace/A Poster, 1984. Identified within the matrix.Color screenprint on paper, sheet size 26 1/4 x 21 1/2 in. (66.5 x54.5 cm), unmatted, unframed.Condition: Minor handling creases.

$250-300

53.John Steuart Curry (American, 1897-1946)

John Brown, 1939, edition of 250, published by AssociatedAmerican Artists (Czestochowski, C35). Signed “John Steuart Curry”in pencil l.r., initialed and dated within the matrix, identified on a labelfrom AAA accompanying the lot. Lithograph on paper, image size 143/4 x 11 in. (37.4 x 27.9 cm), matted, unframed.Condition: Toning, brown paper tape to edges on the reverse.

$1,200-1,800

51 52

53

54.Salvador Dalí (Spanish, 1904-1989)

Statue of Liberty, from the NEW YORK CITY Suite, 1964, edition of155 plus proofs (Field, 64-3D). Signed and dated “Dalí/1964” inpencil l.r., numbered “21/125” in pencil l.l. Etching and engraving inred and brown on paper, plate size 25 x 17 in. (63.4 x 43.1 cm),framed.Condition: Not examined out of frame.

$1,000-1,500


Frontispiece for TRISTAN ET ISEULT, 1970 (Field, 70-10A). Signed“Dalí” in pencil l.r., inscribed “E.A.” in pencil l.l. Color etching onJapan paper, plate size 15 5/8 x 10 5/8 in. (39.7 x 27.0 cm), framed.Condition: Several fox marks, not examined out of frame.

$300-500


The Menorah, 1980. Signed “Salvador Dalí” within the matrix on thebase, stamped “160/250...ISRAEL 50 c VAP” on the base. Giltmetal, approximately 17 1/4 x 12 x 2 1/4 in. (43.8 x 30.5 x 5.7 cm),mounted to a marble plinth.Condition: Minor corrosion/oxidation.

Literature: Descharnes, Robert and Nicholas, Dali: The Hard and theSoft, Spells for the Magic of Form, Sculptures & Objects (Azay-le-Rideau: Eccart, 2004), p. 268, no. 688.

$5,000-7,000

5455

56

57.Ten Works + Ten Painters/A Portfolio

Stuart Davis (American, 1892-1964), Robert Indiana (American, b.1928), Ellsworth Kelly (American, b. 1923), Roy Lichtenstein(American, 1923-1997), Robert Motherwell (American, 1915-1991), George Earl Ortman (American, b. 1926), Larry (Lawrence)Poons (American, b. 1937), Ad Reinhardt (American, 1913-1967),Frank Stella (American, b. 1936), and Andy Warhol (American,1928-1987), 1964, edition of 500, published by the WadsworthAtheneum, Hartford, Connecticut. Identified and numbered “36/500”on the colophon page, each print with dry stamp l.r. Screenprints(most in color) on paper, sheet sizes 24 x 20 in. (60.9 x 50.8 cm),presented in their original folders in the original cloth-bound portfoliocase.Condition: Minor soiling (primarily to folders and to Motherwell print),Motherwell folder with annotations, soiling and rubs to case.

Provenance: A private Massachusetts collection.$15,000-20,000

58.Lot of Two Prints:

Edgar Degas (French, 1834-1917), Danseuse mettant sonchausson, c. 1892, second (after cancellation) state of two (Delteil,36); and Pierre-Auguste Renoir (French, 1841-1919), Le chapeauépinglé (la fille de Berthe Morisot et sa cousine), 1894, final stateof two (Delteil, 8). Both signed in the plate. Etchings on paper, platesizes to 7 x 4 1/2 in. (17.7 x 11.3 cm), framed.Condition: Not examined out of frames.

$200-300

57

58

59.Jim Dine, illustrator (American, b. 1935)

The Picture of Dorian Gray, written by Oscar Wilde, published in1968 by Petersburg Press, New York & London, bound bookcontaining twelve lithographs, plus a portfolio of ten prints (sixlithograph and four etchings). Signed and numbered “Edition C JimDine 40/100” in blue pencil on the colophon page, signed, dated,and numbered “Jim Dine 1968 40/100” in ink on a label affixed to thecase, the extra prints each signed in pencil l.r. and stamped andnumbered on the reverse. Sheet sizes 17 3/8 x 12 1/4 in. (44.0 x31.0 cm), in red leather binding and portfolio within cover with raisedheart design.Condition: Extremely subtle toning to sheets.

Provenance: Purchased from the publisher, 1977; the estate of MaryLee Ingbar, Cambridge, Massachusetts.

$4,000-6,000

60.Jim Dine (American, b. 1935)

Nancy Outside in July X: Young and Blue, 1980, edition of 25 plusproofs (D’Oench & Feinberg, 71). Numbered, signed, and dated“17/25 Jim Dine 1980” in pencil l.l., identified on a label from theBarbara Krakow Gallery, Boston, on the backing. Etching andaquatint in colors on cream paper, plate size 23 1/2 x 19 3/8 in. (59.6x 49.2 cm), framed.Condition: Margins over 1 inch with deckled edges, not examinedout of frame.

$1,000-1,500

59

60

61.Francisco Dosamantes (Mexican, b. 1911)

Women of Oaxaca, 1946, published by Associated American Artists.Signed and dated “F 2Amantes 9/46.” in pencil l.r. Lithograph onpaper, image size 12 1/2 x 8 in. (31.7 x 20.3 cm), matted, unframed.Condition: Subtle toning.

$200-250

62.Arthur Wesley Dow (American, 1857-1922)

Barberries Sketch from Nature, from IPSWICH PRINTS, 1902.Monogrammed and identified in the matrix. Lithograph in three colorson paper, image size 7 1/2 x 6 3/8 in. (19.0 x 16.0 cm), framed.Condition: Unobtrusive toning, not examined out of frame.

$300-500

63.Raoul Dufy (French, 1877-1953)

La Belle-Enfant ou L’Amour à Quarante Ans, by Eugene Monfort,published in 1930 by Ambroise Vollard, Paris, total edition of 390,unbound, containing sixteen etchings and seventy-eight plates withinthe text. Numbered “EXEMPLAIRE No 161” opposite title page,labeled “Nelson A. Rockefeller EX LIBRIS” on the inside front cover.Printed on Arches paper, sheet sizes 13 x 10 in. (33.0 x 25.4 cm), inoriginal paper folder, presented in a (later) linen portfolio box.Condition: Subtle toning.


N.B. The lot is accompanied by a copy of Monroe Wheeler’s ModernPainters and Sculptors as Illustrators (The Museum of Modern Art:New York, 1936).

$2,000-3,000

61

62

63

64.Albrecht Dürer (German, 1471-1528)

The Angel with the Key to the Bottomless Pit, from theApocalypse, Latin edition, 1511 (Meder, 178; Bartsch, 75; Hollstein,178). Monogrammed in the block. Woodcut on laid paper with six-petal flower with pendant triangle watermark (Meder, 127), image size15 1/2 x 11 1/8 in. (39.3 x 28.2 cm), partially matted, unframed.Condition: Thread margins.

$1,000-1,500

65.Max Ernst (German, 1891-1976)

Histoire Naturelle, with an introduction by Hans Arp, published in1926 by J. Bucher, Paris, total edition of 306, unbound portfolio ofthirty-four collotypes. Signed “Max Ernst” in ink and numbered “293”in pencil on the colophon page. Sheet sizes 19 5/8 x 12 3/4 in. (49.7x 32.4 cm), in the original portfolio with a (later) portfolio box.Condition: Unobtrusive toning, wear to portfolio.

Provenance: Purchased from Lucien Goldschmidt, Inc., New York,1979; the estate of Mary Lee Ingbar, Cambridge, Massachusetts.

$3,000-5,000

64

65

66.Max Ernst, illustrator (German, 1891-1976)

La Brebis Galante, by Benjamin Peret, published in 1949 byEditions Premieres, Paris, edition of 300, containing threeetchings plus twenty-one pochoir illustrations. Signed “MaxErnst” in ink and numbered “74” opposite the title page.Sheet sizes 9 1/4 x 7 1/2 in. (23.4 x 19.0 cm), paper boundwith cloth covered slipcase.Condition: Very minor wear, staining to edges of pages.

Provenance: From the estate of Mary Lee Ingbar, Cambridge,Massachusetts.

$2,000-3,000

67.Max Ernst (German, 1891-1976), Joan Miró (Spanish,1893-1983), and Yves Tanguy (French/American, 1900-1955), illustrators

L’Antitête, by Tristan Tzara, published in three volumes in1949 by Bordas, Paris, total edition of 200, each volumeunbound, one with eight hand-colored etchings by Ernst, onewith eight hand-colored etchings by Miró, and one with sixhand-colored etchings by Tanguy plus the same number ofetchings en suite plus a single cancelled plate by Ernst. Eachvolume signed by the artist and the author in ink, the Ernstvolume with an inscription to Nelson A. Rockefeller in theauthor’s hand and an inscription in the artist’s hand, eachnumbered “11” on the justification page. Approximately 5 3/4x 4 1/2 in. (14.5 x 11.5 cm), in vellum covers and together ina single slipcase.Condition: Wear to slipcase, each inscribed “ex libris NelsonA. Rockefeller” to inside cover.

Provenance: Ex-collection of Nelson Aldrich Rockefeller, NewYork; purchased from Coleart, Inc., New York, 1977; theestate of Mary Lee Ingbar, Cambridge, Massachusetts.

N.B. Tzara was a member of the Dada movement and laterjoined the Surrealists. L’Antitête was written as threeanthologies, and in this second edition of the work, each artistillustrated one volume - Ernst the first, Tanguy the second,and Miró the last. The first edition had a frontispiece byPicasso, but this illustration had only a cursory relationship tothe text. In the edition presented here, not only do theillustrations relate directly to the text, but the scale of thepublication makes for close reading, both literally andfiguratively, allowing for a very intimate relationship betweenreader and volume.

The lot is accompanied by a copy of Eleanor M. Garvey’s TheArtist and the Book: 1860-1960 in Western Europe and theUnited States (Museum of Fine Arts, Boston & HarvardCollege Library: Cambridge, 1961).

$40,000-60,000

66

67

68.Richard E. Filipowski (American, 1923-2008)

Chicago 49, 1949. Signed and dated “Filipowski 49” in pencill.r., titled and inscribed “8.12...” in pencil l.l., two dry stamps l.l.Lithograph on paper, image size 16 1/4 x 22 in. (41.3 x 55.7cm), framed.Condition: Not examined out of frame.

$400-600


Lot of Two Abstract Images, 1949. Both signed and dated“Filip. 49” in pencil l.r. Relief prints on fine paper, image sizes6 7/8 x 8 in. (17.4 x 20.3 cm), framed.Condition: Both with creases to corner of image l.l., one withstaining to right margin, not examined out of frames.

$600-800

70.Antonio Frasconi (Argentine, b. 1919)

View from Brooklyn, edition of 25. Signed “Frasconi” inpencil l.r., titled and inscribed “...ed 25” in pencil l.l. Colorwoodcut on paper, image size 7 x 9 5/8 in. (17.7 x 24.3 cm),unmatted, unframed.Condition: Margins 2 1/4 inches or more.

$300-500

68

69

70

71.Antonio Frasconi (Argentine, b. 1919)

Alhambra II, 1962, edition of 18. Signed, dated, and inscribed“Frasconi 62 imp” in pencil l.r., titled and numbered “14/18...” inpencil l.l., identified on a label from the Franklin Siden Gallery, Detroit,on the backing. Color woodcut on paper, image size 19 x 34 1/8 in.(48.3 x 86.5 cm), framed.Condition: Subtle toning and rippling, not examined out of frame.

$200-300

72.Michiel Theobald Gloeckner (American, 1915-1989)

Lot of Two Prints: Untitled (Circle in Square), 1974, edition of 100;and Untitled (Geometric Bust Form), 1974, edition of 110. Bothsigned and dated “Michiel Gloeckner 1974” in pencil l.r., andnumbered in pencil l.l. Color lithographs on paper, image sizesapproximately 20 1/2 x 17 in. (52.0 x 43.0 cm), unmatted, unframed.Condition: Margins over 1 inch, subtle toning.

$400-600

73.Jose Francisco de Goya y Lucientes (Spanish, 1746-1828)

Lot of Three Plates from LOS CAPRICHOS: A Caza de Dientes;Al Conde Palatino; and Obsequio a el Maestro; all probably fromthe eighth edition, 1905-1907 (Harris, 47, 68, and 82). Each titledwithin the plate. Etchings with aquatint on paper, sight sizes 8 1/8 x5 7/8 in. (20.5 x 14.8 cm), framed.Condition: Subtle toning, and mat burn, not examined out of frames.

$300-500

71

72 73

73A.George Ehrenfried Grosz (German/American, 1893-1959)

Storm Clouds, Cape Cod, 1949, edition of 252 plus proofs,published by the Print Club of Cleveland (Duckers, E110). Signed“George GROSZ” in pencil l.r. Lithograph on paper, image size 8 3/4x 13 in. (22.2 x 33.0 cm), framed.Condition: Scattered foxing, not examined out of frame.

$250-30074.Riva Helfond (American, 1910-2002)

Santorini Street, edition of 50. Signed “Riva Helfond” in pencil l.r.,titled and numbered “...24/50” in pencil l.l. Color screenprint onpaper, image size 17 1/2 x 11 3/4 in. (44.4 x 29.7 cm), framed.Condition: Not examined out of frame.

$200-300

75.David Hockney (British, b. 1937)

Six Fairy Tales from the Brothers Grimm, published in 1970 byPetersburg Press, New York & London, total edition of 400, boundbook containing thirty-nine etchings plus six etchings in a portfolio.Signed and numbered “David Hockney Ed D 17/100” in pencil on thecolophon page, each of the six unbound prints signed in pencil l.r.and numbered in ink on the reverse. 17 3/4 x 12 1/4 in. (45.0 x 31.0cm), in a blue leather binding with slipcase.Condition: Minor wear to case.


N.B. The lot is accompanied by a miniature facsimile of the book andby a copy of Donna Stein’s Contemporary Illustrated Books: Wordsand Images 1967-1988, (Independent Curators Incorporated: NewYork, 1989).

$7,000-9,000

73A

74

75

76.David Hockney (British, b. 1937)

Olympic Games, Munich, 1970, edition of 200 (before full text).Numbered, signed, and dated “181/200 David Hockney 70” in pencill.r., Olympic Rings logo l.l. Color lithographic poster on paper, imagesize 34 1/2 x 25 1/2 in. (87.5 x 64.8 cm), framed.Condition: Deckled edges, staining (primarily to the right side of thecomposition), subtle toning.

$2,000-3,000

77.Masuo Ikeda (Japanese, 1934-1997)

Untitled, edition of 55. Signed “Masuo Ikeda” in pencil l.r., numbered“23/55” in pencil l.l., dry stamps to lower corners. Color lithographon paper, image/sheet size 26 x 21 in. (66.0 x 53.4 cm), framed.Condition: Unobtrusive creasing along upper edge, not examined outof frame.

$400-600

76

77

78.Ilia Zdanevich, called Iliazd (Russian, 1894-1975)

Ledentu le Phare, published in 1923 by Editions du 41°, Paris, totaledition of 530. Identified on title page (in Cyrillic), and inaccompanying French pamphlet. Sheet sizes 7 1/2 x 5 1/2 in., paperbinding with collaged cover, book and pamphlet presented in aportfolio box.Condition: Very minor wear.


$4,000-6,000

79.Bill Jensen (American, b. 1945)

Babylon, 1985-1988, edition of 50, published by Universal LimitedArt Editions, Bay Shore, New York. Signed, titled, dated, andnumbered “Bill Jensen...25/50” in pencil on the reverse, publisher’sdry stamp l.l. Color etching and aquatint on paper, plate size 10 3/4x 7 1/2 in. (27.2 x 18.9 cm), framed.Condition: Margins over 3 1/2 inches with deckled edges, hinged atupper corners.

$300-500

78

79

80.Jasper Johns (American, b. 1930)

Cup 2 Picasso, 1973, from the larger edition published for XXeSIECLE. Signed and dated in the matrix. Color offset lithograph onpaper, image size 11 3/4 x 10 1/4 in. (29.8 x 26.0 cm), framed.Condition: Not examined out of frame.

$300-500

81.Jasper Johns, illustrator (American, b. 1930)

Foirades/Fizzles, by Samuel Beckett, published in 1976 byPetersburg Press, London & New York, total edition of 300,containing thirty-three etchings. Signed “Samuel Beckett” and “JJohns” in pencil, numbered “175/250” on page before colophon. 13x 10 in. (33.0 x 25.4 cm), original paper binding and linen case linedwith a Johns lithograph.Condition: Good.


N.B. The lot is accompanied by a copy of Christian Geelhaar’sJasper Johns Working Proofs (Petersburg Press: London & NewYork, 1980), and a copy of Riva Castleman’s A Century of ArtistsBooks (Harry N. Abrams, Inc.: New York, 1994).

$12,000-18,000

80

81

82.Mervin Jules (American, b. 1912)

Octipus [sic]. Signed “JULES” in pencil l.r., titled in pencil l.l. Colorscreenprint on paper, image size 12 1/8 x 18 1/8 in. (30.7 x 46.0 cm),framed.Condition: Not examined out of frame.

$200-300

82A.Wassily Kandinsky (Russian, 1866-1944)

La tache noire, 1924, probably published by Maeght.Monogrammed and dated within the matrix. Color lithograph onpaper, image size 11 3/8 x 11 in. (28.9 x 27.7 cm), framed.Condition: Trimmed to image, laid down.

$200-250

83.Luigi Kasimir (Austrian, 1881-1962)

Lot of Two Views: Boston, State Capital, 1936 (Weiss, 519); andPhiladelphia, Independence Hall (Weiss, 522), both possibly laterimpressions. Both signed “Luigi Kasimir” in pencil l.c. and identifiedin the plates. Color etchings with aquatint on paper, plate sizesapproximately 18 1/4 x 12 1/4 in. (46.3 x 31.1 cm), framed.Condition: Not examined out of frames.

$300-500

82

82A

83

84.Luigi Kasimir (Austrian, 1881-1962)

New York, Queensborough Bridge, 1936, possibly a laterimpression (Weiss, 528). Signed “Luigi Kasimir” in pencil l.c. andidentified in the plate. Color etching with aquatint on paper, plate size11 1/2 x 16 7/8 in. (29.2 x 42.9 cm), framed.Condition: Not examined out of frame.

$300-350

85.Tanna Kasimir-Hoernes (Austrian, 1887-1972)

Lot of Two New York Views: New York, Montaque [sic] Terrace,1936 (Weiss, 551); and New York, Central Park (Weiss, 554), bothpossibly later impressions. Both signed “T. K. Hoernes” in pencil l.c.Color etchings with aquatint on paper, plate sizes approximately 151/2 x 11 1/2 in. (39.4 x 29.2 cm), framed.Condition: Not examined out of frames.

$300-500

86.Kaoru Kawano (Japanese, 1916-1965)

Lot of Three Images of Girls: Girls with Doves, Girl with HairBow, and Girl with Four Cranes. The first two signed “KaoruKawano” in pencil l.l., all three signed with red chop mark l.l. Colorwoodcuts on paper, sight sizes to 14 3/4 x 9 1/4 in. (37.4 x 23.4 cm),framed.Condition: Not examined out of frames.

$500-700

84

85

86

87.Ellsworth Kelly (American, b. 1923)

Orange with Blue, 1964-1965, edition of 75 plus proofs (Axsom, 12).Signed “Kelly” in pencil l.r., numbered “19/75” in pencil l.l. Colorlithograph on BFK Rives paper with watermark, image size 19 x 15 in.(48.2 x 38.0 cm), unmatted, unframed.Condition: Deckled edges to three sides, subtle toning, staining nearedges, minor nicks to edges, hinging residue to verso.

$1,200-1,800

88.Marguerite Kirmse (American, 1885-1954)

Tiny Tim. Titled and signed “...Marguerite Kirmse” in pencil beneaththe image. Etching on paper, plate size 3 1/2 x 2 3/8 in. (8.8 x 5.9cm), framed.Condition: Scattered foxing, unobtrusive toning, subtle rippling, notexamined out of frame.

$200-250

89.Oskar Kokoschka, illustrator (Austrian, 1886-1980)

Das Chinessische Mauer, written by Karl Kraus, published in 1914by Karl Wolff Verlag, Leipzig, bound and containing eight lithographs,edition of 200. Identified in the text and numbered “107” in ink.Sheet sizes 19 1/8 x 15 in. (48.5 x 38.0 cm), in a (later) portfolio box.Condition: Unobtrusive toning, minor wear to cover, ex libris labelfrom Nelson A. Rockefeller to first sheet.


$1,000-1,500

8788

89

90.Max Kuehne (American, 1880-1968)

Lower New York from Weehawken. Signed “Max Kuehne”in pencil l.r., titled in pencil l.l., stamped “Kuehne” on thereverse. Etching on paper, plate size 9 5/8 x 14 in. (24.3 x35.5 cm), framed.Condition: Margins 3/4 inches or more with deckled edges,subtle soiling to margins, not examined out of frame.

$200-250


Lot of Three Views of Spain: The Old Town Cuenca,Cuenca, Spain, and Street Scene with Donkeys - Toledo.The first two signed “Max Kuehne” in pencil l.r., the laststamped “Kuehne” in red on the reverse, each titled in pencill.l. Etchings on laid paper, plate sizes to 6 7/8 x 9 7/8 in.(17.5 x 25.0 cm), the first two matted, all unframed.Condition: Margins over 2 inches, subtle staining/soiling toedges.

$300-500


Street in Marblehead. Unsigned, titled in pencil l.l. Etchingon paper, plate size 8 7/8 x 12 in. (22.5 x 30.4 cm), framed.Condition: Margin over 1 inch with two deckled edges,unobtrusive soiling, not examined out of frame.

$150-200

90

91

92


Lot of Three Views of Spain: Basque Fishing Port, Ondarroa,Spain, Street in Toledo, and Puenta San Martin - Toledo. Eachunsigned, stamped “Kuehne” in red on the reverse, and titled inpencil l.l. Etchings on laid paper, plate sizes to 6 7/8 x 9 3/4 in. (17.5x 24.8 cm), unmatted, unframed.Condition: Margins over 2 inches, subtle staining/soiling to edges.

$300-500

94.Yasuo Kuniyoshi (Japanese/American, 1893-1953)

Dawn, 1934, edition of 30 (Archives of American Art, L-65; Davis,65). Signed and dated “Yasuo Kuniyoshi - 34” in pencil l.r., inscribed“30 p” in pencil l.l. Lithograph on paper, image size 9 3/4 x 14 in.(24.9 x 35.5 cm), framed.Condition: Toning, staining to image u.r., not examined out of frame.

$700-900

95.Jean-Emile Laboureur (French, 1877-1943)

La Promenade sur le port, 1933, total edition of 250, published bythe Print Club of Cleveland (Loyer, 482). Signed “laboureur” in pencill.l., monogrammed in the plate. Etching and engraving on paper,plate size 8 1/4 x 8 3/4 in. (20.8 x 22.2 cm), framed.Condition: Subtle toning, not examined out of frame.

$200-300

93

94 95

95A.Carl Olof Larsson (Swedish, 1855-1919)

Le Modèle pres du poele, 1908, edition of 100, published in theGazette des Beaux-Arts, 1909 (Brummer, 59). Unsigned. Etching (insepia) on cream paper, plate size 6 1/2 x 4 5/8 in. (16.4 x 11.6 cm),framed.Condition: Not examined out of frame.

$700-900

96.Marie Laurencin (French, 1883-1956)

Le Concert, 1926 (Marchesseau, 100). Signed “Marie Laurencin” inpencil l.r., numbered “VI/XX” in pencil l.l. Color lithograph on paper,image size 9 1/8 x 7 1/8 in. (23.0 x 18.0 cm), framed.Condition: Scattered foxing, staining, creases, not examined out offrame.

$250-350

96A.After Marie Laurencin (French, 1883-1956)

Trois jeunes femmes en buste, edition of 200. Signed “MarieLaurencin” in pencil l.r., numbered “26/200” in pencil l.l. Coloretching with aquatint on paper, plate size 13 5/8 x 22 1/4 in. (34.5 x56.4 cm), framed.Condition: Laid down, partially glued to facing mat (and with glueresidue to all margins), unobtrusive toning, horizontal area of fading orcleaning, annotations to lower margin.

$1,500-2,000

95A

96

96A

97.Le Corbusier (Swiss/French, 1887-1965)

Femme à la main levée, 1954. Initialed and dated within the matrix,identified on a label from the Obelisk Gallery, Chestnut Hill, on thebacking. Color lithograph on paper, image size 42 1/2 x 26 5/8 in.(107.8 x 67.5 cm), framed.Condition: Pale staining to edges, possible subtle fading, notexamined out of frame.

$500-700

98.Fernand Léger, illustrator (French, 1881-1955)

La Fin du monde, by Blaise Cendrars, published in 1919 by Éditionsde a Sirène, Paris, total edition of 1225, containing color lithographs.Stamped “816” on colophon. Sheet sizes 12 1/2 x 10 in. (31.7 x25.3 cm), lithographed paper cover, presented in a later portfolio box.Condition: Toning (primarily to cover).


N.B. The lot is accompanied by a copy of Robert Flynn Johnson’sArtists’ Books in the Modern Era 1870-2000: The Reva and DavidLogan Collection of Illustrated Books (Fine Arts Museum of SanFrancisco: San Francisco, California, 2001).

$2,000-3,000

99.Clare Veronica Hope Leighton (Anglo/American, 1901-1989)

Corsican Washer Girl, alternatively titled Corsican Laundress,1934, total edition of 150 (BPL, 257). Signed “Clare Leighton-” inpencil l.r., numbered and titled “98/126...” in pencil l.l. Woodcut onpaper, image size 4 3/4 x 3 in. (12.0 x 7.5 cm), framed.Condition: Not examined out of frame.

$200-250

97

98

99

100.Lucas van Leyden (Dutch, 1494-1533)

Lot of Two Images from THE SMALL PASSION, 1521: ChristCrowned with Thorns and The Harrowing of Hell. Bothmonogrammed and dated in the plates. Engravings on paper, platesizes approximately 4 3/8 x 3 in. (11.0 x 7.4 cm), unmatted,unframed.Condition: Trimmed to or just within the images, minor toning, hingedto a supporting mat.

$400-600

101.Jack Levine, illustrator (American, b. 1915)

Facing East, by James A. Michener, published in 1970 by MaecenasPress, New York, unbound with four color lithographs, a woodcutfrontispiece plus illustrations within the text, and fifty-four collotypeswith pochoir. Numbered and signed “1659/2500 Jack Levine JamesA. Michener” in ink on the colophon page. Sheet sizes 18 3/4 x 123/8 in. (47.5 x 31.3 cm), presented in the original portfolio box withinterior folders for the text and the collotype sketchbook.Condition: Good.

$250-350

102.Jack Levine (American, b. 1915)

Sacrifice of Isaac, 1974, edition of 100 plus proofs (Prescott, 60).Signed “JLevine” in pencil l.r., numbered “13/100” in pencil l.l., drystamp l.r. Etching with drypoint and engraving on Arches creampaper with watermark, image size 13 3/4 x 10 3/4 in. (34.8 x 27.3cm), unmatted, unframed.Condition: Margins 2 inches or more with deckled edges, subtletoning.

$200-250

100 101

102

103.Alexander Liberman, illustrator (American, 1912-1999)

Nostalgia for the Present, by Andrei Voznesensky, published 1979by Universal Limited Art Editions, West Islip, New York, edition of 28plus proofs unbound. Each of the seventeen plates signed andnumbered “Andrei Voznesensky (in Cyrillic) 3/28” in pencil l.l., signedand dated “Alexander Liberman 1977-79” in pencil l.r., withpublisher’s dry stamp l.l., and with plate number printed on verso,identified on the colophon page. Lithographs on paper, sheet sizes41 x 28 in. (104.0 x 71.0 cm), presented in the original lacquered foliobox.Condition: Minor cockling to edges of sheets, minor soiling/stainingto edges of title page.

Provenance: Purchased from the publisher, 1981, to the estate ofMary Lee Ingbar, Cambridge, Massachusetts.

$700-900

104.Roy Lichtenstein (American, 1923-1997)

As I Opened Fire.../A Triptych, 1966 (Corlett, app. 5). Unsigned.Offset color lithographs on paper, each sheet approximately 25 x 203/4 in. (63.5 x 52.7 cm), presented in a common frame.Condition: Handling creases, not examined out of frame.

$600-800

105.Jan Lievens (Dutch, 1607-1674)

Large Oriental Head, Bust to Right, an 18th century impression(Rovinski, 13). Signed in the plate. Etching on laid paper, plate sizeapproximately 10 3/4 x 8 7/8 in. (27.0 x 22.3 cm), matted, unframed.Condition: Trimmed to or just within the plate mark, subtle staining(more visible to verso).

$250-300

103

104

105

106.Walter Ronald Locke (American, b. 1883)

Peace on the Amelote/A Florida View, 1937, edition of 250,published by Associated American Artists. Signed and dated “W.R.Locke ‘37” in pencil l.r., titled in pencil l.l., identified on a label fromAAA on the reverse. Etching on paper, plate size 8 7/8 x 11 7/8 in.(22.4 x 30.0 cm), framed.Condition: Not examined out of frame.

$400-600

107.Galerie Maeght, editor (French, 20th Century)

Lot of Ten Issues of DERRIERE LE MIROIR, featuring Calder, Kelly,and Miró, spanning 1963 to 1968. Each measures 15 x 11 in. (38.1x 27.9 cm).Condition: Minor wear, soiling and/or handling nicks.

$300-500

108.John Stockton De Martelly (American, 1903-1980)

Chore Boy, 1942, published by Associated American Artists, editionof 250. Signed “John S. de Martelly-” in pencil l.r., titled in pencil l.l.,dedicated “To Miss Nellie Fletcher from the de Martellys - 42” inpencil l.c. Lithograph on paper, image size 9 x 12 1/8 in. (22.8 x 30.7cm), framed.Condition: Subtle toning, not examined out of frame.

$300-500

106

107

108

109.Henri Matisse (French, 1869-1954)

Nu au bracelet, published by Chalcographie du Louvre, Paris(Duthuit, 725). Unsigned, publisher’s dry stamp l.c. Linocut onpaper, image size 9 5/8 x 7 in. (24.2 x 17.6 cm), framed.Condition: Margins approximately 1 1/4 inches with two decklededges, masking tape to edges, soiling and annotations to lowermargin.

$800-1,200

110.Michael Mazur (American, 1935-2009)

Tree, Norfolk, 1963 (Hansen, 116). Signed “Mazur” in pencil l.r.,titled and dated “Pines #1 Norfolk - 1963” in pencil l.l., numbered“1/50” in pencil l.c. Etching on heavy cream wove paper, plate size17 3/4 x 23 5/8 in. (45.1 x 60.2 cm), unmatted, unframed.Condition: Margins approximately 1 1/2 inches, scattered fox marks(primarily to margins and verso), tape residue to upper edge on thereverse, minor nicks and tears to upper edge.

$200-300


Diptych #1 (The Artist), from THE ARTIST AND THE MODEL,1968, edition of 50 (Hansen, 163). Signed “Mazur” in pencil l.r., titledin pencil l.l., numbered “49/50” in pencil l.c. Etching on paper, imagesize 22 3/4 x 21 in. (57.7 x 63.4 cm), unmatted, unframed.Condition: Staining near left edge (visible almost exclusively onverso).

$600-800

109

110

111


Confrontation, from THE ARTIST AND THE MODEL, 1968, editionof 50 (Hansen, 165). Signed “Mazur” in pencil l.r., titled in pencil l.l.,numbered “46/50” in pencil l.c. Etching on paper, image size 22 7/8x 18 7/8 in. (58.1 x 47.9 cm), unmatted, unframed.Condition: Minor nicks to edges, subtle handling marks and creases.

$600-800

113.Paul Raphael Meltsner (American, 1905-1966)

Man + Machinery. Signed “Paul R. Meltsner” in pencil l.r., titled inpencil l.l., inscribed “COLLECTION OF BROOKLYN + BOSTONMUSEUM” in pencil l.c. Lithograph on paper, image size 12 1/4 x 95/8 in. (31.2 x 24.5 cm), framed.Condition: Subtle toning, scattered fox marks, not examined out offrame.

$200-300


Industrial Landscape. Signed “Paul R. Meltsner” in pencil l.r., titled inpencil l.l., inscribed “COLLECTIONS - BOSTON - BROOKLYNMUSEUM” in pencil l.c. Lithograph on paper, image size 10 1/4 x 141/2 in. (26.0 x 36.5 cm), framed.Condition: Subtle toning and mat burn, scattered fox marks, notexamined out of frame.

$200-300

112

113

114


Lot of Three Images of Factory Workers: Death of a Striker, TheLockout, and The Outcast. Each signed “Paul R. Meltsner” in pencill.r. and titled in pencil l.l. Lithographs on paper, image sizes to 10 3/4x 14 3/8 in. (27.3 x 36.5 cm), unmatted, unframed.Condition: Margins over 1/2 inch, some edges deckled, unobtrusivesoiling and toning, some margins with minor nicks to edges.

$250-350


Lot of Four Industrial and Train Yard Views: Tank Cars,Excavation, The Iron Horse, and Industrial Center. Each signed“Paul R. Meltsner” in pencil l.r. and titled in pencil l.l. Lithographs onpaper, image sizes approximately 10 1/4 x 14 1/2 in. (26.0 x 37.0cm), unmatted, unframed.Condition: Margins over 1/2 inch, some edges deckled, soiling,toning, some margins with tears or losses (none into the images).

$250-350

115

116

117.Joan Miró, illustrator (Spanish, 1893-1983)

La Bague D’Aurore, by René Crevel, published in 1957 by LouisBroder, Paris, total edition of 130, with one drypoint and 5 coloraquatints. Signed “Miró” in pencil and numbered “88” on thecolophon. Sheet sizes 6 1/2 x 5 1/4 in. (16.5 x 13.4 cm), pages withgilded edges, calf binding with multicolored inlaid panels, signed anddated “P.L. MARTIN 1961,” presented in the binder’s chemise andslipcase.Condition: Minor wear to case.


$8,000-12,000

118.Joan Miró (Spanish, 1893-1983)

Ceramiques monumentales de Miró et Artigas, from DERRIERELE MIROIR, deluxe hard-cover edition, 13 Juin, 1963, number 84,edition of 150. Signed “Miró” in pencil on the colophon page. Sheetsizes 15 x 11 in. (38.0 x 27.8 cm), with slip cover.Condition: Very minor wear to slip cover.

$1,000-1,500

118

117 (2 views)


La Chasseresse, 1965, edition of 100 (Mourlot, 390). Signed “Miró”in pencil l.r., numbered “28/100” in pencil l.l. Color lithograph onpaper, image size 18 1/2 x 13 1/4 in. (47.0 x 33.5 cm), framed.Condition: Toning, subtle fading, not examined out of frame.

$1,000-1,500


Midi le trèfle blanc, 1968, edition of 88 plus proofs (Dupin, 455).Signed “Miró” in pencil l.r., inscribed “H.C.” in pencil l.l., identified ona label from the Retina Gallery, Boston, on the backing. Coloraquatint with drypoint on paper, sheet size 13 1/4 x 11 7/8 in. (33.5 x30.0 cm), framed.Condition: Deckled right and lower edges, not examined out offrame.

$1,000-1,500


Image from Joan Miró I Catalunya, 1970, edition of 225 (Mourlot,507). Signed “Miró” in pencil (within the image) l.r., numbered“61/225” in pencil (within the image) l.l. Lithograph on paper,image/sheet size 10 1/2 x 10 1/8 in. (26.5 x 25.5 cm), framed.Condition: Not examined out of frame.

$500-700

122.No lot.

121

120

119


Lot of Three Volumes: MIRO LITHOGRAPHS, volumes I, II, and III,by Fernand Mourlot et al., various publishers, 1972, 1975, and 1977,respectively, each with the original color lithographs intact. Sheetsizes 12 3/4 x 10 in. (32.5 x 25.4 cm), with jackets and slip covers,cloth bound.Condition: Wear and annotations to slip covers, soiling to bindings.

$2,000-3,000

124.Henry Moore (British, 1898-1986)

Group of Reclining Figures from the RECLINING FIGURESPortfolio, 1973, total edition of 80 (Cramer et al., 241). Signed anddated “Moore 73” in pencil l.r., numbered “23/50” in pencil l.l. Colorlithograph on paper, image size 18 1/8 x 15 1/2 in. (50.0 x 39.5 cm),framed.Condition: Not examined out of frame.

$1,000-1,500

125.Lot of Two Horse Subjects:

George Ford Morris (American, 1873-1960), Green Pastures, andGeorges Schreiber (American, 1904-1977), Mare and Colt. Bothpublished by Associated American Artists. Both signed in pencil l.r.and identified on a label from AAA affixed to the mat. Lithographs onpaper, image sizes approximately 9 x 13 in. (22.5 x 33.0 cm), matted,unframed.Condition: Unobtrusive toning.

