Fine Art • May 20, 2015 by Dallas Auction Gallery

DALLAS AUC TION GALLERY

FINE ART AUCTION W E D N E S D AY

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M AY 2 0 , 2 0 1 5

Featuring Works From The Collection of Sam Wyly, Dallas, TX

For Telephone and Absentee Bidding Arrangements Contact Us at: PHONE: 214-653-3900 FAX: 214-653-3912 TOLL FREE: 866.653.3900 EMAIL: info@dallasauctiongallery.com Scott H. Shuford, TXL #13769 : Jerry W. Holley, TXL #10262 FRONT COVER

- Norman Rockwell, Lot 43; INSIDE FRONT COVER - Frank Tenney Johnson, Lot 38; INSIDE BACK COVER - Robert Indiana, Lot 95; BACK COVER - John Chamberlain, Lot 117.

DALLAS AUC TION GALLERY

FINE ART AUCTION W E D N E S D AY

•

M AY 2 0 , 2 0 1 5

Featuring Works From The Collection of Sam Wyly, Dallas, TX

PREVIEW: May 18 | 10am - 5pm May 19 | 10am - 5pm May 20 | 10am - 6pm AUC TION: May 20 | 6:00 pm CDT

CONTENTS European Art

The Sam Wyly Collection

American, California and Western Art

Modern and Contemporary Art

Guide for Prospective Buyers

120

Terms and Conditions

122

EUROPEAN ART LOTS 1-14

1 â&#x20AC;˘ B A R T O LO M E O P I N E L L I (Italian, 1781-1835)

Untitled (Musical Gathering) Oil on canvas. Canvas: 40"H x 53.625"W; Frame: 45.75"H x 59.625"W. Provenance: From the Collection of the Adolphus Hotel and the Stoneleigh Hotel, Dallas, Texas. $5,000 - 7,000

2 • AT T R I B U T E D T O S I R G O D F R E Y K N E L L E R

3 • AT T R I B U T E D T O J E A N F R A N Ç O I S C A R T E A U X

(British, 1646-1723)

(French, 1751-1813)

Portrait of a Lady

Untitled (Portrait of a Gentleman)

Oil on canvas. Inscribed on label verso “Portrait of a Lady / Sir Godfrey Kneller.”

Oil on canvas, 1776. Inscribed lower left “Carteaux pinx 1776.”

Canvas: 50"H x 40"W; Frame: 58.5"H x 48.5"W.

Provenance: From the Collection of the Adolphus Hotel and the Stoneleigh Hotel, Dallas, Texas.

Provenance: From the Collection of the Adolphus Hotel and the Stoneleigh Hotel, Dallas, Texas. $2,000 - 3,000

Canvas: 50"H x 40"W; Frame: 58.5"H x 48.5"W.

Note: After a work by Louise Élisabeth Vigée Le Brun. $1,500 - 2,500

4 â&#x20AC;˘ AFTER CANALETTO Untitled (Palace Scene) Circa - 18th - 19th C. Oil on canvas depicting a gathering under a high archway looking out onto a marbled plaza. Canvas: 62"H x 93"W; Frame: 73.75"H x 106.375"W. Provenance: From the Collection of the Adolphus Hotel and the Stoneleigh Hotel, Dallas, Texas. $5,000 - 7,000

5 • JAMES BURRELL A View near Dedham Oil on canvas. Signed lower right “Jas Burrell.” Canvas: 30"H x 49.5"W; Frame: 37.25"H x 56.5"W. Provenance: W. H. Patterson Fine Arts Ltd., London 1999. $3,000 - 5,000

6 • W. E U G È N E V E R B O E C K H O V E N (Belgian, 1799-1881)

Untitled (Sheep and Chickens in a Stable) Oil on canvas, 1869. Signed and dated lower left “Eugene Verboeckhoven 1869.” Canvas: 29.25"H x 44.25"W; Frame: 35.75"H x 51"W. Provenance: W. P. Wilstach Collection, Philadelphia, Pennsylvania; Fairmount Park, Philadelphia, Pennsylvania; Samuel T. Freeman & Co., October 29, 1954, Lot 61; Private collection, Texas. $8,000 - 12,000

7 • CÉSAR DE COCK (Flemish, 1823-1904)

The Brook Canal Oil on canvas, 1870. Signed and dated lower left “Cesar de Cock 1870.” Canvas stamped twice on verso “Wilstach Gallery.” Canvas: 20"H x 27.25"W; Frame 26.25"H x 33.75"W. Provenance: W. P. Wilstach Collection, Philadelphia, Pennsylvania; Fairmount Park, Philadelphia, Pennsylvania; Samuel T. Freeman & Co., October 29, 1954, Lot 11; Private collection, Texas. César de Cock, a painter noted for his landscapes and woods, studied with Daubigny and made friends with Corot, Rousseau, and Tryon. He painted at Barbizon and surrounding regions in France and Belgium. $3,000 - 5,000

8 • CHARLES HUNT II (British, 1829-1900)

The Original Minstrels (Abbey Orphanage) Oil on canvas, 1873. Signed lower right “C. Hunt 1873.” Canvas: 24.25"H x 36.25"W; Frame: 30.5"H x 42.5"W. Provenance: W.J. Morrill, Ltd. London; The Victorian Gallery, Dallas; Private Collection, Dallas. Exhibited: Royal Academy, London, 1862-1873. The British Institution, London, 1899. Charles Hunt II is best known for his genre scenes, which often depicted humorous scenes of children in cottage settings. This work perfectly captures his style with its portrayal of a group of children with painted faces performing a musical. $18,000 - 24,000 12

9 • JOZEF ISRAELS (Dutch, 1824-1911)

Untitled (Woman by the sea) Oil on board. Signed lower left “Josef Israels.” Board: 10.5"H x 10.625"W; Frame: 15.625"H x 15.75"W. $4,000 - 6,000

10 • C O N T I N E N TA L S C H O O L Untitled Oil on canvas depicting a pastoral scene of peasants tending to cattle and sheep along a river. Circa - 20th C. Canvas: 53"H x 78.5"W; Frame: 58.5"H x 85.25"W. Provenance: From the Collection of the Stoneleigh Hotel, Dallas, Texas. $2,000 - 4,000

11 • H E N R Y J O H N Y E E N D K I N G (British, 1855-1924)

Tending the Garden Oil on canvas,1900. Signed lower left “Yeend King.” Canvas: 36"H x 28"W; Frame: 42.375"H x 34.25"W. $7,000 - 10,000

12 • F R I E D R I C H A U G U S T V O N K A U L B A C H (German, 1850-1920)

Untitled (Girl in Armchair) Mixed media on paper. Signed lower right “Kaulbach.” Sight: 52.5"H x 35.5"W; Frame: 57.5"H x 40.5"W. $2,000 - 4,000

13 • JEAN-FRANCK BAUDOIN (French, 1870-1961)

Petit Pont, Paris Oil on canvas. Signed lower left “JF. Baudoin.” Canvas: 18"H x 24"W; Frame: 24.5"H x 30.5"W. Provenance: Christie’s London, March 8, 2006, Lot 1030. $7,000 - 10,000

14 • E G O N S C H I E L E (Austrian, 1890-1918)

Selbstbildnis Bronze, 1917/1980. Stamped, numbered, and dated on right “Egon Schiele 259/300 1980 ©.” 11"H x 7"W x 10"D. Note: This is a later edition cast in 1980 for the Collector’s Club, Vienna, Austria. $2,000 - 3,000

T H E S AM W Y LY CO L L E C T I O N LOTS 15-54

From his humble beginnings in Northeast Louisiana to his multiple successes as author, entrepreneur, and philanthropist, Dallas businessman Sam Wyly has assembled a wonderfully diverse and historically significant art collection that speaks to both his love of storytelling and inexhaustible curiosity. Bookmarked by stunning examples throughout, such as Frank Tenney Johnson’s The Pioneers and Norman Rockwell’s Barbershop Quartet, the selected thirty-nine works from Mr. Wyly’s collection initially resonated with him on a personal level. Rather than amassing a group of similar styles, artists or subject matter, the self-made Wyly let his intuition guide and shape his collection. Magnificent examples of illustration are nestled alongside Western masterworks while political portraits share space with American Naturalist prints. Much like Mr. Wyly’s unerring quest for finding a new challenge in the business world, his appetite for something new, yet familiar, led him to seek works with historical or individual importance, and often led him into unexamined territory exploring a new artist, genre or era. The works offered ultimately reflect a strong, singular story told one piece at a time, bolstered by the integrity of the entire collection at large, offering a range of subjects, viewpoints, and styles for those wanting to continue the story of the Wyly collection by starting one of their own.

PHOTO: KAREN SANDERS

15 • A N T O N I E T TA B R A N D E I S (Austrian, 1848-1926)

Untitled (Venetian Scene with Boats) Oil on board. Signed lower right “A Brandeis.” Board: 6.75"H x 9.5"W; Frame: 11.625"H x 14.5"W. Provenance: Cooling Galleries, London, England; From the Collection of Sam Wyly, Dallas, Texas. $6,000 - 8,000

16 • A N T O N I E T TA B R A N D E I S (Austrian, 1848-1926)

Untitled (Doge's Palace) Oil on board. Signed lower right “A Brandeis.” Board: 6.5"H x 9.375; Frame: 10.5"H x 13.25"W. Provenance: Cooling Galleries, London, England; From the Collection of Sam Wyly, Dallas, Texas. $7,000 - 10,000

17 â&#x20AC;˘ MANNER OF C ANALET TO Venetian Scene Oil on canvas. Canvas: 30.5"H x 50.5"W; Frame: 37.5"H x 57.75"W. Provenance: From the Collection of Sam Wyly, Dallas, Texas. Note: Giovanni Antonio Canaletto (Italian, 1697-1768) was a renowned painter of landscapes and Venetian scenes. This piece painted in the manner of Canaletto depicts a scene of the Grand Canal with views of Santa Maria della Salute and the bell tower of St. Markâ&#x20AC;&#x2122;s Square. Circa - 20th C. $8,000 - 12,000 23

18 • PHILIPPE ROUSSEAU

19 • P I E R R E E D O U A R D F R E R E

(French, 1816-1887)

(French, 1819-1886)

The Fox and the Raven

Mother with Child

Oil on board. Signed lower right and inscribed on verso “Ph. R.”

Oil on canvas, 1883. Signed lower left “Edouard Frere-83.”

Board: 10.75"H x 8.5"W; Frame: 17.875"H x 15.875"W.

Canvas: 19.5"H x 16.5"W; Frame: 24.5"H x 16.5"W.

Provenance: John Mitchell Fine Paintings, London; From the Collection of Sam Wyly, Dallas, Texas.

Provenance: From the Collection of Sam Wyly, Dallas, Texas.

$2,000 - 3,000

$4,000 - 6,000

20 • A N T O N V A N W O U W (South African, 1862-1945)

Leemans, the Postman Bronze with brown patina, 1901. Dated, signed, and inscribed on right rear of base “1901 / A van Wouw / Pretoria.” Later edition. 17.5"H with base. Provenance: From the Collection of Sam Wyly, Dallas, Texas. $20,000 - 30,000

21 • A L B E R T G U I L L A U M E (French, 1873-1942)

Le Chef d’Oeuvre, (The Masterpiece) Oil on board. Signed lower left “A Guillaume.” Board: 32"H x 25.5"W; Frame: 41.625"H x 36"W. Provenance: Anonymous; Hotel Drouot sale, Paris, May 24, 1944; Christie’s New York: February 11, 1997, The Paris Salon, lot 44; From the Collection of Sam Wyly, Dallas, Texas. Literature: G. Shurr, Les Petits Maîtres de la Peinture 1820-1920, 1976, III. E. Bénézit, Dictionnaire critique et documentaire des Peintres, Sculpteurs, Dessinateurs et Graveurs, Paris, 1976, V, p. 291. Exhibited: Paris, Société National des Beaux Arts, Salon of 1905, no. 613. Albert Guillaume is best known for his satirical subject matter and cartoon like depictions. As an accomplished caricaturist, Guillaume rose to fame during the Belle Époque with his comical commentary on the foibles of French society. This piece “Le Chef d’Oeuvre,” translated “The Masterpiece,” captures his distinctive cartoon-like style while humorously depicting the dichotomy between artists and the bourgeoisie. $10,000 - 15,000

22 • A LO N S O - P E R E Z (Spanish, 1881-1914)

La Louée de Servantes Oil on canvas. Signed lower left “Alonso-Perez.” Canvas: 33.75"H x 49.5"W; Frame: 40.5"H x 56.5"W. Provenance: From the Collection of Sam Wyly, Dallas, Texas. $4,000 - 6,000

23 • EUGENE REMY MAES (Belgian, 1849-1931)

Sheep and Chickens in a Barn Oil on canvas. Signed lower right “E.R. Maes.” Canvas: 24"H x 31.75"W; Frame: 31.5"H x 39.25"W. Provenance: Heritage Auctions: May 25, 2007, Lot 25073; From the Collection of Sam Wyly, Dallas, Texas. $3,000 - 5,000

24 • PA U L R E M Y (Lived/Active-Asia, 1897-1981)

Le Bal du 14 Juillet Oil on canvas, 1928. Signed lower right “P. Remy 28.” Canvas: 63.5"H x 76.75"W; Frame: 72"H x 86"W. Provenance: From the Collection of Sam Wyly, Dallas, Texas. $8,000 - 12,000

25 • A F T E R J O H N J A M E S A U D U B O N (American, 1785-1851)

Ruby-throated Humming Bird Engraving with etching, aquatint, and hand-coloring on wove paper by Robert Havell, 1828. Marked upper left ”No. 10“ and upper right “Plate XLVII.” From The Birds of America, Trochilus Colubris. Plate: 26"H x 20.75"W; Sheet: 38"H x 25.5"W; Frame: 42"H x 36"W. Provenance: From the Collection of Sam Wyly, Dallas, Texas. $7,000 - 10,000

26 • A F T E R J O H N J A M E S A U D U B O N (American, 1785-1851)