$200-250

123

124 125

126.Reuben Nakian (American, 1897-1986)

Leda and the Swan, edition of 75. Signed “NAKIAN.” in pencill.r., numbered “59/75” in pencil l.l., dry stamped “HMK” l.r.Aquatint on chine collé, plate size 13 3/4 x 17 in. (34.9 x 43.1cm), unmatted, unframed.Condition: Margins over 2 inches with deckled edges.

$250-350

127.Jackson Lee Nesbitt (American, 1913-2008)

November Evening, 1946, edition of 250, published byAssociated American Artists (Retif & Salzer, 24). Signed “JacksonLee Nesbitt” in pencil l.r., titled in pencil l.l., identified on a labelfrom AAA affixed to the mat. Etching on paper, plate size 8 7/8 x11 7/8 in. (22.4 x 30.2 cm), matted, unframed.Condition: Toning (primarily to verso), margins over 1 1/4 incheswith two deckled edges.

$300-500

128.Ernst Neumann (Canadian, 1907-1956)

Lot of Two Landscapes: Church in St. Agatha Ave, 1944 andStream at St. Agatha Run, 1944. Both signed “Ernst Neumann”in pencil, signed and dated within the plate, and titled in pencil l.l.Etchings on paper, plate sizes approximately 5 x 6 1/2 in. (12.5 x16.5 cm), framed.Condition: Subtle rippling, not examined out of frames.

$300-500

126

127

128

129.Jules Olitski (Russian/American, 1922-2007)

Untitled, edition of 60. Signed “Jules Olitski” in pencil l.r., numbered“51/60” in pencil l.l., two dry stamps l.c. Color lithograph on paper,image/sheet size 29 3/4 x 21 1/4 in. (75.5 x 54.0 cm), unmatted,unframed.Condition: Deckled edges, annotation to verso.

$300-500

130.Roi Partridge (American, 1888-1984)

Stand of Pines, 1920. Signed “Roi Partridge.” in pencil l.c., signedand dated in the plate. Etching on paper, plate size 14 7/8 x 11 7/8in. (37.7 x 30.0 cm), matted, unframed.Condition: Margins 3/4 inches or more with deckled edges, evenlyspaced pinholes to margins, scattered fox marks.

$400-600

131.Gabor F. Peterdi (American, 1915-2001)

Arctic Night I, 1964, edition of 25. Signed, dated, and inscribed“Peterdi 64 Imp” in pencil l.r., titled in pencil l.c., numbered “3-25” inpencil l.l. Color etching and aquatint on paper, plate size 23 7/8 x 355/8 in. (60.5 x 90.4 cm), framed.Condition: Not examined out of frame.

$200-300

129

130

131

132.After Pablo Picasso (Spanish, 1881-1973)

Deux arlequins, c. 1920, edition of 100, published by Édition de laGalerie Rosenberg. Signed “Picasso” in pencil l.c., numbered“40/100” in pencil l.l. Color pochoir on paper, image size 10 3/4 x 81/2 in. (27.2 x 21.5 cm), framed.Condition: Rippling, not examined out of frame.

$4,000-6,000


Deux arlequins attablés, c. 1920, edition of 100, published byÉdition de la Galerie Rosenberg. Signed “Picasso” in pencil l.c.,numbered “61/100” in pencil l.l. Color pochoir on paper, image size 83/8 x 10 1/2 in. (21.0 x 26.5 cm), framed.Condition: Rippling, not examined out of frame.

$4,000-6,000

134.Pablo Picasso (Spanish, 1881-1973)

Trois acteurs, 1933, from LA SUITE VOLLARD, published 1939(Geiser, 296; Bloch, 145). Signed “Picasso” in pencil l.r., identified ona label from the Retina Gallery, Boston, on the backing. Etching anddrypoint on paper, plate size 11 x 7 1/8 in. (27.8 x 18.0 cm), framed.Condition: Margins 1 inch or more, not examined out of frame.

$3,000-5,000

132

133

134

135.Pablo Picasso, illustrator (Spanish, 1881-1973)

Lysistrata, by Aristophanes, published 1934 by The Limited EditionsClub, New York, edition of 1500, including six original etchings.Signed “Picasso” in pencil and numbered “1276” in crayon on thecolophon. Sheet sizes 11 1/2 x 9 in. (29.3 x 23.0 cm), original boardsand slipcase.Condition: Minor wear to case.


$1,500-2,000


Portrait de Madame Z from LES PEINTRES TÉMOINS DE LEURTEMPS, 1956, published by Mourlot. Identified in text beneath theimage, stamped “192” l.r. Color lithographic poster, sheet size 27 1/4x 20 1/4 in. (69.1 x 51.4 cm), unmatted, unframed.Condition: Deckled right edge, even toning, subtle staining.

$1,200-1,800


La Pique I, 1959, edition of 50 (Bloch, 898). Signed “Picasso” inpencil l.r., numbered “33/50” in pencil l.l., dated within the matrix.Lithograph on cream Arches paper with watermark, image size 17 x22 in. (43.2 x 55.8 cm), unmatted, unframed.Condition: Deckled edges with minor creasing, nicks to edge l.l., lossto u.l. corner, tears to left and right edges (each less than 3/4 inch),subtle toning, hinging residue to the reverse.

$1,200-1,800

135

136 137


Portrait de famille, six personnages, 1962, edition of 50 (Bloch,1031). Signed “Picasso” in green crayon, numbered “17/50” in pencill.l. Lithograph on paper, image size 18 1/4 x 24 1/2 in. (46.3 x 62.3cm), framed.Condition: Not examined out of frame.

$5,000-7,000

139.Scott Prior (American, b. 1949)

Tents, 1986, artist’s proof edition of 3. Signed and dated “Scott Prior1986” in pencil l.r., titled in pencil l.c., inscribed “A.P.” in pencil l.l.,identified on a label from The Alpha Gallery, Boston, on the backing.Etching with hand-coloring on paper, plate size 6 x 6 in. (15.2 x 15.2cm), framed.Condition: Not examined out of frame.

$500-700

140.Robert Rauschenberg, illustrator (American, 1925-2008)

Traces suspectes en surface, by Alain Robbe-Grillet, published in1978 by Universal Limited Art Editions, Bay Shore, New York, editionof 36 plus proofs, unbound with forty-one color lithographs. Eachnumbered, signed, and dated “15/36 Robbe-GrilletRAUSCHENBERG 72-78” in pencil l.c., and with publisher’s andpagination dry stamps. 26 1/2 x 20 1/2 in. (67.5 x 52.0 cm),presented in the original cloth-covered folio box.Condition: Good.


$7,000-9,000

138

139

140

141.Robert Rauschenberg (American, 1925-2008)

Howl, from the SEVEN CHARACTERS Series, 1982, a series of 70unique collage pieces (Gemini, RR82-10; Old Gemini, 1035). Signedand dated “RAUSCHENBERG 82” in pencil l.r., stamped with Chinesecharacter and “HOWL” on the reverse, stamped “© Gemini G.E.L.”and inscribed “RR82-10” in pencil on the reverse. Cast paper, fabriccollage, and mixed media construction, 42 1/2 x 30 1/2 in. (107.8 x77.4 cm), presented in a Plexiglas box.Condition: Good.Provenance: Purchased from Jacqueline Silverman, Beverly Hills,California, 1983; to the estate of Mary Lee Ingbar, Cambridge,Massachusetts.

N.B. Rauschenberg conceived of this series as a collaborativeproject with China and its artists, using the working title of “ChinaCollage” series, at a time when China was far from open toWesterners. Rauchenberg’s work is highly self-contextualized withelements drawn from his immediate surroundings. While he came toChina with a plethora of materials to employ in the project, he foundinspiration in the elements he discovered around him. Rauschenbergchose to visit the Anhui province where the famous “1,000 yearpaper” or Xuan paper is produced. Here he also found thecalligraphic symbols - chosen for both their forms and meanings -that would be the basis for the series. He was drawn to the silkwedding bed cloths that would evolve into the hanging medallions,and the Chinese propaganda posters that contained the papercollage elements he would ultimately employ. Even the seals heapplied upon completion of the collages—those of the paper mill, theartist, and the publisher—came from Chinese antecedents.

The result was a group of seventy unique compositions, each withvariations in the poster elements, the silk medallions, and the ribbons.By removing these elements from their original contexts through theircutting and reassembly, Rauschenberg created new relationships andcontexts.

$12,000-18,000

142.Emmanuel Radensky, called Man Ray, illustrator(French/American, 1890-1976)

Électro-Magie, by Gui Rosej, published in 1969 by Georges Visat,Paris, total edition of 175, unbound, containing six color aquatints.Each print signed “ManRay” in pencil l.r. and numbered “I/XXV” inpencil l.l. Sheet sizes 11 x 9 in. (28.0 x 23.0 cm), presented in acloth-bound slipcase.Condition: Minor wear to case.

Provenance: Purchased from Sergio Tosi Stampatore, Viareggio, Italy,1982; the estate of Mary Lee Ingbar, Cambridge, Massachusetts.

$2,500-3,500

141

142

143.Emmanuel Radensky, called Man Ray, illustrator (American,1890-1976)

La Logique Assassine, written by Henry Miller, published in 1975 byLuciano Anselmino, Paris, edition of 100 plus proofs, unboundfrontispiece plus a multiple titled Enigme III comprised of a flannelblanket tied with twine and presented in a Plexiglas box.Monogrammed “MR” in pencil and numbered “44/100” in pencil l.l.on the frontispiece, identified on the colophon page, text signed“Henry Miller” in ink. 20 5/8 x 14 3/4 in. (52.3 x 37.5 cm), presentedin a cloth-covered portfolio box with inset printed panels.Condition: Wear to box.

Provenance: Purchased from Sergio Tosi Stampatore, Viareggio, Italy,1982; the estate of Mary Lee Ingbar, Cambridge, Massachusetts.

$1,000-1,500

144.Rembrandt van Rijn (Dutch, 1606-1669)

The Tribute Money c. 1635, a posthumous printing (Bartsch, 68;Hind, 124; Münz, 200; Hollstein/White & Boon, 68). Unsigned.Etching on paper, sight size 2 3/4 x 4 in. (6.9 x 10.0 cm), framed.Condition: Pale foxing, not examined out of frame.


$400-600

145.Pierre Auguste Renoir (French, 1841-1919)

Louis Valtat, from L’ALBUM DES DOUZE LITHOGRAPHIESORIGINALES, c. 1904, from the edition of 950 (Stella, 38). Signed inthe matrix. Lithograph on paper, image size 11 5/8 x 9 3/8 in. (29.5 x23.7 cm), framed.Condition: Laid down, deckled edges, mat burn.

$1,500-2,000

143

144

145

146.Robert Riggs (American, 1896-1970)

Club Fighter, c. 1933-1934, edition of approximately 50 (Bassham,35). Signed “Robert Riggs-” in pencil l.r. and within the matrix, titledin pencil l.l., identified on a label from the Discovery Gallery, Inc.,Santa Fe, on the backing. Lithograph on paper, image size 14 x 181/8 in. (35.5 x 46.0 cm), framed.Condition: Scattered fox marks, rippling, not examined out of frame.

$3,000-5,000

147.Larry Rivers, illustrator (American, 1923-2002)

Stones, by Frank O’Hara, published in 1959 by Universal Limited ArtEditions, New York, total edition of 30, unbound with thirteenlithographs. Each image signed and dated “Rivers ‘5...” in pencil l.r.,numbered and signed “XXIV O’HARA” in pencil l.l., and withpublisher’s dry stamp, identified and numbered on colophon pageand numbered on wrapper. Sheet sizes 18 1/2 x 23 1/2 in. (47.0 x59.5 cm), in the original folder with interior blue paper wrapper.Condition: Wear to folder.


$15,000-20,000

146

147

148.Larry Rivers, illustrator (American, 1923-2002)

The Donkey and the Darling, by Terry Southern, published in 1977by Universal Limited Art Editions, Bay Shore, New York, total editionof 44, unbound with fifty-two color lithographs. Each image signedand dated “Larry Rivers ‘68-’77” in pencil l.r., and numbered andsigned “Terry Southern XI/XXXV” in pencil l.l. Sheet sizes 17 1/2 x 203/4 in. (44.4 x 52.5 cm), presented in the publisher’s green lacqueredwood case inset with mirror-backed title under hand-blown glass.Condition: Good.


$4,000-6,000

149.Georges Rouault (French, 1871-1958)

Réincarnations Du Père Ubu, published in 1932 by AmbroiseVollard, Paris, from the edition of 55 published on Montval paper,unbound, containing twenty-two etchings plus 104 wood engravingsafter Rouault. Signed “Vollard” and “Georges Rouault” in ink on thecolophon page, and numbered “44.” Sheet sizes 17 1/4 x 13 1/4 in.(43.7 x 33.5 cm), presented in a (later) portfolio box.Condition: Very minor wear, ex libris label from Nelson A. Rockefellerto first sheet.


$8,000-12,000

148

149

150.Georges Rouault (French, 1871-1958)

Lot of Two Images: Dors, mon amour, 1935, from CIRQUE DEL’ETOILE FILANTE (Wofsy, 335); and Aide-Borreau portant un desbois de la Croix, ves la gauche, 1936, from PASSION (Wofsy, 353).Both initialed and dated within the plates. Color etchings withaquatint on paper, plate sizes approximately 12 x 8 1/2 in. (30.4 x21.5 cm), framed.Condition: Unobtrusive toning, scattered foxing (primarily to thelatter), not examined out of frames.

$1,000-1,500

151.Ed Ruscha (American, b. 1937)

Kansas/Oklahoma, 1978, edition of 35 plus proofs, published by theHartford Art School (Engberg & Phillpot, 101). Signed and dated“Edward Ruscha 1978” in pencil l.r., inscribed “B.A.T.” in pencil l.l.,dry stamps to both of the lower corners, titled within the matrix.Color lithograph on paper, image size 3 1/2 x 27 5/8 in. (8.8 x 70.0cm), framed.Condition: Minor crease to lower corners, gentle rippling, notexamined out of frame.

$800-1,200


Little Connecticut Sleeping House, 1978, edition of 16 plus proofs,published by the Hartford Art School (Engberg & Phillpot, 102).Signed and dated “Edward Ruscha 1978” in pencil l.r., inscribed“B.A.T.” in pencil l.l., two dry stamps l.l., titled within the matrix.Lithograph in blue on paper, image size 6 1/2 x 8 1/8 in. (16.4 x 20.5cm), framed.Condition: Wide margins, gentle rippling, not examined out of frame.

$1,000-1,500

150

151

152


Kay-Eye-Double-S, 1978, edition of 35 plus proofs, published by theHartford Art School (Engberg & Phillpot, 103). Signed and dated“Edward Ruscha 1978” in pencil l.r., inscribed “B.A.T.” in pencil l.l.,dry stamps to both of the lower corners, titled within the matrix.Color lithograph on paper, image size 6 x 27 1/4 in. (15.2 x 69.1 cm),framed.Condition: Minor handling creases, gentle rippling, not examined outof frame.

$800-1,200

154.Toko Shinoda (Japanese, b. 1913)

Voice of the Moon, edition of 30. Numbered, titled, signed andinscribed “4/30...Toko Shinoda...” in pencil l.l. Color lithograph onpaper, image size 22 1/2 x 16 in. (57.0 x 40.5 cm), framed.Condition: Not examined out of frame.


$700-900

155.John French Sloan (American, 1871-1951)

The Donkey Ride, alternatively titled Her Mount Decided to Take toa Gallop..., the frontispiece to THE WORKS OF CHARLES PAULDE KOCK, published 1903, final state of three editions of 1,000(Morse, 71). Signed and identified in the plate and on labels on thereverse. Etching on paper, plate size 3 3/4 x 5 1/2 in. (9.4 x 14.0cm), framed.Condition: Not examined out of frame.

$150-200

153

154

155

156.Raphael Soyer (American, 1899-1987)

My Studio, alternatively titled In the Studio, 1944, edition of 250(Cole, 63). Signed “Raphael Soyer” in pencil l.r. and in the matrix.Lithograph on paper, image size 12 1/8 x 9 1/2 in. (30.7 x 24.0 cm),framed.Condition: Margins 1/2 inch or more, staining, toning, not examinedout of frame.

$300-500

156A.Benton Murdoch Spruance (American, 1904-1967)

Young Lincoln, 1940, edition of 50 (Fine & Looney, 183). Signed“Spruance” in pencil l.r., initialed in the matrix, titled in pencil l.c.,inscribed “Ed 50” in pencil l.l. Lithograph in black and tan on paper,image size 18 1/4 x 11 3/8 in. (46.3 x 28.8 cm), framed.Condition: Toning, unobtrusive mat burn, not examined out of frame.

$300-500

157.Harry Sternberg (American, 1904-2002)

Steel Workers. Signed and dedicated “for Nancy from HarrySternberg” in pencil l.r., titled and signed within the matrix.Lithograph on paper, image size 11 5/8 x 8 1/8 in. (29.4 x 20.5 cm),unmatted, unframed.Condition: Margins 1 inch or more, soiling.

$300-500

156 156A

157

158.Andrew Stevovich (American, b. 1948)

Lot of Two Images: Smoker #1, 1981, edition of 25; andHandsome Eddie, 1990, edition of 75. Both signed and dated“Andrew Stevovich 19...” in pencil l.r., titled in pencil l.c., andnumbered in pencil l.l. Etchings, the latter with aquatint, on paper,plate sizes to 8 x 9 1/4 in. (20.3 x 23.4 cm), unmatted, unframed.Condition: Margins 2 1/2 inches or more.

$200-250


Lot of Three Images: Smokers #1, 1981, edition of 25, etching; AKiss for Nadine, 1989, edition of 100, etching on chine collé; andAnnie Smoking, 1989, edition of 50, woodcut. Each signed anddated “Andrew Stevovich...” in pencil l.r., titled in pencil l.c., andnumbered in pencil l.l. Image/plate sizes to 8 x 9 1/2 in. (20.3 x 24.0cm), unmatted, unframed.Condition: Margins over 2 inches with deckled edges.

$200-250


Woman with Suitors #1, 1984, edition of 45. Signed and dated“Andrew Stevovich 1984” in pencil l.r., titled in pencil l.c., numbered“2/45” in pencil l.l. Etching on paper, plate size 11 7/8 x 15 7/8 in.(30.0 x 40.0 cm), unmatted, unframed.Condition: Margins over 3 inches with deckled edges, minutehandling marks/creases at upper corners.

$200-250

158160

159


Carnival, 1985, edition of 70. Signed and dated“Andrew. Stevovich 1985” in pencil l.r., titled in pencil l.c.,numbered “69/70” in pencil l.l., dry stamp l.r. Colorwoodcut on cream paper, image size 9 1/4 x 14 7/8 in.(23.4 x 37.5 cm), unmatted, unframed.Condition: Margins 1 1/4 inches or more with twodeckled edges, unobtrusive handling creases to margins,nicks/creases to deckling.

$250-300


Lot of Two Portrait Images: Susan, 1985, edition of 50;and Betty, 1985, edition of 50. Both signed and dated“Andrew Stevovich 19...” in pencil l.r., titled in pencil l.c.,and numbered in pencil l.l. Etchings with plate tone onpaper, plate sizes 7 x 7 in. (17.7 x 17.7 cm), unmatted,unframed.Condition: Margins approximately 2 1/2 inches withdeckled edges.

$200-250

163.Rufino Tamayo (Mexican, 1899-1991)

Observador de Pajaros, 1950, total edition of 277(Pereda, 31). Signed “R. Tamayo” in pencil l.l., numbered“LV/LX” in pencil l.r., and identified on a label on thebacking. Lithograph in colors on paper, image size 123/4 x 19 3/8 in. (32.3 x 49.1 cm), framed.Condition: Toning, not examined out of frame.

$500-700

161

162

163

164.Yves Tanguy, illustrator (French/American, 1900-1955)

Le Grand Passage, by Jean Laude, published in 1954 by MaxClarac-Serou, Paris, total edition of 41, containing three etchings (onewith color monotype). Each print signed “YVES TANGUY” in pencill.r. and numbered l.l., numbered “E” and identified on the title pageand its verso, a collage of blue, black, and white paper bound within.Sheet sizes 10 3/4 x 8 1/4 in. (27.3 x 20.8 cm), binding by Leroux,1958, of white calfskin with inlay of gray wood veneer and blackleather, presented with binder’s chemise and slipcase.Condition: Very minor wear.


$8,000-12,000

165.Albert Urban (German, 1909-1959)

Lot of Three Images, 1948. Each signed and dated “Albert Urban48” in ink beneath the image and with artist’s estate stamp verso.Screenprints in black and tan on paper, image sizes 11 7/8 x 8 1/4 in.(30.0 x 20.8 cm), framed.Condition: Margins over 3 inches, estate stamp visible on recto, notexamined out of frames.

$400-600

164

165

166.Albert Urban (German, 1909-1959)

Lot of Three Images, 1953. Each signed, dated, and numbered“Albert Urban 53...” in ink within the image. Color screenprints onpaper, image sizes 24 1/4 x 30 3/4 in. (61.5 x 78.0 cm), framed.Condition: Not examined out of frames.

$600-800

167.Victor Vasarely (French/Hungarian, 1908-1997)

Untitled (Red, Green, Violet), edition of 125. Signed “Vasarely-” inpencil l.r., numbered “121/125” in pencil l.l., dry stamp l.l. Colorscreenprint on paper, image size 18 x 18 in. (45.7 x 45.7 cm),unmatted, unframed.Condition: Two edges deckled.

$400-600

168.Victor Vasarely (French, 1908-1997)

Erebus, edition of 2000. Etched signature “Vasarely-” on the reversel.r., identified and numbered “...2000/1649” on a label from RosenthalStudio-linie, Germany, beneath the plinth. Molded crystal, 13 x 9 1/2x 1 in. (33.0 x 24.1 x 2.5 cm), set in a slotted chrome and woodplinth.Condition: Good.

Provenance: Purchased from Circle Gallery, New York, 1989.$400-600

166

167168

169.Esteban Vicente (American, 1903-2001)

Untitled, edition of 75. Signed “Esteban Vicente” in pencil l.r.,numbered “68/75” in pencil l.l. Color etching and aquatint on paper,plate size 16 3/4 x 12 in. (42.5 x 30.4 cm), framed.Condition: Margins 3/4 inches or more, not examined out of frame.

$300-500

170.Jacques Villon (French, 1875-1963)

René à bicyclette, alternatively titled Un début, 1906, edition of 50,published by Sagot, Paris (Ginestet & Pouillon, E152). Signed“Jacques Villon” in pencil l.r., signed and dated in the plate,numbered “14/50” in pencil l.l., publisher’s dry stamp l.r. Drypointand aquatint on paper, plate size 15 3/4 x 11 5/8 in. (39.9 x 29.4cm), matted, unframed.Condition: Margins 2 inches or more with deckled edges to threesides, even toning, cockling, annotations to margins (recto andverso), hinge and tape residue to some edges.

$500-700

171.Maurice de Vlaminck (French, 1876-1958)

Marine, l’Eglise, c. 1925, first state of two (Walterkirchen, 182).Signed “Vlaminck” in pencil l.r. Lithograph on paper, image size 8 3/4x 12 in. (22.2 x 30.4 cm), framed.Condition: Not examined out of frame.

$500-700

169

170

171

172.Maurice de Vlaminck (French, 1876-1958)

Le pont sur l’Oise à Méry (I), c. 1925 (Walterkirchen, 187 [I]).Signed “Vlaminck” in pencil l.r., inscribed “Essai” in pencil l.l.Lithograph on paper, image size 9 1/2 x 13 1/2 in. (24.0 x 34.2 cm),framed.Condition: Not examined out of frame.

$500-700

172A.Andy Warhol (American, 1928-1987)

Lincoln Center Ticket, 1967, edition of 500 (Feldman & Schellmann,II.19). Unsigned, identified within the matrix. Color screenprint onpaper, sight size 44 x 23 3/8 in. (111.8 x 59.4 cm), framed.Condition: Not examined out of frame.

$1,000-1,500

173.James Abbott McNeill Whistler (American, 1834-1903)

Billingsgate, 1859, final state of eight (Kennedy, 47). Signed anddated in the plate. Etching with drypoint on paper, plate size 6 x 87/8 in. (15.2 x 22.5 cm), framed (without glass).Condition: Mat burn, unobtrusive toning and staining.

$1,000-1,500

172

172A

173

174.Samuel Johnson Woolf (American, 1880-1948)

Lot of Two Images: At the Counter and Pushcart Peddler. Bothsigned “S.J. Woolf.” in pencil l.l. Etchings on paper, plate sizesapproximately 7 x 5 in. (17.5 x 12.5 cm), framed.Condition: Not examined out of frames.

$250-350

175.Ossip Zadkine (Russian/French, 1890-1967)

Girl with Dove, edition of 200. Signed “O.ZADKINE” in pencil l.r.,numbered “179/200” in pencil l.l. Color screenprint on paper, imagesize 22 1/2 x 16 5/8 in. (57.0 x 42.2 cm), unmatted, unframed.Condition: Margins over 2 1/4 inches with deckled edges, minornicks/creases to deckles.

$200-250

176.Anders Zorn (Swedish, 1860-1920)

Colonel Lamont III, 1904, final state of four (Asplund, 178). Signed“Zorn” in pencil l.r., signed and dated in the plate. Etching on paper,plate size 7 7/8 x 6 in. (20.0 x 15.0 cm), framed.Condition: Margins 1/2 inch or more, toning, not examined out offrame.

$300-500

174175

176


Self Portrait 1916, 1916, final state of three (Asplund, 270). Signed“Zorn” in pencil l.r., signed and dated in the plate, label from M.Knoedler & Co., New York, on the backing. Etching on laid paper,plate size 6 7/8 x 4 3/4 in. (17.5 x 12.0 cm), framed.Condition: Margins 1 inch or more, toning, not examined out offrame.

$300-500


Gulli II, 1919, final state of three (Asplund, 280). Signed “Zorn” inpencil l.r., signed and dated in the plate. Etching on paper, plate size7 3/4 x 5 3/4 in. (19.6 x 14.6 cm), framed.Condition: Margins 1/2 inch or more, toning, unobtrusive mat burnand fox marks, not examined out of frame.

$250-350

Photography

179.Harold Eugene Edgerton (American, 1903-1990)

Basketball Player. Unsigned. Silver gelatin print, sheet size 8 1/8 x10 in. (20.5 x 25.4 cm), unmatted, unframed.Condition: Minute nicks to edges.

$700-900

177

178

179


Basketball Player Dribbling. Unsigned. Silver gelatin print, sheetsize 8 1/8 x 10 in. (20.5 x 25.4 cm), unmatted, unframed.Condition: Minute nicks to edges, staining to corner l.l.

$700-900


Grand jeté. Unsigned. Silver gelatin print, sheet size 8 x 10 1/8 in.(20.3 x 25.5 cm), unmatted, unframed.Condition: Minute nicks to edges.

$700-900

182.Sandi Fellman (American, b. 1952)

Peonies. Unsigned on recto. Color photograph, sight size 23 3/4 x20 1/2 in. (60.2 x 52.0 cm), framed.Condition: Not examined out of frame.

$600-800

180

181

182

183.Sandi Fellman (American, b. 1952)

Flowers and Hands. Unsigned on recto. Color photograph, sightsize 23 3/4 x 20 1/2 in. (60.2 x 52.0 cm), framed.Condition: Not examined out of frame.

$600-800

184.John S. Johnston (British/American, born c. 1839-1899)

Lot of Five Yachting Images: Carmita, Tomahawk, Dungeness,Utowana, and Two-Masted Steam Screw, Possibly the Narwhal.Unsigned, three titled within the image, one identified in an inscriptionon the reverse. Albumen prints on paper, approximate sizes 6 1/2 x8 1/4 in. (16.5 x 21.0 cm), unframed.Condition: Minor wear/nicks to edges, subtle toning, mild rippling.

$600-800


Lot of Five Yachting Images: Royal, Ilderim, Neaira, Alicia, andKanawha. Unsigned, each titled within the image. Albumen printson paper, approximate sizes 6 1/2 x 8 1/4 in. (16.5 x 21.0 cm),unframed.Condition: Minor wear/nicks to edges, subtle toning, mild rippling.

$600-800

183

184

185


Lot of Five Yachting Images: Colonia, Columbia, Jubilee, Alert,and Helen. Each vessel identified within the matrix, Jubilee inscribed“COPYRIGHT 1893, BY J.S. JOHNSTON, N.Y.” l.r. Albumen printson paper, approximate sizes 6 1/2 x 8 1/4 in. (16.5 x 21.0 cm),unframed.Condition: Minor wear/nicks to edges, unobtrusive toning, mildrippling and handling creases.

$700-900

187.O. Winston Link (American, 1914-2001)

Main Street, Stanley, Virginia, 1957, probably a later printing.Purportedly signed on the reverse. Silver gelatin print, sight size 15 x19 in. (38.0 x 48.5 cm), framed.Condition: Not examined out of frame.

N.B. The lot is accompanied by an autographed 1998 calendar,Night Train, by O. Winston Link.

$4,000-6,000

188.O. Winston Link (American, 1914-2001)

Train 1241 Coming Through the Westbound MontgomeryTunnels, c. 1957, probably a later printing. Purportedly signed onthe reverse. Silver gelatin print, sight size 19 1/8 x 15 in. (48.5 x 38.0cm), framed.Condition: Not examined out of frame.

$4,000-6,000

End of Session I

186

187 188

Session IIPaintings & SculptureLots 200-580

to be sold Friday, May 21st, 2010 at 4 p.m.

200

200.Flemish School, 16th Century Style

Madonna and ChildUnsigned.Oil and gold leaf on panel in an arched format, 14 1/2 x 10 5/8 in.(36.5 x 27.0 cm), framed.Condition: Craquelure with lifting u.l., small loss of gold leaf in thearch l.c., surface grime.

$3,000-4,000

201.Italian School, 18th Century

Lot of Two Works: Christ at the Marriage at Cana and ChristHealing the Paralytic at the Pool of BethesdaCana inscribed and dated “NIC DE/FATIO/P/1772” l.l., Pool unsigned.Oil on canvas mounted to Masonite, sizes 14 1/2 x 29 1/2 in. (36.8 x74.9 cm), framed.Condition: Craquelure, surface grime, retouch.

Provenance: Estate of N. David Scotti, Providence, Rhode Island.$300-500

202.Attributed to Cherubino Alberti (Italian, 1553-1615)

Seated Figure Under a BaldacchinoUnsigned, inscribed “Cherubino Alberti ?/Giovanni ?” in pencil on theback of the mount.Ink with wash and sanguine on paper, sheet size 11 x 6 7/8 in. (28.0x 17.5 cm), unframed.Condition: Toning, small loss l.r. corner, unobtrusive soiling, mountedto a larger sheet decorated in the manner of a French mat.

$500-700

201

202

203.Flemish School, 16th Century

The Holy Family with the Infant St. John the Baptist and St.ElizabethInitialed “AvD I fc...” l.r.Graphite and whiting on laid paper, sight size 14 3/4 x 18 in. (37.5 x45.7 cm), framed.Condition: Laid onto panel, foxing, small tear l.l. corner, restored tearin u.r. quadrant, acid burn.

$4,000-6,000

204.Italian School, 16th Century Style

Mystic Marriage of Saint CatherineUnsigned.Oil on copper, 6 1/8 x 4 5/8 in. (15.6 x 11.7 cm), framed.Condition: Losses, surface grime.

$800-1,200

203

204

205

205.School of Leonardo Coccorante (Italian, 1700-1750)

Landscape with Classical Ruins and FiguresUnsigned.Oil on canvas, 29 1/2 x 49 5/8 in. (75.0 x 126.0 cm), unframed.Condition: Lined, canvas deformations in the corners, retouch,yellowed varnish, surface grime, craquelure.

$4,000-6,000

206.School of Francesco Lazzaro Guardi (Italian, 1712-1793)

View of the Grand CanalUnsigned.Oil on canvas, 23 1/4 x 29 1/4 in. (59.1 x 74.5 cm), framed.Condition: Surface grime, craquelure.

$2,000-3,000

207.School of Francesco Lazzaro Guardi (Italian, 1712-1793)

Ponte di Rialto and The Grand CanalUnsigned.Oil on canvas, 23 5/16 x 29 3/8 in. (59.5 x 74.5 cm), framed.Condition: Retouch, possible skinning, craquelure.

$2,000-3,000

206

207

208.Dutch School, 17th Century

Panoramic River Valley with Wayfarers and VillagersUnsigned.Oil on canvas, 12 7/8 x 17 in. (32.8 x 43.4 cm), framed.Condition: Lined, retouch, craquelure, surface grime.

$1,500-2,000


Animated Shore View with Figures and WindmillUnsigned, inscribed “25 - Ap 6th” in a period hand on the reverse.Watercolor on paper, 7 3/4 x 9 5/8 in. (19.5 x 24.4 cm), framed.Condition: Toning, scattered fox marks, affixed to mat at edges onthe reverse.

$300-500

208

209

210

210.Follower of Jacob van Ruisdael (Dutch, c. 1628-1682)

Landscape with Dunes and Figures on a PathUnsigned, red wax seals on the reverse.Oil on panel, 20 5/8 x 26 3/4 in. (52.4 x 67.9 cm), framed.Condition: Minor lifting/flaking, abrasions, surface grime, partial splitto panel, fine craquelure.

Provenance: The estate of Barbara Green, by descent through thefamily of William Morris Green.

N.B. This painting is closely related to Hilly Dunescape, anuntraceable painting known only through photographs, attributed toRuisdael, and included as No. 625 in the Jacob van Ruisdaelcatalogue raisonné. The two landscapes have differing provenances,suggesting that this painting may be a copy or another version madeby a follower of Jacob van Ruisdael.

$5,000-7,000

211.Continental School, 19th Century

Dogs Bringing Down a BoarUnsigned.Oil on canvas mounted to a rigid support, 14 7/16 x 16 9/16 in. (36.6x 42.1 cm), framed.Condition: Lined, retouch, unobtrusive surface grime, craquelure.

$1,500-3,000

212.Dutch/Flemish School, 17th Century Style

Still Life with Flowers, Fruit, Insects, and AcornsUnsigned.Oil on canvas, 28 x 21 3/8 in. (71.3 x 54.4 cm), framed.Condition: Lined, scattered paint loss, retouch.

$1,500-2,500

211

212

213

213.Manner of Melchior de Hondecoeter (Dutch, 1636-1695)

Roosters and ChicksUnsigned.Oil on canvas, 35 x 44 5/8 in. (88.9 x 113.3 cm), framed.Condition: Lined, retouch, craquelure, surface grime.

$1,500-2,500

214.No lot.

215.Spanish Colonial School, 19th Century

Por Altos Juicios de Dios Soi CondenanadoUnsigned, identified within the image and on a label affixed to theframe backing.Oil on canvas mounted on Masonite, 18 7/8 x 14 3/8 in. (48.0 x 36.5cm), framed.Condition: Retouch, paint losses u.r. and l.l., wear at the corners,surface grime, craquelure.

$400-600

216.Spanish Colonial School, 19th Century

The Scourging of ChristUnsigned.Oil on canvas, 31 x 22 7/8 in. (78.5 x 58.0 cm), unframed.Condition: Lined, losses, retouch, surface grime, craquelure.

$800-1,200

215

216

217

217.Spanish Colonial School, 19th/20th Century

Lot of Two Retablos: San Pascual Bailon and San Camilo deLelisUnsigned.Oil on tin, sizes to 10 x 7 in. (25.4 x 17.8 cm), unframed.Condition: Minor abrasions, losses, rust/corrosion, fine craquelure.

N.B. San Camilo de Lelis, the patron saint of the infirm andinfirmaries, is also known as the “Red Cross Saint.” His iconographytypically includes devils, angels, and a skeleton, as the scene depictsthe dying man’s last hour. San Pascual Bailon, the patron saint ofcooks and the kitchen, is typically depicted with his cookingaccoutrements and cat.

$600-800

218

218.William Alexander (British, 1767-1816)

Chinese Barges of the Embassy Preparing to Pass Under a Bridge, plate XL from SirGeorge Staunton’s An Authentic Account of An Embassy from the King of GreatBritain to the Emperor of China…Signed and dated “Wm. Alexander f 1793.” l.l., identified on a label on the reverse.Watercolor on paper/board, sight size 11 x 17 3/4 in. (27.9 x 45.1 cm), framed.Condition: Toning, staining, foxing, not examined out of frame.

N.B. William Alexander traveled in the first English embassy to China, which was led byGeorge Lord Viscount Macartney. It sailed out of Portsmouth on September 26th, 1792.The secretary to the embassy was Sir George Staunton, who wrote a careful account ofthe journey that was illustrated by engravings created after Alexander's watercolors. Thefirst version of the Account was published in 1797 in two volumes plus a folio of plates byW. Bulmer & Co. in London. Alexander documented the people, architecture, andcustoms of all of the cultures encountered during the voyage, although the publishedplates pertain solely to the Chinese. His drawings, as can be seen here and in lot 219,are highly detailed and his observations of both the Chinese and British in these settingsare carefully rendered.