American White Pelican Engraving with etching, hand coloring, and aquatint on wove paper by Robert Havell, 1836. Marked upper left “No. 63” and upper right “PLATE: CCCXI.” Image: 35.375"H x 23.375"W; Sheet: 37.5"H x 25.5"W; Frame: 50.125"H x 37.375"W. Provenance: From the Collection of Sam Wyly, Dallas, Texas. As one of the largest birds living in North America, the American White Pelican commands the full “Double Elephant Folio” page of Audubon’s Havell first edition of The Birds of America. Standing at attention in a bold profile at approximately life-size, the striking lines and intricate detail of his beak, plumage and webbed feet are a stark contrast to the darkened clouds hanging over his watery habitat. The vertical composition struggles to confine this wondrous specimen with a 9-foot wingspan and one can easily grasp why this plate is one of the most coveted of the master American naturalist and painter’s illustrations. After an initial unsuccessful fundraising stint, Audubon left the United States for the United Kingdom in 1826, looking for financial support in the form of willing subscribers. Additionally, the avian artist was seeking the technical means of engravers and colorists to reproduce his original drawings while overseas. After starting the new project in Edinburgh, William H. Lizars had to abandon it after only ten plates were completed as members of his studio went on strike. Therefore in 1827, Audubon entrusted the father-son studio of Robert Havell Sr. & Jr., with the latter seeing it through to its completion in 1838. While copperplate etching was the primary printing technique utilized in these groundbreaking ornithological plates, engraving and aquatint were also used with all aspects of color being added later by hand using watercolor. These large prints were issued in groups of five at a time and were unbound when subscribers received them. Only later would Audubon issue the supplementary text under separate cover, published in collaboration with Scottish naturalist William MacGillivray. $50,000 - 70,000

27 • A F T E R J O H N J A M E S A U D U B O N (American, 1785-1851)

Bos Americanus-American Bison or Buffalo Lithograph with handcoloring on wove paper by J.T. Bowen, 1845. Marked upper left “No. 12” and upper right “Plate LVI.” Site: 19"H x 25.25"W; Frame: 32.5"H x 38.25"W. Provenance: From the Collection of Sam Wyly, Dallas, Texas. $8,000 - 12,000

28 • A M E R I C A N S C H O O L The Old Whaler Oil on canvas. Circa - 19th C. Stamped on verso “Lechertier, Barbe & Co. / 60 Regent Street, W.” Canvas: 27.25"H x 20.25"W; Frame: 35.5"H x 28.5"W. Provenance: From the Collection of Sam Wyly, Dallas, Texas. $2,000 - 3,000

29 • W I L L I A M A I K E N W A L K E R (American, 1838-1921)

Pr. Cotton Pickers Oil on board. Signed lower left on each piece “WA Walker.” Board: 12.5"H x 6.5"W; Frame: 14.25"H x 8.125"W. Provenance: From the Collection of Sam Wyly, Dallas, Texas. $6,000 - 8,000

30 • REMBRANDT PEALE (American, 1778-1860)

George Washington Oil on canvas laid on panel. Circa - 1856. Signed lower left “Rembrandt Peale.” Inscribed on verso “Original Portrait of Washington 1795.” Canvas: 36.25"H x 29.5"W; Frame: 46.875"H x 39.875"W. Provenance: The artist, prior to 1860; Charles J. Coggill, New York, NY; Mrs. S. Edward Nash (Isabel Coggill), New York, NY; By descent to the Nash family; The Hendershott Collection, 1996; Hammer Galleries, (purchased in 2001) Private collection; Heritage Auctions, May 11, 2013, Lot 64100; From the Collection of Sam Wyly, Dallas, Texas. Rembrandt Peale was a highly regarded portrait artist who is best known for his paintings of George Washington. The son of the renowned artist, Charles Willson Peale, and a contemporary of Gilbert Stuart, Peale rivaled the talents of these men and gained a reputation as the foremost 19th century painter of Washington with works such as this 1856 “porthole” portrait of the “Patriae Pater” in full military dress. At the age of seventeen, through a sitting arranged by his father, Peale had the distinct privilege to meet George Washington and capture his first rendering of the illustrious president. This opportunity made him one of the very few artists fortunate enough to paint the historic figure from life. It was during this very meeting in 1795 that his father painted his famous, last portrait of Washington, which is currently on display in the National Portrait Gallery. Interestingly enough, it was after this same portrait that the younger Peale styled this 1856 painting of the first President of the United States. Driven by his patriotism and admiration of Washington, Peale made it his personal mission to continuously recreate this portrait, while successively striving to perfect the details and stylistic beauty of the celebrated “Father of our Country.” Here, Peale portrays the stoic general with a flush of color in his cheeks and lively blue eyes, dressed regally in navy and gold complete with epaulettes and tied silk neckerchief. Despite his calm and noble disposition, Peale’s 1856 depiction shows a crumbling oval porthole, seemingly indicative of an imminent Civil War. $125,000 - 175,000

31 • M O R T K U N S T L E R (American/New York, b. 1931)

The Scouts of Fredericksburg: Maj. Von Borcke with Gens. Lee and Jackson, Dec. 12, 1862 Mixed media on paper, 1995. Signed and dated lower left “M Kunstler 95 ©.” Site: 18"H x 25"W; Frame: 24.5"H x 31.75"W. Provenance: Hammer Galleries, New York; From the Collection of Sam Wyly, Dallas, Texas. Literature: James I. Robertson, Jr., Jackson & Lee: Legends in Gray: The Paintings of Mort Künstler, Nashville: Rutledge Hill Press, 1995, illustrated in color p. 93, and p. 172. Collector Cards, The Blue and the Gray – The Civil War Art of Mort Künstler, Comic Images, Saddle Brook, New Jersey, 1996, card 53. Mort Künstler, The Civil War Art of Mort Künstler, Seymour, CT: Greenwich Workshop Press, 2004, illustrated in color p. 84. Mort Künstler, James M. McPherson and James I. Robertson Jr., The Civil War Paintings of Mort Künstler, Volume 2: Fredericksburg to Gettysburg, Nashville: Cumberland House Publishing, Inc., 2007, illustrated in full color p. 51. James I. Robertson, Jr., For Us The Living: The Civil War in Paintings and Eyewitness Accounts – The Art of Mort Künstler, New York: Sterling Publishing Co., 2010, 2012, illustrated in color p. 88. Exhibited: New York, Hammer Galleries, Mort Künstler - Jackson & Lee: Legends in Gray, October 17-November 4, 1995. Roslyn, New York, Nassau County Museum of Art, The Civil War Paintings of Mort Künstler, January 11-March 1, 1998. New York, Hammer Galleries, The Civil War Paintings of Mort Künstler, March 31-April 25, 1998. $5,000 - 7,000 36

32 • M O R T K U N S T L E R (American/New York, b. 1931)