$1,000-1,500

219

219.William Alexander (British, 1767-1816)

A View of Part of the Great Wall of China, Called by the Natives Van-lee-ching, or Wall of TenThousand Lee, Taken Near the Pass of ‘Cou-Pe-Koo,’ plate XXIV from Sir George Staunton’s AnAuthentic Account of An Embassy...Signed and inscribed “Alexander/delr.” l.r., identified on labels affixed to the reverse.Watercolor on paper/board, sight size 11 x 17 3/4 in. (27.9 x 45.1 cm), framed.Condition: Toning, foxing, light abrasion l.c., not examined out of frame.

N.B. The watercolor presented here shows several differences from the published engraving: the horse inthe right foreground lacks a rider in the engraved version, and the figures by the base of the near towerare removed in the plate. The description for the plate in Staunton’s Account indicates how amazed theBritish were with the wall. The folio describes the wall as follows: “At this place the wall is carried over thesummits of the highest mountains, some of which are not less than three thousand feet in perpendicularheight, and appear to be almost inaccessible... This wall, according to the charts of the empire made fromactual surveys, is more the fifteen hundred miles in length, and in many places it is double, and even triple,for the better defence of the passes. The masonry and brickwork in the towers alone exceed those of allLondon.” (volume I, page xxii).

$1,000-1,500


Portrait of a Young Woman, Possibly a Sea Captain’s WifeUnsigned.Oil on canvas, 43 3/4 x 33 3/4 in. (111.2 x 85.6 cm), unframed.Condition: Abrasions and paint losses, lined, canvas deformation tothe corners.

$1,500-2,000

221.Attributed to Thomas Rowlandson (British, 1756-1827)

The Proctor OutwittedUnsigned, titled and identified on labels affixed to the backing.Ink, graphite, and wash on paper, sheet size 7 1/2 x 6 1/4 in. (19.1 x15.9 cm), framed.Condition: Not examined out of frame.

$1,000-1,500

220

221

222.Attributed to Philippe Tidemann (German, 1657-1705), AfterGérard de Lairesse (Flemish, 1641-1711)

Blindfolded Artist with Muses/Maquette for a Title PageSigned, dated, and inscribed in ink within the composition “...van G.Lairesse/anno 1702” u.r., inscribed on verso in pencil.Ink on paper, 6 1/2 x 5 1/4 in. (16.5 x 13.3 cm), matted, unframed.Condition: Toning, sheet trimmed to the image, staining to thereverse.

N.B. This drawing is probably a study for an engraving that was usedon the title page of Groot Schilderboek, published in 1712.

$500-700

223.Anglo/American School, 18/19th Century

Portrait of a Young Man in Floral WaistcoatUnsigned.Oil on canvas, 29 1/8 x 24 1/2 in. (74.0 x 62.3 cm), framed.Condition: Retouch, craquelure, surface grime.

Provenance: Estate of N. David Scotti, Providence, Rhode Island.$300-500

222

223


Evening Prayers (possibly Marie Antoinette)Unsigned.Oil on canvas, 19 1/2 x 16 1/2 in. (49.5 x 42.0 cm), framed.Condition: Lined, retouch.

$1,500-2,000

225.Arthur David McCormick (British, 1860-1943)

The Visitor/Lacy Middleton and Lord NelsonSigned “A.D. McCormick” l.r., identified on a label from H. & P.De Casseres, London, on the backing.Oil on canvas, 23 7/8 x 19 in. (60.8 x 48.0 cm), framed.Condition: Lined, retouch, craquelure.

$1,800-2,200

224

225

226

226.Henry Herbert La Thangue, R.A. (British, 1859-1929)

Portrait of a Seated WomanSigned “HLa Thangue” u.r., with a canvas stencil from LechertierBarbe & Co., London, on the reverse.Oil on canvas, 30 x 25 in. (76.2 x 63.5 cm), framed.Condition: Retouch, craquelure, alligatoring, surface grime.

N.B. The British art materials supplier Lechertier Barbe & Co.operated under this name between 1859-1897.1

1. National Portrait Gallery, “British Artist’s Suppliers, 1650-91950-L,”http://www.npg.org.uk/research/programmes/directory-of-suppliers/l.php

$7,000-9,000

227.Heinrich Hasselhorst (German, 1825-1904)

Steep Carriage RideUnsigned, identified on a partial label “..1872...von ProfessorHasselhorst...” affixed to the stretcher, partial label from“GALLERIE GSELL/Wein” on the reverse.Oil on canvas, 14 3/8 x 10 3/4 in. (36.6 x 27.4 cm), framed.Condition: Retouch, craquelure, surface grime.

Provenance: Purchased in 1969 from Dora Prowig,Antiquarian, Munich, Germany by Dr. Friedman, Ridgewood,New Jersey.

N.B. An envelope containing the purchase receipt, a letter,and a photograph accompanies this lot.

$1,500-2,000

228.Jean-Antoine-Simeon Fort (French, 1793-1861)

View of the ValleySigned “Simeon Fort.” l.r.Oil on canvas, 10 3/4 x 13 3/4 in. (27.3 x 34.9 cm), framed.Condition: Repair with patch reinforcement, retouch, mildvarnish inconsistencies, surface grime.

$800-1,200

227

228

229

229.Johannes Josephus Destrée (Belgian/Dutch, 1827-1888)

View of the Hofvijver, The HagueSigned, inscribed, and dated “J J Destrée Fct 1841” l.l.Oil on panel, 7 3/4 x 13 1/4 in. (19.7 x 33.7 cm), framed.Condition: Minor abrasions, minor surface grime, alligatoring, subtlecraquelure.

$2,000-3,000

230

230.Henry Hillier Parker (British, 1858-1930)

The Thames Looking Toward HenleySigned “Henry H. Parker” l.r., titled, signed, and inscribed “...Henry H.Parker... 5689” and with a canvas stencil from G. Robertson & Co.Ltd., London, on the reverse.Oil on canvas, 20 x 30 in. (50.8 x 76.2 cm), framed.Condition: Craquelure, surface grime.

$6,000-8,000

231

231.Constant Troyon (French, 1810-1865)

Le Canal, alternatively titled La Petite ÉcluseSigned and dated “TROYON.1860.” l.l., with a wax seal from Collection Sedelmeyer, Paris, on the stretcher, inscribed “N.103” on the stretcher, identified in a label from Arthur Tooth and Sons Ltd., London, on the back of the frame.Oil on canvas, 18 1/4 x 22 in. (46.4 x 56.0 cm), framed.Condition: Lined, scattered retouch, craquelure.

Provenance: Sedelmeyer, Paris; Weeks, Brookline, Massachusetts; Walter P. Chrysler, Jun..; Hazlitt Gallery, London; LeggattBrothers, London; The Earl of Inchcape; Artemis Fine Arts (UK) Ltd., London; Edward J. Searles, Toledo, Ohio; by descentin the family to the current owner.

Exhibitions: London, Hazlitt Gallery, Barbizon exhibition, 1956, no. 2.

N.B. Constant Troyon was born in Sèvres and began his career as a painter of porcelain, following family tradition. By the1830s he had abandoned this path for a life as a landscape painter, making his debut at the Salon of 1833. Troyon becameone of the central artists of the Barbizon school. By 1840 he was painting with Théodore Rousseau and Jules Dupré, and in1844 he submitted two views of Fontainebleau to the Salon. Troyon enjoyed great success as a painter, winning acceptanceinto many expositions in France and abroad. In 1847 Troyon made a seminal trip to Holland, which would change thecourse of his art. Inspired by the Dutch artists, Troyon refocused his work on animals painted in the natural landscape, andhe earned renown as an animalier. He was awarded the French Legion of Honor in 1849. He lived mostly in Normandy andParis, except for short trips to England and the Low Countries, where this scene is located. The painting Le Canal is alsodescribed as La Petite Écluse. Constant Troyon died unexpectedly in 1865, and the Salon of 1866 paid tribute to his career.

A Certificate of Authenticity from Cabinet Michel Rodrigue accompanies this lot.$20,000-30,000

232.Hendricus Jacobus Burgers (Dutch, 1834-1899)

Prayer at the Refugium Peccatorum, Venice, ItalySigned “Burgers” l.r., with a canvas stencil from Lefranc & Cie., Paris,on the reverse.Oil on canvas, 18 1/4 x 12 3/4 in. (46.3 x 32.4 cm), framed (underglass).Condition: Fine craquelure.

$1,500-2,500

233.Ernest De Nagy (American, 1881-1952)

The Young ViolinistsSigned “Ernest de Nagy” l.l.Oil on canvas, 30 x 25 in. (76.2 x 63.5 cm), framed.Condition: Scattered retouch, minor canvas deformation u.r.

$800-1,200

232

233

234.Leon Jean Basile Perrault (French, 1832-1908)

Boy with a ViolinSigned and dated “- L - Perrault/75” l.l., identified on apresentation plaque.Oil on canvas, 32 x 18 3/8 in. (81.3 x 46.8 cm), framed.Condition: Surface grime, craquelure.

$15,000-25,000

235.Luigi Bechi (Italian, 1830-1919)

Peasant Couple with Donkey on Dirt RoadSigned and dated “L. Bechi/1870” l.r., with a label from “Studiodi R.W. Spranger... Casa Fauveau” affixed to the frame.Oil on canvas, 43 x 33 1/2 in. (109.3 x 85.1 cm), framed.Condition: Surface grime and accretions.

$4,000-6,000

234

235

236.Alfred Arthur Brunel de Neuville (French, 1851-1941)

Kittens with a CanarySigned “Brunel Neuville” l.r.Oil on panel, 8 1/2 x 10 5/8 in. (21.6 x 27.0 cm), framed.Condition: Minor surface grime.

$800-1,200


Portrait of a Girl with Her DogUnsigned, inscribed “No. 12/John Kendall Esqr.” on a label affixed tothe strainer, with a label from Le Garde Meuble Public, Bedel & Cie,Paris, affixed to the frame on the reverse.Oil on canvas, 26 x 21 1/2 in. (66.0 x 54.6 cm), framed.Condition: Lined, craquelure.

$600-800

236

237

238

238.Philipp Arons (German, 1821-1902)

Berry Picking/Portrait of a Mother and DaughterSigned and dated “Ph. Arons/1864” l.r.Oil on panel, 24 x 20 in. (61.0 x 50.8 cm), framed.Condition: Losses/lifting, craquelure, skinning, varnishinconsistencies.

$1,500-2,000

239

240

239.Hendrick Savry (Dutch, 1823-1907)

Cattle WateringSigned “H. Savry” l.l.Oil on canvas, 24 5/8 x 41 7/8 in. (62.5 x 106.3 cm), framed.Condition: Canvas rippling, minor craquelure, surface grime.

$1,200-1,800

240.British School, 19th/20th Century

View with Cattle GrazingUnsigned.Oil on panel, 8 x 16 in. (20.3 x 40.6 cm), framed.Condition: Retouch, surface grime, abrasions, subtle varnishinconsistencies.

$1,000-1,500

241.Albert Babb Insley (American, 1842-1937)

Lady on a RiverbankSigned “ALBERT INSLEY.” l.l.Oil on board, 10 x 14 in. (25.4 x 35.6 cm), framed.Condition: Signature reinforced, scattered surface rubs/losses, breakto support l.c.

$800-1,200

242.Manner of Jules Dupré (French, 1811-1889)

View of Cows at RestSigned or inscribed “Jules Dupré” l.r., inscribed “469” in pencil on thereverse.Oil on panel, 10 3/4 x 8 in. (27.3 x 20.3 cm), framed.Condition: Retouch, varnish inconsistencies.

Provenance: Through a Wellesley, Massachusetts, private collection.$1,000-1,500

241

242

243

243.Georg Anton Rasmussen (Norwegian, 1842-1914)

Panoramic Lake View with Figures and RowboatSigned and dated “A. Rasmussen 71.” l.r.Oil on panel, 11 x 16 in. (27.9 x 40.6 cm), framed.Condition: Retouch, craquelure with scattered alligatoring, surfacegrime.

Provenance: Estate of N. David Scotti, Providence, Rhode Island.$800-1,200

244

244.Attributed to Andries Vermeulen (Dutch, 1763-1814)

Winter on the RiverSigned “A Vermeule...” l.r.Oil on panel, 22 x 27 1/2 in. (55.9 x 69.8 cm), framed.

Condition: Retouch, varnish inconsistencies, craquelure, scattered surface losses, surface grime.

N.B. Andries Vermeulen was born in Dordrecht. He was taught to paint by his father, Cornelis Vermeulen(1732-1813), an art dealer and a painter specializing in copies of old masters. Andries was active inAmsterdam. He painted landscapes emulating the style of 17th century Dutch models, and he is chieflyknown for his winter scenes, often based on the compositions of Isack van Ostade.

$3,000-5,000

245.British School, 19th Century

View of a Fisherman by the ShoreUnsigned, with a supplier’s label from G. Rowney & Co., London, onthe reverse.Oil on artist board, 6 7/8 x 9 3/4 in. (17.5 x 24.8 cm), framed.Condition: Surface grime.

N.B. G. Rowney & Co. was operating at 51 Rathbone Place between1817-1862.1

1. National Portrait Gallery. “British artist’s suppliers, 1650-1950 - R (Rob-Row).”http://www.npg.org.uk/research/programmes/directory-of-suppliers/r/british-artists-suppliers-1650-1950-r-ro-rz.php

$1,000-1,500

246.Thomas Bush Hardy (British, 1842-1897)

Shipping off a PierSigned “T.B. Hardy” l.l., identified on a label affixed to the reverse.Oil on panel, 6 x 8 1/8 in. (15.2 x 20.6 cm), framed.Condition: Retouch, repaired crack to panel, surface grime,abrasions.

$1,000-2,000

245

246

247

247.William Bradford (American, 1823-1892)

The Coast of LabradorUnsigned, identified on a label from William Vareika Fine Arts, Newport, Rhode Island, on the reverse.Oil on canvas, 18 x 30 in. (45.9 x 76.3 cm), framed.Condition: Lined, retouch, craquelure.

Provenance: Skinner, Inc. auction #2387 of American & European Paintings & Prints, November 16, 2007, lot76.

N.B. William Bradford, one of the preeminent Marine painters of the 19th century, was born and raised near theharbor town of New Bedford, Massachusetts. Against the wishes of his strict Quaker parents, he pursued acareer in painting. Initially self-taught, Bradford began to study with Dutch painter Albert Van Beest in the late1850s, and the two artists frequently collaborated. Starting in 1861, Bradford made a series of trips to Labradorand the Arctic, where he was profoundly influenced by the bright light and vivid colors of the region. Hispaintings of the Arctic contain rich detail in sailing vessels and fishermen while at the same time they capture theexpressiveness of the clouds, water, and ice formations. This rich scenery and atmospheric light remained aconstant source of inspiration for Bradford throughout his career.

We wish to thank Richard C. Kugler for his assistance in the cataloging of this work.$25,000-35,000

248.Edmund Darch Lewis (American, 1835-1910)

Coastal ViewSigned and dated “Edmund D Lewis/1907” l.r.Watercolor with whiting on paper/board, sight size 19 1/2 x 23 1/2 in.(49.5 x 59.7 cm), framed.Condition: Toning, not examined out of frame.

$1,000-1,500

249.George Arthur Hays (American, 1854-1945)

Lot of Two Landscapes: Lincoln Reservations and At the MaineCoastBoth signed “G A HAYS” l.r. or l.l., both titled in a later hand on labelsaffixed to the reverse, Lincoln dated “July 5, 1923” in a later hand onlabel affixed to the reverse.Gouaches on paper/board, approximate sight sizes to 9 1/2 x 13 1/2in. (24.1 x 34.3 cm), framed.Condition: Soiling/staining, craquelure, not examined out of frames.

$600-800

249

248

250.William Trost Richards (American, 1833-1905)

Crashing BreakersSigned and dated “Wm T. Richards.02.” l.l.Watercolor on paper, 23 1/8 x 40 1/8 in. (58.8 x 101.8 cm), framed.Condition: Scratches and old repairs, paper is reinforced withanother layer of paper, lined with canvas, and tacked to a woodenstretcher.

$3,000-5,000

250

251

251.William Formby Halsall (American, 1841-1919)

Figures on a Coast, Possibly Highland LighthouseSigned “W. F. Halsall” l.l.Oil on canvas, 22 x 40 in. (55.9 x 101.6 cm), framed.Condition: Retouch, craquelure, abrasions, surface grime, varnishinconsistencies.

$1,500-2,500

252.American School, 19th Century

View of Boats Along a Rocky Coast/A New England ViewMonogrammed and dated “18...73” l.l.Oil on canvas, 26 x 36 in. (66.0 x 91.4 cm), framed.Condition: Surface grime, craquelure.

$800-1,200

252

253.William Frederick De Haas (American, 1830-1880)

Stormy Coast, alternatively titled Rocky ShoresSigned and dated “William F. de Haas ‘74” l.l., identified on apresentation plaque, inscribed “WILLIAM F. DE HAAS 1874 ROCKYSHORES” in a later hand on the stretcher.Oil on canvas, 22 x 36 in. (55.9 x 91.5 cm), framed, with aNewcomb-Macklin Co. label affixed to the reverse.Condition: Lined, varnish inconsistencies, minor scattered retouch,minor scattered surface losses, light surface abrasions, signature anddate pentimento l.l., craquelure.

$1,000-1,500

254.Attributed to Harrison Bird Brown (American, 1831-1915)

View of Grand MananUnsigned.Oil (en grisaille) on canvas, 12 x 20 in. (30.5 x 50.8 cm), framed.Condition: Patch reinforcement, retouch, tape to tacking edges,surface rubs, fine scattered craquelure, surface grime.

$600-800

253

254

254A

254A.Gustave Courbet (French, 1819-1877)

Waves Crashing on a Rocky Shore/An Artist’s PaletteDedicated and signed “Souvenir d’exil à mon ami Fuchs, G. Courbet” l.l.Oil on panel, 14 1/2 x 26 1/4 in. (36.5 x 67.0 cm), framed (in a shadow box).Condition: Minor retouch, craquelure, minor wear/losses to edges.

Literature: Abel Letalle, Palettes d’artistes, Paris, 1912, pp. 37-38 as Marine, executé sur une palette; Robert Fernier, La vie et l’oeuvrede Gustave Courbet: catalogue raisonné, Geneva: Fondation Wildenstein; Lausanne: Bibliotèque des Arts, 1977-1978, v.2 peintures1866-1877, no. 978.

Provenance: Galerie Georges Petit, Paris, 123 palettes d’artistes peintes, June 10, 1911, no. 29; The Estate of Sir Edwin A.G.Manton.

N.B. “In the second half of the 19th century in Paris, a fashion appeared for artists to paint an image on a palette, intended as a giftand often so inscribed. It might be said that the responsibility for this taste can be attributed at least in part to the activities of anAmerican man named George Lucas. Lucas lived for many years in Paris, acting as an agent for the many American collectors in thecity of that time. He was very successful in bringing artists and patrons together, and the artists often expressed their gratitude in theform of the painted and dedicated palettes—no doubt often encouraged by Lucas to do so. Ultimately his collection held 71 works onpalette, now in the collection of the Baltimore Museum of Art.

Though Courbet did not have a special relationship to Lucas, he would have been fully aware of the fashion. The inscription on thepalette under review includes the phrase “souvenir d’exil.” When Courbet left France for Switzerland in mid-1873, to remain there untilhis death in 1877, he considered himself to be in exile; not officially so, but self-exiled because he had to escape from the vengeanceof the government towards him in the aftermath of the Commune. Thus, though the identity of M. Fuchs is not known, we can be surethat the palette was painted while Courbet was in Switzerland, and most probably given to a fellow exile of some kind, as Switzerlandwas known at the time as a political haven.

The inscription and signature on this painting appear to me to be characteristic of the artist’s style. The painting itself shows undermagnification the kind of varied, energetic activity of paint handling that is characteristic of Courbet’s work. He chooses a familiarsubject, stormy waves racing in to a rocky shore, but he does not choose familiar composition. Rather than the typical straight-onview which puts the viewer head-on to the waves, he invents a left-to-right composition dominated by high cliffs filling the larger leftside of the palette space, while waves and sky fill the narrower space at the right. In short, he used the vagaries of the palette shapeto create a new type of composition.” –Sarah Faunce, Courbet Critical Catalogue, New York, April 2010

We wish to thank Sarah Faunce for her assistance with cataloguing this lot.$20,000-30,000

255.Frederick John Widgery (British, 1861-1942)

Lot of Two Views of Bigbury Bay, West BanthamOne signed “F J Widgery” in pencil l.l., the other signed “F. J.WIDGERY” l.l., both identified in inscriptions on the reverse.Watercolors on paper, sight sizes to 9 1/2 x 13 3/4 in. (24.1 x 34.9cm), framed.Condition: Foxing/staining, subtle rippling, one with repaired tear u.l.,not examined out of frames.

$600-800

256.Robert Douglas Hunter (American, b. 1928)

Two Landscapes: BIRD SANCTUARY - WELLFLEET MASS. andVIEW FROM THE BIRD SANCTUARY - WELLFLEET MASS.Both signed “HUNTER” l.r., titled on the frame, and dedicated “TOGEORGE AND NANCY/FROM BOB CHRISTMAS 1963” on thebacking.Graphite on paper, sight sizes to 3 1/2 x 9 1/4 in. (8.9 x 23.5 cm),framed.Condition: Not examined out of frames.

$400-600

255

256

257

257.William Trost Richards (American, 1833-1905)

Gathering Sea WeedSigned and dated “Wm. T. Richards 188...” l.r., titled on the reverse.Watercolor on paper mounted to board, sheet size 9 3/4 x 13 7/8 in.(24.8 x 35.2 cm), framed.Condition: Toning, subtle mat burn, minor skinning.

$1,500-2,500

258

258.Alvan Fisher (American, 1792-1863)

Watching the CattleUnsigned, identified on a label from the Vose Galleries, Boston,affixed to the backing.Oil on canvas, 24 x 30 in. (61.0 x 76.2 cm), framed.Condition: Lined, retouch, craquelure.

$5,000-7,000

259

259.Attributed to Thomas Hewes Hinckley (American, 1813-1896)

Cows WateringUnsigned, identified on a label from the Vose Galleries, Boston, onthe backing.Oil on canvas, 21 1/2 x 28 5/8 in. (54.7 x 72.8 cm), framed.Condition: Retouch.

$6,000-8,000

260.Arthur Quartley (American, 1839-1886)

Punt Under the MoonlightSigned “Quartley” l.r.Oil on canvas, 8 x 10 1/2 in. (20.3 x 26.7 cm), framed.Condition: Minor scattered retouch.

$600-800

261.Joseph Antonio Hekking (American, 1830-1903)

Fishing in a MarshSigned “J A Hekking” l.r.Oil on canvas, 11 7/8 x 18 1/8 in. (30.2 x 46.0 cm), framed.Condition: Scattered retouch, scattered craquelure withflaking and minor loss u.c., mild wear to edges, surfacegrime.

$700-900

262.Henry Ward Ranger (American, 1858-1916)

Summer LandscapeSigned and ciphered “RANGER NAD D13” l.l., identified ona presentation plaque, inscribed “...REGISTERED BYNATIONAL ACADEMY...” in pencil and identified on a labelfrom David David Inc., Philadelphia, Pennsylvania, on thereverse.Oil on canvas mounted to Masonite, 18 1/4 x 25 3/4 in.(46.3 x 64.1 cm), framed.Condition: Craquelure, retouch, varnish inconsistencies.

$2,200-2,800

260

261

262

263.George M. Hathaway (American, 1852-1903)

Portrait of a Farm HouseSigned “G.M. Hathaway” l.l.Oil on board, 6 1/4 x 10 1/2 in. (15.8 x 26.6 cm), framed (underglass).Condition: Subtle surface grime.

$700-900

264.Milton H. Lowell (American, 1848-1927)

Landscape with House by a Duck PondMonogrammed signature “MHLOWELL” l.l.Oil on canvas, 16 x 20 in. (40.6 x 50.8 cm), framed (under glass).Condition: Surface grime, not examined out of frame.

$1,000-1,500

263

264

265.James Fairman (American, 1826-1904)

Cows Along the Riverbank at Sunset, a Luminist LandscapeSigned “J. FAIRMAN” l.r.Oil on canvas, 19 x 32 in. (48.3 x 81.3 cm), framed.Condition: Retouch, scattered surface losses, craquelure withscattered separating and lifting, surface rubs.

$1,000-1,500

266.Edwin Graves Champney (American, 1842-1899)

View of Cows by a River, Possibly New HampshireSigned and dated “EG Champney.67” l.c.Oil on canvas, 8 x 14 in. (20.3 x 35.6 cm), framed.Condition: Surface grime, craquelure, subtle pigment fluorescence.

$800-1,200

265

266

267.Samuel W. Griggs (American, 1827-1898)

Lake GeorgeSigned and dated “SWGriggs 1869” l.l., identified on a presentationplaque and on a label from the Vose Galleries, Boston, affixed to thebacking.Oil on canvas, 22 1/4 x 36 in. (56.5 x 91.4 cm), framed.Condition: Retouch, craquelure.

$2,000-4,000

268.C. Myron Clark (American, 1858-1925)

Early Morning, Winnipoisett Lake (Long Pond)Signed and dated “C. Myron Clark/07” l.l., titled, inscribed, signed,and dated “Early Morning/.../near Lakeville, Plymouth Co Mass./C.Myron Clark/July 1907” on the reverse.Oil on canvas, 12 1/8 x 16 in. (30.8 x 40.7 cm), framed.Condition: Stretcher marks, old water stain to the reverse of thecanvas.

$600-800

267

268

269.George Arthur Hays (American, 1854-1934)

Cows in a LandscapeSigned “G A Hays” l.l.Oil on canvas, 14 x 20 in. (35.6 x 50.8 cm), framed.Condition: Retouch, varnish inconsistencies, surface rubs, scatteredcraquelure, surface grime.

$1,000-1,500


Figure on a Road Overlooking a Cow PastureSigned and dated “C. A. D. 1875” l.r.Oil on canvas, 26 1/4 x 36 in. (66.2 x 91.2 cm), framed.Condition: Lined, scattered retouch, surface grime, craquelure.

$800-1,200

269

270

271.Thomas Hewes Hinckley (American, 1813-1896)

Pastoral View with CowsSigned and dated “T. H. Hinckley. 1882” l.l., identified on apresentation plaque.Oil on canvas, 22 x 36 in. (55.9 x 91.4 cm), framed.Condition: Lined, retouch, fine craquelure, varnish inconsistencies.

$2,500-3,500

272.Albert Thompson (American, b. 1853)

Cows Grazing By a RiverSigned “Albert Thompson” l.r.Oil on canvas, 10 x 14 in. (25.4 x 35.6 cm), framed.Condition: Scattered losses, scattered retouch, fine scatteredcraquelure with areas of separating.

$300-500

271

272

273.George Frank Higgins (American, b. 1850)

Summer on an Oxbow LakeSigned “G.F. Higgins” l.r.Oil on canvas, 30 x 45 in. (76.2 x 114.3 cm), framed.Condition: Lined, retouch, craquelure.

$3,000-5,000

274.Attributed to Richard William Hubbard (American, 1816-1888)

Landscape with Lake and Distant Mountains, Possibly LakeGeorgeUnsigned, inscribed “from Hubbard/1876.” in a period hand on thereverse.Oil on canvas, 12 x 16 in. (30.5 x 40.6 cm), framed.Condition: Scattered retouch, fine scattered craquelure, surfacegrime.

$800-1,200

273

274

275.John White Allen Scott (American, 1815-1907)

View from the top of Jackson Falls, N.H. October MorningMonogrammed signature “JWAScott.” l.l., artist’s label affixed to thereverse, titled on a label affixed to the reverse.Oil on canvas, 14 x 20 in. (35.6 x 50.8 cm), framed.Condition: Retouch, minute punctures l.c., craquelure, surface grime.

$1,000-1,500


Lake View at SunsetSigned “...Scott” l.l.Oil on canvas, 10 x 14 in. (25.4 x 35.6 cm), framed.Condition: Craquelure, retouch, minor abrasions.

$700-900

275

276


Mt. Washington N.H./An Autumn ViewInitialed “J.W.S” l.l., titled in the artist’s hand on the reverse,artist’s label affixed to the reverse.Oil on canvas, 12 x 10 in. (30.5 x 25.4 cm), framed.Condition: Punctures c.l., fine craquelure with area ofseparating l.r., surface grime.

$800-1,200

278.Franklin Stanwood (American, 1852-1888)

Crawford Notch, New HampshireSigned and dated “Franklin Stanwood/1884” l.r. and identifiedon a presentation plaque.Oil on canvas, 40 1/8 x 50 in. (102.0 x 127.0 cm), framed.Condition: Lined, scattered retouch, craquelure, surfacegrime.

$1,000-1,500

277

278

279

279.Levi Wells Prentice (American, 1851-1935)

View of the AdirondacksSigned and dated “L. W. Prentice 1877” l.r., identified on a label fromthe Vose Galleries, Boston, on the reverse.Oil on canvas mounted to Masonite, 30 x 48 in. (76.2 x 121.9 cm),framed.Condition: Retouch, skinning, craquelure, surface grime.

N.B. Prentice was a self-taught painter who grew up in theAdirondack Mountain region, and was working in Syracuse as alandscape painter by 1872. His work is characterized by small andcareful brushwork where, despite pictorial depth, the details of bothforeground and background are simultaneously in focus. The autumnscene depicted is meditatively still, and this calm mood is reflected inthe stag poised in the foreground.

$15,000-25,000

280.William Louis Sonntag (American, 1822-1900)

Eagle Rock on the PotomacSigned and titled “W. L. Sonntag...” on the reverse, with a stenciledlabel from Edward Dechaux, New York, on the reverse.Oil on canvas, 11 1/8 x 18 in. (28.3 x 45.8 cm), framed.Condition: Paint loss c.l., minor retouch.

N.B. This landscape by William Louis Sonntag was probably paintedin the late 1850s. It is unusual insofar as Sonntag titled the paintingon the back of the canvas. In his early years, Sonntag painted in theareas of Cincinnati, Ohio, northern Kentucky, and northern WestVirginia. There is an Eagle Rock in the Potomac State Forest inwestern Maryland, which may be the site of this painting. Sonntagwas raised in Cincinnati, and, despite his family’s wishes to thecontrary, began the study of art in 1842. His career in Cincinnatireached its height in the 1850s, with frequent exhibitions and sales.During this time Sonntag was commissioned by the director of theBaltimore and Ohio railroad to paint the scenery along their new lineacross the Alleghenies. It is possible that Eagle Rock was accessibleto Sonntag via river travel or perhaps via railroad.

The composition contains several elements characteristic ofSonntag’s paintings in the 1850s. The spatial organization is typicalof the period, with the jutting rock filling the foreground and creating afocal point, while the other side opens up to a wide landscape. Smallfigures are included, often in pairs, with a touch of red in their jacketsor hats. Sonntag typically did not include animals, only an occasionalflock of birds, as seen here on the left.

We would like to thank Nancy Dustin Wall Moure for her assistance incataloging this lot.

$2,000-3,000


Plains Indian EncampmentSigned indistinctly l.l.Oil on panel, 14 1/2 x 20 7/16 in. (36.8 x 51.9 cm), framed.Condition: Surface irregularities, scattered abrasions, small area oflifting u.l., surface grime.

$1,000-1,500

280

281

282

282.Alexander Francois Loemans (c. 1816-1898)

Lot of Two Landscapes: Vista with Native Americans on anOutcropping and View of the Canadian Rockies at DuskNative with incised signature “Loemans” l.l., Dusk with incisedsignature “-Loemans” l.r.Oil on artist board, 17 x 11 in. (43.2 x 27.9 cm), framed (under glass).Condition: Dusk with trimmed edges.

$1,200-1,800

283.Arthur Fitzwilliam Tait (Anglo/American, 1819-1905)

Doe and Fawns in a LandscapeSigned “A F Tait” l.r.Oil on canvas, 20 1/4 x 24 1/2 in. (51.4 x 62.2 cm), framed.Condition: Lined, tape to the tacking edge, slight wear to edges, retouch, signaturereinforced, craquelure, surface grime.

Provenance: By family descent to the present owner.

N.B. Arthur Fitzwilliam Tait was born in Liverpool, however, as a child moved to theEnglish countryside near Lancaster where he first became interested in nature,animals, hunting, and fishing. By the 1840s Tait relocated to Manchester where heworked at Agnew’s Repository for the Arts, and discovered the work of EdwinLandseer and John Frederick Herring. Herring’s use of color, in particular, inspiredthe young artist. In 1850, Tait, after viewing an exhibition of George Catlin’spaintings of the American West, decided to move to America. He settled in NewYork where he painted views of the surrounding Adirondacks. He purchased a farmin Westchester Country, which offered the opportunity to paint animals in theirnatural environment. Tait is best known for these realistic, narrative scenes, oftenfeaturing animals and huntsmen, using rich natural colors.

$8,000-12,000

283


The Autumn HarvestInitialed “J.C.W” l.r.Oil on canvas, 12 x 18 in. (30.5 x 45.7 cm), framed.Condition: Detached from tacking margins along left andtop edges, loss and tear to canvas u.l., subtle canvasdeformations, patch reinforcement, abrasions, surfacegrime, craquelure.

$1,500-2,500

285.Joseph H. Greenwood (American, 1857-1927)

HaystacksFaintly signed “J H Greenwood” l.l.Oil on canvas, 10 x 13 7/8 in. (25.4 x 35.2 cm), framed.Condition: Skinning/surface rubs, retouch.

$1,000-1,500

286.American School, 19th/20th Century

River View, Possibly the Epte River Near GivernyUnsigned.Oil on canvas, 12 3/4 x 16 in. (32.4 x 40.6 cm), unframed.Condition: Tack holes to corners, flaking, losses,craquelure.

$800-1,200

286

285

284


Lone Tree/A Southern ViewUnsigned, light pencil sketch verso.Oil on paperboard, 8 3/8 x 5 5/8 in. (21.3 x 14.3 cm), unframed.Condition: Scattered retouch, toning, wear to edges, small tear l.c.(not extending into image), fine scattered craquelure, mild surfacegrime.

$300-500


Study of a Rocky LedgeUnsigned.Oil on artist board, 6 1/4 x 8 1/2 in. (15.9 x 21.6 cm), framed.Condition: Surface grime.

$1,000-1,500

289.William Ongley (American, 1836-1890)

Lily Pond in SummerSigned “W. Ongley” l.l.Oil on canvas, 35 1/4 x 28 in. (89.5 x 71.1 cm), in a period frame.Condition: Surface grime, puncture to l.l., minor abrasions.

$800-1,200

287

288

289

290.Harrison Bird Brown (American, 1831-1915)

View with Cows in a Valley, Possibly New HampshireInitialed “H.B.B...” l.c. beneath frame liner.Oil on canvas, 14 x 23 in. (35.6 x 58.2 cm), framed.Condition: Retouch, subtle canvas deformations, losses to tackingmargin, patch reinforcement.

$1,500-2,500

291.Attributed to Francis Seth (Shedd) Frost (American, 1825-1902)

ValleyUnsigned.Oil on board, oval format, 11 1/4 x 15 1/4 in. (28.7 x 38.7 cm),framed (under glass).Condition: Retouch, scattered losses, wear/losses to edges,craquelure with alligatoring, surface grime, hinged to backing mat atu.r. and u.l.

$600-800

290

291

292.Jonathan Bradley Morse (American, 1834-1898)

Woodland StreamSigned “J. B. Morse” l.r., artist identified in a pencilinscription in a later hand on the stretcher.Oil on canvas, 22 x 13 1/2 in. (55.9 x 34.3 cm), framed.Condition: Flaking/losses, retouch, craquelure, subtlecanvas deformations, surface grime.

$700-900


View with Cows by a WaterfallUnsigned.Oil on canvas, 28 3/4 x 27 in. (73.0 x 68.6 cm), framed.Condition: Lined, retouch, craquelure.

$800-1,200

292

293

294.George Albert Frost (American, 1843-1907)

Woodland ViewIncised signature and date “G.A. Frost/1894” l.l.Oil on canvas, 20 x 14 in. (50.8 x 35.6 cm), framed.Condition: Surface grime.

$300-500

295.Ernest Walbourn (British, 1872-1927)

Dolgoth Falls, North WalesSigned “Ernest Walbourn” l.r., titled on the stretcher, identified on apresentation plaque.Oil on canvas, 24 x 18 in. (61.0 x 45.7 cm), framed.Condition: Light retouch/varnish inconsistencies, subtle canvasdeformations, scattered craquelure, surface grime.

$1,000-1,500

294

295

296.Charles Warren Eaton (American, 1857-1937)

Evening GlowSigned “CHAS WARREN EATON” l.l., titled on the stretcher bar,inscribed “EATON 12 x 16” on the tacking edge.Oil on canvas, 16 x 12 in. (40.6 x 30.5 cm), framed.Condition: Craquelure, varnish inconsistencies, retouch, patchreinforcements.

$3,000-5,000

297.Edward Mitchell Bannister (American, 1828-1901)

Forest InteriorUnsigned, estate stamped on the reverse, incised “G.A. Foster”beneath multiple estate stamps on the reverse.Oil on artist board, 18 3/16 x 12 1/8 in. (46.1 x 31.0 cm), framed.Condition: Wear to edges of artist board, tack hole in each uppercorner, minor paint losses along left edge at center, fine craquelure.

N.B. Anne Louise Avery, who is preparing the catalogue raisonné ofEdward Mitchell Bannister’s paintings and drawings, has written anauthentication analysis of Forest Interior. The following information isdrawn from her report.

The forest is a constant in E.M. Bannister’s artistic imagination. Theartist was endlessly and passionately inspired by the trees and deepancient woods of the East Coast. Tree-shaded paths, windingthrough, entering, or skirting the forest interior, are familiar motifs inBannister’s work. Often, the pathways are punctuated by bucolicfigures, such as a woodcutter or cow herder. Others suggest man’spresence more subtly through built structures such as fences.However, some, such as this forest scene, suggest a humanpresence only by a man-made path. The composition of ForestInterior, with the strong vertical structure of the dominant oak tree andthe curving path drawing the eye into the spatial recesses of thepainting, represents a framework typical of Bannister. The smallopening of pale blue sky and white clouds, letting light and energyinto the work, is very idiosyncratic, both compositionally andsymbolically, as is the gently rising bank in the lower right foreground.The distinctive treatment of the grasses is a hallmark of Bannister’swooded landscapes, and the loose, soft brushwork describing thetree can also be positively matched with a number of Bannister’sworks. The execution of the clouds, in particular, is closelycomparable with finished oil works from the 1880s and 1890s, whilethe muted Tonalist palette is typical of Bannister’s color choices in hismature years as an artist.

This oil sketch was made on a 1/2 sheet of academy board thatbears a partial Frost & Adams label. The light, disposable academyboard was popular among professional artists in the late 19th centuryfor rapid oil sketch and studies, particularly for en plein air painting.The majority of works on academy board within Bannister’s oeuvretend to be loose, compositionally less formal sketches and studies,and the absence of a signature is unsurprising in the case of a pleinair oil sketch on academy board. The iconographic andmethodological factors discussed above make it extremely likely thatthe painting was executed between 1881 and 1901, probably in theearly 1890s, by Edward Mitchell Bannister.

We wish to thank Anne Louise Avery for her assistance in catalogingthis lot.

$1,500-2,000

296

297

298.John La Farge (American, 1835-1910)

Autumn: October. Edge of a Wood, Late Afternoon.Glen Cove, Long Island, 1860Unsigned, inscribed “Autumn, Edge of Wood-LongIsland...For Rich Frame” in pencil and “...La Farge/Lentby H. L. Higginson” in ink on a label from the Museumof Fine Arts, Boston, on the cradle.Oil on unprimed cradled panel, 12 1/2 x 9 1/4 in. (31.8x 23.5 cm), framed.Condition: Craquelure, minor abrasions beneath frameliner.

Provenance: [sale, Leonard’s Gallery, Boston, 18-19Dec. 1879 (oils, lot 54)]; Henry Lee Higginson, Boston,1879-1919; then by descent within the family.

Literature: “The First Day’s Sale of John La Farge’sPaintings,” Boston Evening Transcript, 19 Dec. 1879, p.1; “La Farge’s Pictures,” Newport Daily News, 20 Dec.1879, p. 2; “Art Sale in Boston,” New York Times, 23Dec. 1879, p. 5.

Exhibitions: Leonard’s Gallery, Boston, The Drawings,Water-Colors, and Oil-Paintings by John La Farge. To beSold at Auction, 18-19 Dec. [1879], lot no. 54 (oils);Museum of Fine Arts, Boston, “La Farge MemorialExhibition,” 1-31 Jan. 1911 [no catalogue], Museum ofFine Arts, Boston, Paintings Department, Loan Card No.1785.10 (1910) [unpublished].

N.B. The work was included in the late Henry A. La Farge’s Catalogue Raisonné of the Works of John La Farge, and we wish to thank Dr. James L.Yarnall for updating and supplementing the information for inclusion in this catalog entry.

La Farge moved from New York to Newport in the spring of 1859 to study painting with William Morris Hunt. He nonetheless frequently visited GlenCove, Long Island, where his family had a large summer property that had been purchased by his father sometime before 1835. The impressive GlenCove estate, extending over some fifty acres, could be accessed directly by boat from both Hempstead Harbor and Glen Cove Bay.

On October 15, 1860, La Farge married Margaret Mason Perry in Newport after a year-long courtship that had been complicated by differencesbetween her Episcopalian faith and his Roman Catholic religion. The couple apparently spent time at Glen Cove after the wedding as a means ofreconciling the marriage with La Farge’s mother, who had been widowed in 1858.

La Farge painted a handful of small oils during this stay at Glen Cove. They depict the lush woods and rolling hillsides surrounding the La Fargecountry house. All are small plein-air exercises executed on wood panels (La Farge’s preferred medium at the time). All were intended to capture thelight conditions and naturalistic features of the terrain in the spirit of French Realist or Barbizon art. These paintings reflect La Farge’s disenchantmentwith his training in the studio of William Morris Hunt, where La Farge criticized Hunt’s “formulas” and forged a self-proclaimed “programme” to study“realistic painting” as a fresh start.

Exhibited at Leonard’s Gallery in 1879 as “1860. Autumn: October. Edge of a wood, late afternoon. Glen Cove, L.I. Panel. 12 1/2 x 9 1/2,” Higginsonevidently purchased the picture at the auction. When Higginson lent this picture in late 1910 to the Museum of Fine Arts, Boston, for the La FargeMemorial Exhibition, he registered it as “Autumn, edge of wood, Long Island,” a title very similar to that assigned by the catalogue of the 1879Leonard’s Gallery exhibition/auction. A registration photograph taken at the time of the Memorial Exhibition also identifies this as the work loaned byHigginson.

A comparable work, Autumn: October. Hillside, Noonday, Glen Cove, Long Island, 1860, is in the permanent collection of the Museum of Fine Arts,Boston, bequeathed by Mrs. Henry Lee (Ida Agassiz) Higginson in 1935.

$15,000-25,000

298

299.Joseph H. Greenwood (American, 1857-1927)

Spring in the HillsSigned and dated “J H Greenwood ‘24” l.r., autumn landscapesketch on the reverse, a label from The Casson Galleries, Boston,affixed to the reverse.Oil on panel, 8 1/2 x 11 1/2 in. (21.6 x 29.2 cm), framed (underglass).Condition: Retouch, surface grime, not examined out of frame.

Provenance: Descended within a Massachusetts family.$1,000-1,500

300.Thomas Bowler Norris (American, 1866-1927)

Winter WalkSigned and dated “T. B. Norris ‘01” l.r.Oil on board, 12 x 9 in. (30.5 x 22.9 cm), framed.Condition: Retouch, craquelure.

$700-900

299

300

301.John Joseph Enneking (American, 1841-1916)

Cows Watering at DuskSigned “Enneking” l.r.Oil on canvas, 9 1/8 x 12 in. (23.2 x 30.5 cm), framed.Condition: Mounted on aluminum, scattered retouch and/or varnishinconsistencies, surface grime.

N.B. This painting will be included the John Joseph Ennekingcatalogue raisonné by Patricia Jobe Pierce.

$1,500-2,500


Woodlands in SpringEstate stamp l.r., identified on a label on the reverse.Oil on artist board, 12 x 16 1/16 in. (30.5 x 40.8 cm), framed.Condition: Minor frame abrasions.

$3,000-5,000

301

302

303.Frank Clifton Brown (American, 1883-1969)

Still Life with PeachesSigned “F.C. Brown” l.r.Oil on canvas, 14 1/8 x 18 1/8 (35.8 x 46.0 cm), framed.Condition: Retouch, paint losses, craquelure, varnish inconsistencies,surface grime.

$2,500-3,000

304.Richard La Barre Goodwin (American, 1840-1910)

Still Life with Peaches, Pears, and GrapesSigned and dated “Richard LaBarre Goodwin 1884” l.r.Oil on artist board, 14 x 17 3/8 in. (35.6 x 44.1 cm), framed.Condition: Scattered retouch, varnish inconsistencies, subtle bowing.

$800-1,200

303

304

305

305.Robert Spear Dunning (American, 1829-1905)

Still Life with FruitSigned, inscribed, and dated “R.S. Dunning pinxt 1866” l.l.Oil on canvas, 24 1/2 x 22 in. (62.2 x 55.9 cm), within a frame liner.Condition: Craquelure, subtle varnish inconsistencies, minor abrasionl.r.

Provenance: Descended within a southern New England family.

N.B. Robert Spear Dunning, co-founder of the Fall River School ofstill life painting, was raised in Fall River from the age of five. At theyoung age of fifteen, he apprenticed with James Roberts in Tiverton,Rhode Island, and at the age of twenty, enrolled in the NationalAcademy of Design where he studied with Daniel Huntington. Uponcompleting his studies, he returned to Fall River in 1852, where hecontinued to work and support a thriving art community. By 1865, henarrowed his genre to still lifes, specializing in lush and meticulouslydetailed arrangements, such as in the present work.

$50,000-70,000

306


Portrait of a GentlemanUnsigned, with a label from James S. Earle & Sons, Philadelphia, onthe reverse.Oil on canvas, 29 3/4 x 25 in. (75.6 x 63.5 cm), in a period frame.Condition: Craquelure, alligatoring, minor abrasions, subtle varnishinconsistencies.

$1,000-1,500

307

307.Thomas Sully (American, 1783-1872)

Portrait of a Gentleman, c. 1825-30Monogrammed “TS” l.r.Oil on canvas, 29 x 23 3/8 in. (73.7 x 59.3 cm), unframed.Condition: Paint loss, surface grime, stretcher marks, craquelure,yellowed varnish.

$3,000-5,000

308.John Bernard Johnston (American, 1847-1886)

Portrait of a TerrierSigned “John B. Johnston” l.l.Oil on canvas, 22 x 18 in. (55.9 x 45.7 cm), unframed.Condition: Lined, retouch, tear to u.r. quadrant, losses, abrasions,surface grime.

$800-1,200

309.Marcus A. Waterman (American, 1834-1914)

Portrait of a Boy and His DogSigned “M. Waterman” u.l.Oil on canvas, 20 x 16 1/4 in. (50.8 x 41.3 cm), framed.Condition: Lined, retouch, varnish inconsistencies, craquelure.

$800-1,200

308

309

310.Alphonse Jongers (American, 1872-1945)

Portrait of a Boston TerrierSigned “Alphonse Jongers-” c.l., identified on a presentation plaque.Oil on artist board, 12 x 9 3/4 in. (30.5 x 24.8 cm), framed in an ovalformat (under glass).Condition: Not examined out of frame.

$500-700

311.Thomas Hewes Hinckley (American, 1813-1896)

Pigeon and NestSigned and dated “T. H. Hinckley 1853” l.l.Oil on canvas, 19 x 16 in. (48.3 x 40.8 cm), framed.Condition: Lined, retouch.

$3,000-5,000

310

311

312.Burr H. Nicholls (American, 1848-1915)

Crow Among the Fowl/A Barnyard SceneSigned “Burr H. Nicholls” l.r.Oil on canvas, 14 x 10 1/2 in. (35.6 x 26.7 cm), framed.Condition: Lined, retouch, varnish inconsistencies (including area ofsignature), craquelure.

$1,200-1,800

313.John O’Brien Inman (American, 1828-1896)

Boy with a Straw HatSigned “JOB Inman” l.r., a partial gallery label affixed to the reverse.Oil on canvas, 10 1/2 x 7 in. (26.7 x 17.8 cm), framed.Condition: Flaking and losses, surface grime.

$400-600

312

313

314

314.Matilda Browne (American, 1869-1947)

The Last LoadSigned “Matilda Browne” l.r., identified on a presentation plaque andon a label from the Pan American Exposition on the back of theframe.Oil on canvas, 22 x 32 in. (55.8 x 81.2 cm), framed (in a shadowbox).Condition: Canvas rippling, surface grime.

Exhibitions: The Exhibition of Fine Arts, Pan-American Exposition,Buffalo, 1901, cat. no. 526.

$5,000-7,000

315

315.Childe Hassam (American, 1859-1935)

At the Grand Prix, c. 1887Signed “Childe/Hassam” l.r., inscribed “given to me by A.L.A for Victorian Room” on a label from Worth Avenue Gallery, PalmBeach, and with an envelope from Mrs. Maitland Alexander, Sewickley, Pennsylvania, affixed to the backing.Pastel and graphite on paper/board, sight size 11 1/2 x 8 1/4 in. (29.2 x 21.0 cm), framed.Condition: Not examined out of frame.

Provenance: Mrs. Eugene Byrnes, New York, until 1948; M. Knoedler & Co., New York, 1948-1949; Worth Avenue Gallery,Palm Beach, Florida, 1949; acquired by either Madelaine Francis (née Laughlin) Alexander (aka Mrs. Maitland Alexander, wifeof Reverend Maitland Alexander) originally of Pittsburgh, Pennsylvania, and then by marriage of Poplar Hill, Sewickley Heights,Pennsylvania and Dark Harbor, Maine, or by her son Alexander Laughlin Alexander, Palm Beach, Florida; gift to Anne (néePaul) (Clark) (Alexander) Owsley, Delray Beach, Florida, and Islesboro, Maine (wife of Maitland A. Alexander Jr., M.D.); estateof Anne P. Owsley.

N.B. We wish to thank Kathleen M. Burnside for her assistance in cataloging this lot; the work will be included in theforthcoming Childe Hassam catalogue raisonné by Stuart Feld and Kathleen M. Burnside.

Frederick Childe Hassam worked in pastel for a brief period in the late 19th century, and was one of the last new membersadmitted to the Society of Painters in Pastel in 1890.1 Hassam’s earliest known work in pastel dates to 1887 when he was inParis studying at the Académie Julian, and he is believed to have made approximately eight pastels between 1887 and1889.2

The present work was likely one of three “very spirited little pictures representing scenes at the Grand Prix de Paris” reviewedin The Art Amateur for the fourth and last exhibit of the Society of Painters in Pastel held May 1890 at the Wunderlich Galleryin New York.3 The existence of two other small pastels of the Grand Prix are known: Watching the Grand Prix, Longchamps,1889, 14 x 10 in., location unknown, and At the Grand Prix in Paris (Au Grand Prix de Paris), 1887, 18 x 12 in., CorcoranGallery of Art, Washington D.C. According to Kathleen Burnside, the present work may also have been exhibited at Doll &Richards in Boston, February 1891.

The Paris Grand Prix Day parades ushered in the beginning of each horse racing season, and were spectacles of power andelegance. In 1887, Hassam created two, nearly identical large-scale compositions of the Grand Prix procession in oil, one ofwhich was shown at 1888 Paris Salon and described as “a very brilliant picture, full of life and light and movement, andinstinct with the gayety of the bright French capital.”4 The two works—at the Museum of Fine Arts Boston and New BritainMuseum of American Art, respectively—depict rows of carriages on a boulevard near the Champs-Élysées and couples infashionable dress, executed with his characteristically tight brushwork and dappled light effects.

By contrast, the present work imparts a softer, more relaxed mood, owing largely to the looseness of the medium. Thescene depicted as well is more relaxed—the race-goers have finally arrived at the course in the Bois de Boulogne where theyare less implicitly “on display” and focused on watching the race from their carriage. In capturing the stray glance of the oneyoung lady in the present work, Hassam creates a sense of intimacy for the viewer and individualizes his subject.

1. Pilgrim, Dianne H., “The Revivals of Pastels in Nineteenth-Century America: The Society of Painters in Pastel,” American Art Journal, Vol. 10, No. 2 (November 1978),p. 60.2. Conrads, Margaret C., American Paintings and Sculpture at the Sterling and Francine Clark Art Institute, New York: Hudson Hills Press, 1990, p. 60.3. “The Pastel Exhibition,” The Art Amateur: A Monthly Journal Devoted to Art in the Household, June 1890, p. 4.4. Hiesinger, Ulrich W., Childe Hassam: American Impressionist, New York: Prestel, 1994, p. 39.

$150,000-200,000

317.Esther Anna Hunt (American, 1875-1951)

Lot of Two Portraits of Chinese Children with Lamp and ParasolEach signed “E. Hunt” l.l.Gouache and watercolor on paper, sight sizes 8 x 5 in. (20.3 x 12.7cm), framed.Condition: Not examined out of frames.

$1,000-1,500

316.Paul Howard Manship (American, 1885-1966)

Portrait of the Artist’s Daughter Sarah JaneSigned and dated “PAUL MANSHIP 1929” on the underside.Plaster, 6 x 18 x 9 in. (15.2 x 45.7 x 22.8 cm), in an inscribedwooden crate.Condition: Surface grime, chips to foot joint, abrasions.

Provenance: From the artist to his daughter, Sarah Jane Murtha, asstated in his will dated 1965.

N.B. Although known for his public monuments such as thePrometheus Fountain in Rockefeller Center, this sculpture of theartist's daughter offers a more intimate view of Manship's work. Itwas most likely completed shortly after Sarah's birth, on June 19,1929, in Paris.

Throughout his career, Manship was able to seamlessly blendtraditional and modern aesthetics. From 1909 to 1911, he studied inRome where he was exposed to Classical and Archaic sculptures,often directly referencing them in his own works. By the 1920sManship's style was beginning to change, especially visible in hisportraiture. Murtha writes, "over the years the style of Manship'sportraits progressed from a formal point of view towardscharacterization and spontaneity"1 This work, with the pose of thebaby and the drapery of the fabric, certainly reflects Manship's shiftedemphasis towards realism and the illusion of mass. A reproduction ofthis work in marble is in the collection of the Smithsonian AmericanArt Museum.

1. Murtha, Edwin, Paul Manship (New York: The Macmillan Company, 1957), p. 15.

$12,000-18,000

316

317

318.Attributed to Lilian Westcott Hale (American, 1881-1963)

Portrait of a GirlUnsigned.Pencil on paper, 22 7/8 x 17 3/8 in. (58.0 x 44.1 cm), framed.Condition: Affixed to window mat with paper tape, toning, acid burn,rippling along lower edge, staining to the reverse.

$1,000-1,500

319.Sarah De St. Prix Wyman Whitman (American, 1842-1904)

Portrait of a Young Girl with a DollSigned and dated “SW WHITMAN MDCCCLXXXIII [1883]” u.l., with alabel from J. Eastman Chase, Boston, on the reverse.Oil on canvas, 17 x 13 3/4 in. (43.2 x 34.9 cm), framed.Condition: Patch reinforcement, losses, retouch, surface grime.

Provenance: Private Massachusetts collection.$1,500-2,500

318

319

320.Irving Ramsey Wiles (American, 1861-1948)

The Sewing LessonSigned “I.R.Wiles” l.r.Watercolor (en grisaille) and graphite on paper/board, 13 x 21 1/2 in.(33.0 x 54.6 cm), framed.Condition: Glued in margins to window mat, margins over 1/4 in.

$3,000-5,000

321.Edith Widing Yaffee (American, 1895-1961)

Portrait of a WomanSigned, inscribed, and dated “Edith L. Widing...1915” l.r.Graphite on board, 9 1/2 x 6 1/2 in. (24.1 x 16.5 cm), framed.Condition: Staining, toning.

Provenance: The property of Samuel E. Codman, Charles G. LoringHouse, Prides Crossing, Massachusetts.

$800-1,200

322.Edwin Austin Abbey (Anglo/American, 1852-1911)

Young Lady Walking in the Woods, an Illustration for Song: ORoses for the Flush of Youth by Christina Georgina RossettiSigned and dated “EAAbbey1877” l.l., poem inscribed l.c.Wash, graphite, charcoal, and whiting on paper mounted onto board,sight size 19 3/4 x 13 3/4 in. (50.2 x 34.9 cm), framed.Condition: Losses to support, toning, staining/soiling, surfaceabrasions/rubs, craquelure with flaking and losses, creases, notexamined out of frame.

$1,000-1,500

320

321 322

323

323.John Singer Sargent (American, 1856-1925)

Portrait of Henry L. Higginson IISigned and dated “John S Sargent Dec 21st 1916” l.c.Charcoal on paper with watermark “L. BERVILLE (France), sheet size 24 3/4 x 18 3/4 in. (63.0 x 46.8 cm), unmatted, unframed.Condition: Sheet is mounted to archival paper to stabilize the margins, subtle rippling, toning, acid burn and foxing in themargins.

Provenance: From the estate of Henry Lee Higginson and Ida Agassiz, by descent through the family to the current owner.

N.B. John Singer Sargent remained in great demand throughout his career as a portrait artist for the leading individuals of hisday. Over time Sargent came to prefer making charcoal drawings of his subjects. He could complete these portraits relativelyquickly, often in one sitting, and the medium was very well suited both to his technical virtuosity and his adeptness at capturinghis subject. Between 1910 and 1925 Sargent made over 500 such portrait drawings, while limiting his oil portraits to underthirty.1 The subject of this charcoal portrait, Henry Lee Higginson II (1900-1981), was the grandson of Henry Lee Higginson andIda Agassiz Higginson.2 Henry Lee Higginson was a businessman and philanthropist, the founder of the Boston SymphonyOrchestra, and a benefactor of Harvard University. Ida Agassiz Higginson was the daughter of Louis Agassiz and was a founderof Radcliffe College. Sargent’s charcoal portraits of Henry Lee Higginson (done in 1911) and Ida Agassiz Higginson (done in1917) are in the collection of the Fogg Art Museum at Harvard University.

1. Sargent Portrait Drawings, Forty-two Works by John Singer Sargent, Selected and with an introduction by Trevor J. Fairbrother, Dover Publications, New York, 1983.2. Descendants of the Reverend Francis Higginson, by Thomas Wentworth Higginson, Privately Printed, 1910.

$50,000-70,000

324.American School, 19th/20th Century

Park View with Figures Strolling on a PathSigned indistinctly l.r.Oil on canvasboard, 9 x 12 in. (22.9 x 30.5 cm), framed.Condition: Surface grime.

$700-900

325.Frederick Ballard Williams (American, 1871-1956)

Idle Hours, alternatively titled Quiet HourSigned “-Frank Ballard Williams” l.l., titled and signed or inscribed“Quiet Hour/F.B. Williams” on the stretcher, titled on a presentationplaque.Oil on canvas, 24 x 16 in. (61.0 x 40.6 cm), framed.Condition: Puncture u.c., retouch, craquelure, surface grime.

$700-900

324

325

326


Figures on a BeachUnsigned.Oil on panel, 13 1/2 x 9 7/8 in. (34.3 x 25.1 cm), framed.Condition: Surface grime.

$800-1,200

327

327.Charles Courtney Curran (American, 1861-1942)

The SirensSigned and dated “CHARLES C. CURRAN 1893” l.r.Oil on canvas, 18 x 32 in. (45.7 x 106.7 cm), within a probable Stanford White frame.Condition: Lined.

Provenance: Purchased from the artist by Stanford White, National Academy of Design Exhibition, 1893; Old and Modern Paintings Belonging tothe Estate of the Late Stanford White, American Art Galleries, Mendelssohn Hall, New York, April 11, 1907, lot no. 49; …; gift from an architectto apparel designer Beatrice Donin (1893-1981), c. 1940s-60s, New York City and New Rochelle, New York; by family descent to nephew RalphDonin, New Rochelle, New York; by family descent to a private New England collection.

Literature: Charles Courtney Curran artist record book, no. 141-8; Catalogue of Old and Modern Paintings, Water Colors and DrawingsExclusively the Property of the Estate of the Late Stanford White, New York: American Art Association, 1907 [not illustrated, descriptive text];Levy, Florence, ed., American Art Annual, Second Edition Including Paintings Sold at Auction, Volume VI, New York: American Art Annual, Inc.,1908, p. 36; “Low Prices Paid for White Pictures,” New York Times, April 12, 1907; Naylor, Maria, The National Academy of Design ExhibitionRecord, 1861-1900, Volume I, New York: Kennedy Galleries, Inc. 1973, p. 208.

Exhibitions: National Academy of Design Exhibition, 1893.

N.B. We wish to thank Kaycee Benton for her assistance with cataloguing the lot; the work will be included in her forthcoming catalogueraisonné on Curran.

The present work was the Thomas B. Clarke prize winner at the National Academy of Design in 1893, when Stanford White acquired the work.White was a renowned architect but also a “consummate designer, enthusiastic and willing to work in any medium” from metalsmithing towoodworking.1 White’s foray into frame design may have sprung as a diversion from his architectural renderings, but it became an integral partof his interior designing. He sourced Old Master and contemporary paintings for both his own collection and those of his clients. Of the framesthat White designed from scratch, there is a “common decorative motif that he enhanced with combinations of different moldings to makeframes of different widths.”2 He was also known to make custom frames for particular works of art. The frame on the present work isreminiscent of the Stanford White frame on Portrait of Helen Sears by Abbott Thayer, dated 1892, which shows comparable abutting S-scrollsthroughout. The S-scrolls in the present frame, however, are broader and wave-like, to complement the subject of Curran’s work. The crestingwave motif is repeated again in the ornament band surrounding the work.

1. Gray, Nina, “Within Gilded Borders: The Frames of Stanford White,” The Gilded Edge: The Art of the Frame (San Francisco: Chronicle Books, 2000), p. 83.2. Ibid., p. 86.

$18,000-22,000

328

328.Edward Dufner (American, 1872-1957)

Twilight BatherSigned “Edward Dufner N.A.” l.r., signed or inscribed and titled “...byEdward Dufner N.A.” on the reverse.Oil on canvasboard, 24 x 20 in. (61.0 x 50.8 cm), framed.Condition: Minor surface grime.

$15,000-20,000

329.Charles E. Prendergast (American, 1863-1948)

Floral and Geometric Motif Arts & Crafts Picture FrameSigned and dated “····Prendergast····/··1907····” on the reverse.Gilt over gesso and red clay bole hand-carved and tooled woodpicture frame, rabbet size 18 1/2 x 22 1/2 in. (47.0 x 57.2 cm).Condition: Retouch, minor losses/abrasions, craquelure.

$6,000-8,000

330.Roland Francis Cosimini (American, b. 1898)

The Broken WingSigned and dated “Roland F. Cosimini/Sept. 2-3-1923” u.l., with alabel from the Massachusetts Normal Art School (see below) affixedto the backing.Pastel on paper, 39 1/2 x 29 1/2 in. (100.3 x 74.9 cm), framed.Condition: Not examined out of frame.

Provenance: Estate of N. David Scotti, Providence, Rhode Island.

Exhibitions: Massachusetts Normal Art School, Alumni AssociationAnnual Exhibition, June 6 to 16, 1924, No. 2.

$800-1,200

331.Manner of Charles E. Prendergast (American, 1863-1948)

Baroque-style Picture FrameUnsigned, with labels from the Rhode Island School of DesignMuseum, Providence, and William Macbeth, Inc., New York, affixed tothe reverse.Gilt over gesso and red clay bole hand-carved and tooled woodpicture frame, rabbet size 25 1/2 x 30 1/4 in. (64.8 x 76.8 cm).Condition: Retouch, losses, abrasions, craquelure.

$1,000-1,500

329330

331

332

332.Paul Howard Manship (American, 1885-1966) and Gaston Lachaise (American, 1882-1935)

Plaster Sketch-model for a Pediment, c. 1916Unsigned.Plaster with patina, 15 3/16 x 3 1/2 (at its apex) x 1 5/8 in. (38.6 x 8.9 x 4.2 cm).Provenance: Paul Manship to Herbert Lewis Kammerer, then by descent to the present owner.

N.B. The present model represents a proposal for the crowning element of the John Pierpont MorganMemorial, a commission awarded to Paul Manship in 1914 and partly designed and executed by GastonLachaise (Manship’s studio assistant by 1914 until 1921). The model was made by casting a hollow-backedtriangular shape in plaster, then carving on the face, in low relief, a border featuring an anthemion withacanthus-scroll ornament and graceful, buoyant figures, and within, a sleeping lion about to awaken to a newdawn—suggesting perpetual renewal.

One of many plaster studies for the project, it is the only known example now extant, and it documents theartistic interaction between these sculptors in about 1916, when the memorial’s uppermost component wasenvisaged as a low-pitched gable. Several of its features—such as the foliate decoration and the levitatingfigures rendered in Lachaise’s personal style—reappear in the full-scale plaster model, carried out withLachaise’s significant participation from February 1917 to September 1918 (cover illustration, V. Budny, NewYork’s Left Bank: Art and Artists off Washington Square North, 1900-1950, New York, 2006), and in turn inthe limestone memorial, carved entirely by him during the next two years. Installed in the MetropolitanMuseum of Art, New York, in 1920, the work commemorates John Pierpont Morgan (1827-1913), a titan offinance and the museum’s former trustee, benefactor, and president.

We are grateful to Virginia Budny for her assistance in preparing the catalog entry for this work.$4,000-6,000

333.Anton Otto Fischer (American, 1882-1962)

The Young Lady on the Tinker, MarbleheadSigned and dated “ANTON OTTO FIS...R ‘24” l.r.Oil on canvas, 20 x 26 in. (50.8 x 66.0 cm), unframed.Condition: Puncture with losses c.r., flaking and losses (includingarea of signature), surface grime.

$1,500-2,000

334.John Butler Yeats (American, 1839-1922)

Harriet BryantSigned and dated “J. B. Yeats/Sept__1910” c.r., inscribed “HarrietBryant-/by W.B. Yeats’s father- J.B.” on the reverse.Pencil on paper, 19 3/4 x 14 3/4 in. (50.2 x 37.5 cm), framed.Condition: Toning, mild acid burn, repairs at the lower corners.

$800-1,200

333

334

335


A Walk Along the Harbor ShoreSigned “Irving R. Wiles” l.r.Oil on canvas, 16 1/8 x 22 in. (41.0 x 55.8 cm), in a frame liner.Condition: Surface grime.

Provenance: Descended within a New England family collection.

N.B. Irving Ramsey Wiles was born in upstate New York. He was introduced to painting by his father, artist LemuelWiles (1826-1905), but it was not until he studied at New York’s Arts Students League that he determined to makehis father’s profession his own. It was here that Wiles first met his mentor, William Merritt Chase (1849-1916), andthe two remained lifelong friends. After two years at the Arts Students League Wiles went to Paris to study at theAcadémie Julian, perhaps at the suggestion of another of the League’s teachers, Thomas Wilmer Dewing (1851-1938).

Like many of his late 19th century contemporaries, Wiles used the “new” vitality of the Impressionist brush stroke andpalette to express the beauty of the world around him. Not unlike Chase, Wiles was known for his dexterous andenergized portraits, which often idealized his subjects by placing them in elegant attire and settings. Wiles oftendepicted his female subjects in white dresses. Out of doors, they were frequently drenched in warm sunlight anddashed with blue brushstrokes of shadow, a technique regularly employed by Chase, as well as John Singer Sargent(1856-1925) and Frank Weston Benson (1862-1951).

Although portraiture was considered his forté, Wiles also painted the hills and shores of Long Island. In the late1890s Wiles built a studio and cottage on the shores at Peconic, and he summered there regularly with his family.Here he found painting the out-of-doors a pleasant change from the bustle of portrait painting in the city. The workpresented here reflects both aspects of his career, as we see an elegant young woman in white strolling the shore,while the breeze and sun of a blustery morning enliven both the figure and her surroundings.

$50,000-75,000


The ActorSigned “Ir...g R Wiles” l.r., identified on a period label and two labelsfrom Grand Central Art Galleries, Inc., New York, (see below) affixedto the reverse.Oil on canvas, 34 1/4 x 27 in. (87.0 x 68.6 cm), in a period carvedwood frame incised “ALBERT MILCH/CARVED WOOD FRAMES/78WEST 55. ST N.Y” c.l.Condition: Lined, retouch, varnish inconsistencies, surface rubs,surface grime.

Exhibitions: William M. Chase/Robert Henri: Between Two AmericanMasters, Grand Central Art Galleries, Inc., October 25-November 30,1985.

$5,000-7,000

337.Eastern European School, 20th Century

Portrait of a Girl in a Field of WildflowersSigned and dated “1910 O. Sitkova” l.r.Oil on canvas, 16 1/2 x 14 1/2 in. (41.9 x 36.8 cm), framed.Condition: Craquelure, canvas deformations, losses.

$1,000-1,500

336

337

338.Elizabeth Grandin (American, 1889-1970)

The Sergeant/Portrait of a Gentleman in UniformSigned and dated “EGrandin 09” u.r., monogrammed “EG,”numbered “#124,” and stamped by the Grandin Library, Clinton, NewJersey, on the reverse, identified on an exhibition label on the framebacking.Oil on canvas, 26 1/8 x 21 3/8 in. (66.5 x 54.2 cm), framed.Condition: Canvas deformation with paint loss u.r. quadrant, retouch,craquelure, stretcher bar marks.

Exhibitions: Sunlight and Shadow: American Impressionism, 1885-1945, Smith Kramer Inc. Fine Art Services, catalogue no. 28..N.B. Elizabeth Grandin studied art in Paris and Madrid, and also inNew York at the Art Students League with Robert Henri. Shemaintained studios first in Paris and later in New York in the 1920sand 1930s. Grandin was a founding member of The New YorkSociety of Women Artists. She exhibited at the Whitney Museum ofAmerican Art, the National Association of Women Artists, the Societyof Independent Artists, and the Salons of America. Despite ablossoming career in New York, Grandin returned to her family homein Clinton, New Jersey, to care for a family member. In Clinton shetaught painting and was a patroness of the Grandin Library, namedfor her uncle, Daniel Grandin. She bequeathed her personal estate tothe Grandin Library.

$1,800-2,200

339.Louis Kronberg (American, 1872-1965)

The FavoriteSigned and dated “Louis Kronberg/-1904.-” l.l., identified on a partialperiod label on the stretcher, inscribed “LEE.” on the reverse.Oil on canvas, 18 x 12 in. (45.7 x 30.5 cm), framed.Condition: Retouch, small scratch u.r.

$1,000-2,000

338

339

340.Karl Heilmayer (German, 1829-1908)

View of Venice at SundownSigned and dated “Karl Heilmayer ‘67” l.r.Oil on cradled panel, 6 7/8 x 9 3/8 in. (17.5 x 23.8 cm), within aframe liner.Condition: Surface abrasions and grime, craquelure.

$700-900


Woman in CairoUnsigned, possibly inscribed indistinctly l.l.Oil on canvas, 14 x 10 in. (35.5 x 25.5 cm), framed.Condition: Small paint loss and lifting u.c., surface grime, retouchand/or varnish inconsistencies.

$800-1,200

340

341

342

342.D. Jerome Elwell (American, 1847-1912)

A Dash to the Lido From the Grand Canal, alternatively titledVenice-Morning, 1906Signed and dated “D. Jerome Elwell 1906” l.r., titled, signed, anddated “...D. Jerome Elwell 6/1906” on the reverse.Oil on canvasboard, 18 x 21 3/4 in. (45.7 x 55.2 cm), unframed.Condition: Bowing to board, surface abrasions, surface grime,alligatoring, varnish inconsistencies.

$1,000-1,500

343.Lillian Mathilde Genth (American, 1876-1953)

Street in Chioggia, ItalyInscribed, dated, and signed “CHIOGGIA 1906 L M Genth” l.r.Oil on canvas, 15 x 18 1/4 in. (38.1 x 46.4 cm), framed.Condition: Lined, retouch, varnish inconsistencies, pentimento inarea of signature, craquelure.

$1,000-1,500


Hillside VillageSigned and dated “Kuehne 20” l.l.Oil on canvas, 20 x 24 in. (50.8 x 61.0 cm), framed.Condition: Lined, retouch.

$1,200-1,800

343

344

345.Walter Maclaren (British, fl. circa 1869-1903)

Pergola Ana CapriSigned and dated “Walter Maclaren. 1868.” l.r., titled, signed, anddated “...Walter Maclaren./1868” on the reverse.Oil on canvas, 14 1/8 x 18 1/4 in. (35.9 x 46.4 cm), in a frame with alabel from John Fisher, Glasgow, affixed to the reverse.Condition: Scattered retouch, varnish inconsistencies, minorscattered losses, craquelure, surface grime.

$1,500-2,500

346.Otto Büngner (Brazilian, 19th/20th Century)

Pedra da GaveaSigned, inscribed, and titled “Otto Büngner-RIO/...-RIO De JANIERO”l.r., inscribed “A Picture of the bay in Brazil where we built an eighteenhole golf course./To Mr. L.S. Taylor with the kindest of wishes/FromVirginia and Archie Dick/Chicago, July 1932.” on the supportingboard.Watercolor on paper mounted onto board, sight size 10 1/4 x 15 1/2in. (26.0 x 39.4 cm), framed.Condition: Pale foxing, mild toning, not examined out of frame.

$600-800

346

345

347


Stable of the Sacred Horses in the Temple Grounds of Iyeyasu, Nikko, c. 1888Unsigned.Ink wash on paper, sheet size 8 3/16 x 9 7/8 in. (20.8 x 25.1 cm), unframed.Condition: Glue and cloth tape hinge residue to the reverse, subtle toning, minor foxing.

Provenance: Henry Lee Higginson, Boston, until d. 1919; by descent in the Higginson family.