Night Crossing: Lee and Jackson, September 19, 1862 Mixed media on paper, 1995. Signed and dated lower right “M Kunstler 95 ©.” Site: 18.5"H x 25"W; Frame: 27"H x 33.5"W. Provenance: Hammer Galleries, New York; From the Collection of Sam Wyly, Dallas, Texas. Literature: James I. Robertson, Jr., Jackson & Lee: Legends in Gray: The Paintings of Mort Künstler, Nashville: Rutledge Hill Press, 1995, illustrated in color pp. 88-89, and p. 171. Künstler, Mort, Mort Künstler’s Civil War: The South, Nashville: Rutledge Hill Press, 1997, illustrated in color, p. 70. Calendar, Lang Graphics, Delafield, Wisconsin, M Künstler Legends in Gray Calendar 2000, illustrated in color, September. Mort Künstler, James M. McPherson and James I. Robertson Jr., The Civil War Paintings of Mort Künstler, Volume 1: Fort Sumter to Antietam. Nashville: Cumberland House Publishing, Inc., 2006, p. 233, and pp. 234-235 (detail). James I. Robertson, Jr., For Us The Living: The Civil War in Paintings and Eyewitness Accounts – The Art of Mort Künstler, New York: Sterling Publishing Co., 2010, 2012, illustrated in color p. 76. Exhibitions: New York, Hammer Galleries, Mort Künstler – Jackson & Lee: Legends in Gray, October 17-November 4, 1995. New York, Hammer Galleries, The Civil War Paintings of Mort Künstler, March 31-April 25, 1998. Roslyn, New York, Nassau County Museum of Art, The Civil War Paintings of Mort Künstler, January 11-March 1, 1998. $5,000 - 7,000 37

33 • M O R T K U N S T L E R (American/New York, b. 1931)

His Supreme Moment: Lee at Chancellorsville, May 3, 1863 Mixed media on paper, 1995. Signed and dated lower right “M Kunstler 95 ©.” Site: 18.875"H x 24.75"W; Frame: 25.625"H x 31.375"W. Provenance: Hammer Galleries, New York. From the Collection of Sam Wyly, Dallas, Texas. Literature: James I. Robertson, Jr., Jackson & Lee: Legends in Gray: The Paintings of Mort Künstler, Nashville: Rutledge Hill Press, 1995, illustrated in color pp. 108-109, and p. 173. Collector Cards, The Blue and the Gray – Civil War Art by Mort Künstler, Comic Images, Saddle Brook, New Jersey, 1997, card 66. Magazine Illustration, America’s Civil War, Cowles Publishing, Spokane, Washington, 1999, double page spread, illustrated in color, pp. 42-43. Calendar, Lang Graphics, Delafield, Wisconsin, M Künstler Legends in Gray Calendar 2000, illustrated in color May. Mort Künstler, James M. McPherson and James I. Robertson Jr., The Civil War Paintings of Mort Künstler, Volume 2: Fredericksburg to Gettysburg. Nashville: Cumberland House Publishing, Inc., 2007, illustrated in color p. 195. James I. Robertson, Jr., For Us The Living: The Civil War in Paintings and Eyewitness Accounts – The Art of Mort Künstler, New York: Sterling Publishing Co., 2010, 2012, illustrated in color p. 122. Exhibitions: New York, Hammer Galleries, Mort Künstler – Jackson & Lee: Legends in Gray, October 17-November 4, 1995. $5,000 - 7,000

34 • M O R T K U N S T L E R (American/New York, b. 1931)

…War is So Terrible: Longstreet and Lee, December 13, 1862 Oil on canvas, 1995. Signed and dated lower right “M Kunstler 95 ©.” Canvas: 22.125"H x 34.125"W; Frame: 29"H x 41"W. Provenance: Hammer Galleries, New York. From the Collection of Sam Wyly, Dallas, Texas. Literature: James I. Robertson, Jr., Jackson & Lee: Legends in Gray: The Paintings of Mort Künstler, Nashville: Rutledge Hill Press, 1995, illustrated in color p. 32 and p. 170. Limited Edition Print, American Print Gallery, Gettysburg, Pennsylvania, 1996. Illustration, Fiasco at Fredericksburg, by Vorin E. Whan, Jr., Norwalk, CT: Easton Press, 1996, frontispiece. Collector Cards, The Civil War – The Art of Mort Künstler, Comic Images, Saddle Brook, New Jersey, 1996, card 88. Mort Künstler, Mort Künstler’s Civil War: The South, Nashville: Rutledge Hill Press, 1997, illustrated in color pp. 80-87. Calendar, Lang Graphics, Delafield, Wisconsin, M Künstler Legends in Gray Calendar 1998, illustrated in color December. James I. Robertson, Jr., The Confederate Spirit: Valor, Sacrifice, and Honor. The Paintings of Mort Künstler. Nashville: Rutledge Hill Press, 2000, illustrated in color pp. 34-35. James I. Robertson, Jr., Gods and Generals: The Paintings of Mort Künstler. Shelton, CT: Greenwich Workshop Press, 2002, illustrated in color pp. 104-105, p. 141. Illustration, Gods and Generals: The Illustrated Story of the Epic Civil War Film, by Ronald F. Maxwell, New York: Newmarket Press, 2003, illustrated in color. Mort Künstler, The Civil War Art of Mort Künstler, Seymour, CT: Greenwich Workshop Press, 2004, illustrated in color p. 87. First Day Issue Envelope, MBI, Inc., Norwalk, Connecticut, 2004, illustrated in color. Mort Künstler, Inc. -2- Updated: May 2015 Mort Künstler, James M. McPherson and James I. Robertson, Jr., The Civil War Paintings of Mort Künstler, Volume 2: Fredericksburg to Gettysburg. Nashville: Cumberland House Publishing, Inc., 2007, p. 65, and pp. 66-67. James I. Robertson, Jr., For Us The Living: The Civil War in Paintings and Eyewitness Accounts – The Art of Mort Künstler, New York: Sterling Publishing Co., 2010, 2012, illustrated in color p. 92. Documentary, The Life of Sgt. Richard Kirkland, Middle Tennessee State University, 2014. Exhibitions: New York, Hammer Galleries, Mort Künstler – Jackson & Lee: Legends in Gray, October 17-November 4, 1995. $15,000 - 20,000 39

35 • P O R F I R I O S A L I N A S (American, 1910-1973)

Blue Bonnet Time Oil on canvas. Signed lower left “Porfirio Salinas.” Canvas: 27"H x 33"W; Frame: 33.25"H x 39.5"W. Provenance: Heritage Auctions: December 1, 2007, Lot 36218; From the Collection of Sam Wyly, Dallas, Texas. Porfirio Salinas was best known for his depictions of the Texas countryside. $12,000 - 18,000

36 • J O E J O N E S (American, 1909-1963)

Raking Hay Oil on canvas. Signed lower left “Joe Jones.” Canvas: 40.25"H x 29.25"W; Frame: 44.625"H x 33.625"W. Provenance: Gift to private collector from the artist circa 1950. Sotheby’s New York: May 24, 2006, Lot 00126; From the Collection of Sam Wyly, Dallas, Texas. Under the threat of a darkening sky full of clouds, a Midwestern farmer throws hay to his side, gently arching above the house and windmill situated in a stand of trees. The sinewy yield of golden crop wonderfully mirrors and contrasts against the billowy sky, cut by a calm blue through the middle. As a self-taught artist and former house painter, St. Louis native Joe Jones frequently used the imagery of the working man as subject matter and motivation for his Depression Era works. During these productive decades of the 30s and 40s, Jones’ inventive compositions and stark imagery often examined social issues, race relations, in addition to the plight of the common man. Jones produced several murals for the WPA during this time, alienated some supporters by joining the Communist Party and was also included in some major exhibitions in both New York and Philadelphia. The strength and beauty of “Raking Hay” lies within Jones’ technique and composition, full of linear motion and a restrained sense of order in both man and nature. $40,000 - 60,000

37 • G E R A L D H A R V E Y (American/Texas, b. 1933)