Literature: Cook, Clarence, “Paintings, Sketches, and Studies by John La Farge,” Studio n.s. 5, April 26, 1890, pp. 205-206; La Farge,Bancel, “[List of Lenders, Durand-Ruel Exhibition],” New Haven, Connecticut, unpublished manuscript, La Farge Family Papers, 1895; LaFarge, Henry A., “Catalogue Raisonné of the Works of John La Farge,” New Haven, Connecticut: Unpublished card file, La Farge FamilyPapers, c. 1934-74.

Exhibitions: Reichard and Co., New York, Catalogue of Drawings, Water Colors, and Paintings by Mr. John La Farge, N.A., 15 Apr.-1 May1890, no. 12 (under heading “Japanese”); Durand-Ruel Galleries, New York, Paintings, Studies, Sketches and Drawings, Mostly Recordsof Travel 1886 and 1890-91 by John La Farge, 25 Feb.-25 Mar. 1895, no. 5; Societe Nationale des Beaux-Arts, Paris, France, Études,esquisses, dessins: Souvenirs et notes de voyage (1886 et 1890-91) par John La Farge, 24 Apr.-May 1895, [no. 5].

N.B. The work was included in the late Henry A. La Farge’s Catalogue Raisonné of the Works of John La Farge, and we wish to thank Dr.James L. Yarnall for updating and supplementing the information for inclusion in this catalog entry.

Like many of La Farge’s Japanese sketches, this evidently was based upon an as-yet unlocated photograph and was executed around1888 in preparation for the publication of his travel journals as a series of travel articles in Century Magazine. A wood engraving after thisdrawing appeared in La Farge’s article “Shrines of Iyeyasu and Iyemitsu in the Holy Mountain of Nikko. An Artist’s Letters from Japan,”Century Magazine, vol. 39 (Apr. 1890), p. 862. It was republished in book form in John La Farge, An Artist’s Letters from Japan (NewYork: Century Association, 1897), p. 61, and was exhibited at Durand-Ruel in New York in 1895 as Stable of the Sacred Horses in theTemple grounds of Iyeyasu, Nikko.

$7,000-9,000

348


Himene at Fara. Tahiti. Midday. At the Queen’s Home, 1891Unsigned, inscribed “Young men playing & singing at Faaa/at...by Marau at her place/they...together so...get the pitch. May 91./...”ufe-potapota”name of flute” in pencil and numbered “180” on a label in the margin l.l., “This face...yellow in value...” in pencil u.r., and “Mr. Henry L.Higginson.” in ink on the reverse.Watercolor and graphite on paper, sheet size 10 15/16 x 12 in. (27.8 x 30.5 cm), unframed.Condition: Acid burn, toning, tape residue.

Provenance: Henry Lee Higginson, Boston, c. 1893-d. 1919; by descent in the Higginson family.

Literature: “Pictures by John La Farge,” New York Times, Feb. 26, 1895, p. 3; John La Farge, Reminiscences of the South Seas (New York:Doubleday and Company, 1912), ill. opp. p. 86 (as The Flute Player. Samoa); Bancel La Farge, “[List of Lenders, Durand-Ruel Exhibition],” (NewHaven, Connecticut: Unpublished Ms., La Farge Family Papers, [1895]), no. 180; Elizabeth Hutcheson Carrell, “John La Farge: RenaissanceSpirit in America,” (Austin, Texas: Unpublished M.A. thesis, University of Texas, May 1972), p. 106 (ill. p. 127); Prints and Drawings Department,Loan Card No. 1769.10 (1910); Archives of American Art, Macbeth Papers (not microfilmed), Stockbook 1922-1954, 22 no. 84 (1 Jan. 1943).

Exhibitions: Durand-Ruel Galleries, New York, Paintings, Studies, Sketches and Drawings, Mostly Records of Travel 1886 and 1890-91 by JohnLa Farge, 25 Feb.-25 Mar. 1895, no. 180; Societe Nationale des Beaux-Arts, Paris, France, Études, esquisses, dessins: Souvenirs et notes devoyage (1886 et 1890-91) par John La Farge, 24 Apr.-May 1895, no. 179; Museum of Fine Arts, Boston, La Farge Memorial Exhibition, 1-31Jan. 1911 [no catalogue].

N.B. This work was included in the late Henry A. La Farge’s Catalogue Raisonné of the Works of John La Farge, and we wish to thank Dr.James L. Yarnall for updating and supplementing the information for inclusion in this catalog entry.

Exhibited at Durand-Ruel in New York in 1895 as Himene at Fara. Tahiti. Midday. At the queen’s home. 1891. This was followed by the note:“This was a group of young men, a choir, who sang alternately with others, seated on either side of the verandah during our lunch. They are in afaint sunlight, which falls more distinctly in the back-ground.”

$25,000-35,000

349.Charles Nicolas Sarka (American, 1879-1960)

Valley in MooreaSigned and inscribed “SARKA, MOOREA” l.r., inscribed “INLANDRANGES” l.l. (beneath the mat), titled with cancelled inscription“...Fareartri where we lived in Moorea/The island ranges/of/Moorea” inpencil on the reverse.Watercolor on paper, sight size 15 3/4 x 21 1/4 in. (40.0 x 54.0 cm),framed.Condition: Taped to front mat at u.r. and u.l. verso, tape and residueat edges verso.

$600-800

350.Carel Lodewijk Dake the Younger (Dutch, 1886-1946)

Southeast Asian VillageSigned “C.L. Dake Jr.” l.r., information regarding the artist’s travels toAsia affixed to the reverse.Oil on panel, 19 1/2 x 32 in. (49.5 x 81.3 cm), framed.Condition: Retouch, splits to panel, surface grime.

$1,200-1,800

.

349

350


South Pacific Landscape with Net MendersUnsigned.Oil on canvas tacked onto panel, sight size 35 1/2 x 59 1/2 in. (90.2x 151.1 cm), in an applied bamboo strip frame.Condition: Retouch, scattered flaking/losses, surface grime.

$800-1,200

352.Arthur Merton Hazard (American, 1872-1930)

Cuban Beach, Lucero CubaSigned “Arthur M. Hazard.” l.r., titled on the reverse.Watercolor on paper, sheet size 13 3/4 x 18 in. (34.9 x 45.7 cm),framed.Condition: Taped to front mat u.r. and u.r. verso, toning, lightscattered staining.

$600-800

351

352

353.Paul Cornoyer (American, 1864-1923)

Houses by a PathIncised signature “...OYER” l.r., inscribed “C.R. 4584” and “#4584” inpencil on the reverse.Oil on canvas, 8 x 10 in. (20.3 x 25.4 cm), in a probable Carrig-Rohane frame.Condition: Surface grime.

Provenance: Through the family of Mr. and Mrs. Francis J. Oakes Jr.,Brookline, Massachusetts, by family descent.

$1,000-1,500

354.Marcus A. Waterman (American, 1834-1914)

Brook Side, New EnglandUnsigned, titled and inscribed “M. Waterman” in a later hand on alabel affixed to the stretcher, and identified on a label from the VoseGalleries, Boston, on the backing.Oil on canvas, 16 x 20 1/4 in. (40.6 x 51.4 cm), framed.Condition: Lined, craquelure, minor retouch, varnish inconsistencies.

Exhibitions: Sunlight and Shadow: American Impressionism 1885-1945, Krasl Art Center, Michigan, October 3 to November 21, 1999;Brevard Museum of Art and Science, Florida, December 11, 1999 toJanuary 30, 2000; Tucson Museum of Art, Arizona, February 19 toApril 2, 2000).

$800-1,200

353

354

355

355.John Joseph Enneking (American, 1841-1916)

New England Wood and Stream, FallUnsigned.Oil on canvas, 32 x 40 in. (81.3 x 101.6 cm), framed.Condition: Small area of paint loss and accretions l.c., surface grime.

Provenance: Enneking estate to Fred Inness of Boston; to PaulFamolari; to Arvest Galleries of Boston; to Gardner Wonson; to aprivate party.

Literature: This work is registered in the catalogue raisonné of JohnJ. Enneking by Patricia Jobe Pierce as number IV-B-296.

N.B. We thank Patricia Jobe Piece for her assistance with catalogingthis lot.

$5,000-7,000

356.Joseph Eliot Enneking (American, 1881-1942)

The Blush of AutumnSigned “J. Eliot Enneking” l.r. and identified on an exhibition label fromThe Boston Art Club on the reverse and on a label from The CassonGalleries, Boston, affixed to the backing paper.Oil on canvas mounted on paperboard, 14 x 12 in. (35.6 x 30.5 cm),framed (under glass).Condition: Minor paint loss, craquelure, surface grime.

$1,000-1,500

357.Wayne Beam Morrell (American, b. 1923)

Indian Summer by the SeaDedicated, titled, and signed “TO OUR GOOD FRIEND HENRYROCK...ROCKPORT/WAYNE MORRELL...SEPT-1980” on a labelfrom The Wayne Morrell Gallery, Rockport, affixed to the backing.Oil on Masonite, 10 x 12 in. (25.4 x 30.5 cm), framed.Condition: Good.

$700-900

356

357

358.Robert Emmett Owen (American, 1878-1957)

Covered Bridge, AutumnSigned “R.Emmett Owen” l.r.Oil on canvas, 26 1/4 x 34 in. (66.7 x 86.4 cm), framed.Condition: Retouch, varnish inconsistencies, pinholes along leftedge, mild surface grime.

$1,500-2,500

359.George Victor Grinnell (American, 1878-1946)

Autumn TapestrySigned “GRINNELL” l.l., titled in the artist’s hand on the stretcher,signed and inscribed “G, VICTOR GRINNELL/MYSTIC CONN.” on thestretcher.Oil on canvas, 14 x 17 in. (35.6 x 43.2 cm), framed.Condition: Retouch, signature possibly reinforced, varnishinconsistencies (including area of signature), craquelure.

$700-900

358

359


Country PondSigned “Wayne Morrell” l.r., titled, signed, and dated “‘CountryPond’/.../...1977” on the reverse.Oil on Masonite, 23 7/8 x 36 in. (60.5 x 91.4 cm), framed.Condition: Paint losses c.r.

$800-1,200


A Sunny Afternoon-/View of a Pond in Byfield, MassachusettsSigned “WAYNE MORRELL” l.r., identified, dated, signed, and titled“POND IN BYFIELD, MASS./Nov. 10th 1988/by/WAYNEMORRELL/...” on the reverse, dedicated and inscribed “for EDITHROCK One of my FINEST SPRING SERIES THE BEST EVER/WAYNEMORRELL” on the reverse.Oil on Masonite, 12 x 16 in. (30.5 x 40.6 cm), framed.Condition: Good.

$1,200-1,800

360

361


Houses Along the RiverSigned “WAYNE MORRELL” l.l.Oil with tooling on Masonite, 24 x 36 in. (61.0 x 91.4 cm), framed.Condition: Pigment fluorescence.

$3,000-5,000


The Lily PondSigned “WAYNE MORRELL” l.r.Oil on Masonite, 8 x 10 in. (20.3 x 25.4 cm), framed.Condition: Good.

$600-800

362

363

364.Aiden Lassell Ripley (American, 1896-1969)

Grouse and Grape VinesSigned “A. Lassell Ripley ©” l.l., titled and signed “...© A.Lasell Ripley” in pencil and identified on a label from TheGuild of Boston Artists, Boston, on the backing.Watercolor and graphite on paper, sight size 24 x 20 1/2 in.(61.0 x 52.1 cm), framed.Condition: Not examined out of frame.

$10,000-15,000


Grouse and Azalea BudSigned “© A. Lassell Ripley” l.l., titled and signed “...© A.Lassell Ripley” in pencil and identified on a label from TheGuild of Boston Artists, Boston, on the backing.Watercolor and graphite on paper, sight size 25 1/2 x 21 in.(64.8 x 53.3 cm), framed.Condition: Not examined out of frame.

$10,000-15,000

364

365

366


Woodcock Hunting and Houses in Summer/A Double-sidedCompositionWoodcock signed and dated “A. Lassell Ripley 1938” l.l., Housesunsigned.Watercolor and graphite on paper, sheet size 20 x 16 1/4 in. (50.8 x41.3 cm), framed.Condition: Tack holes to edges, brown gummed tape residue toreverse, cloth tape hinged to window mat.

$10,000-15,000


Afternoon Fishing on the LakeUnsigned.Oil on canvas, 25 x 30 1/4 in. (63.5 x 76.8 cm), framed.Condition: Craquelure, tack holes to u.r. and u.l. corners, minorlosses, surface abrasions.

Provenance: Through a Massachusetts estate.$1,500-2,500

368.Thomas Russell Dunlay (American, b. 1951)

Duck Alighting at SunsetSigned “Dunlay” l.l.Oil on canvas, 11 x 14 in. (27.9 x 35.6 cm), framed.Condition: Good.

$800-1,200

368

367

369


Duck Hunting on the MarshUnsigned, stamped “BAY STATE STRETCHER/-MADE BY-/WADSWORTH HOWLAND & Co. Inc./BOSTON-MASS.” on thestretchers.Oil on canvas, 22 1/8 x 27 in. (56.2 x 68.6 cm), framed.Condition: Losses, craquelure.

Provenance: Through a Massachusetts estate.$2,000-4,000

370

370.Attributed to Oscar Fehrer (American, 1872-1958)

Cabin in the ValleyUnsigned, an article from Antiques and the Arts Weekly dated July19, 1991, accompanies the work.Oil on canvas, 18 x 24 in. (45.7 x 61.0 cm), framed.Condition: Scattered losses, craquelure, surface grime.

$1,500-2,000

371

371.Robert E. Schulz (American, 1928-1978)

The Cow PuncherInitialed “RES” l.r., titled on an illustration affixed to the reverse.Oil on Masonite, 24 x 32 in. (61.0 x 81.3 cm), framed.Condition: Alligatoring, varnish inconsistencies.

$2,000-3,000

372.Svend Svendsen (Norwegian/American, 1864-1930)

Winter TwilightSigned “Svend Svendsen-” l.r.Oil on canvas, 22 x 30 in. (55.9 x 76.2 cm), framed.Condition: Patch reinforcements to l.r. quadrant, craquelure, retouch,surface grime.

$400-600

373.Sheldon Parsons (American, 1866-1943)

Snowy BarnUnsigned, inscribed “By Sheldon Parsons Gift of Lois Harris toMendosa...Nutter 1953.” on the stretcher, inscribed “Gray Blue totrees” on the stretcher.Oil on canvas, 23 7/8 x 32 1/8 in. (60.6 x 81.6 cm), framed.Condition: Scattered retouch, surface grime.

$1,500-2,500

373

372

374.Robert Hogg Nisbet (American, 1879-1961)

The Old HouseSigned “ROBERT H. NISBET” l.r., identified on a label from the NewYork Watercolor Club affixed to the backing.Watercolor and gouache on paper/board, sight size 23 1/4 x 29 3/8in. (59.1 x 74.6 cm), framed.Condition: Toning, not examined out of frame.

$1,000-1,500

375.Svend Svendsen (Norwegian/American, 1864-1930)

Path to the MountainsSigned “Svend Svendsen-” l.r., with a label from Marshall Field &Company Picture Galleries on the reverse.Oil on canvas, 18 1/4 x 24 in. (46.4 x 60.9 cm), framed.Condition: Surface grime.

$400-600

374

375

376.Emile Albert Gruppe (American, 1896-1978)

Covered Bridge in WinterSigned “Emile A. Gruppe” l.r.Oil on canvasboard, 16 x 20 in. (40.6 x 50.8 cm), framed.Condition: Slight warping to support, mild scattered pigmentfluorescence, extremely mild scattered craquelure, surface grime.

$1,500-2,500

377.James King Bonnar (American, 1883-1961)

Figures Walking Down a Snowy RoadSigned “JAMES K BONNAR” l.r.Oil on canvas, 20 x 24 in. (50.8 x 61.0 cm), framed.Condition: Surface grime/discolorations to the varnish layer, minorscattered losses, fine scattered craquelure.

$1,000-1,500

376

377

378.Attributed to Robert Emmett Owen (American, 1878-1957)

Winter Landscape with RiverSigned indistinctly l.l.Oil on canvas, 24 x 30 in. (61.0 x 76.2 cm), framed.Condition: Craquelure, surface grime, minor skinning.

Provenance: Through a Bonnet Shores, Rhode Island estate.$3,000-5,000

379.William Lester Stevens (American, 1888-1969)

Row Houses and Industry, WinterSigned and inscribed “W. LESTER STEVENS NA” l.r.Oil on canvas, 34 x 38 in. (86.4 x 96.5 cm), framed.Condition: Surface rubs, mild varnish inconsistencies, minutescattered paint losses, scattered craquelure.

$3,000-5,000

378

379

380.Antonio Cirino (American, 1889-1983)

View of a New England Town in WinterSigned “A. CIRINO” l.r.Oil on canvasboard, 12 3/4 x 15 in. (32.4 x 38.1 cm), framed.Condition: Surface grime, pigment fluorescence, signature partiallyreinforced, subtle bowing.

$500-700

381.William Lester Stevens (American, 1888-1969)

The Last of the SnowSigned “W. LESTER STEVENS.” l.r.Oil on canvas, 25 1/4 x 30 1/4 in. (64.1 x 76.8 cm), framed.Condition: Scattered retouch, varnish inconsistencies, area of flakingand loss u.l., scattered craquelure, mild surface grime.

$2,500-3,500

380

381


Winter Valley, a Vermont LandscapeSigned “WAYNE MORRELL” l.r., dedicated, inscribed, and signed “forHenry & EDITH Rock/Stowe, Vermont, March 1991-/by/WAYNEMORRELL/OCT 13th 1991/My Best Show Oils” on the back of theframe.Oil with tooling on Masonite, 9 x 12 in. (22.9 x 30.5 cm), framed.Condition: Good.

$600-800

383.Winfield Scott Clime (American, 1881-1958)

Ten BelowSigned “Winfield Scott Clime” l.l., titled, signed, and inscribed“...Winfield Scott Clime/Old Lyme/Conn” on the reverse, inscribed“Dec. 15 - 1943/To Ellie + Bernard Dad” on the frame.Oil on canvas mounted onto panel, 12 x 16 in. (30.5 x 40.6 cm),framed.Condition: Minute scattered surface losses, surface grime.

$600-800

382

383

384

384.Allen Dean Cochran (American, 1888-1971)

Pastoral View with SheepSigned and dated “Allen ·D· Cochran ‘12” l.r.Oil and graphite on canvas, 42 x 80 in. (106.7 x 203.2 cm), framed.Condition: Lined, craquelure, varnish inconsistencies, surface grime.

$7,000-9,000

385

385.Allen Dean Cochran (American, 1888-1971)

Pastoral View with CowsSigned and dated “Allen ·D· Cochran ‘12” l.r.Oil and graphite on canvas, 42 x 80 in. (106.7 x 203.2 cm), framed.Condition: Craquelure, varnish inconsistencies, surface grime.

$7,000-9,000

386.John Franklin Waldo (American, 1835-1920)

From Jamaica hights [sic]Signed, dated, and titled “J. Frank Waldo. 1909/...” l.l.Gouache and watercolor on paper/board, sight size 16 3/4 x 22 1/4in. (42.5 x 56.5 cm), framed.Condition: Toning, not examined out of frame.

$600-800


Woodland StreamSigned “H.W. Ranger” l.l., identified on a presentation plaque and onlabels, including one titled and inscribed in a later hand, and anotherfrom The Cooley Gallery, Old Lyme, Connecticut, on the reverse.Oil on artist board, 12 x 16 in. (30.5 x 40.6 cm), framed.Condition: Subtle bowing, subtle surface grime.

$1,000-1,500

386

387

388

388.Arthur Clifton Goodwin (American, 1864-1929)

The Disappering [sic] PathSigned “A C Goodwin” l.l., titled and signed or inscribed “...ACG$450” on the stretcher.Oil on canvas, 29 x 36 in. (73.6 x 91.4 cm), framed.Condition: Retouch (including repaired tears), loss c.r., mild scatteredsurface abrasions, mild surface grime.

$3,000-5,000

389.Carol Owen (British, b. 1948)

Spring Along the RiverSigned “C. OWEN” l.l., identified on a label from Guido Frame Studio& Art Gallery, Boston, affixed to the backing.Oil on canvas, 20 1/4 x 24 in. (51.4 x 61.0 cm), framed.Condition: Good.

$700-900

390.Hamilton Hamilton (American, 1847-1928)

View from the HilltopUnsigned, stamped “Painted by HAMILTON HAMILTON/From theStudio Collection/of HELEN HAMILTON/Silvermine, Norwalk, Conn.”on the backing and stretcher, numbered “35” within the stamp on thebacking.Oil on canvas, 24 3/4 x 30 in. (62.9 x 76.2 cm), framed.Condition: Patch reinforcement c.l., retouch, scattered losses,craquelure with lifting.

$1,000-1,500

389

390

391.Anne Cary Bradley (American, 1884-1956)

Bold Face, North Chatham, New HampshireSigned “A. C. Bradley” l.r., titled, possibly in a laterhand, on the reverse, identified on an exhibitionlabel (see below), affixed to the backing.Oil on canvas mounted onto board, 10 x 13 in.(25.4 x 33.0 cm), framed.Condition: Extremely mild bowing to support.

Exhbitions: Sunlight and Shadow: AmericanImpressionism 1885-1945, Krasl Art Center,Michigan, October 3 to November 21, 1999;Brevard Museum of Art and Science, Florida,December 11, 1999 to January 30, 2000; TucsonMuseum of Art, Arizona, February 19 to April 2,2000), no. 9.

$600-800

392.Robert Emmett Owen (American, 1878-1957)

Daisy Field at Cross River, alternatively titledCross River Daisy FieldSigned “R. Emmett Owen” l.l., titled on a periodlabel affixed to the stretcher and a label from theVose Galleries of Boston affixed to the backing.Oil on canvas, 18 x 20 in. (45.7 x 50.8 cm),framed.Condition: Fine scattered craquelure, mild surfacegrime.

$1,000-1,500

391

392

393.Manner of Selden Connor Gile (American, 1877-1947)

View with Houses on a CrestSigned “...N” l.r.Oil on canvas, 20 x 24 in. (50.8 x 61.0 cm), framed.Condition: Skinning to the l.r. quadrant, surface grime.

$2,000-3,000

394.Nicolai S. Cikovsky (American, 1894-1987)

Landscape with Plowed Fields (possibly Long Island)Signed “Nicolai Cikovsky” l.r.Oil on canvasboard, 11 7/8 x 16 3/4 in. (30.2 x 42.5 cm),framed.Condition: Surface grime.

$700-900

395.Carl William Peters (American, 1897-1980)

Spring Landscape with HouseSigned “CARL W PETERS” l.l., identified on a label affixedto the reverse.Oil on canvasboard, 8 x 10 in. (20.3 x 25.4 cm), framed.Condition: Craquelure, mild surface grime.

$800-1,200

393

394

395

396.Philip Little (American, 1857-1942)

View of a Leafy Meadow with Houses BeyondSigned and dated “Philip Little 1905” l.l.Gouache on paper, sight size 19 x 13 in. (48.3 x 33.0 cm), framed.Condition: Subtle mat burn, toning, subtle rippling, not examined outof frame.

$600-800

397.Helen Alton Sawyer (American, 1900-1999)

Landscape with MoonSigned “H...Sawyer” l.l., inscribed “Landscape with Moon HelenSawyer” on the stretcher.Oil on canvas, 24 x 30 in. (61.0 x 76.2 cm), framed.Condition: Lined, craquelure.

$2,000-2,500

396

397


The Tree VisitorSigned “WAYNE MORRELL” l.r.Oil on canvas, 24 1/4 x 18 in. (61.6 x 45.8 cm), framed.Condition: Scattered retouch, scattered craquelure, surface grime.

N.B. The artist confirmed the title of this painting and dated it to1986.

$700-900

399.Dana Ripley Pond (American, 1881-1962)

Portrait of a Man with a Straw HatSigned “Dana Pond N.A.” l.r.Oil on canvas, 30 x 25 in. (76.2 x 63.5 cm), framed.Condition: Lined, retouch, craquelure.

$800-1,200

398

399

400

400.Samuel Barber (American, b. 1943)

Irises by the PondSigned “SBarber” l.l., artist identified in an article from the Cape CodTimes, dated July 27, 1990, affixed to the backing.Oil on board, 24 x 18 in. (61.0 x 45.7 cm), framed.Condition: Good.

$1,500-2,000

401

401.Carlos Pablo Ripamonti (Argentine, 1874-1968)

Shore ViewSigned “C. P. RIPAMONTE” l.l.Oil on canvas mounted onto Masonite, 10 3/4 x 13 in. (27.3 x 33.0cm), framed.Condition: Light scattered retouch, surface rubs, surface grime.

$600-800

402

402.Thomas Russell Dunlay (American, b. 1951)

Milton Marshes, 1980Signed “Dunlay” l.r., identified on information and exhibition label (seebelow) affixed to the backing.Oil on canvas, 16 x 20 in. (40.6 x 50.8 cm), framed.Condition: Good.

Exhibitions: Boston Athenaeum Gallery, January 4-16, 1982.$7,000-9,000

403.Anton Otto Fischer (American, 1882-1962)

Trimming the Sails, possibly an Illustration for The SaturdayEvening PostSigned and dated “ANTON OTTO FISCHER ‘24” l.r., a partial labelaffixed to the stretcher.Oil on canvas, 22 x 30 in. (55.9 x 76.2 cm), framed.Condition: Abrasions with losses, light retouch, craquelure, surfacegrime.

$800-1,200

404.William Columbus Ehrig (American, 1892-1973)

Crashing SurfSigned “Wm C. Ehrig” l.r.Oil on canvas, 28 x 38 in. (71.1 x 96.5 cm), framed.Condition: Light scattered surface rubs, minor area of craquelure l.r.

$1,000-1,500

403

404


Crashing WavesSigned “WAYNE MORRELL” l.r.Oil on Masonite, 10 x 14 in. (25.4 x 35.6 cm), framed.Condition: Minor surface grime.

$400-600

406.John Whorf (American, 1903-1959)

BowspritSigned “John Whorf.” l.r., stamped “GRAND CENTRAL ARTGALLERIES, NEW YORK CITY” on the backing.Watercolor on paper/board, sight size 16 1/2 x 19 1/2 in. (41.9 x 49.5cm), framed.Condition: Masking tape at top edge, mild mat burn/toning, palescattered staining/foxing, not examined out of frame.

$1,500-2,500

405

406

407.Henry Webster Rice (American, 1853-1934)

The Garden Stairway and Mending the Nets/A Double-sidedCompositionGarden signed “Henry Webster Rice.” l.l., Nets unsigned, inscribed“...5 PH” faintly in pencil u.r., inscribed “Dorothy Dunn Dempsey” inpen on the backing.Watercolor and graphite on paper, sheet size 19 x 13 1/2 in. (48.3 x34.3 cm), in a period frame.Condition: Subtle toning.

$800-1,200


Old ChurchSigned “Henry Webster Rice” l.l., inscribed and titled “Haley &Steele...Mr. Ferguson...” on the reverse, inscribed “Dorothy DunnDempsey” in pen and with a label from Haley & Steele Art Dealers,Boston, on the backing.Watercolor on paper/board, 10 7/8 x 14 in. (27.6 x 35.6 cm), in aperiod frame.Condition: Subtle toning.

$250-350


Emily Post GardenSigned “JAMES KING BONNAR” l.r., title inscribed on the reverse.Oil on canvas mounted onto board, 18 1/4 x 14 in. (46.4 x 35.6 cm),framed.Condition: Areas of disadhesion, surface grime, two staples alongthe right edge (possibly done by the artist), small puncture u.r.

$800-1,200

407

408

409


Street in Edgartow [sic]Signed “JAMES KING BONNAR” l.r., titled and inscribed “...by JamesKing Bonnar” on the reverse.Oil on canvasboard, 20 x 24 in. (50.8 x 61.0 cm), framed.Condition: Support slightly warped, surface grime.

$1,000-1,500

411.Charles M. Cox (American, 1883-1918)

PhloxSigned “Charles M Cox” l.r., titled on the stretcher, inscribed “1929”on the reverse.Oil on canvas, 16 x 20 in. (40.6 x 50.8 cm), framed.Condition: Surface grime.

$800-1,200

410

411


Gray DaySigned “J. Eliot Enneking” l.l., identified on exhibition labels from theRockport Art Association and from the North Shore Arts Exhibition ofGloucester (see below) on the reverse.Oil on canvasboard, 7 15/16 x 10 in. (20.2 x 25.4 cm), framed (underglass).Condition: Slight bowing to the support, surface grime.

Exhibitions: Rockport Art Association, The Old Tavern Exhibition,n.d.; North Shore Arts Exhibition of Gloucester, Eighteenth AnnualExhibition, 1940.

$800-1,200

413.Otis Pierce Cook (American, 1900-1980)

Schooner at Gloucester HarborSigned “Otis Cook” l.l.Oil on canvas, 24 x 20 in. (61.0 x 50.8 cm), framed.Condition: Good.

$600-800

412

413

414


Drying the Nets, 1941Signed “J. Eliot Enneking” l.r., identified in an inscription and on anexhibition label from the Rockport Art Association affixed to thereverse.Oil on canvasboard, 8 1/4 x 10 in. (21.0 x 25.5 cm), framed.Condition: Good.

$1,200-1,800

415.Otis Pierce Cook (American, 1900-1980)

Rockport Dock SceneSigned “Otis Cook” l.r.Oil on canvas, 30 x 36 in. (76.2 x 91.4 cm), framed.Condition: Scattered craquelure, mild surface grime.

$800-1,200


Marblehead StreetSigned “Kuehne” l.r.Watercolor with graphite on paper/board, sight size 15 x 19 1/2 in.(38.1 x 49.5 cm), framed.Condition: Subtle rippling, not examined out of frame.

$700-900

415

416

417.James Jeffrey Grant (American, 1883-1960)

Harbor View with SailboatsSigned “J. JEFFREY GRANT” l.r.Watercolor and graphite on paper, sight size 13 1/2 x 15 3/4 in.(34.3 x 40.0 cm), framed.Condition: Not examined out of frame.

$700-900


Rockport Shore with SailboatsSigned “J. Eliot Enneking” l.r., inscribed “Center:/The MarosaI/Rockport Mass. Harbor” on the reverse.Oil on canvasboard, 11 7/8 x 14 in. (30.2 x 35.5 cm), framed.Condition: Surface grime.

$500-700

419.Sandor Bernath (American, 1892-1984)

View of a Gloucester Fishing Shack, c. 1935Signed and inscribed “Sandor Bernath/Gloucester, Mass.” in penl.r.Watercolor and graphite on paper, sheet size 17 x 21 1/2 in. (43.2x 54.6 cm), framed.Condition: Brown gummed tape residue verso, toning.

$800-1,200

417

418

419

420.Helen Florence Newton (American, 1878-1970)

Rocky Coast, Possibly CaliforniaSigned “HELEN F. NEWTON.” l.l.Oil on canvas, 25 x 30 in. (63.5 x 76.2 cm), framed.Condition: Scattered craquelure with areas of lifting.

$800-1,200

421.Attributed to Anne Ramsdell Congdon (American, 1873-1958)

Coastal View with TreesUnsigned.Oil on board, 7 3/4 x 9 7/8 in. (19.7 x 25.1 cm), framed.Condition: Extremely minor wear to corners, extremely minorscattered craquelure.

$400-600

420

421

422.Samuel Burtis Baker (American, 1882-1967)

Shore ViewDedicated and signed “To my friend F Morse Wemple/Burtis Baker”l.r.Oil on canvasboard, 15 x 18 in. (38.1 x 45.7 cm), framed.Condition: Surface grime.

N.B. The dedicatee, Frank Rogers Morse Wemple (1878-1970), wasa baritone and voice professor at the New England Conservatory ofMusic.

$700-900

423.Paul Harvey (American, 1878-1948)

California LandscapeUnsigned, inscribed “by Paul Harvey,” possibly in the artist’s hand, inink and inscribed “Paul Harvey” in pencil on the reverse.Oil on canvasboard, 12 x 14 3/4 in. (30.5 x 37.5 cm), in a frame witha partial Newcomb-Macklin Co. label affixed u.c.Condition: Retouch, support slightly warped, extremely fine scatteredcraquelure.

$1,000-1,500

422

423


Children Playing on the BeachSigned “WAYNE MORRELL” l.r.Oil on Masonite, 8 x 10 in. (20.3 x 25.4 cm), framed.Condition: Good.

$800-1,200

425.Henry Eugene Fritz (American, 1875-1956)

Boothbay MaineSigned and dated “H. E. FRITZ 1921” l.l., titled in pencil on thereverse.Oil on canvasboard, 7 15/16 x 10 in. (20.2 x 25.5 cm), framed.Condition: Retouch, minor bowing of the support.

$400-600

424

425


Off Front Beach WatersSigned “WAYNE MORRELL” l.l., titled, inscribed, dated, and signed“...ROCKPORT, MASS./AUG 25-1982/BY WAYNE MORRELL” in inkon the reverse.Oil on Masonite, 6 x 8 in. (15.2 x 20.3 cm), framed.Condition: Good.

$500-700

427.Andre (Gittelson) Gisson (American, 1929-2003)

Breakwater, MaineSigned “Gisson” l.l., identified on a gallery label (see below) affixed tothe reverse.Oil on canvas, 9 x 12 in. (22.9 x 30.5 cm), framed.Condition: Good.

Provenance: Purchased from Miner’s Gallery Americana Corp.,Carmel, California, 1990.

$300-500

426

427

428.Robert F. Glidden (American, 1926-1992)

LighthouseSigned “ROBERT F. GLIDDEN” l.l.Oil on canvas, 24 x 30 in. (61.0 x 76.2 cm), framed.Condition: Mild surface grime.

$600-800

429.Attributed to Gerrit Albertus Beneker (American, 1882-1934)

Cape Cod Landscape with House in SpringUnsigned.Oil on canvas, 16 1/4 x 20 1/4 in. (41.3 x 51.5 cm), framed.Condition: Mild craquelure, with one area of possible lifting, surfacegrime.

$800-1,200

428

429

430.Anthony Thieme (American, 1888-1954)

Sand DunesSigned “A. Thieme” l.r., titled on the reverse.Oil on board, 12 x 16 in. (30.5 x 40.6 cm), framed.Condition: Area of craquelure u.c.

$3,000-5,000


North Shore View, Possibly Marblehead and Visitor at the Door/ADouble-sided CompositionShore signed “Henry Webster Rice” l.l., Visitor unsigned, inscribed“#507...View...” faintly in pencil u.l., inscribed “Dorothy DunnDempsey” in pen and with a label from Haley & Steele Art Dealers,Boston, on the backing.Watercolor and graphite on paper, sheet size 13 5/8 x 19 in. (34.6 x48.3 cm), in a period frame.Condition: Subtle toning.

$300-500

430

431

432

432.Eduards Kalnins (Latvian, 1904-1988)

Waterfront, Gray Day, 1943Signed and dated “Ed- Kalnins -43” l.l.Oil on canvas mounted to Masonite, 23 x 27 in. (58.4 x 68.5 cm),framed.Condition: Craquelure.

$1,000-1,500

433

433.George Wesley Bellows (American, 1882-1925)

Fresh Sky, 1911/A Monhegan Island, Maine ViewSigned and inscribed “Geo Bellows/E.S.B.” l.l., titled and inscribed “...No. 18/MON” and identified anddated on a label from H.V. Allison & Co., Inc., New York, on the reverse.Oil on panel, 11 1/4 x 15 1/4 in. (27.9 x 38.7 cm), framed.Condition: Surface grime, bowing to panel, minor abrasions to edges.

Provenance: Estate of the artist, 1925; Emma S. Bellows, his wife; Estate of Emma S. Bellows, 1959; H.V.Allison & Co., New York, New York; Carl Augustus Weyerhaeuser (1901-1996), Milton, Massachusetts,1963; by family descent, private New England collection.

Literature: George Bellows Record Book A, p. 106; George Bellows Online Catalogue Raisonné(http://hvallison.com/).

N.B. We wish to thank Glenn C. Peck for his kind assistance with cataloguing the lot; the work is no.1911-031a in the George Bellows catalogue raisonné compiled by H.V. Allison & Co.

Carl A. Weyerhaeuser was the grandson of Frederik Weyerhaeuser, lumber magnate and founder of theWeyerhaeuser Company, and the son of Charles A. Weyerhaeuser, president of the Potlach LumberCompany, and Maud Moon Weyerhaeuser, a soprano soloist. Under his mother’s artistic influence, theyoung Weyerhaeuser began collecting from an early age.1 He is best remembered as the founder of theArt Complex Museum in Duxbury, which houses his diverse lifetime collection, including several works byBellows.

1. Morrison County Historical Society, “Carl Weyerhaeuser: Dreams Fulfilled,” http://morrisoncountyhistory.org/history/?page_id=358

$40,000-60,000

434.Louis Paul Dessar (American, 1867-1952)

Moonlit Landscape with Sleeping FlockSigned “DESSAR” l.r., identified on a label affixed to the backing.Oil on canvas, 17 x 18 1/4 in. (43.2 x 43.4 cm), framed (under glass).Condition: Subtle canvas deformations.

$2,000-2,500

435.Léon Reni-Mel (French, 1893-c. 1960)

Automne sur L’Etang, 1930Titled, inscribed, and signed “...VANNES-1930/RENI-MEL” l.r.Oil on canvas, 23 1/2 x 35 1/2 in. (59.7 x 90.2 cm), framed.Condition: Craquelure.