Doc’s Rig Oil on canvas, 1968. Signed lower right “G. Harvey Austin 1968.” Titled on stretcher reverse “Doc’s Rig.” Canvas: 20"H x 24"W; Frame: 27.625"H x 30.625"W. Provenance: From the Collection of Sam Wyly, Dallas, Texas. Gerald Harvey is known for his western genre and street scene paintings. $12,000 - 18,000

38 • F R A N K T E N N E Y J O H N S O N (American, 1874-1939)

The Pioneers Oil on canvas laid on board, 1907. Signed lower left “Frank Tenney Johnson 1907.” Canvas on board: 35.875"H x 23.75'W; Frame: 42.5"H x 30.75"W. Provenance: Altermann Galleries & Auctioneers: October 23, 2004, Lot 70; From the Collection of Sam Wyly, Dallas, Texas. While western artist Frank Tenney Johnson is chiefly known for his “moonlight technique” used in the majority of his paintings, this stunning canvas is largely shaped by the light of the campfire in the foreground. Johnson’s golden hues ably demonstrate his mastery of color to illuminate and determine the figures and forms present in the composition. As a deft counterplay, the horse and wagon behind the two pioneers are carved out in subtle moonlit tones while the diagonal and vertical lines of the two men and their guns ricochet the viewer’s gaze from the fire to their faces, back to the sunset and again to the puddle mirrored at front. During the time that this work was painted, Johnson was living in New York City after his time at the Art Students League and was also garnering acclaim for his illustrations in several popular magazines. The artist would often take trips out west for research and preliminary sketches and then return back to his studio in New York to fully realize the artwork. $125,000 - 175,000

39 • R O L L A TAY LO R (American, 1872-1970)

House and Windmill Oil on canvas. Signed lower right “Rolla Taylor.” Canvas: 20"H x 24"W; Frame: 27.5"H x 31.5"W. Provenance: From the Collection of Sam Wyly, Dallas, Texas. Rolla Taylor was a Texas artist known for town-landscape paintings, and was a personal friend to artist Julian Onderdonk. $3,000 - 5,000

40 • FRED DARGE (American, 1900-1973)

Rotary Drilling Rig Oil on canvas. Signed lower right “F. Darge.” Canvas: 20.125"H x 24.125"W; Frame: 25.625"H x 29.625"W. Provenance: Heritage Auctions: May 19, 2007, Lot 36406; From the Collection of Sam Wyly, Dallas, Texas. Fred Darge was a Texas artist known for western genre paintings. Circa 1930s. $2,000 - 3,000

41 • F R E D D A R G E (American, 1900-1979)

Old Pedro the Goat Herder Oil on linen. Signed lower right “F. Darge” and titled on stretcher verso “Old Pedro the Goat Herder.” Linen: 36"H x 30"W; Frame: 41.375"H x 35.25"W. Provenance: Heritage Auctions, Texas Art Auction, May, 19, 2007, Lot 36404; From the Collection of Sam Wyly, Dallas, Texas. As one of the largest and most visually rich of Darge’s paintings, “Old Pedro the Goat Herder” juxtaposes the central titular figure against the West Texas landscape with just a hint of cloudy sky above. The Texas artist lends credence to the gentle shepherd by dressing him in understated western attire and outfitting him only with a walking stick and simple satchel. He stands with his docile herd scattered about him at his feet, looking in all directions. The differing compositional rhythms of the sky, hills, landscape, herd and foreground don’t alter the cool demeanor of Old Pedro and his fixed, calm gaze beyond the frame. As it stands, there may be many possible metaphors up for interpretation within this striking composition, but beyond all, a serene nature is conveyed in both man and animal and the landscape in which they share. $20,000 - 30,000

42 • N O R M A N R O C K W E L L (American, 1894-1978)

Portrait of Richard M. Nixon Oil on canvas, 1960. Signed lower right “Norman / Rockwell.” Canvas: 20"H x 16"W; Frame: 27"H x 22.875"W. Provenance: Bernard Danenberg Galleries, New York (label verso); From the Collection of Sam Wyly, Dallas, Texas. Exhibited: “Norman Rockwell: A Sixty Year Retrospective,” Corcoran Gallery of Art, Washington D.C., May 26 - July 23, 1972. McNay Art Institute, San Antonio, Texas, July 30 August 31, 1972. M. H. De Young Museum, San Francisco, September 9 - November 5, 1972. (labels verso). Literature: The Saturday Evening Post, November 5, 1960. (cover); Buechner, illus. 490, 571; Retrospective, p. 1332; Moffatt, C501, p. 229. Published just three days before the 1960 Presidential election, this portrait commissioned by The Saturday Evening Post followed Rockwell’s companion painting of JFK issued a little more than a month before. Even as the sitting Vice-President under Eisenhower, Nixon lost his inaugural run for the highest office by only the slimmest of margins. With a deft touch, Rockwell renders the humanity of Nixon as interpreted through the features of the future President’s set brown eyes and somewhat forced but friendly smile. Seen now at a historical remove, it’s almost as if the subject was well aware of his complicated role in the future of American politics. $30,000 - 50,000

43 • N O R M A N R O C K W E L L (American, 1894-1978)

Barbershop Quartet Charcoal and colored pencil on paper, 1936. Signed lower right “Norman Rockwell.” Inscribed lower center “N’oubliez jamais ‘Le Bon Dieu’” and lower right “Norman Rockwell / Mead Schaeffer / Fairfax Ayres.” Paper: 34.75"H x 25.75"W; Frame: 40.75"H x 31.75"W. Provenance: Study for the cover illustration of “The Saturday Evening Post,” September 26, 1936; Collection of Jack Solomon, Jr. (owner of Arts International, Ltd. and Circle Gallery, Ltd., Chicago); Acquired by Private Collector from above, 1974; Sotheby’s New York, May 5, 2006, Lot 99; From the Collection of Sam Wyly, Dallas, Texas. Literature: Thomas Buechner, Norman Rockwell: A Sixty Year Retrospective, New York, 1972, pg. 64. Laurie Norton Moffatt, Norman Rockwell: A Definitive Catalogue, Stockbridge, 1986, pgs. 134-135, C357a. (illustrated). One completely expects the men pictured in this work to eventually burst into full-blown four-part harmony with their expertly-rendered countenances under constant threat of song. The trio grouped at left have their heads almost touching in places, mouths all incongruously agape and eyes pointed in three different directions while the man under the barber’s smock at right unapologetically bears his gaze straight down at the viewer. This wonderfully drawn study for one of Rockwell’s most beloved Saturday Evening Post covers is compositionally balanced somewhere between the detailed heads and shoes of the men and simple folds and the understated lines of their clothing. Each is artfully armed with an implement of the trade, splayed hands as musical gesture or the latest issue of “Police Gazette.” The well-designed compositional tension from the master draftsman is palpable and instantly transports to the expectations of the subject at hand. As evidenced by American’s most celebrated illustrator in this magnificent work and again, reminded by the artist’s inscription at bottom, “Never forget the Good God.” $100,000 - 150,000

44 • R O D S A LT E R (American, b. 1962)

Misty River Acrylic on board. Signed lower right “Rod Salter ©.” Board: 18"H x 24"W; Frame: 25.5"H x 31.5"W. Provenance: From the Collection of Sam Wyly, Dallas, Texas. $800 - 1,200

45 • N O LO T

46 • A N D Y W A R H O L (American, 1928-1987)

Apple (from Ads) Color screenprint on Lenox Museum Board, 1985. TP 28/30, aside from an edition of 190. Numbered and signed in pencil lower right “TP 28/30 Andy Warhol.” Sheet: 38"H x 38"W; Frame: 50.5"H x 50.5"W. Provenance: From the Collection of Sam Wyly, Dallas, Texas. Literature: Feldman/Schellman, IIB.359. Note: Each trial proof print is unique. $25,000 - 35,000 49

47 • C H E N Y I M I N G (Chinese, b. 1951)

Nostalgia Oil on canvas, 1997. Signed lower right “Y. M. Chen.” Canvas: 41.5"H x 27.75"W; Frame: 49"H x 35"W. Provenance: From the Collection of Sam Wyly, Dallas, Texas. Literature: Chen Yi Ming, Hammer Galleries exhibition catalogue, Hammer Publishing, 1997 (cover illustration, also illustrated p. 11). Note: A signed copy of the Chen Yi Ming Hammer Galleries exhibition catalogue from 1997 is included with this lot. Chen Yi Ming is best known for his ethereal realism and illustrations of beautifully costumed women, often depicted playing instruments or set against the natural landscapes of China. $25,000 - 35,000

48 • M A R C K L I O N S K Y (Russian, b. 1927)

Khrushchev Oil on canvas, 2000. Signed lower left “Marc Klionsky 2000.” Canvas: 50"H x 38"W; Frame: 57.5"H x 45.5"W. Provenance: From the Collection of Sam Wyly, Dallas, Texas. $2,000 - 4,000

4 9 • S T E FA A N E Y C K M A N S (Belgian, b. 1964)

Fire Chief Oil on board, 2002. Signed lower left “SAHJ Eyckmans 2002.” Inscribed on label verso “Fire Chief Stefaan AHJ Eyckmans AD 2002.” Board: 31.5"H x 23.625"W; Frame: 39"H x 31"W. Provenance: Elliot Yeary Gallery, Aspen, Colorado; From the Collection of Sam Wyly, Dallas, Texas. $1,000 - 1,500

50 • G E R A R D O P I TA

51 • G E R A R D O P I TA

(Spanish, b. 1950)

Cat

Leon

Pastel and wash on paper, 1996. Signed lower right “Gerardo Pita - 1996.”

Graphite and gouache on masonite, 1996. Signed lower right “Gerardo Pita - 1996.”

Site: 23.5"H x 30"W; Frame: 34.25"H x 40.75"W.

Site: 23.5"H x 19.25"W; Frame: 26.5"H x 30.75"W.

Provenance: From the Collection of Sam Wyly, Dallas, Texas.

$1,000 - 1,500

52 • LO R A N S P E C K (American, b. 1943)

Tomatoes on Vine Oil on board. Signed lower right “L Speck.” Board: 6"H x 12"W; Frame: 12.75"H x 18.75"W. Provenance: Morris and Whiteside Galleries, Hilton Head, South Carolina; From the Collection of Sam Wyly, Dallas, Texas. $2,000 - 3,000

53 • LO R A N S P E C K (American, b. 1943)

Red and Green Peppers Oil on board. Signed lower left “L Speck.” Board: 6"H x 12"W; Frame: 12.75"H x 18.75"W. Provenance: Morris and Whiteside Galleries, Hilton Head, South Carolina; From the Collection of Sam Wyly, Dallas, Texas. $2,000 - 3,000

54 • EZRA TUCKER (American, b. 1955)

Fox Acrylic on board. Signed lower right “© Tucker.” Signed on paper backing “Tucker.” Board: 30"H x 20"H; Frame: 36.75"H x 26.75"W. Provenance: Elliot Yeary Gallery, Aspen, Colorado; From the Collection of Sam Wyly, Dallas, Texas. $2,000 - 3,000

AMERICAN, CALIFORNIA AND WESTERN ART LOTS 55-75

55 • G E O R G E H . G AY (American, 1858-1931)

Untitled (Tree in Field) Oil on canvas, 1885. Signed lower left “Geo. H. Gay 1885.” Canvas: 40.25"H x 32.625"W; Frame: 47.75"H x 40.25"W. $5,000 - 7,000

5 6 • W I L L I A M LO U I S S O N N TA G (American, 1822-1900)

River View Oil on canvas, 1862. Signed lower right “W.L. Sonntag 1862" and inscribed on label verso “William Munroe received June 1909.” Canvas: 30.25"H x 50.25"W; Frame: 42"H x 62"W. Provenance: Acquired directly from artist by William Munroe (American, 1806-1877); Donated to Concord Free Public Library (founded by William Munroe) 1909; Sotheby’s New York: May 24, 1990, Lot 18; Guarisco Gallery, Washington, DC; From the Collection of Mr. Ken Davis, Fort Worth, Texas. As was one of the central figures of the Hudson River School, Sonntag was best known for his romanticized landscapes and grandeur vistas. Highly influenced by the work of Thomas Cole, he sought to depict the idyllic scenes of the Northeast with its serene mountain ranges and quiet rivers. This piece, titled “River View,” touches on all the defining characteristics of Sonntag’s style with its tranquil scene of a fisherman at sunset, hardly noticeable nestled amongst the vast mountains and quiet river, alive with the reflection of fall colors. $25,000 - 35,000 57

57 • C H A R L E S E D W I N G R E E N (American, 1844-1915)

Untitled (Beached Boat) Oil on board. Signed lower right “C. E. L. Green.” Board: 19.875"H x 26.875"W; Frame: 23.25"H x 30.25"W. $2,000 - 3,000

58 • E . L . B LU M E N S C H E I N (American, 1874-1960)

Love of Life Oil on canvas, 1905. Initialed bottom right “BL.” Canvas: 31.75"H x 20.325"W; Framed: 37"H x 25.75"W. Literature: Jack London, Illustration from “Love of Life,” first published by McClure’s Magazine, Vol. 26, Dec., 1905, pp. 144-158 (illustrated, p. 150, one of four color plates – this being number three – based on original oils by Blumenschein). Caption below said illustration reads: “His mirth was hoarse and ghastly, like a raven’s croak, and the sick wolf joined him. Howling lugubriously.” Note: Original published pamphlet comprised of pp. 144-158 + 4 color plates by E.L. Blumenschein illustrations, disbound and removed from original volume included with this lot. $12,000 - 18,000

59 • J O S E P H H E N R Y S H A R P (American, 1859-1953)

Untitled (Spring Flowers) Oil on board. Signed lower right “JH Sharp.” Board: 16"H x 12"W; Frame: 20.5"H x 16.5"W. $12,000 - 18,000

60 • L I L L I A N G E N T H (American, 1876-1953)

Nude in Woods Oil on canvas. Signed lower left “L. Genth.” Canvas: 51.25"H x 39.25"W; Frame: 58.25"H x 50.5"W. $3,000 - 5,000

61 • H U G H I E L E E - S M I T H (American, 1915-1999)

Untitled (Warehouse) Oil on canvas. Signed lower left “Lee-Smith.” Canvas: 30.25"H x 42"W; Frame: 35.375"W x 47"W. Provenance: Private Collection, Dallas, Texas. Hughie Lee-Smith was an African American artist who rose to fame in the 1960s with his desolate landscapes and surreal urban scenes. $25,000 - 35,000 62