$1,000-1,500

434

435

436.Walter L. Greene (American, 1870-1956)

Evening, GivernySigned “Walter L Greene” l.l., identified on a label affixed to thebacking.Oil on canvas, 18 1/4 x 21 3/4 in. (43.4 x 55.2 cm), framed.Condition: Craquelure.

Exhibitions: Sunlight and Shadow: American Impressionism 1885-1945, Krasl Art Center, Michigan, October 3 to November 21, 1999;Brevard Museum of Art and Science, Florida, December 11, 1999 toJanuary 30, 2000; Tucson Museum of Art, Arizona, February 19 toApril 2, 2000), No. 31.

$2,500-3,500

437.Alfred Bryan Wall (American, 1861-1935)

Sheep Going HomeSigned “A. Bryan Wall” l.r., identified on labels affixed to the reverse.Oil on artist board, 10 1/4 x 12 in. (26.0 x 30.5 cm), framed.Condition: Surface grime, varnish inconsistencies.

$500-700

436

437

438.Hermann Hesse (Swiss/German, 1877-1962)

Lot of Two Works: Ticino Lake View, Probably Lake Lugano, Montagnola, Switzerland and Summer Garden,Casa Rossa, MontagnolaLake inscribed, dated and initialed “Skizze 1926 HH.” in pencil l.l. and l.c., respectively, inscribed “Hermann Hesse” inpencil on the reverse, watercolor on Ingres laid paper, sheet size 9 1/4 x 7 3/4 in. (23.5 x 19.7 cm); Garden initialedand dated “H. VII. 34” in pen l.l., also initialed “H.” in pen l.r., inscribed “Hermann Hesse” in pencil on the reverse, inkon PMF Italia laid paper (probably Ingres), sheet size 9 1/2 x 12 1/4 in. (24.1 x 31.1 cm); both unframed.Condition: Lake with tape residue to u.r. and u.l. corners, subtle handling creases.

Provenance: Gift from the late collection of Mr. and Mrs. Carl Polk, Long Island, New York, and Midwale, NewJersey, to the present owner.

N.B. Best-known as the author of Steppenwolf and Siddhartha, Hermann Hesse began painting in watercolor asearly as 1916, and with vigor by 1919. Hesse sought refuge in Montagnola in 1919, after suffering some politicalpressure from German nationalists, the loss of his father, and his wife’s onset of schizophrenia. He settled intoseveral rooms at the Casa Camuzzi, a country house with an exotic garden which inspired his short story, Klingsor'sLast Summer, as well as his work in watercolor. After 1931, Hesse moved to the neighboring estate of Casa Rossa,where he lived with his third wife, Ninon Dolbin, until his death. At Casa Rossa, he had a large plot of land forgardening, and he devoted himself to cultivating it. He came to regard gardening as a meditative practice, and thisexperience informed his serial-turned-novel, The Glass Bead Game.

We wish to thank Regina Bucher of the Fondazione Hermann Hesse Montagnola for her assistance with catalogingthe lot.

$4,000-6,000

438

439.Colin Campbell Cooper (American, 1856-1937)

View of a Castle in the LandscapeUnsigned, stamped “ESTATE OF/CCC/1856-1937”l.l.Pastel on paper, sight size 5 x 8 1/2 in. (12.7 x 21.6cm), framed.Condition: Not examined out of frame.

$800-1,200

440.Luigi Lucioni (American, 1900-1988)

View of a Northern Italian Countryside, Possiblythe Lake Como RegionSigned and dated “L. Lucioni ‘38” l.r.Oil on Masonite, 12 x 10 in. (30.5 x 25.4 cm),framed.Condition: Minor retouch.

Provenance: Purchased in Washington, D.C., byJames Warren Lane, assistant curator for theNational Gallery of Art, c. 1940s; by family descentto a Santa Fe, New Mexico, private collection.

$6,000-8,000

440

439

441.Melville F. Stark (American, 1903-1987)

Woodland ViewSigned “M. STARK” l.l.Oil on board, 25 x 30 in. (63.5 x 76.2 cm), framed.Condition: Surface grime.

$1,200-1,800

442.Alice Worthington Ball (American, 1869-1929)

The Nespoli TreeSigned “A. Worthington Ball” l.l., artist identified on a presentationplaque, titled on a period label affixed to the reverse.Oil on canvas, 16 x 12 in. (40.6 x 30.5 cm), framed.Condition: Scattered craquelure, surface grime.

$1,200-1,800

441

442

443

443.Armand Avril (French, b. 1926)

Lot of Two Works: Town on a River and Town on a Hill, c. 1965Each signed “AVRIL” l.l.Oil and gouache on paper, sight sizes to 19 x 24 3/4 in. (48.3 x 62.8cm), framed.Condition: Not examined out of frames.

$600-800

444.Fernand Laval (French, 1886-1966)

Montmartre, 1926Signed, dated, inscribed “F. LAVAL/1926·MONTMARTRE/MATINS-SEPT” l.r.Oil on fiberboard mounted to panel, 26 x 21 3/4 in. (66.0 x55.2 cm), framed.Condition: Surface grime.

$1,000-1,500

445.Hughes Claude Pissarro (French, b. 1935)

Le pont des guillemettes à Surosne-sur-OrneSigned “Claude Pissarro-” l.l., titled in pen on the reverse.Pastel on paper, sheet size 9 3/4 x 14 3/8 in. (24.8 x 36.5cm), framed.Condition: Tape hinged to window mat.

Provenance: Through Patricia Beaver Gallery, La Jolla, SanDiego, California.

$3,000-4,000

444

445


Rain and Mist, Boylston, alternatively titled Up Boylston St./AView of Copley Square, BostonSigned “ACGOODWIN.” l.r., titled, dated, and signed“...1917...A.C.Goodwin” in ink and pencil on the reverse.Oil on canvas, 20 x 26 1/4 in. (50.8 x 66.7 cm), framed.Condition: Craquelure, surface grime.

$3,000-5,000

447.Fernand Laval (French, 1886-1966)

Montmartre, 1928Signed, inscribed, and dated “F. LAVAL MONTMARTRE. 1928.”l.r.Oil on canvas, 24 x 19 3/4 in. (61.0 x 50.2 cm), framed.Condition: Surface grime.

$1,000-1,500

446

447

448


The Corner of Boylston and Arlington Streets, BostonUnsigned, with a label from H.C. Speed, Boston, affixed to thebacking.Pastel on paper/board, 12 1/2 x 18 in. (31.8 x 45.7 cm), framed.Condition: Restored abrasion to l.l., u.l., and u.r. quadrants, restoredbreak and small loss to board u.l.

N.B. H.C. Speed was a restorer, framer, and close friend of A.C.Goodwin, who sold his works in his gallery on La Grange Street.

$4,000-6,000

449


Winter View, Possibly Copley SquareSigned “.ACGOODWIN” l.r., inscribed “PICHETTO/ANDREPONT 72-B” on a label affixed to the reverse.Oil on canvas,18 1/2 x 23 3/4 in. (47.0 x 60.3 cm), framed.Condition: Lined, minor surface grime.

N.B. Goodwin is best known as a painter of Boston street scenesand its waterfront from 1900 to 1921. Though he was a self-taughtartist, he was encouraged to paint by Louis Kronberg, and at onepoint shared a studio with him.1 He worked en plein air on an easelin all seasons, often in Boston’s Back Bay neighborhood. Goodwintypically worked directly on his support, without the use ofunderdrawing, and by the 1920s, his brushwork became morevigorous and loose.2

1. Giese, Lucretia H., “Notes on Goodwin’s Style,” A.C. Goodwin: 1864-1929 (Boston:Museum of Fine Arts, 1974).2. Ibid.

$8,000-12,000

451.Johann Berthelsen (American, 1883-1972)

The Little Church Around the CornerSigned “Johann Berthelsen” l.r.Oil on canvasboard, 16 x 12 in. (40.6 x 30.5 cm), framed.Condition: Surface grime.

N.B. The Little Church Around the Corner is located at 29th Streetbetween 5th Avenue and Madison Avenue in New York City. Thisview of the church in snow was likely painted by Berthelsen in the late1930s, or perhaps the early 1940s.

We wish to thank Lee Berthelsen, son of the artist, for his assistancewith cataloging this lot.

$4,000-6,000


St. Mark’s Church in-the-BowerySigned “Johann Berthelsen” l.r., numbered in pencil “60521” on thereverse.Oil on canvasboard, 16 x 11 7/8 in. (40.5 x 30.0 cm), framed.Condition: Surface grime.

N.B. This snowy street scene shows St. Mark’s Church in-the-Bowery, located on Tenth Street in Manhattan’s Lower East Side.The historic church is the burial place of Peter Stuyvesant. Thepainting was done by Berthelsen in the 1930s or the early 1940s.

We wish to thank Lee Berthelsen, son of the artist, for his assistancewith cataloging this lot.

$4,000-6,000

450

451

452


The Brooklyn BridgeSigned “Johann Berthelsen” l.r., identified on a label from The FarkasCorp., Beverly Hills, California, on the back of the frame.Oil on canvas, 20 x 16 in. (50.8 x 40.6 cm), framed.Condition: Minor retouch, craquelure.

N.B. This view is painted from the Brooklyn side of the bridge, afavorite location for Berthelsen.

We wish to thank Mr. Lee Berthelsen, son of the artist, for hisassistance with cataloging this lot.

$3,000-5,000


Wharf SceneSigned “A.C. Goodwin” l.l.Pastel on paper, sheet size 16 x 20 1/8 in. (40.8 x 51.1 cm), framed.Condition: Toning, hinged to window mat with linen tape.

$1,500-2,000

454.George H. Wimpenny (British, 19/20th Century)

View of the River Thames and Westminster AbbeySigned and dated “Geo. H. Wimpenny 1908” l.l.Oil on canvasboard mounted to panel, 8 1/4 x 12 1/4 in. (21.0 x 31.1cm), framed.Condition: Surface grime.

$800-1,200

453

454

455

455.Frank Henry (Hector) L. Tompkins (American, 1847-1922)

Dorchester Bay at NightSigned “FHTompkins” l.r., titled, signed, inscribed, and dated“...FHTompkins/Pope Building/Boston/1905.” on the reverse,identified on labels including one from Smith Kramer Fine ArtServices, Kansas City, Missouri, and Fuller Museum of Art, Brockton,Massachusetts (see below), affixed to the reverse.Oil on board, 11 3/4 x 18 3/4 in. (29.8 x 47.6 cm), in a frame signed“Feliciano Nemiccolo” along the reverse of the left edge.Condition: Retouch, varnish inconsistencies, craquelure withscattered alligatoring, surface grime.

Exhibitions: Boston Art Club Exhibition, Fuller Museum of Art, July 3-September 19, 1993.

$1,200-1,800

456.Gordon Steele (American, 1906-1961)

ShantytownSigned and indistinctly dated “Gordon Steele/...” l.l., inscribed“GORDON STEELE/SYRACUSE N.Y.” possibly in the artist’s hand, onthe stretcher, identified on two exhibition labels from Terry National ArtExhibit, Miami, affixed to the reverse, inscribed “HONORABLEMENTION/TERRY NATIONAL ART EXHIBIT/1952” on a presentationplaque.Oil with tooling on canvas, 20 x 26 in. (50.8 x 66.0 cm), framed.Condition: Area of pentimento (including a faint, partial signature) l.l.,scattered craquelure, mild surface grime.

N.B. Gordon Steele lived and worked in Syracuse, New York.Predominately self-taught, Steele usually worked without any sort ofpreliminary sketches. With an ever-evolving technique, Steele oftenused a dark color palette and created compositions that incorporateelements of abstraction. Many of his paintings address therelationship between man and his environment.1 Throughout hiscareer, Steele exhibited his work frequently and won numerousawards.

His legacy continues as the Syracuse Arts Association has named thethe top prize in their for their Annual Juried Members’ Exhibition theGordon Steele Best in Show award.

1. Bridgman, Ann, “Two Artists in Show Offer Comparison in Manner of Approach,” TheNorwalk Hour, July 9, 1957, p. 4.

$1,500-1,800

457.John Paul Manship (American, 1927-2000)

West Village RoofsSigned and dated “JPMANSHIP/MAY ‘70” l.r., identified on a labelfrom the Quarry Gallery, Gloucester, Massachusetts, affixed to thestretcher.Oil on canvas, 18 x 24 in. (45.7 x 61.0 cm), framed.Condition: Craquelure with lifting, flaking and minute losses u.r.,pigment fluorescence, mild surface grime.

$800-1,200

456

457

458.Alex Tschernjawski (Yugoslavian/American, b. 1933)

City StreetSigned “A. Tschernjawski’ l.r., figure sketch in pencil on the reverse,inscribed “AlexanderTschernjawski” on the stretcher, labels from TheAthena Gallery, New Haven, and George Mladinich, New Haven,affixed to the reverse, stamped “ATHENA GALLERY INC...” four timesand “ALEX MINEWSKI...” on the reverse.Oil on canvas, 30 x 24 in. (76.2 x 61.0 cm), framed.Condition: Varnish inconsistencies, craquelure, mild surface grime.

$700-900


The Edge of Town, alternatively titled After the StormSigned and dated “Gordon Steele/50” l.l., identified on a label affixedto the reverse.Oil on Masonite, 24 1/2 x 42 in. (62.2 x 106.7 cm), framed.Condition: Retouch, varnish inconsistencies, minor scattered surfacelosses (predominately at edges), mild surface grime.

$1,000-1,500

458

459

460.Arthur Oliver Biehl (American, b. 1926)

PastureSigned and dated “BIEHL ‘64” l.r., identified on labels from BanferGallery, New York, and The Corcoran Gallery of Art, Washington,D.C., affixed to the reverse.Tempera on board, 23 1/4 x 23 1/4 in. (59.7 x 59.7 cm), framed.Condition: Surface grime, extremely minor wear to edges.

$400-600


DocksSigned and dated “Gordon Steele/58” u.r., identified on a label affixedto the reverse.Oil on Masonite, 23 1/4 x 43 1/8 in. (59.1 x 109.5 cm), framed.Condition: Retouch, scattered surface losses (predominately atedges), mild surface grime.

$1,000-1,500

460

461


The First SnowSigned and dated “Gordon Steele/1955” l.l., identified on a labelaffixed to the reverse.Casein on paper/board mounted onto panel, 9 3/8 x 27 5/8 in. (23.8x 70.2 cm), framed.Condition: Extremely mild wear to corner, mild surface grime.

$1,000-1,500

463.Rolland Harve Golden (American, b. 1931)

Autumn SplendorSigned and dated “Golden ‘88” l.r., titled on a label affixed to thebacking.Gouache on paper, sight size 29 x 21 in. (73.7 x 53.3 cm), framed.Condition: Not examined out of frame.

Provenance: Purchased from Bryant Galleries, New Orleans.$800-1,200

462

463

464.Paul Kirtland Mays (American, 1887-1961)

The HarborSigned “PAUL MAYS” l.l., identified on a label affixed to the backing.Oil on Masonite, 22 1/4 x 28 1/2 in. (56.5 x 72.4 cm), framed.Condition: Surface grime, abrasions.

$400-600

465.Laurence Philip Sisson (American, b. 1928)

August SunsetSigned and dated “L. Sisson ‘73” l.l., titled and inscribed in pencil andon labels on the reverse.Watercolor on Arches paper, sheet size 22 1/2 x 30 1/4 in. (57.2 x76.8 cm), unframed.Condition: Tack holes along edges.

$700-900

464

465

466.Laurence Philip Sisson (American, b. 1928)

Fruits of the SeaSigned “L. Sisson” l.r., titled and inscribed in pencil, on labels, andwith a composition of sand dunes on the reverse.Watercolor on Arches paper, sheet size 22 1/2 x 30 1/4 in. (57.2 x76.8 cm), unframed.Condition: Tack holes along edges.

$800-1,200

467.Paul Kirtland Mays (American, 1887-1961)

Still Water CoveSigned “PAUL MAYS” l.l., identified on a label and titled on thereverse.Oil on Masonite, 26 3/4 x 32 1/4 in. (67.9 x 81.9 cm), framed.Condition: Surface grime, abrasions.

$600-800

466

467


Fixing Her CostumeFaintly signed “L. KRONBERG” l.r., inscribed “...Kronberg” and with acanvas stencil on the reverse.Oil on canvas, 24 x 18 in. (61.0 x 45.7 cm), framed.Condition: Retouch, varnish inconsistencies, surface rubs,craquelure.

$1,200-1,800

469.Henry Davenport (American, b. 1882)

Robe and Slippers, a Bedroom Still LifeSigned and indistinctly dated “Henry Davenport...” l.r., identified on anexhibition label from Smith Kramer Inc. and a label from the FullerMuseum of Art (see below) affixed to the backing.Pastel with graphite on paper/board, sight size 15 1/4 x 11 1/4 in.(38.7 x 28.6 cm), framed.Condition: Not examined out of frame.

Exhibitions: Boston Art Club Exhibition, Fuller Museum of Art, July 3-September 19, 1993.

$600-800


At The Opera, possibly alternatively titled At the TheaterFaintly signed “LOUIS KRONBERG” l.r., “�” l.r., identified on labelsaffixed to the reverse.Oil on canvas, 20 x 24 in. (50.8 x 61.0 cm), unframed.Condition: Patch reinforcement, craquelure with lifting, light surfaceabrasions, surface grime.

$2,000-3,000

468

469 470


No. 1. Dancer in Rose at the BarreSigned “Louis Kronberg.” l.l. and monogrammed “L�K” u.l., titled,dated, and inscribed “...Mlle Jose Lorre...Paris 1954...” on thebacking.Pastel on paper/board, sight size 19 x 25 in. (48.3 x 63.5 cm),framed.Condition: Not examined out of frame.

$800-1,200


White HorsesSigned “C. BROADHEAD” l.r., identified on a label from the CahoonMuseum of American Art (see below) affixed to the backing.Oil on canvas, 26 x 46 in. (66.0 x 116.8 cm), framed.Condition: Lined, retouch, craquelure.

Exhibitions: Dusty Glory: The Circus in American Art, June 14 to July30, 2005, Cahoon Museum of American Art, Cotuit, Massachusetts.

$1,000-1,500


Ballet GirlSigned, dated, and inscribed “1914/LOUIS KRONBERG�” l.r.,identified on a label from The Buffalo Fine Arts Academy, Albright ArtGallery, Buffalo, New York, affixed to the backing.Oil on paper/board mounted to cloth, 25 1/2 x 18 1/2 in. (64.8 x 47.0cm), framed.Condition: Tacks and abrasions to the margins, not examined out ofthe frame.

Exhibitions: Ninth Annual Exhibition of Selected Paintings byAmerican Artists, May 16-August 31, 1914, Albright Art Gallery,Buffalo, New York, cat. no. 73.

$1,000-1,500

471

472 473

474.Robert Moore Kulicke (American, 1924-2007)

Roses, 1969Signed and dated “Bob Kulicke 69” in pencil u.r., also signed anddated “Kulicke 69” in pencil l.c., dedicated “for Florence & Jerry” inpencil u.l. and “for the Greys” in pen on the backing, identified on alabel from Kornblee Gallery, New York, on the backing.Oil on artist board, 9 x 10 1/4 in. (22.9 x 26.0 cm), mounted to aPlexiglas support.Condition: Minor surface grime, tack hole u.c.

$2,000-2,500

475.Franz Lex (Austrian, 1895-1959)

Still Life with HydrangeasSigned “Lex” u.r.Oil on canvas, 25 x 35 in. (63.5 x 88.9 cm), framed.Condition: Minor surface grime.

$700-900

476.Helen Van Wyk (American, 1930-1994)

Summer BouquetSigned “H. Van Wyk-” l.l., also signed, dated, and initialed “H. VanWyk -69...H.V.W” on the reverse.Oil on canvas, 30 1/4 x 24 in. (76.8 x 61.0 cm), framed.Condition: Good.

$600-800

474

475 476

477.Thalia Wescott Malcom (French/American, b. 1888)

Still Life with Books and AnemonesSigned “THALIA MALCOM” l.r.Oil on canvas, 21 1/2 x 18 1/4 in. (54.6 x 46.4 cm), framed.Condition: Partially lined, retouch.

$800-1,200

478.Frederick W. Oliver (American, b. 1876)

Still LifeSigned “F.W. OLIVER” u.l.Oil on canvas, 18 x 14 1/4 in. (45.7 x 36.2 cm), framed.Condition: Lined, retouch (including repaired tear l.c.), craquelure.

$800-1,200

477

478

479.Virginia Berresford (American, 1902-1995)

Colorful BouquetSigned “Berresford” l.r.Oil with tooling on canvasboard, 30 x 22 in. (76.2 x 55.9 cm), framed.Condition: Bowing to support, scattered craquelure.

$1,000-1,500

480.Doris Emrick Lee (American, 1905-1983)

Grapefruit in BowlSigned “Doris Lee” l.c., identified on an Associated American Artists,New York, label affixed to the reverse.Oil on canvasboard, 16 x 20 in. (40.6 x 50.8 cm), framed.Condition: Retouch and varnish inconsistencies, signature possiblyreinforced.

$1,000-1,500

479

480

481.Nicolai S. Cikovsky (Russian/American, 1894-1987)

Still Life with FruitSigned “Nicolai Cikovsky” l.r.Oil on canvasboard, 19 3/4 x 24 in. (50.2 x 61.0 cm), framed.Condition: Surface grime.

$800-1,200

482.Ernest Fiene (American, 1894-1965)

White RosesSigned “E. Fiene.” l.r., titled, signed, and dated “...ERNEST FIENE1927” on the reverse, a partial period label from the Museum ofModern Art, New York, affixed to the reverse.Oil on board, 14 1/4 x 10 1/4 in. (36.2 x 26.0 cm), framed.Condition: Mild wear to edges, fine craquelure.

$800-1,200

481

482

483.Rockwell Kent (American, 1882-1971)

The Avenue, alternatively titled Th’ AvenueSigned “Hogarth Jr.” in pen u.r., titled in pen l.c., also signed and inscribed “Rockwell Kent/1262 RichmondTerrace./Staten Island.” in ink on the reverse.Ink on paper/board, 8 x 10 1/16 in. (20.3 x 25.6 cm), framed.Condition: Mat burn, paper patches, tape residue verso, taped and glued to window mat along top margin.

Literature: Vanity Fair, January 1916, p. 50; Chappell, George S., A Basket of Poses, New York: Albert and CharlesBoni, 1924.

N.B. The drawing of a busy city avenue scene––replete with cold-weather-bundled dainties and a gendarme directing abustle of sport cars, buses and limousines––first appeared as an illustration to George S. Chappell’s “poetic panorama,”“Th’ Avenue.” The published caption for this illustration is partially incorrect in that it refers to the drawing as “a rarewood engraving” by William Hogarth, Jr. Although the attribution to William Hogarth, Jr.––Rockwell Kent’spseudonym––is correct, the illustration is indeed a brush (possibly pen as well) and ink drawing. (Kent’s drawings wereoften misidentified as wood engravings or woodcuts.)

Kent collaborated with George S. Chappell on numerous publication ventures throughout the second and third decadesof the twentieth century, many of which appeared in Vanity Fair and Puck. Kent and Chappell knew each other fromprofessional architectural circles; the Ewing and Chappell architectural firm, based in New York City, began as the resultof a commission from Kent’s mother, Sarah––a house designed by her architecturally trained son; Kent worked off andon as a draftsman for Ewing and Chappell (during the first two decades).

This particular illustration, and the poem “Th’ Avenue,” was reprinted in A Basket of Poses – an anthology of Kent’s andChappell’s satirical collaborations.

We wish to thank Scott R. Ferris for his assistance with cataloging the lot.$1,000-1,500

483

484.Dorothy Pulis Lathrop (American, 1891-1981)

View of Wood Sprites in the ForestInitialed “D.P.L.” l.r.Ink on paper, sheet size 4 1/8 x 4 1/4 in. (10.5 x 10.8 cm), framed.Condition: Taped to window mat.

$1,000-1,500

485.Maxfield Parrish Jr. (American, 1906-1983)

Lot of Two Illustrated Letters to John Haven Emerson and IreneMarie Garrett Emerson, c. 1931Cloth-bound seven-page letter signed “M. Parrish Jr.” in pen on sixthpage, single-page letter unsigned.Ink and graphite on stationery, sheet sizes to 10 7/8 x 8 3/8 in.,single-page letter unframed.Condition: Folds, handling creases.

N.B. John Haven “Jack” Emerson was the cousin of Maxfield ParrishJr. through his mother, and the grandnephew of poet Ralph WaldoEmerson through his father. A designer of scientific instruments andmedical equipment, he is best known as the inventor of an improvediron lung, which he unveiled in 1931. The design was based on thework of Philip Drinker and Dr. Louis Agassiz Shaw, but was a moreefficient and economical version.1 Drinker sued Haven for patentinfringement, but the courts sided with Haven. Parrish Jr., who hadhelped Haven with illustrations for his company publications, providedillustrations of the iron lung that were used in the suit. The topic ofthe lawsuit and iron lung is depicted with levity on pages 3 and 4 ofthe bound letter, which depicts Justice casting a mean gaze onDrinker.

We wish to thank Alma Gilbert-Smith for her assistance withcataloging the lot.

1. http://americanhistory.si.edu/collections/object.cfm?key=35&objkey=114

$4,000-6,000485

484

486.Indian School, 20th Century

Women Offering LibationsSigned in Hindi with bird cipher “...1947” u.l.Gouache on illustration board, sheet size 10 1/8 x 16 1/2 in. (25.7 x41.9 cm), framed.Condition: Taped to beveled mat.

$500-700

487.Frank Albert Mechau Jr. (American, 1903-1946)

Darien LoversSigned and dated “mechau -44” l.r., titled and identified on labelsaffixed to the backing.Pencil on paper, sight size 28 1/4 x 21 5/8 in. (72.0 x 55.0 cm),framed.Condition: Toning, not examined out of frame.

N.B. The artist was an artist-correspondent for Life magazine duringWorld War II, traveling to U.S. military bases in the Pacific. Darién is aprovince in eastern Panama.

$1,000-1,500

486

487

488

488.I.W.J. Munut (Indonesian, b. 1941)

Feast DaySigned “IW. MUNUT.” l.r.Acrylic on cloth, 35 1/2 x 66 1/2 in. (90.2 x 168.9 cm), framed.Condition: Subtle staining.

$800-1,200

489.Orville Bulman (American, 1904-1978)

La Barque Lori, 1970Signed “Bulman” l.r., titled, signed, and dated “...ORVILLEBULMAN 1970” on the reverse.Oil on Masonite, 10 x 8 in. (25.4 x 20.3 cm), framed.Condition: Surface grime, fine craquelure, pigmentfluorescence.

$2,000-3,000

490.Henri Robert Brésil (Haitian, 1952-1999)

Landscape with LakeMonogram signature “HR. Brésil” l.r.Acrylic on cloth, 16 x 24 in. (40.6 x 61.0 cm), framed.Condition: Good.


$700-900

489

490

491

491.Orville Bulman (American, 1904-1978)

Le Barque BrumeauxSigned “Bulman” l.r., titled on a label affixed to the frame liner.Oil on canvas, 22 x 24 in. (55.9 x 61.0 cm), framed.Condition: Craquelure, surface grime, pigment fluorescence.

$10,000-15,000

493.Raphael Soyer (American, 1899-1987)

Portrait of a Female NudeSigned “RAPHAEL SOYER” in pencil l.l., identified on a partial labelaffixed to the backing.Watercolor and graphite on paper, sight size 12 x 7 in. (30.5 x 17.8cm), framed.Condition: Not examined out of frame.

$800-1,200

492.Attributed to John French Sloan (American, 1871-1951)

Portrait of a Dancing NudeSigned “John Sloan” in crayon and pen l.r., inscribed “N.A. ‘64” inpencil on the reverse.Pastel on paper, sheet size 15 1/2 x 10 3/8 in. (39.4 x 26.4 cm),framed.Condition: Rippling, acid burn, cloth tape hinged to backing mat.

Provenance: Acquired by Norton Asner, Baltimore, Maryland, 1964;by family descent.

$2,000-3,000

492

493

494

494.Aristide Maillol (French, 1861-1944)

Portrait of a Female NudeMonogrammed “M” l.r.Conté crayon on paper, 10 5/8 x 9 7/16 in. (27.0 x 24.0 cm), in aKulicke frame.

Provenance: A. [Anson] Conger Goodyear, Buffalo, New York, andOld Westbury, Long Island; by family descent to a private NewEngland collection.

$2,000-2,500

495.Jaro Fabry (American, 1912-1953)

He’s Just a Boy about his New Shorts with‘Grippers’ FastenersSigned “Jaro Fabry” l.l., identified on the mat l.c.Ink wash, gouache, and charcoal on paper, sight size14 x 16 in. (35.6 x 40.6 cm), framed.Condition: Subtle rippling, not examined out of frame.

$300-500

496.Sergei Yurievich Soudeikine (Russian, 1883-1946)

Portrait of a Woman with Headwrap, Possibly AnneWiggins Brown from Porgy and BessInscribed and signed “1921...S Soudeikine” l.l. in penciland pen respectively, inscribed “K1292” in pencil onthe reverse.Mixed media on paper, 13 1/4 x 11 1/4 in. (33.7 x 28.6cm), framed.Condition: Taped to window mat, subtle toning,trimmed sheet, glue residue verso.

$1,000-1,500

495

496

497

497.Adolf Arthur Dehn (American, 1895-1968)

Harlem OrchidsSigned and dated “Adolf Dehn ‘30” l.r., cancelled composition verso.Ink on paper, sight size 12 3/4 x 19 1/2 in. (32.4 x 49.5 cm), framed.Condition: Mat burn, toning, staining, subtle rippling, mat boardsadhered together so that the entire sheet cannot be viewed.

N.B. This composition is related to the lithograph of the same titlefrom 1931.

$500-700

498.Charles Dixie Jarrett (American, 1893-1947)

Enjoy More Leisure, Let White King’s Longer Lasting Suds Dothe Work, Probably a Design for a BillboardSigned “CHAS A./JARRETT.” l.r.Oil on canvas, 22 x 42 1/2 in. (55.9 x 107.9 cm), framed.Condition: Lined, retouch, surface grime.

$500-700

499.Tom Lovell (American, 1909-1997)

The BridgeSigned and dated “TOM LOVELL ‘47” l.r., stamped “BY THE ARTIST/TOM LOVELL” on the stretcher, inscribed “TOM LOVELL” and“COMP. THE BRIDGE” on the stretcher, identified on a presentationplaque, inscribed “PROPERTY OF MICHAEL D. DINGMAN” on a labelaffixed to the reverse.Oil on canvas, 25 x 36 in. (63.5 x 91.4 cm), in a frame with a labelfrom House of Heydenryk, New York, affixed to the reverse.Condition: Scattered retouch, fine scattered craquelure, mild surfacegrime.

$600-800

498

499

500

500.Norman Rockwell (American, 1894-1978)

Portrait of AliceTitled, signed, and dated “...Norman/Rockwell/1966” l.r.Graphite and colored pencil on paper, sight size 14 x 10 in. (35.6 x25.4 cm), framed.Condition: Not examined out of frame.

Provenance: Commissioned of the artist by the sitter’s mother, NewYork.

Literature: Moffatt, Laurie Norton, Norman Rockwell: A DefinitiveCatalogue, Volume II, Hanover: The University Press of New England,1986, No. P3, (illus.).

N.B. Though Norman Rockwell did not consider himself a portraitist,his skill with capturing a range of expression and emotion made himhighly sought-after for commissioned portraits. By 1968, he countedamong his sitters several American presidents, astronauts, publishers,and politicians.

$8,000-12,000

501.Walt Disney Studios (American, 20th Century)

Figaro/An Animation Cel from Pinocchio, c. 1940Unsigned, titled on the mat in pencil l.l.Gouache on celluloid with a painted presentation background, sightsize 3 3/8 x 3 5/8 in. (8.6 x 9.2 cm), unframed.Condition: Good.

$800-1,200

502.Joe Mathieu (American, 20th/21st Century)

Book Cover Illustration for Big Bird Plays the ViolinSigned “Joe Mathieu” in pencil l.r., identified and inscribed withproduction marks in pencil l.l.Luma dye and colored pencil, sheet size 17 x 14 in. (43.2 x 35.6 cm),unframed.Condition: Crop marks to the margins.

Provenance: From the collection of the artist.

Literature: Hautzig, Deborah and Joe Mathieu (illustrator), Big BirdPlays the Violin, New York: Random House/Children’s TelevisionWorkshop, 1991.

N.B. A copy of Big Bird Plays the Violin accompanies the lot.$1,000-1,500


Lot of Two Animation Cels of Peter Pegasus (Baby Pegasus)from Fantasia, c. 1940Unsigned, each stamped “WDP” [Walt Disney Productions] l.r. or l.l.,both with labels from Courvoisier Galleries, San Francisco, affixed tothe backing.Gouache on celluloid with a painted Courvoisier presentationbackground, sight sizes to 6 3/4 x 8 in. (17.1 x 20.3 cm), framed.Condition: Not examined out of frames.

N.B. Peter Pegasus was featured in the Pastoral Symphonysequence of Fantasia.

$400-600

501 502

503

504

505

504.Claude Dixon Coats (American, 1913-1992)

Background Scene for Walt Disney’s Lady and the TrampUnsigned, production marks in the margins.Gouache and graphite on paper, sheet size 12 x 40 in. (30.5 x 101.6cm), unframed.Condition: Tape residue to the margins, minor tears to edges, subtlehandling creases.

Provenance: Ex-collection of Disney artist Ralph Kent.

Literature: “Claude Coats: Prototypical Imagineer,” The ‘E’ Ticket,Issue #31, Spring 1999, p. 6 (illustrated).

N.B. Coats, a studio and concept designer for Walt DisneyImagineering, joined the Walt Disney Studio in 1935 as a backgroundpainter. In addition to Lady and the Tramp, he is credited with thebackground and color styling of Snow White and the Seven Dwarfsas well as Fantasia.1

A copy of The ‘E’ Ticket accompanies the lot.

1. “The Passing of a Legend-Claude Coates Dies at Age 78,” It Takes People, DisneyNewsreel, January 17, 1992.

$1,000-1,500


The Queen/An Animation Cel from Snow White and the SevenDwarfs, c. 1937Unsigned, titled on the mat in pencil l.l., with a label from AlbertRoullier Art Galleries, Chicago, on the backing.Gouache on celluloid with a painted presentation background,probably Courvoisier, sight size 11 1/4 x 10 5/8 in. (28.6 x 27.0 cm),framed.Condition: Rippling, not examined out of frame.

$1,000-1,500

506

506.Cecil Kennedy (British, 1905-1997)

Lot of Two Floral Still Lifes: Spring and AutumnBoth signed “Cecil Kennedy” l.r., identified on labels from The Fine ArtSociety Ltd., London, affixed to the reverse, and with C. Robersoncanvas stencils, Spring with pencil inscription on the stretcher,Autumn inscribed and titled “SET OF FOUR...” on the reverse.Oil on canvas, 9 x 7 in. (22.9 x 17.8 cm), framed (under glass).Condition: Not examined out of frames.

$700-900

507.Charles Whedon Rain (American, 1911-1985)

The SundialSigned “C. Rain” l.r., titled and inscribed “....C. RAIN/JAN 1964/NEWYORK” on the reverse, identified on a label from the Banfer Gallery,New York, and an exhibition label from the Essex County SectionNational Council of Jewish Women “American Art at Mid Century”affixed to the reverse.Oil on Masonite, 7 7/8 x 10 in. (19.9 x 25.4 cm), framed.Condition: Retouch (including area of signature), fine craquelure.

$600-800

508.Robert Douglas Hunter (American, b. 1928)

OrangeSigned “ROBERT DOUGLAS HUNTER” l.l., identified on apresentation plaque and a label from Grand Central Art Galleries, NewYork, on the reverse.Oil on canvas, 12 x 18 1/2 in. (30.5 x 47.0 cm), framed.Condition: Surface grime, abrasions and canvas deformations to l.l.and l.r. quadrants.

$800-1,200

507

508


Two FiguresIndistinctly signed and dated “...1931” l.r.Watercolor over graphite on paper laid down onto board, sight size17 1/2 x 13 in. (44.5 x 33.0 cm), framed.Condition: Mat burn, not examined out of frame.

$600-800

510.Hazel Janicki Teyral (American, 1918-1976)

The GatheringSigned and dated “Hazel Janicki Teyral 1946” l.r., signed or inscribed“HAZEL JANICKI TEYRAL/CLEVELAND 1946” on the reverse.Tempera on Masonite, 12 x 20 in. (30.5 x 50.8 cm), framed.Condition: Surface grime.

$400-600

509

510


FiguresSigned “J. ALVARO” l.r., identified on a label affixed to the reverse.Oil on canvas, 16 x 20 in. (40.6 x 50.8 cm), framed.Condition: Good.

$400-600

512.Maurice Compris (French, 1885-1939)

Portrait of a Woman by a MantelSigned “M...” l.l.Oil on canvas, 40 x 35 3/4 in. (101.6 x 90.8 cm), framed.Condition: Minor retouch, varnish inconsistencies.