62 • H E I N I E H A R T W I G (American, b. 1937)

Yosemite Vista Oil on board. Signed lower left “Heinie Hartwig.” Titled on verso “Yosemite Vista.” Board: 24"H x 20"W; Frame: 31"H x 27"W. $1,500 - 2,000

63 • R O S E S C H N E I D E R (American, 1895-1976)

El Capitan Oil on board. Signed lower right “Rose Schneider.” Signed and titled on verso “El Capitan / by Rose Schneider.” Canvas: 20"H x 24"W; Frame: 26.5"H x 30.75"W. Provenance: The Redfern Gallery, Laguna Beach, CA (label verso); Private collection, Dallas. $1,000 - 2,000 63

64 • M A U R I C E B R A U N (American, 1877-1941)

Along the Docks Oil on canvas. Signed lower left “Maurice Braun.” Canvas: 25"H x 30"W; Frame: 34.25"H x 39.25"W. Provenance: Vallejo Gallery, Newport Beach, CA; Private collection, Dallas. $10,000 - 15,000

65 • E D G A R PAY N E (American, 1883-1947)

Ligurian Boats Oil on canvas, 1923. Signed and dated lower right “Edgar Payne / 1923.” Signed and titled on verso “Edgar Payne / Ligurian Boats.” Canvas: 20"H x 24"W; Frame: 28.5" x 32.5"W. Provenance: Vallejo Gallery, Newport Beach, CA (label verso); Private collection, Dallas. $15,000 - 20,000 65

66 • M I C H A E L S TA C K (American, b. 1947)

Sun and Rain in Gardner Canyon Oil on canvas, 2003. Signed lower left “Michael Stack.” Titled and dated on verso “Sun and Rain in Gardner Canyon © 2003.” Canvas: 18"H x 20"W; Frame: 24"H x 26"W. Provenance: Altermann Galleries, Santa Fe, New Mexico. $2,000 - 3,000

67 • M I C H A E L S TA C K (American, b. 1947)

Autumn on the Rio Grande Oil on canvas, 2003. Signed lower left Michael Stack.” Titled and dated on verso “Autumn on the Rio Grande © 2003.” Canvas: 16"H x 20"W; Frame: 21.5"H x 25.5"W. Provenance: Altermann Galleries, Santa Fe, New Mexico. $2,000 - 3,000

68 • A L E X A N D E R P O P O F F (Russian, 1959-2011)

Moonlight Evening Oil on canvas, 2006. Signed lower right “A Попов.” Signed, titled, and dated in Russian on verso. Canvas: 19.625"H x 27.5"W; Frame: 26"H x 34"W. $1,500 - 2,000

69 • S U S A N T E R P N I N G ( H U N T I N G T O N ) (American, b. 1953)

Sending Out a Scout Oil on board, 1978. Signed and dated lower left “© / Susan Terpning Huntington / 1978.” Titled, copyrighted, and signed on verso. Board: 16"H x 20"W; Frame: 23"H x 27"W. $4,000 - 6,000

70 • M A R T I N G R E L L E (American/Texas, b. 1954)

Gifts for the Little People Oil on linen. Signed and dated lower right “Martin Grelle © 2011" and initialed “CA” for Cowboy Artists of America. Inscribed on stretcher “Martin Grelle 2011.” Canvas: 46.5"H x 36.5"W; Frame: 61"H x 51"W. Provenance: National Cowboy & Western Heritage Prix de West, June 11, 2011, Lot 127. Martin Grelle is a noted painter of western genre scenes and cowboys. He is a member of the Cowboy Artists of American and the 2002 and 2005 recipient of the Prix de West Award from the National Cowboy and Western Heritage Center in Oklahoma City. This piece alludes to the old Woodland Indian legend of nature spirits, which were often described as child-like beings, or “Little People.” Their reputation differed from tribe to tribe as some interpreted them as genial spirits while others feared their powers. According to folklore, gifts were offered up to the Little People in order to bring the tribes good fortune. $100,000 - 150,000

71 • TIM SHINABARGER (American b. 1966)

Gentleman of the Sage Bronze sculpture of a buck atop a green marble support and wood base. Signed and editioned “© Shinabarger 29/40.” 18.75"H x 10"W 12"D. Note: This is a sold out piece in artist’s inventory. $700 - 900

73 • T I M S H I N A B A R G E R (American b. 1966)

Seeking Passion and Glory Bronze sculpture of a striding ram, 2000. Signed and editioned “9/35 Shinabarger ©.” 24.5"H x 24.5"W x 11"D. Note: This is a sold out piece in artist’s inventory. $4,000 - 6,000

74 • T I M S H I N A B A R G E R (American, b. 1966)

Black Timber Bugler Bronze sculpture of a calling buck, 1998. Signed, titled, dated, and editioned “Black Timber Bugler / 98 © Shinabarger 10/30.” 27"H x 27"W x 14"D. Note: This is a sold out piece in artist’s inventory. $5,000 - 7,000

72 • T I M S H I N A B A R G E R (American b. 1966)

Full Curl Bronze sculpture of a ram’s bust on a green marble plinth atop a wood base, 2002. Signed, dated, and editioned “Shinabarger 02 2/36 ©.” 16.5"H x 10.5"W x 11"D. Note: This is a sold out piece in artist’s inventory. $700 - 900 70

75 • D E N N I S P. A N D E R S O N (American, b. 1940)

Titan Bronze sculpture of a water buffalo atop conforming green marble support and wood base, 1991. Signed, editioned, and dated “1/19 © Anderson ’91.” 16.5"H x 28"W x 21"D. $6,000 - 8,000

MODERN AND CONTEMPORARY ART LOTS 71-132

76 • PA B LO P I C A S S O

77 • PA B LO P I C A S S O

(Spanish, 1881-1973)

Agamemnon and Briseis (from Séries 347)

Char Romain Monté par un Athlète Féminin, avec Amour et Vieillards (from Séries 347)

Etching on wove paper, 1968. Signed in pencil lower right “Picasso" and numbered in pencil lower left “13/50.”

Etching on wove paper, 1968. Signed lower right “Picasso" and editioned lower left “14/50.”

Plate: 11"H x 15"W; Sheet: 17.875"H x 21"W.

Plate: 11"H x 15"W; Sheet: 17.75"H x 21"W.

Literature: Bloch, 1534.

Literature: Bloch, 1535. Baer, 1550 B.b.1.

Note: Published by Galerie Louise Leiris, Paris.