$1,000-1,500

511

512

513.Channing Weir Hare (American, 1899-1976)

Surrealist Portrait of a WomanSigned and dated “Channing Hare 1945” l.l., stamped “FROM THEESTATE OF/CHANNING HARE/(1899-1976)” on the stretcher.Oil on canvas, 34 x 30 in. (86.4 x 76.2 cm), framed.Condition: Minor surface grime.

$800-1,200

514.Paul Bough Travis (American, 1891-1975)

The BullfightSigned, dedicated, and dated “PAUL B. TRAVIS/TO TOM ANDNANCY/1950” l.r.Oil on Masonite, 30 3/4 x 28 5/8 in. (78.1 x 72.7 cm), framed.Condition: Tack holes to margins, surface grime, abrasions.

$1,000-1,500

513

514

515.Alexandre Evgenievich Iacovleff (Russian, 1887-1938)

Paysage FantastiqueStamped indistinctly l.r., identified on a label from Robert C. Vose,Boston, affixed to the backing paper.Gouache on paper, 22 x 14 1/8 in. (55.9 x 35.8 cm), framed.Condition: Toning, mild acid burn, soiling, foxing to the reverse.

$1,000-1,500

516.Lawrence Edward Kupferman (American, 1909-1982)

Landscape of the Mind XI, 1964Signed “Kupferman” l.r., also inscribed, titled, signed, and dated“...XD:1,804.G... Lawrence Kupferman-1964” on the reverse.Oil on canvas, 46 x 32 in. (116.8 x 81.3 cm), unframed.Condition: Surface grime, craquelure.

Provenance: Through the family of the artist.$1,200-1,800

515

516

517.Howard Rose (American, 20th/21stCentury)

A Find on the BeachSigned “HRose” l.r., titled on a tag affixed tothe reverse, a label from Chrysalis Gallery,Southampton, New York, affixed to thestretcher.Oil on canvas, 36 x 35 3/4 in. (91.4 x 90.8cm), unframed.Condition: Tape to the tacking edge,scattered varnish inconsistencies.

$600-800

518.Hal Singer (American, 1919-2003)

Portrait of a Boy in a TreeSigned “-HAL SINGER” l.r.Oil on canvas, 22 x 28 in. (55.9 x 71.1 cm),framed.Condition: Good.

$700-900

517

518

519

519.R.C. Gorman (American, 1932-2005)

Portrait of a Woman in Blue ShawlSigned and dated “R.C. Gorman 1983” l.r.Oil pastel on paper, sight size 28 1/2 x 22 1/2 in. (72.4 x 57.2 cm),framed.Condition: Not examined out of frame.

$3,000-5,000

520

520.Diego Rivera (Mexican, 1886-1957)

Skyline, Florence, ItalySigned and dated “Diego Rivera. 21” in pencil l.r.Graphite on paper, sheet size 8 3/8 x 10 5/8 in. (21.3 x 27.0 cm),unframed.Condition: Acid burn to l.l. quadrant, tear to u.l. and l.l. quadrants,glued to backing sheet at corners.

Provenance: Collection of Caroline Johnston (née Ramsay) Chandlerof Wilmington, Delaware, (b. 1893), by family descent to privatecollection, Maine. Caroline Ramsay Chandler was the eldestdaughter of William Gouverneur Ramsay, a civil engineer and vicepresident of E.I. du Pont de Nemours & Company. She was astudent of the Woodstock Art Colony, an artist in watercolors andoils, as well as an art collector. She traveled to Mexico in the 1930s,and is believed by her family to have acquired art on this trip,including the present work.

$4,000-6,000

521

521.Giorgio De Chirico (Italian, 1888-1978)

Untitled Landscape with Petrified Boat and Figures [The Dioscuri], c. 1925 and Untitled Portrait of Gala Dali, c. 1924-25/ADouble-sided WorkLandscape signed “G. de Chirico” in pencil l.r., Portrait signed and inscribed “Le retour a une suite...G. de Chirico” l.r. andinscribed “Madame Gala Dali” in a later hand l.c.Graphite on paper, sight size 12 x 9 in. (30.5 x 22.9 cm), framed.Condition: Subtle foxing, pinhole u.c.

Provenance: From the Hillman Family Collection by descent to Alex Hillman; private collection c. 1990s.

Literature: Emily Braun, Manet to Matisse: The Hillman Family Collection, Seattle: University of Washington Press, 1994, pp. 54-57(illus.).

N.B. In Emily Braun’s analysis of the landscape composition of the present work, she notes that the two figures depicted in theforeground may allude to the twin sons of Zeus, Castro and Polydeuces—also known as the Dioscuri—but may also represent theartist and his brother, Alberto Savinio.1 Supporting this interpretation, Braun cites the depiction of eyes in the lower left, whichcommonly represented for De Chirico “the visionary powers of the artist” or “the omnipotence of the gods.”2 Of the portraitcomposition on the reverse, Braun contextualizes the work within the Parisian surrealist circle of Paul Eluard, Gala Dali’s firsthusband. She notes that Eluard was a patron of De Chirico c. 1923, and that De Chirico associated with the couple through1926.3

1. Emily Braun. Manet to Matisse: The Hillman Family Collection. Seattle: University of Washington Press, 1994, p. 54.2. Ibid.3. Ibid., 55.

$5,000-7,000

522

522.George Ehrenfried Grosz (German/American, 1893-1959)

Stille Nacht Heilige Nacht, c. 1922Signed “Grosz” in pen l.r., inscribed and titled “...ca. 1922...Eltern...” with a stamp from the George GroszNachlass on the reverse.Ink on paper, sheet size 23 1/8 x 15 3/4 in. (58.7 x 40.0 cm), framed.Condition: Center crease, subtle rippling and foxing, mat burn, subtle toning, cloth tape hinged to backingmat, tape residue to the reverse.

Provenance: Purchased from Galleria dell’Obelisco Rome, Italy; collection of Melvin B. Nessel, Boston,Massachusetts.

N.B. We wish to thank Ralph Jentsch who kindly confirmed the authenticity of the lot and assisted with itscataloging. The work is registered as no. 3-10-2 with the George Grosz Estate, and will be included inRalph Jentsch’s forthcoming catalogue raisonné of the artist.

The present work is a preliminary drawing related to a published work of the same year, which has beenreproduced under the titles, “Gottes sichtbarer Segen ist bei mir.,” from Friedrich Schiller, Die Raüber (Act II,Scene 3), Plate 6, Der Malik-Verlag, Berlin, 1922; “Ein trautes Weib, ein herzig Kind, das ist mein Himmel aufder Erde.,” from George Grosz, Abrechnung folgt!, Der Malik-Verlag, Berlin, 1923, p. 31; and “Gottessichtbarer Segen ruht auf uns,” from George Grosz, Die Gezeichneten, Der Malik-Verlag, Berlin, 1930, p. 43.A single plate from the portfolio Die Raüber has appeared annotated by Grosz with the same title of thepresent work.

$6,000-8,000

523

523.George Ehrenfried Grosz (German/American, 1893-1959)

Acrobatentänzer, 1915Unsigned, with stamp from the George Grosz Nachlass on the reverse, inscribed “TR1479.186” in pencil l.r. and “LyNr 1248” in pencil on the reverse, identified on apartial label from Retina Gallery, Inc., Boston, on the backing.Ink on laid paper, sheet size 11 3/8 x 8 7/8 in. (28.9 x 22.5 cm), unframed.Condition: Subtle handling creases, tape hinged to backing mat.

Provenance: Estate of Eleanor Kanegis Levin, East Gloucester, Massachusetts.

N.B. We wish to thank Ralph Jentsch who kindly confirmed the authenticity of thelot and assisted with its cataloging. The work is registered as no. 3-40-4 with theGeorge Grosz Estate, and will be included in the forthcoming catalogue raisonné ofthe artist.

$3,000-4,000

524.Jean Dufy (French, 1888-1964)

Le concertSigned “Jean Dufy” l.l., identified on a label from Coleman Art Gallery,Philadelphia, affixed to the backing.Gouache on paper, sheet size 10 7/8 x 20 in. (27.6 x 50.8 cm),framed.Condition: Masking taped to window mat on the reverse.

Provenance: Private Massachusetts collection.

N.B. We wish to thank Jacques Bailly for kindly confirming theauthenticity of the lot. The work will be included in his forthcomingcatalogue raisonné on the artist, and a photo-certificate (No. 4128)accompanies the lot.

$6,000-8,000


Les Cavaliers, 1945Bears signature “Jean Dufy” in pencil l.l., identified on a label fromCarel Gallery, Miami Beach, Florida, on the backing.Gouache, watercolor, and graphite on paper, sheet size 10 7/8 x 155/8 in. (27.6 x 39.7 cm), framed.Condition: Laid down to Masonite, toning, graphite marks in themargins, water stain to the u.r. quadrant.

Provenance: Private Massachusetts collection.

N.B. We wish to thank Jacques Bailly for kindly confirming theauthenticity of the lot, and a photo-certificate (No. 4129)accompanies the lot.

$6,000-8,000

524

525

526


Clowns musiciens, c. 1950-1952Signed “Jean Dufy” l.r., inscribed “No. 18597-3” on a stamp fromHammer Galleries, New York, and with a label from Arthur Lenars &Cie, Paris, on the reverse.Oil on canvas, 14 x 10 3/4 in. (35.6 x 27.3 cm), framed.Condition: Good.

Provenance: By family descent c. 1984.

N.B. We wish to thank Jacques Bailly for kindly confirming theauthenticity of the lot. The work will be included in his forthcomingcatalogue raisonné on the artist, and a photo-certificate (No. 4127)accompanies the lot.

$10,000-15,000

527.Theodoros Stamos (Greek/American, 1922-1997)

Untitled/A Wall HangingSigned “Stamos” within the matrix l.l.Hooked wool, 86 x 47 in. (218.4 x 119.4 cm), on a metal rod.Condition: Subtle shade variations.

Provenance: Estate of Joan E. Goody, Boston, Massachusetts.

Literature: Design New England, March/April, 2010, p. 45, (illus.).$700-900

528.Reuben Tam (American, 1916-1991)

The South WindSigned “Tam” in pencil l.r., titled in pencil l.l., identified on a label fromThe Brooklyn Museum Art School Exhibition affixed to the backing.Ink and graphite on paper, sight size 14 1/2 x 17 1/4 in. (36.8 x 43.8cm), framed.Condition: Not examined out of frame.

Exhibitions: The Brooklyn Museum Art School Exhibition, FacultyChristmas Show, December 12, 1972.

$500-700

527

528

529.Bao Lede (Chinese, b. 1959)

Early Spring in Provincetown, 2007Signed and dated “Bao Lede ...07” on the reverse.Oil and ink on canvas, 30 x 30 in. (76.2 x 76.2 cm), framed.Condition: Good.

N.B. Bao Lede received his fine arts degree from Tianjin Academy ofFine Arts, where he taught for a brief period after graduation. In1989, he came to the United States to pursue his MFA at PittsburghState University, and has been working on Cape Cod for over adecade.

$2,000-2,500

530.Gabor F. Peterdi (American, 1915-2001)

Black Table I, 1957Signed and dated “Peterdi 57” l.r., also signed, titled, and dated“PETERDI 57...” and identified on a label from Kanegis Gallery,Boston, on the strainer bars.Oil on canvas, 50 x 40 in. (127.0 x 101.6 cm), framed.Condition: Good.


N.B. A copy of Gabor Peterdi: Paintings by Burt Chernow, publishedby Taplinger Publishing Company, New York, 1982, accompanies thelot.

$2,000-3,000

529

530


Lot of Two Works: Two Lovers in the Yellow House and UntitledLovers initialed “MTG” l.r., titled and dated “...1963” on the stretchers,Untitled initialed “MG” l.r., signed and dated “Michiel Gloeckner 70”on the stretcher.Oil on canvas, sizes to 10 x 8 in. (25.4 x 20.3 cm), framed.Condition: Lovers with minor surface grime.

$800-1,200

532.Michel Moreno (French, b. 1945)

Composition-Syntho-ChromismeTitled, inscribed, and signed “...M-Moreno” in pen on the reverse.Oil on canvas, 39 1/2 x 32 in. (100.3 x 81.3 cm), framed.Condition: Craquelure, minor losses/abrasions.

$1,000-1,500


UntitledUnsigned, inscribed “Michiel Gloeckner” in pen on the reverse.Oil on canvas, 30 x 30 in. (76.2 x 76.2 cm), framed.Condition: Subtle warping.

$800-1,200

531 532

533

534

534.Lyonel Feininger (American, 1871-1956)

It Happened in a Dream, 1946Signed “Feininger” in pen and inscribed “...L.F.” in pencil l.l., dated“1946” in pen and titled in pencil l.r., inscribed “2470/36 R.R.12157/70” in pencil on the reverse.Ink, gouache, and graphite on laid paper, sheet size 12 1/2 x 18 7/8in. (31.8 x 47.9 cm), framed.Condition: Tape residue to all edges recto and corners verso, clothtape hinged to backing mat.

Provenance: Purchased from Obelisk Gallery, Boston; collection ofMelvin B. Nessel, Boston, Massachusetts.

N.B. We wish to thank Achim Moeller of the Lyonel Feininger Project,LLC, for his assistance in cataloging the lot. The work is included inthe Lyonel Feininger Archives of drawings and watercolors as no.280-01-05-10, and a photo-certificate from Achim Moelleraccompanies the lot.

$40,000-60,000

535

535.Yves Tanguy (French/American, 1900-1955)

Un peu après [A Little Later], 1940Signed and dated “YVES TANGUY 40” l.r., inscribed “Yves Tanguy ‘Un peu après’ Pierre MatisseGal 41 E 57” in pencil and identified on a label from Acquavella Galleries, Inc., New York, on thereverse.Oil on canvas mounted to Masonite, 18 x 15 in. (45.7 x 38.1 cm), framed.Condition: Subtle craquelure, minor retouch, minor surface grime.

Provenance: Mr. Edward C. Mack and Mrs. Ruth C. Mack, New York City and New Rochelle,New York; gift to their daughter, Mary Lee Ingbar, Cambridge, Massachusetts.

Literature: Yves Tanguy [November 7 to December 7, 1974] (New York: Acquavella Galleries, Inc.,1974), no. 23 (illus.); Yves Tanguy: Un Recueil de ses oeuvres (New York: Pierre Matisse Gallery,1963), no. 259 (illus.), p. 120; European Artists in America, Whitney Museum of American Art,March 13 to April 11, 1945, (exh. cat., no. 130).

Exhibitions: Yves Tanguy, November 7 to December 7, 1974, Acquavella Galleries, Inc., NewYork, no. 23; European Artists in America, Whitney Museum of American Art, March 13 to April11, 1945; Exhibition of Paintings by Yves Tanguy, Pierre Matisse Gallery, April 21 to May 9, 1942.

Tanguy left France for the United States in 1939, where he developed a new painting vocabulary.He noted “a feeling of greater space here—more ‘room’” and an “intensification of color” whichthe art historian Roland Penrose described as Tanguy’s substitution of earth tones for “morestrident reds and blues.”1

Of Tanguy’s work of the 1940s, the poet John Ashbury observed forms of “new bulk and density”;“The [depicted] universe is no longer exclusively mineral; some of its tenants appear to be made ofwood, paper or cloth. There are strange tissue-like folds, bones creatures not only colored likejellyfish but of some viscous milky white/or magenta pulp, weeping, burning to the touch likesodium. And these forms have begun to proliferate, pullulate, assuming ever more complex,incestuous relationships.”2 What Ashbury alludes to is the way that Tanguy’s compositions can beat once animate and static, organic and inorganic, whole and fragmented, nature-sprung andman-made. In the present work, simply in the way he aggregates forms, Tanguy evokes anabsurd notion of hierarchy amongst what are essentially automatons. There are human-likeappendages that suggest the potential for movement but little sense of a motive for action. Eventhough the cast shadows convey solidity, each aggregate can also be reduced to a precarious pileof parts. The scene can be interpreted as both desolate and fanciful—a wasteland of parts asmuch as a quixotic landscape with figures on a journey.

We wish to thank the Yves Tanguy Committee of the Pierre and Tana Matisse Foundation for theirassistance with cataloging the lot. It is the Yves Tanguy Committee’s intention to include this oilon canvas in the revised edition of the Yves Tanguy catalogue raisonné.

1. Sweeney, James Johnson, “Eleven Europeans in America,” The Bulletin of the Museum of Modern Art, Vol. 13, No. 4/5 (NewYork: The Museum of Modern Art), 1946, p. 23.

2. Ashbury, John, “Tanguy-The Geometer of Dreams,” Yves Tanguy [November 7 to December 7, 1974] (New York: Acquavella

Galleries, Inc., 1974).$300,000-500,000


Abstract Composition in Orange, Yellow, Maroon,Gray, and BlackSigned and dated “Filipowski 47” l.r.Graphite, colored pencil, gouache, and ink onStrathmore paper, sight size 28 1/2 x 22 3/8 in. (72.4 x56.8 cm), framed.Condition: Scattered foxing, light scatteredsoiling/staining, not examined out of frame.

Provenance: Gift from the artist.$1,500-2,500

537.Edmondo Bacci (Italian, 1913-1978)

B-5Signed “BACCI” l.c., signed and titled “E. BACCI...” onthe reverse, inscribed “...F.C. Matthae,/1025 5thAvenue/New York 28/N.Y. U.S.A.” on a period labelaffixed to the reverse.Mortar with ink and tempera on board relief mountedonto Masonite, 3 1/2 x 3 1/2 in. (8.9 x 8.9 cm), framed(under glass).Condition: Surface dust/grime, not examined out offrame.

$600-800

536

537

538


Abstract Composition in Red, Violet, Orange, Gray, and BlackSigned and dated “Filipowski 47” l.r.Graphite, colored pencil, and gouache on Strathmore paper, imagesize 28 x 22 in. (71.1 x 55.9 cm), frame accompanies the lot.Condition: Scattered foxing, light scattered soiling/staining.

Provenance: Gift from the artist.$1,500-2,500


Abstract Glasses and Bottles, a Composition in Red, Yellow, andBlackSigned and dated “Filipowski 45” l.r., stamped “Richard Filipowski” onthe reverse.Gouache and graphite on Crescent Illustration Board, board size 15 x20 in. (38.1 x 50.8 cm), unframed, wrapped in Cellophane.Condition: Bowing to support, scattered soiling/staining, toning, notexamined out of Cellophane (with tears/losses to Cellophane wrapperat corners).

Provenance: Gift from the artist.$800-1,200


Abstract CompositionInitialed and dated “F/48” l.r., dedicated, signed, and dated “HappyBirthday to/Ann/Filip. 6/17/61” on the backing.Ink, gouache, and pastel on paper, sheet size 8 5/8 x 11 in. (21.9 x27.9 cm), sandwiched between glass and backing board.Condition: Toning, staining, rippling, not examined out ofglass/backing.

$600-800

539

540

541

542

541.Josef Scharl (German/American, 1896-1954)

Lot of Five Works: Ascending Moon, 1st Version; Sketch forGethsemane; Nude IV; Harvest Time; and Still LifeMoon signed and dated “Jos. Scharl/1954” l.l.; Gethsemane signedand dated “Jos. Scharl/1944” in pen l.r., titled l.l.; Nude signed, datedand titled “Jos. Scharl/1952...” in pen l.l.; Harvest signed and dated“Jos. Scharl/1949” in pen l.l., titled l.r.; Still Life signed “Josef Scharl”in pencil l.r.; Moon tempera on paper, Gethesmane, Nude IV, andHarvest Time, ink on paper, Still Life screenprint on paper, sheet sizesto 17 3/4 x 23 3/4 in. (45.1 x 60.3 cm), Moon and Still Life framed,others unframed.Condition: Moon with minor losses to edges, not examined out offrames.

Provenance: Gift from the late collection of Mr. and Mrs. Carl Polk,Long Island, New York and Midwale, New Jersey, to the presentowner.

N.B. Three Josef Scharl exhibition booklets from Galerie St. Etienne,New York; a copy of the book Josef Scharl, published by NierendorfEditions, 1945 (edition of 1000 unnumbered copies), a copy of thejournal Print, Volume 9, No.4, March-April 1955, a copy of the bookFunfzig Zeichnungen zum Alten und Neuen Testament, published by

Econ-Verlag, 1967, a copy of Grimm’s Fairy Tales, published byPantheon Books, New York, and photographs after works by JosefScharl accompany the lot.

$1,000-1,500


Abstract with Yellow and Blue DiscsSigned and dated “Filipowski ‘96” l.r., inscribed “Richard E.Filipowski/10 Round Hill Road/LEXINGTON MA” in the artist’s handon the reverse.Ink and gouache on paper, sheet size 15 x 22 1/2 in. (38.1 x 57.0 cm),framed.Condition: Tape residue u.r. and u.l., deckled edges, mild scatteredsoiling/staining, not examined out of frame.

Provenance: Gift from the artist.$800-1,200

543.-545.No lots.

546.José Guerrero (Spanish/American, 1914-1992)

Untitled, 1956Signed and dated “Jose Guerrero 1956” l.l.Ink on paper, 25 1/2 x 19 1/2 in. (64.8 x 49.5 cm), framed.Condition: Subtle toning, subtle rippling, paper loss l.l., not examinedout of frame.

Provenance: Purchased from the artist, by family descent to a privateNew England collection.

N.B. We wish to thank the Centro José Guerrero for their assistancewith cataloging the lot; the work will be included in their forthcomingdigital catalogue raisonné.

$2,500-3,500


Untitled, 1960Signed and dated “Jose Guerrero 1960” l.l.Ink on paper, 26 1/4 x 40 in. (66.7 x 101.6 cm), framed.Condition: Subtle toning, minor paper loss, not examined out offrame.

Provenance: Purchased from the artist, by family descent to a privateNew England collection.

N.B. We wish to thank the Centro José Guerrero for their assistancein cataloging the lot; the work will be included in their forthcomingdigital catalogue raisonné.

$3,000-5,000

546

547

548


UntitledSigned “Jose Guerrero” l.l., dedicated “...ON HIS DAY OF BIRTH NOVEMBER 18, 1961/FROM HIS MOTHERAND FATHER.” on the reverse.Oil and mixed media on canvas, 40 x 44 in. (101.6 x 111.7 cm), framed.Condition: Craquelure, lifting, alligatoring, canvas deformations, surface grime.

Provenance: Purchased from the artist, by family descent to a private New England collection.

N.B. Spanish-born José Guerrero first arrived in New York in 1950 with his American wife, Roxane WhittierPollock. The couple settled in Greenwich Village (with Guerrero setting up a studio in the adjacent SoHoDistrict), but also passed summers at a rental house on Martha’s Vineyard. Guerrero remained in New Yorkfor the next eight years, where on the introduction of his dealer Karl Bucholz, he was introduced to BettyParsons. Through Parsons’ circle, Guerrero met fellow abstract expressionist artists Franz Kline, Mark Rothko,and Robert Motherwell.1 Guerrero’s work of the 1950s through mid-1960s is characterized by his use ofindustrial materials, including silicate, to call attention to the materiality of the two-dimensional surface.

We wish to thank the Centro José Guerrero for their assistance with cataloging the lot; the work will beincluded in their forthcoming digital catalogue raisonné.

1. http://www.centroguerrero.org/index.php/1947/122/0/?&L=undefined

$10,000-15,000

549.Leonardo M. Nierman (American, b. 1932)

Column of LightSigned “Nierman” l.r.Oil on Masonite, 31 1/2 x 23 1/2 in. (80.0 x 59.7 cm), framed.Condition: Minor surface abrasions.

Provenance: Purchased from Bryant Galleries, New Orleans.$800-1,200

550.Paul Henry Brach (American, 1924-2007)

Untitled #13, 1959Signed and dated “Brach ‘59” l.r., identified on a label from LeoCastelli Gallery, New York, affixed to the backing.Oil on paper mounted to board, 28 5/8 x 23 3/8 in. (72.7 x 59.4 cm),framed.Condition: Minor surface grime, surface abrasions.

$700-900

549

550

551

551.Jon Kuhn (American, b. 1949)

Jack Flash, 1991Incised signature, date, and title “Jon Kuhn 1991...” on the underside.Cut and bonded glass, 12 3/4 x 4 7/8 x 4 1/2 in. (32.4 x 12.4 x 11.4cm).Condition: Good.

Provenance: Purchased from Heller Gallery, New York, 1991.$3,000-5,000

552.Kahlil George Gibran (American, 1922-2008)

Lot of Two Works: Untitled [Sculpture] and Study for UntitledSculpture stamped “K.GIBRAN” l.r., Study signed “Kahlil Gibran” inpencil u.r., dedicated and inscribed “SIDNEY/HAPPY BIRTHDAY-...”l.l.Sculpture carved mahogany wood and metal, mounted to a woodplinth, 72 x 9 x 9 in. (182.9 x 22.9 x 22.9 cm), Study graphite andconté crayon on paper, sheet size 20 1/8 x 23 7/8 in. (51.1 x 60.6cm), unframed.Condition: Sculpture good; Study with handling creases.

Provenance: Commissioned of the artist, February 1961; from theestate of Mary Lee Ingbar, Cambridge, Massachusetts.

N.B. An autographed first edition copy of Sculpture Kahlil Gibran(The Bartlett Press: Boston, 1970), accompanies the lot.

$3,000-5,000

553.Paul Nash (British, 1889-1946)

LandscapeSigned “Paul Nash” l.r., identified on labels including one from theCorcoran Gallery of Art, Washington, D.C., affixed to the backing.Watercolor and pencil on paper, sight size 10 1/2 x 19 in. (26.7 x48.3 cm), framed.Condition: Not examined out of frame.

Exhibitions: Summer’s Lease [Loan by Washington Area Collectors],Corcoran Gallery of Art, June 13 to August 31, 1972.

$4,000-6,000

552

553

554.Peter Blume (American, 1906-1992)

Tree in SnowSigned “P. BLUME” u.r.Ink, charcoal, and pastel on paper, sheet size 20 x 17 1/4 in. (50.8 x43.8 cm), framed.Condition: Not examined out of frame.

Provenance: Purchased from Durlacher Bros., New York, November1964; from the estate of Mary Lee Ingbar, Cambridge,Massachusetts.

Exhibitions: Peter Blume: Paintings and Drawings, DurlacherBrothers, October 27 to November 21, 1964.

$3,000-5,000

555.Gerhard Marcks (German, 1889-1981)

Büffelkuh, 1953Ciphered and stamped “...RICH. BARTH BLN. MARIENDORF” on theunderside.Bronze with dark brown patina, 14 3/16 x 20 7/8 x 6 in. (36.0 x 53.0x 15.2 cm).Condition: Minor abrasions.

Literature: Rudloff, Martina, Gerhard Marcks, 1889-1981:Retrospektive, Munchen: Hirmer, 1989, p. 307 (illus.); Blaum, Rudolf,et al., Gerhard Marcks Und Die Antike, Heidelberg: Edition Braus,1993 (illus.); Marcks, Gerhard and Martina Rudloff, Gerhard Marcks:Das Plastische Werk, Frankfurt: Propylaen Verlag, 1977 (illus. pl. 52),no. 609.

N.B. Animals were an early subject for Marcks, and one he revisitedafter World War II. In an essay on his work between the years of1951 to 1961, Marcks recalls Myron’s Cow, which was praised byboth Pliny and Goethe as expressing qualities above mere naturalisticrepresentation—balance and harmony—in discussing his owncomplicated feelings about animals as his muse. “Animals were myfirst friends and models,” he writes, noting that when life was difficult“I again escaped to the [Berlin] Zoo, fancying that I could find peaceonly with animals—creatures who wanted nothing of me, and ofwhom I wanted nothing but permission to admire them.”1 It was hisgrowing empathy with animals, however, that lead him eventually todisregard the zoo as “imprisonment.” “I saw them now exactly incorrespondence to ourselves, often cruelly deformed by slavery...butalways undisguised, in their unambiguous expressive power.”2

1. Marcks, Gerhard, “Gerhard Marks on his Life and Work,” The Massachusetts Review, Vol. 2,No. 3 (Spring 1961), p. 519.2. Ibid.

$6,000-8,000

554

555

556.Jan Matulka (Czechoslovakian/American, 1890-1972)

Still Life with Conch Shell and Portrait Bust of VoltaireSigned “Matulka” in ink l.l., with a label from Mrs. E. Ives Bartholet,Art Consultant, on the reverse.Oil on canvas, 20 x 23 1/2 in. (50.8 x 59.7 cm), framed.Condition: Craquelure, lined, surface grime.

$3,000-4,000

557.Suzanne Roger (French, 1899-1986)

La salle à manger, 1950Signed “Suzanne Roger” l.l., identified on a label from SaidenbergGallery, New York, on the backing, titled on the stretcher in pencil,stamped “Galerie Louise Leiris” on a label from Galerie Simon, Paris,affixed to the stretcher.Oil on canvas, 8 3/4 x 10 3/4 in. (22.2 x 27.3 cm), framed within aliner.Condition: Subtle canvas deformations.

$700-900

556

557

558

558.Graham Vivian Sutherland (British, 1903-1980)

Tree Roots: Dwarf Oak, 1949Signed and dated “Sutherland 1949” in pen l.r., identified on a label from The Redfern Gallery,Ltd., London, on the backing.Mixed media on paper mounted to matboard, sheet size 4 3/8 x 7 3/8 in. (11.1 x 18.7 cm),framed.Condition: Trimmed sheet, mat burn, subtle toning.

N.B. The present work is an example of Sutherland’s lifelong fascination with organic forms andfragments found in nature, particularly roots and branches. For Sutherland, these subjects arenot simply cold specimen studies, though depicted close-up. In the present work, energetic linescreate stark contrasts between surfaces and recesses, giving the object a sense of twisting inspace. Sutherland spoke of dwarf oaks as having “the most extraordinary beautiful, varied andrich shapes which detach them from their proper connotation as trees. One does not think ofthem so much as trees, more as figures; they have the same urgency that certain movements offigures can have in action.”1 Sutherland frequently used his sketchbook studies to developfinished compositions in the studio, and the present work, as evidenced by a spiral boundmargin, was presumably one.

1. Alley, Ronald, Graham Sutherland, exh. cat., Tate Gallery, London, 1982.

$6,000-8,000

559.Edgar Iené (German/Austrian, 1904-1984)

Les Deux Chevaux, 1956Signed and dated “Iené 56” l.r., also identified on a label affixed to thebacking.Oil on canvas, 32 x 25 1/2 in. (81.3 x 64.8 cm), framed.Condition: Craquelure.


Literature: Iené: Oeuvres Recentes, March 12 to 30, 1957, GalerieFurstenberg, Paris, no. 18 (illus.)

N.B. A copy of the exhibition pamphlet accompanies the lot.$800-1,200

560.Marcel Gromaire (French, 1892-1971)

Femme NueSigned and dated “Gromaire/1957” l.r., with a label from KravetzGallery, Rochester, New York, on the backing.Ink on paper, sheet size 12 3/4 x 9 7/8 in. (32.4 x 25.1 cm), framed.Condition: Masking taped to backing mat, losses to sheet alongbottom margin.

N.B. We wish to thank Madame Françoise Chibret-Plaussu for herassistance with cataloging the lot, and a photo-certificate fromMadame Chibret-Plaussu accompanies the lot.

$1,000-1,500

559

560

561

561.Keith Vaughan (British, 1912-1974)

Pupitre, 1945Signed “Keith Vaughan” in ink l.r., inscribed, titled, and dated“...1945” on the backing.Ink and crayon on paper, sheet size 6 1/2 x 8 in. (16.5 x 20.3 cm),framed.Condition: Paper pitting/losses, rippling.

$3,000-5,000

562

562.Tony Agostini (Italian, 1916-1990)

Le chevalet rougeIncised signature “Tony Agostini” l.r., titled and signed “...TonyAgostini” on the reverse.Oil on canvas, 18 x 15 in. (45.7 x 38.1 cm), framed.Condition: Good.

$500-700

563

563.Marcel Mouly (French, 1918-2008)

La vie calme avec la chaise, 1996Signed and dated “M. Mouly 96” l.r., also signed, titled, inscribed, anddated “M. Mouly...Gentilly 1996” on the reverse.Oil on canvas, 23 1/2 x 29 in. (59.7 x 73.7 cm), framed.Condition: Good.

$7,000-9,000

565.Scott Prior (American, b. 1949)

Objects on a Roadside, 1980Unsigned, identified on a label from Alpha Gallery, Boston, affixed tothe backing.Oil on Masonite, 6 1/2 x 4 in. (16.5 x 10.2 cm), in a shadow boxframe.Condition: Not examined out of frame.

$1,000-1,500

564.Birney Lettick (American, 1919-1986)

Nutcracker IllustrationSigned “Lettick” twice l.r., inscribed and stamped “PLEASE RETURNPAINTING TO: BIRNEY LETTICK, 121 E. 35th ST. NY.C.” on thereverse, annotations in the margins.Oil on paper mounted onto Bainbridge board, 15 x 10 3/4 in. (38.1 x27.3 cm), unframed.Condition: Support slightly warped, retouch and pigmentfluorescence, residue and surface grime to the margins, mild wear tocorners.

$1,000-1,500

564

565

566

566.John Stephens (American, b. 1945)

Fear & Fascination of Capsizing #265, 1978Signed, inscribed, and dated “STEPHENS/265 1978” l.r., identified onan artist label affixed to the reverse.Acrylic on Masonite, 24 x 30 in. (61.0 x 76.2 cm), framed.Condition: Good.

$10,000-15,000

567

567.Elena Borstein (American, b. 1946)

Lavender Gate IISigned, dated, and titled “Elena Borstein 1992...” on the reverse.Oil on canvas, 42 x 54 in. (106.7 x 137.2 cm), framed.Condition: Good.

Provenance: Purchased from Nahan Galleries, New York, 1992.$2,000-3,000

568

568.Elena Borstein (American, b. 1946)

Monolithos IV, 1991Signed, titled, and dated “Elena Borstein...1991” in pen on thereverse.Oil pastel on paper, 40 x 60 in. (101.6 x 152.4 cm), framed.Condition: Not examined out of frame.

Provenance: Purchased from Nahan Galleries, New York, 1992.$2,000-3,000

569

569.Wolf Kahn (American, b. 1927)

Barn in Summer, 1971-72Signed “W. Kahn” l.r., signed, dated, and titled “Wolf Kahn 1972...”and identified on a label from Parker Street 470, Boston, on thestretcher.Oil on canvas, 50 x 50 in. (127.0 x 12.7.0 cm), framed.Condition: Wax consolidation verso, subtle lifting, craquelure.

$8,000-12,000


San Marco from the Lagoon, 1958Signed “WKahn” l.r., identified in an exhibition catalogue (see below)affixed to the reverse.Pastel on paper/board, sight size 12 x 16 in. (30.5 x 40.6 cm),framed.Condition: Mat burn, toning, not examined out of frame.

Exhibitions: For Collectors: A Sales Exhibition of Works of Art,Worcester Art Museum, March 6-April 5, 1959, no. 2.

$2,000-3,000


Winter, 1975Signed and dated “W Kahn 75” l.r., identified in exhibition catalogue(see below) affixed to the reverse, sales agreement dated December18, 1977, affixed to the reverse, identified on a label from HarcusKrakow Gallery, Boston, affixed to the reverse.Pastel on paper/board, sight size 8 1/2 x 11 1/4 in. (21.6 x 28.6 cm),framed.Condition: Toning, not examined out of frame.

Exhibitions: For Collectors, Worcester Art Museum, December 10,1977-January 8, 1978, no. 145.

$1,500-2,500

571

570


HostagesUnsigned.Acrylic and screenprint on shaped canvas, 45 1/2 x 52 3/4 in. (115.6x 134.0 cm), framed.Condition: Good.

$400-600

573.Henry Schwartz (American, 1927-2009)

The Confidential Clerk, 1981Signed and dated “Henry Schwartz 1981” l.r., identified and signed“...Henry Schwartz...” on labels affixed to the reverse.Oil on Masonite, 11 3/4 x 31 1/2 in. (29.8 x 80.0 cm), framed.Condition: Minor surface grime.

Provenance: Estate of Joan E. Goody, Boston, Massachusetts.$300-500

572

573

574.Henry Schwartz (American, 1927-2009)

Hey, I’m Great Too, 1980Signed and dated “Henry Schwartz 1980” l.l., also titled, dated, andsigned “...1980 Henry Schwartz” in pen and identified on a label fromGallery NAGA, Boston, on the reverse.Oil on Masonite, 12 7/8 x 18 7/8 in. (32.7 x 47.9 cm), framed.Condition: Minor surface grime.

Provenance: Estate of Joan E. Goody, Boston, Massachusetts.$300-500

575.Joseph Piccillo (American, b. 1941)

R-Fragments-III, 1975Titled, signed, and dated “...joseph piccillo 1975” in pencil c.r.,inscribed and titled in ink and with stamps from the Griffiths ArtCenter, St. Lawrence University, Canton, New York, on the stretcher,identified on labels on the reverse.Oil and graphite on canvas, 59 7/8 x 72 1/4 in. (152.1 x 183.5 cm),framed.Condition: Minor surface grime.

$1,500-2,000

574

575

576.Katherine Page Porter (American, b. 1941)

Lot of Three Works: Untitled [#101], Untitled [#131], and Untitled[#132]#101 signed and inscribed “Katherine Porter/Sept 2 thday” in pencill.r. and dated “1970” in pencil l.l., inscribed “531” in pencil on thereverse and “Parker Street 470...” on a label affixed to the backing,#131 signed “KPorter” in pen l.r., inscribed “#1/#131/#1017” in pencilon the reverse, #132 unsigned, inscribed “#2/#132/#1018” in pencilon the reverse.Watercolor on paper, sheet sizes to 11 x 16 1/2 in. (27.9 x 41.9 cm),framed.Condition: #132 tape hinged to backing mat, subtle rippling, subtletoning.

$400-600

577.Aaron Fink (American, b. 1955)

The Beach ChairSigned and dated “Aaron Fink ‘81” l.r.Acrylic on paper mounted to paper/board, 41 3/4 x 52 3/4 in. (106.0x 134.0 cm), unframed.Condition: Minor tears/losses to edges, mounting bubbles.

$800-1,000

576

577

578

578.Sven Dalsgaard (Danish, 1914-1999)

Lot of Twelve Works: Untitled [Figures and Landscapes], 1963Each monogrammed “S·D” or “S·D·N” l.r., l.c., or l.l., dated “26-27-7-63,” “28-7-63,” “30-7-63,” “31-7-63,” “...1-8,” and “1-8-63” l.r., l.c.,l.l., or u.l., inscribed “NAT,” “III,” “IV,” “I,” and “DEN NAIVE” l.r., l.c., l.l.,or u.l.Ink and watercolor on paper, sight sizes to 10 1/2 x 8 1/2 in. (26.7 x21.6 cm), framed.Condition: Not examined out of frames.

Exhibitions: Sven Dalsgaard: Retrospektiv udstilling, RandersKunstmuseum, 1975, no. 457.

$4,000-6,000

579

579.Hung Liu (Chinese/American, b. 1948)

Silk Road, 1989/A TriptychUnsigned, identified on labels affixed to the backing.Oil and graphite on canvas with silkscreen on silk collage, left and center panel 80 x 52 in. (203.2 x 132.1cm), right panel 80 x 24 in. (203.2 x 61.0 cm), unframed.Condition: Subtle canvas deformations.

Provenance: Through Nahan Contemporary Gallery, New York.

N.B. Hung Liu grew up under the Maoist “Cultural Revolution,” where she was trained to paint murals inthe Socialist Realist tradition. After having completed fine art degrees in Beijing, she immigrated to theUnited States to obtain her MFA at the University of California, San Diego.

Hung Liu’s works, which take on the large scale of both mural and history paintings, are personal in contentbut necessarily informed by politics. Her works engage with the idea of repressed individual expressionunder the Communist regime, but also explore the power of images as icons. They frequently depictChinese countrymen and women (based on historical photographic portraits) against an abstractedbackground which allows her to show relationships between the past and present synoptically.

Hung Liu spent time in the Gobi Desert along the Silk Road while studying the devotional and monumentalBuddhist murals at Dunhuang, and was deeply influenced by the early art she saw and the local history.1 Inthe present work, the image of a woman holding a fan in a sedan chair is “twice-removed” in that she is asilkscreen from a photograph. In this way, the truth-value of the photograph is diluted, making the imagefunction more as a memory than a presence. The silk that the silkscreen is printed on calls attention to thework’s own manufacture but also lends realism to the silk robe in the background, evoking the history ofthe silk trade and alluding to possible transgressions along it.

1. Lippard, Lucy R., Mixed Blessings: New Art in a Multicultural America (New York: Pantheon Books, 1990), p. 144.

$7,000-9,000

580

580.Hung Liu (Chinese/American, b. 1948)

Wellspring, 1988/A Four-Part InstallationUnsigned, identified on labels affixed to the backing, inscribed “Workmade of recycled material (or Reclamation Project)/Bingham,Utah/Copper Mining Pit/Robert Smithson ‘73” l.l. of right panel.Oil on canvas and oil on wood cube, side panels 48 x 65 in. (121.9 x165.1 cm), center panel 24 x 48 in. (91.0 x 121.9 cm), unframed;cube 22 1/8 x 22 1/8 x 22 1/8 in. (56.2 x 56.2 x 56.2 cm).Condition: Restored tear to u.l. quadrant of right panel with patchreinforcement, subtle canvas deformations, cube with abrasions.

Provenance: Through Nahan Contemporary Gallery, New York.$8,000-12,000

END OF SALE

All items in this catalogue are described according to the following table ofterminology. Please note that all statements in this catalogue as to Authorship,Period, and Origin, are qualified statements subject to the Conditions of Sale.

Authorship will be described in the following ways:

John Joseph Enneking. - In our judgment, the work is by the artist.

Attributed to John Joseph Enneking. - In our judgment, the work may beascribed to the artist on the basis of style, but leaves some question as to actualauthorship.

School of John Joseph Enneking. - In our judgment, a work of an unknownfollower executed in the style of the artist and contemporary in period.

Manner of John Joseph Enneking. - In our judgment, a work executed inthe style of the artist by an unknown hand and probably from a later period.

After John Joseph Enneking. - In our judgment, an intended copy of thework of the artist.

American School, 19th Century. - In our judgment, the work of anunknown hand that can only be identified as to period and culture.

Other terms:

Bears Signature. - In our judgment, the signature not of the artist. This termis generally used separately, or together with a description of the work as“attributed to,” “school of,” “manner of,” or “after” the artist.

Glossary of Terms

Abbey, Edwin Austin......................................................................322Agam, Yaacov ..................................................................................1Agostini, Tony................................................................................562Albers, Anni ......................................................................................2Alberti, Cherubino (Attributed)........................................................202Albright, Ivan Le Lorraine ..................................................................3Alexander, William ................................................................218, 219American School, 19th Century ....................................252, 270, 281....................................................................284, 287, 288, 293, 306American School, 19th/20th Century ....................................286, 324American School, 20th Century ....326, 351, 367, 369, 472, 509, 572Andersen, Niels Yde..........................................................................4Anglo/American School, 18th/19th Century ..................................223Aponovich, James ............................................................................5Appel, Karel ..................................................................................6, 7Archipenko, Alexander ................................................................9, 10Arons, Philipp ................................................................................238Arp, Hans (Jean)................................................................................8Avril, Armand ................................................................................443

Bacci, Edmondo............................................................................537Baker, Samuel Burtis ....................................................................422Ball, Alice Worthington ..................................................................442Bannister, Edward Mitchell ............................................................297Bao, Lede ....................................................................................529Barber, Samuel..............................................................................400Baselitz, Georg................................................................................11Baskin, Leonard ........................................................................12-20Bechi, Luigi ..................................................................................235Bellows, George Wesley................................................................433Beneker, Gerrit Albertus ................................................................429Benton, Thomas Hart ................................................................21-24Berger, Richard ..............................................................................25Bernath, Sandor............................................................................419Berresford, Virginia ........................................................................479Berthelsen, Johann ................................................................450-452Biehl, Arthur Oliver ........................................................................460Bishop, Richard Evett ......................................................................26Blume, Peter ................................................................................554Bonnar, James King ......................................................377, 409, 410Bonnard, Pierre ..............................................................................27Borstein, Elena ......................................................................567, 568Brach, Paul Henry ........................................................................550Bradford, William ..........................................................................247Bradley, Anne Cary........................................................................391Braque, Georges ............................................................................28Brésil, Henri Robert ......................................................................490British School, 19th Century..........................................................245British School, 19th/20th Century..................................................240Brown, Frank Clifton......................................................................303Brown, Harrison Bird ............................................................254, 290Browne, Matilda ............................................................................314Bulman, Orville ......................................................................489, 491Bungner, Otto................................................................................346Burgers, Hendricus Jacobus ........................................................232Burr, George Elbert..........................................................................29

Calder, Alexander ......................................................................30-35Cappiello, Leonetto ........................................................................36Carter, Clarence Holbrook ..............................................................37Chagall, Marc ..................................................................................38Chamberlain, Samuel V. ............................................................39-44Champney, Edwin Graves ............................................................266Cheffetz, Asa ..................................................................................45Cikovsky, Nicolai S. ..............................................................394, 481Cirino, Antonio ..............................................................................380

Clark, C. Myron ............................................................................268Clime, Winfield Scott ....................................................................383Coats, Claude Dixon ....................................................................504Coccorante, Leonardo (School of) ................................................205Cochran, Allen Dean ............................................................384, 385Coignard, James........................................................................46-49Compris, Maurice ..........................................................................512Congdon, Anne Ramsdell (Attributed to) ......................................421Continental School, 19th Century..........................211, 224, 237, 341Continental School, 20th Century..................................................511Cook, Otis Pierce ..................................................................413, 415Cooper, Colin Campbell ................................................................439Corneille (Guillaume van Beverloo) ..................................................50Cornoyer, Paul ..............................................................................353Cosimini, Roland Francis ..............................................................330Cottingham, Robert ........................................................................52Courbet, Gustave........................................................................254ACovarrubias, Miguel ........................................................................51Cox, Charles M. ............................................................................411Curran, Charles Courtney ..............................................................327Curry, John Steuart ........................................................................53

Dake the Younger, Carel Lodewijk ................................................350Dalsgaard, Sven ............................................................................578Dalí, Salvador ............................................................................54-56Davenport, Henry ..........................................................................469Davis, Stuart....................................................................................57De Chirico, Giorgio ........................................................................521De Haas, William Frederick............................................................253de Hondecoeter, Melchior (Mann.) ................................................213De Martelly, John Stockton............................................................108De Nagy, Ernest ............................................................................233de Neuville, Alfred A. Brunel ..........................................................236Degas, Edgar ..................................................................................58Dehn, Adolf Arthur ........................................................................497Dessar, Louis Paul ........................................................................434Destrée, Johannes Josephus ........................................................229Dine, Jim ..................................................................................59, 60Dosamantes, Francisco ..................................................................61Dow, Arthur Wesley ........................................................................62Dufner, Edward..............................................................................328Dufy, Jean ..............................................................................524-526Dufy, Raoul ......................................................................................63Dunlay, Thomas Russell ........................................................368, 402Dunning, Robert Spear..................................................................305Dupré, Jules (Manner of) ..............................................................242Dürer, Albrecht ................................................................................64Dutch School, 17th Century ..........................................................208Dutch School, 19th Century ..................................................209, 220Dutch/Flemish School, 17th Century Style ....................................212

Eastern European School, 20th Century........................................337Eaton, Charles Warren ..................................................................296Edgerton, Harold Eugene ......................................................179-181Ehrig, William Columbus................................................................404Elwell, D. Jerome ..........................................................................342Enneking, John Joseph ........................................................301, 355Enneking, Joseph Eliot..........................................356, 412, 414, 418Ernst, Max ................................................................................65-67

Fabry, Jaro ....................................................................................495Fairman, James ............................................................................265Fehrer, Oscar (Attributed to) ..........................................................370Feininger, Lyonel............................................................................534Fellman, Sandi ......................................................................182, 183Fiene, Ernest ................................................................................482

Artist Index

Filipowski, Richard E. ................................68, 69, 536, 538-540, 542Fink, Aaron ....................................................................................577Fischer, Anton Otto ..............................................................333, 403Fisher, Alvan ..................................................................................258Flemish School, 16th Century ..............................................200, 203Fort, Jean-Antoine-Simeon............................................................228Frasconi, Antonio ......................................................................70, 71Fritz, Henry Eugene ......................................................................425Frost, Francis Seth (Shedd) (Attributed to) ....................................291Frost, George Albert ......................................................................294

Genth, Lillian Mathilde ..................................................................343Gibran, Kahlil George ....................................................................552Gile, Selden Connor (Manner of)....................................................393Gisson, Andre (Gittelson) ..............................................................427Glidden, Robert F. ........................................................................428Gloeckner, Michiel Theobald............................................72, 531, 533Golden, Rolland Harve ..................................................................463Goodwin, Arthur Clifton ................................388, 446, 448, 449, 453Goodwin, Richard La Barre ..........................................................304Gorman, R.C.................................................................................519de Goya, Jose Francisco ................................................................73Grandin, Elizabeth ........................................................................338Grant, James Jeffrey ....................................................................417Greene, Walter L. ..........................................................................436Greenwood, Joseph H. ........................................................285, 299Griggs, Samuel W. ........................................................................267Grinnell, George Victor ..................................................................359Gromaire, Marcel ..........................................................................560Grosz, George Ehrenfried..............................................73A, 522, 523Gruppe, Emile Albert ....................................................................376Guardi, Francesco L. (School of) ..........................................206, 207Guerrero, José ......................................................................546-548

Hale, Lilian Westcott (Attributed to)................................................318Halsall, William Formby..................................................................251Hamilton, Hamilton ........................................................................390Hardy, Thomas Bush ....................................................................246Hare, Channing Weir ....................................................................513Harvey, Paul ..................................................................................423Hassam, Childe ............................................................................315Hasselhorst, Heinrich ....................................................................227Hathaway, George M.....................................................................263Hays, George Arthur ............................................................249, 269Hazard, Arthur Merton ..................................................................352Heilmayer, Karl ..............................................................................340Hekking, Joseph Antonio ..............................................................261Helfond, Riva ..................................................................................74Hesse, Hermann ..........................................................................438Higgins, George Frank ..................................................................273Hinckley, Thomas Hewes ..............................................259, 271, 311Hockney, David ........................................................................75, 76Hubbard, Richard William (Attributed to)........................................274Hunt, Esther Anna ........................................................................317Hunter, Robert Douglas ........................................................256, 508

Iacovleff, Alexandre Evgenievich ....................................................515Iené, Edgar....................................................................................559Ikeda, Masuo ..................................................................................77Iliazd................................................................................................78Indian School, 20th Century ..........................................................486Indiana, Robert................................................................................57Inman, John O’Brien ....................................................................313Insley, Albert Babb ........................................................................241Italian School, 16th Century Style..................................................204Italian School, 18th Century ..........................................................201

Jarrett, Charles Dixie ....................................................................498Jensen, Bill ......................................................................................79Johns, Jasper ..........................................................................80, 81Johnston, John Bernard................................................................308

Johnston, John S...................................................................184-186Jongers, Alphonse ........................................................................310Jules, Mervin ..................................................................................82

Kahn, Wolf ............................................................................569-571Kalnins, Eduards ..........................................................................432Kandinsky, Wassily ........................................................................82AKasimir, Luigi ............................................................................83, 84Kasimir-Hoernes, Tanna ..................................................................85Kawano, Kaoru ..............................................................................86Kelly, Ellsworth ..........................................................................57, 87Kennedy, Cecil ..............................................................................506Kent, Rockwell ..............................................................................483Kirmse, Marguerite ..........................................................................88Kokoschka, Oskar ..........................................................................89Kronberg, Louis ............................................339, 468, 470, 471, 473Kuehne, Max ............................................................90-93, 344, 416Kuhn, Jon......................................................................................551Kulicke, Robert Moore ..................................................................474Kuniyoshi, Yasuo ............................................................................94Kupferman, Lawrence Edward ......................................................516

La Farge, John..............................................................298, 347, 348La Thangue, Henry Herbert ..........................................................226Laboureur, Jean-Emile ....................................................................95Lachaise, Gaston ..........................................................................332Larsson, Carl Olof ........................................................................95ALathrop, Dorothy Pulis ..................................................................484Laurencin, Marie ....................................................................96, 96ALaval, Fernand ......................................................................444, 447Le Corbusier....................................................................................97Lee, Doris Emrick ..........................................................................480Leger, Fernand ................................................................................98Leighton, Clare Veronica Hope ........................................................99Lettick, Birney ..............................................................................564Levine, Jack ..........................................................................101, 102Lewis, Edmund Darch ..................................................................248Lex, Franz ....................................................................................475Leyden, Lucas van ........................................................................100Liberman, Alexander......................................................................103Lichtenstein, Roy ....................................................................57, 104Lievens, Jan ..................................................................................105Link, O. Winston....................................................................187, 188Little, Philip ....................................................................................396Liu, Hung ..............................................................................579, 580Locke, Walter Ronald ....................................................................106Loemans, Alexander Francois ......................................................282Lovell, Tom ....................................................................................499Lowell, Milton H.............................................................................264Lucioni, Luigi ................................................................................440

Maclaren, Walter............................................................................345Maeght, Galerie (editor) ................................................................107Maillol, Aristide ..............................................................................494Malcom, Thalia Wescott ................................................................477Manship, John Paul ......................................................................457Manship, Paul Howard ..........................................................332, 316Marcks, Gerhard ..........................................................................555Mathieu, Joe ................................................................................502Matisse, Henri ..............................................................................109Matulka, Jan..................................................................................556Mays, Paul Kirtland ..............................................................464, 467Mazur, Michael ......................................................................110-112McCormick, Arthur David ..............................................................225Mechau, Frank Albert, Jr. ..............................................................487Meltsner, Paul Raphael ..........................................................113-116Miró, Joan ..............................................................67, 117-121, 123Moore, Henry ................................................................................124Moreno, Michel..............................................................................532Morrell, Wayne Beam ............357, 360-363, 382, 398, 405, 424, 426Morris, George Ford ......................................................................125

Morse, Jonathan Bradley ..............................................................292Motherwell, Robert ..........................................................................57Mouly, Marcel ................................................................................563Munut, I. W. J. ..............................................................................488

Nakian, Reuben ............................................................................126Nash, Paul ....................................................................................553Nesbitt, Jackson Lee ....................................................................127Neumann, Ernst ............................................................................128Newton, Helen Florence ................................................................420Nicholls, Burr H. ............................................................................312Nierman, Leonardo M. ..................................................................549Nisbet, Robert Hogg ....................................................................374Norris, Thomas Bowler..................................................................300

Olitski, Jules ..................................................................................129Oliver, Frederick W.........................................................................478Ongley, William ..............................................................................289Ortman, George Earl ......................................................................57Owen, Carol ..................................................................................389Owen, Robert Emmett ..................................................358, 378, 392

Parker, Henry Hillier ......................................................................230Parrish, Jr., Maxfield ......................................................................485Parsons, Sheldon ..........................................................................373Partridge, Roi ................................................................................130Perrault, Leon Jean Basile ............................................................234Peterdi, Gabor F. ..................................................................131, 530Peters, Carl William ......................................................................395Picasso, Pablo ......................................................................132-138Piccillo, Joseph ............................................................................575Pissarro, Hughes Claude ..............................................................445Pond, Dana Ripley ........................................................................399Poons, Larry (Lawrence)..................................................................57Porter, Katherine Page ..................................................................576Prendergast, Charles E. ........................................................329, 331Prentice, Levi Wells ......................................................................279Prior, Scott ............................................................................139, 565

Quartley, Arthur ............................................................................260

Radensky, Emmanuel ............................................................142, 143Rain, Charles Whedon ..................................................................507Ranger, Henry Ward ......................................................262, 302, 387Rasmussen, Georg Anton ............................................................243Rauschenberg, Robert ..........................................................140, 141Ray, Man ..............................................................................142, 143Reinhardt, Ad ..................................................................................57Reni-Mel, Léon ..............................................................................435Renoir, Pierre-Auguste ............................................................58, 145Rice, Henry Webster ....................................................407, 408, 431Richards, William Trost ..........................................................250, 257Riggs, Robert ................................................................................146Ripamonti, Carlos Pablo................................................................401Ripley, Aiden Lassell ..............................................................364-366Rivera, Diego ................................................................................520Rivers, Larry ..........................................................................147, 148Rockwell, Norman ........................................................................500Roger, Suzanne ............................................................................557Rose, Howard ..............................................................................517Rouault, Georges ..................................................................149, 150Rowlandson, Thomas (Attributed to) ............................................221van Ruisdael, Jacob (Follower of) ..................................................210Ruscha, Ed ............................................................................151-153

Sargent, John Singer ....................................................................323Sarka, Charles Nicolas ..................................................................349Savry, Hendrick ............................................................................239Sawyer, Helen Alton ......................................................................397Scharl, Josef ................................................................................541Schreiber, Georges........................................................................125

Schwartz, Henry....................................................................573, 574Schulz, Robert E. ..........................................................................371Scott, John White Allen..........................................................275-277Shinoda, Toko ..............................................................................154Singer, Hal ....................................................................................518Sisson, Laurence Philip ........................................................465, 466Sloan, John French ..............................................................155, 492Sonntag, William Louis ..................................................................280Soudeikine, Sergei Yurievich..........................................................496Soyer, Raphael ......................................................................156, 493Spanish Colonial School, 19th Century ................................215, 216Spanish Colonial School, 19th/20th Century ................................217Spruance, Benton Murdoch ........................................................156AStamos, Theodoros ......................................................................527Stanwood, Franklin........................................................................278Stark, Melville F. ............................................................................441Steele, Gordon......................................................456, 459, 461, 462Stella, Frank ....................................................................................57Stephens, John ............................................................................566Sternberg, Harry............................................................................157Stevens, William Lester ........................................................379, 381Stevovich, Andrew ................................................................158-162Sully, Thomas ................................................................................307Sutherland, Graham Vivian ............................................................558Svendsen, Svend ..................................................................372, 375

Tait, Arthur Fitzwilliam ....................................................................283Tam, Reuben ................................................................................528Tamayo, Rufino..............................................................................163Tanguy, Yves ..................................................................67, 164, 535Teyral, Hazel Janicki ......................................................................510Thieme, Anthony ..........................................................................430Thompson, Albert..........................................................................272Tidemann, Philippe (Attributed to)..................................................222Tompkins, Frank Henry (Hector) L ................................................455Travis, Paul Bough ........................................................................514Troyon, Constant ..........................................................................231Tschernjawski, Alex ......................................................................458

Urban, Albert ........................................................................165, 166

van Rijn, Rembrandt......................................................................144Van Wyk, Helen ............................................................................476Vasarely, Victor ......................................................................167, 168Vaughan, Keith ..............................................................................561Vermuelen, Andries (Attributed to) ................................................244Vicente, Esteban ..........................................................................169Villon, Jacques ..............................................................................170de Vlaminck, Maurice ............................................................171, 172

Walbourn, Ernest ..........................................................................295Waldo, John Franklin ....................................................................386Wall, Alfred Bryan ..........................................................................437Walt Disney Studios ......................................................501, 503, 505Warhol, Andy ........................................................................57, 172AWaterman, Marcus A.............................................................309, 354Whistler, James Abbott McNeill ....................................................173Whitman, Sarah De St. Prix Wyman ..............................................319Whorf, John ..................................................................................406Widgery, Frederick John ................................................................255Wiles, Irving Ramsey ....................................................320, 335, 336Williams, Frederick Ballard ............................................................325Wimpenny, George H. ..................................................................454Woolf, Samuel Johnson ................................................................174

Yaffee, Edith Widing ......................................................................321Yeats, John Butler ........................................................................334

Zadkine, Ossip ..............................................................................175Zdanevich, Ilia ................................................................................78Zorn, Anders..........................................................................176-178

1. Some of the lots in this sale are offered subject to a reserve. The reserve is a confidential minimum price agreed upon by the consignor andSkinner, Inc. below which the lot will not be sold. In most cases, the reserve will be set below the estimated range, but in no case will it exceedthe estimates listed. A representative of Skinner, Inc. will execute such reserves by bidding for the consignor. In any event and whether or not alot is subject to a reserve, the auctioneer may reject any bid or raise not commensurate with the value of such lot.

2. All property is sold “as is,” and neither the auctioneer nor any consignor makes any warranties or representation of any kind or nature withrespect to the property, and in no event shall they be responsible for the correctness, nor deemed to have made any representation or warranty, ofdescription, genuineness, authorship, attribution, provenance, period, culture, source, origin, or condition of the property and no statement madeat the sale, or in the bill of sale, or invoice or elsewhere shall be deemed such a warranty of representation or an assumption of liability.

3. Except as provided in paragraph 1 above, the highest bidder as determined by the auctioneer shall be the purchaser. In the case of a disputedbid, the auctioneer shall have sole discretion in determining the purchaser and may also, at his or her election, withdraw the lot or reoffer the lotfor sale.

4. All merchandise purchased must be paid for and removed from the premises the day of the auction. Skinner Inc. may impose, and thepurchaser agrees to pay, a monthly interest charge of 1.5% of the purchase price of any lot or item lot not paid for within thirty-five (35) days ofthe date of sale.

Skinner, Inc. shall have no liability for any damage or loss to property left on its premises for more than three (3) days from the date of sale. Ifany property has not been removed within three (3) days from the date of sale, at the option of Skinner, Inc. (a) Skinner Inc., may impose, andthe purchaser agrees to pay, a monthly storage charge of 1.5% of the purchase price of any lot or portion of a lot not removed within the threedays, and/or (b) Skinner Inc. may place the merchandise in a subsequent auction, without Reserve, to be sold to the highest bidder, and afterdeducting the standard commission and any additional charges that may apply, remit the proceeds to the purchaser.

5. Skinner accepts cash or check for payment. Personal checks will be acceptable only if credit has been established with Skinner, Inc. or if a bankauthorization has been received guaranteeing a personal check. Skinner, Inc. reserves the right to hold merchandise purchased by personal checkuntil the check has cleared the bank. The purchaser agrees to pay Skinner, Inc. a handling charge of $25.00 for any check dishonored by thedrawee. Please contact Accounting for additional payment methods. Skinner does not accept payment by credit card for merchandise purchases.

6. If the purchaser breaches any of its obligations under these Conditions of Sale, including its obligation to pay in full the purchase price of allitems for which it was the highest successful bidder, Skinner Inc. may exercise all of its rights and remedies under the law including, withoutlimitation, (a) canceling the sale and applying any payments made by the purchaser to the damages caused by the purchaser’s breach, and/or (b)offering at public auction, without reserve, any lot or item for which the purchaser has breached any of its obligations, including its obligation topay in full the purchase price, holding the purchaser liable for any deficiency plus all costs of sale.

7. In no event will the liability of Skinner, Inc. to any purchaser with respect to any item exceed the purchase price actually paid by suchpurchaser for such item.

8. Shipping is the responsibility of the purchaser. Upon request, our staff will provide the list of shippers who deliver to destinations within theUnited States and overseas. Some property that is sold at auction can be subject to laws governing export from the U.S., such as items thatinclude material from some endangered species. Import restrictions from foreign countries are subject to these same governing laws. Granting oflicensing for import or export of goods from local authorities is the sole responsibility of the buyer. Denial or delay of licensing will not constitutecancellation or delay in payment for the total purchase price of these lots.

9. All purchases are subject to the Massachusetts 6.25% sales tax unless the purchaser possesses a Massachusetts sales tax exemption number.Exemption numbers from other states are accepted in Massachusetts if presented with a business card or letterhead. Dealers, museums, and otherqualifying parties can apply for a Massachusetts exemption number prior to the auction by contacting the Massachusetts Department ofCorporations and Taxation at 100 Cambridge Street in Boston.

10. Except for property purchased via on-line Live Auctions, a premium equal to 18.5% of the final bid price up to and including $200,000, plus10% of the final bid over $200,000, will be applied to each lot sold, to be paid by the Buyer as part of the purchase price. The buyers premium onproperty purchased via on-line Live Auctions will be in the amount equal to 22.5% of the final bid price up to and including $200,000, plus 15%of the final bid over $200,000.

11. Bidding on any item indicates your acceptance of these terms and all other terms announced at the time of sale whether bidding in person,through a representative, by phone, by Internet, or other absentee bid.

12. Skinner, Inc. and its consignors make no warranty or representation, express or implied, that the purchaser will acquire any copyright orreproduction rights to any lot sold. Skinner, Inc. expressly reserves the right to reproduce any image of the lots sold in this catalogue. Thecopyright in all images, illustrations and written material produced by or for Skinner, Inc. relating to a lot, including the contents of thiscatalogue, is, and shall remain at all times, the property of Skinner, Inc. and shall not be used by the purchaser, nor by anyone else, without ourprior written consent.

13. These conditions of sale shall be governed by the laws of the Commonwealth of Massachusetts (excluding the laws applicable to conflicts orchoice of law). The buyer/bidder agrees that any suit for the enforcement of this agreement may be brought, and any action against Skinner inconnection with the transactions contemplated by this agreement shall be brought, in the courts of the Commonwealth of Massachusetts or anyfederal court sitting therein. The bidder/buyer consents to the nonexclusive jurisdiction of such courts and waives objections that it may now orhereafter have to the venue of any such suit.

Skinner, Inc. - Conditions of Sale

Revised September 29, 2009

314

Name (Please Print) Business Name

Address check if change in address

City State Zip Code

Phone # Alternate # e-mail

SKINNERAuctioneers and Appraisers of Antiques and Fine Art

63 Park Plaza , Bo s t on , MA 02116 Te l : 617 .350 .5400 Fax : 617 .350 .5429274 Cedar Hi l l S tre e t , Mar lborough , MA 01752 Te l : 508 .970 .3000 Fax : 508 .970 .3100

www. sk inner inc . c om

I wish to place the following bids in the sale listed above. I understand that Skinner, Inc. will execute bids asa convenience, and will not be held responsible for any errors or failure to execute bids. I understand thatmy bids are executed and accepted as per Conditions of Sale as printed in the catalogue of this sale.

Absentee Bid Form

Marlborough Boston Phone Fax Mail Person Employee:

FOR OFFICE USE

Lot # Description Bid Price

Signature (Required) Date

Sale Title Sale Date

First Time Bidder? YES NO Customer #

Board of Directors

Administration

ExpertDepartments

SKINNER, INC.Auctioneers andAppraisers of Antiquesand Fine Art

63 Park PlazaBoston, MA 02116617.350.5400Fax 617.350.5429

274 Cedar Hill StreetMarlborough, MA 01752508.970.3000Fax 508.970.3100

www.skinnerinc.com

Chairman of the Board - Nancy R. SkinnerRichard AlbrightBarnet FainStephen L. FletcherKaren M. Keane

President/Chief Executive Officer - Karen M. KeaneChief Financial Officer - Don KellyExecutive Vice President - Stephen L. FletcherVice Presidents- Gloria Lieberman, Carol McCaffrey, Kerry Shrives,Stuart G. Slavid, Stuart P. Whitehurst

American & European Paintings & Prints - Robin S.R. StarrAssistants: Kathy Wong, Elizabeth C. HaffAmerican Furniture & Decorative Arts - Stephen L. Fletcher, Martha HamiltonAssistants: LaGina Austin, Karen Langberg, Chris Barber, Susan ZachariasAmerican Indian & Ethnographic Art - Douglas DeihlAsian Works of Art - James F. CallahanAssistant: Tianyue JiangBooks & Manuscripts - Stuart P. WhitehurstAssistant: Sara C. WishartBottles, Flasks & Early Glass - Stephen L. FletcherCeramics - Stuart G. SlavidClassic Automobiles & Motorcycles - Jane D. PrentissCouture - Kerry ShrivesDiscovery Sales - Kerry ShrivesAssistants: Garrett J. Sheahan, Harry B. McNabb, Melissa RiebeEuropean Furniture & Decorative Arts - Stuart G. SlavidAssistants: Stuart P. Whitehurst, Sara C. WishartFine Wines - Marie KeepJewelry - Gloria LiebermanAssistants: Sheila Barron Smithie, F.G.A., G.G.; John ColasaccoJudaica - Kerry ShrivesModernism: 1896–Present: Art Glass, Pottery, Metalwork & Furniture -Jane D. PrentissMuseum & Collections Services - Martha HamiltonMusical Instruments - David BonseyOriental Rugs & Carpets - Gary RichardsScience, Technology & Clocks - Robert C. CheneyAssistant: Chris BarberSilver - Stuart G. SlavidAssistant: Sara C. WishartToys & Dolls - Kerry ShrivesAuctioneers - LaGina Austin, David Bonsey, Robert C. Cheney,Stephen L. Fletcher, Karen M. Keane, Marie C. Keep, Gloria Lieberman,Kerry Shrives, Stuart G. Slavid, Robin S.R. Starr, Laura V. Sweeney,Stuart P. Whitehurst

Marlborough: Warehouse Manager - Jonathan Dowling, 508.970.3280Property Manager - Samuel Combs, 508.970.3262

Boston: Elisabeth Benson-Allott, 617.874.4312;Kerryn Murphy, 617.874.4329

Property Distribution Manager - Jessica R. Lincoln, 617.874.4308

Marlborough: Accounts Receivable - Denise Johnson, 508.970.3269Accounts Payable - Kathleen Hayes, 508.970.268Credit Supervisor - Joe Monteyro, 508.970.3266

Marlborough: Karen Skinner, 508.970.3240

Appraisal & Auction Services - Patricia Walker King, Beth Zwicker,Katharine Holtman, Leah SkowronAdvertising Production - Pamela Van de HoutenBoston Gallery Director - Laura V. SweeneyAssistant Gallery Director: Paige LewellynGallery Assistant: Katharine E. HampsonCatalogue Production - Pamela Van de Houten, Kristina HarrisonAssistant: Cheryl FreemanCustomer Relations - Carol McCaffreyHuman Resources - Carol McCaffreyInformation Technology & Internet Auctions - Kerry ShrivesAssistants: Timothy Shaughnessey, Melissa RiebeConsignment Services - Deanna Williams, Megan J. Blomgren, Carol ZeiglerManaging Director - Marie C. KeepMarketing & Public Relations - Catherine Riedel, Anne M. Trodella,Karen SkinnerPhotographers - Stanley P. Bystrowski, Jeffrey R. AntkowiakReceptionists - Marlborough: Carol TranBoston: Hadley DinardoTransportation - Eric JonesAssistants: Mark McCaffrey, John Williams

Service Departments

Exhibitions &Property Distribution

Finance Department

Subscriptions

Directions to Skinner's Boston Gallery/63 Park Plaza, Boston, MATelephone: 617-350-5400

From the West:Take the Massachusetts Turnpike to the Prudential/Copley exit located in the Prudential tunnel.

Once on the exit ramp, stay in the right hand lane and follow the signs for Copley.The ramp exits onto Stuart Street. Drive straight through five sets of lights and take a left onto

Charles Street South. Take your first left off of Charles St. South onto Park Plaza.Skinner is at 63 Park Plaza, one block up on the right.

From the South:Take 93-N to Exit 20 for I-90 W toward Worcester. Follow signs for Chinatown/South Station.

Bear left at the fork to continue towards Kneeland Street. Turn left onto Kneeland Street. KneelandStreet becomes Stuart Street. Turn right onto Charles Street South. Turn left onto Park Plaza.

Skinner is at 63 Park Plaza, one block up on the right.

From Logan Airport:Take the Ted Williams Tunnel. Take Exit 25 toward South Boston and bear left at the fork in theramp. Bear right onto B St. Turn left onto Northern Ave which becomes Seaport Blvd. Turn leftonto Surface Rd. Turn right onto Kneeland Street which becomes Stuart Street. Turn right onto

Charles Street South. Turn left onto Park Plaza.Skinner is at 63 Park Plaza, one block up on the right.

From the North:Take I-93 South towards Boston. Take exit 26 towards Storrow Drive. Merge onto MA-28 Southvia the ramp on the left. Turn left onto Beacon Street. Turn right onto Arlington Street. Turn

left onto Boylston Street. Turn right onto Hadassah Way. Skinner is on the right at 63 Park Plaza.

Name __________________________________________ Business Name

Mailing Address ____________________________________________________

City ______________________________ State ______ Zip ______________

email address ______________________________________________ Tel: ( ) _____________________________

Quarterly Brochure No charge No charge

Included with catalogue subscription

American Furniture & Decorative Arts $120 $143

European Furniture & Decorative Arts $120 $143

American & European Paintings & Prints $120 $143

Fine Jewelry $120 $143

20th Century Furniture & Decorative Arts $60 $73

Asian Works of Art $60 $73

Fine Oriental Rugs & Carpets $18 $25

American Indian & Ethnographic Art $60 $73

Fine Books & Manuscripts $30 $36

Toys, Dolls & Collectibles $60 $73

Fine Ceramics $60 $73

Fine Musical Instruments $60 $73

Science & Technology $60 $73

Fine Wines $60 $73

All Above Departments $800 $975

SUBTOTAL

MA RESIDENTS 6.25% SALES TAX

TOTAL

PLEASE ENCLOSE PAYMENT WITH SUBSCRIPTION FORM AND MAIL OR FAX TO:

Skinner, Inc., Subscription Department, 274 Cedar Hill Street, Marlborough, MA 01752 508.970.3100

PLEASE CHECK THE APPROPRIATE BOXES : U.S./Canada Foreign (payable in U.S. dollars only)

SKINNER CATALOGUE SUBSCRIPTION FORMPRICES EFFECTIVE JANUARY 1, 2008. Catalogue subscription price includes quarterly brochure. Subscription effectiveone year from date processed. No refunds for previous subscriptions. Renewal notice will be sent one month prior to expiration.Subscriptions do not include Discovery, Estates, and other special sales. Post-auction prices are available online at www.skinnerinc.com

MasterCard/VISA # Exp. Date

Signature Check enclosed

SKINNERAuctioneers and Appraisersof Antiques and Fine Art

Documents

Skinner American & European Paintings & Prints Auction 2507