$4,000 - 6,000

78 • PA B LO P I C A S S O (Spanish, 1881-1973)

Femmes prenant le Soleil à la Piscine (from Séries 347) Etching on wove paper, 1968. Signed in pencil lower right “Picasso” and numbered in pencil lower left “46/50.” Plate: 11"H x 15.25"W; Sheet: 17.75"H x 23.375"W. Literature: Bloch, 1770. Note: Published by Galerie Louise Leiris, Paris. $3,000 - 5,000

79 • PA B LO P I C A S S O (Spanish, 1881-1973)

Sculpteur et trois danseuses sculptées (plate 81 from The Vollard Suite) Etching on laid paper with “Vollard” watermark, 1934. Signed in pencil lower right “Picasso.” From the total edition of 310. Plate: 8.75"H x 12.125"W; Frame: 27.375"H x 31"W. Literature: Bloch, 217. Geiser, 421 Bd. Note: Published by A. Vollard, Paris. $7,000 - 10,000

80 • ( 4 ) A F T E R PA B LO P I C A S S O (Spanish 1881-1973)

Four works from The Barcelona Suite Color offset lithographs, 1966. (1) Harlequin signed lower right “Picasso” and editioned lower left “17/60.” Plate: 22.75"H x 17.5"W (2) Maternité signed lower right “Picasso” and editioned lower left “21/60.” Plate: 18.125"H x 16.25"W (3) L’Attente signed lower right “Picasso” and editioned lower left “31/60.” Plate: 22.625"H x 18"W (4) La Danseuse Naine signed lower right “Picasso” and editioned lower left “50/60.” Plate: 22.625"H x 12.625"W All sheets with full margins: 29.75"H x 21.75"W. Literature: Czwiklitzer, 230; 231; 233; 234 (respectively) Note: Published by Museo Picasso, Barcelona. $10,000 - 15,000

81 • J O A N M I R Ó (Spanish, 1893-1983)

Osaka Exhibition Color lithograph, 1970. Stamped lower right “M” and editioned lower left “235/500” with Sala Gaspar water mark lower right. Sheet: 29.875"H x 22.25"W. Literature: Mourlot, 680. Note: Published by Sala Gaspar, Barcelona. $400 - 600

83 • J O A N M I R Ó (Spanish, 1893-1983)

Maravillas con Variaciones Acrosticas en El Jardin (plate 9) 82 • J O A N M I R Ó (Spanish, 1893-1983)

Sheet: 19.75"H x 28.25"W.

Tapis de Tarragona

Literature: Mourlot, 1061.

Color lithograph, 1970. Stamped lower right “M” with Sala Gaspar water mark upper left.

Note: Published by Poligrafa, Barcelona.

Sheet: 29.75"H x 22.875"W. Literature: Mourlot, 686. Note: Published by Sala Gaspar, Barcelona. $400 - 600 78

Color lithograph, 1975. Plate signed lower right “Miró” from an edition of 1,500.

$600 - 800

84 • J O A N M I R Ó (Spanish, 1893-1983)

Sala Pelaires Color lithograph, 1970. Initialed and dated lower right “M 5/V/73" and inscribed lower left “H.C.” with Sala Gaspar watermark in upper left corner. Sheet: 29.75"H x 21.875"W. Literature: Mourlot, 684. Note: Published by Sala Gaspar, Barcelona. $1,000 - 2,000

85 • JOAN MIRÓ (Spanish, 1893-1983)

Homenatge a Joan Prats Color lithograph, 1972. Signed lower right “Miró” and inscribed lower left “H.C.” Sheet: 29.625"H x 22.875"W. Literature: Mourlot, 852. $1,000 - 2,000

86 • J O A N M I R Ó (Spanish, 1893-1983)

Le Dandy Color etching and aquatint with carborundum on Mandeure rag paper, 1969. Signed in pencil lower right “Miró” and editioned in pencil lower left “HC” (aside from an edition of 75). Plate: 16.25"H x 17"W; Sheet: 29.25"H x 23.25"W. Literature: Dupin, 492. Note: Published by Maeght éditeur, Paris. $7,000 - 10,000

87 • A L E X A N D E R C A L D E R

88 • A L E X A N D E R C A L D E R

(American, 1898-1976)

Cercles Noir, Bleu, Rouge

Zebra Jaune et Zebra Noir

Color lithograph on Arches paper, 1973. Signed in pencil lower right “Calder” and numbered lower left “65/75.”

Color lithograph, 1976. Signed lower right “Calder” and editioned lower left “20/75.”

Sheet: 25.75"H x 19.875"W.

Sheet: 30.5"H x 22.75"W; Frame: 32.25"H x 24.25"W.

Literature: Maeght 1989, pg.47.

$1,000 - 1,500

$700 - 900 81

89 • A L E X A N D E R C A L D E R (American/New York, 1898-1976)

Great Yellow Sun Gouache and ink on paper, 1973. Signed and dated lower right “73 / Calder.” Paper: 29.375"H x 43.125"W; Frame: 41.5"H x 55.25"W. Provenance: Perls Galleries, New York; Private Collection, Geneva (acquired in 1974); Spanierman Gallery, New York (label verso); Private Collection, New York (purchased from the above in 2006). Note: This work is registered at the Calder Foundation, New York under application no. A06806. Additionally, the original receipt of sale from Spanierman Gallery is included with this lot. With his use of bold lines, vibrant shapes and primary colors, Calder carves out a space between abstraction and design like no other American artist. Credited with creating the modern mobile, the sculptural stabile and reinventing toys and jewelry in an art context, the prolific Calder wonderfully distills his sense of composition and form as presented here in this magnificent large-scale work on paper from 1973. The thick contours of the mountain forms are dwarfed by the wide reach of sunrays and a sky filled by horizontal black-and-white bands. Placed in the foreground at left is the only volumetric shape in the composition, a lightly colored grounded sphere whose lines playfully echo both the pyramids and the sky above. $70,000 - 90,000 82

90 • C L A E S O L D E N B U R G (American, b. 1929)

Strawberry Skull Bike Seat Aquatint in colors on wove paper collé, 1975. Signed lower right “Oldenburg” and editioned lower left “32/35.” Embossed copyright lower center and embossed printing stamp lower right “Crown Point Press / John Slivon.” Plate: 8"H x 8"W; Paper: 24.375"H x 18.5"W; Frame: 26.25"H x 20.25"W. Provenance: Castelli Graphics, New York, New York (label verso). Literature: Axsom & Platzker, 128. $500 - 700

91 • R I C H A R D A R T S C H W A G E R (American, 1923-2013)

(2) Etchings on paper, 1977. (1) Interior I signed, dated, and numbered lower left of plate “Artschwager ‘77 29/45.” Plate: 8.875"H x 9.75"W; Sheet: 23.25"H x 21"W; Frame: 25.5"H x 23.125"W. (2) Interior III signed, dated, and numbered lower left of plate “Artschwager '77 29/35.” Plate: 11.875"H x 9.875"W; Sheet: 24"H x 18.5"W; Frame: 26.25"H x 20.625"W. Provenance: Castelli Graphics, New York, New York. $600 - 800

92 • ROBERT INDIANA (American/New York, b. 1928)

Liebe Love Wool tapestry, 2005. Printed signature, title, edition, and date on label verso “R. Indiana / Liebe Love / 288/999 / 2005.” Tapestry: 24.25"H x 24.25"W; Frame: 25.625"H x 25.625"W. Note: Published by Galerie-F°, Kranenburg, Germany. $800 - 1,200

93 • ROBERT INDIANA (American/New York, b. 1928)

Classic Love Wool tapestry, 2007. Printed signature, title, edition, and date on label verso “R. Indiana / Classic Love / 821/10,000 / 2007.” Tapestry: 30.875"H x 30.875"W; Frame: 32.375"H x 32.375"W. Note: Published by Galerie-F°, Kranenburg, Germany. $1,000 - 1,500

94 • ROBERT INDIANA (American/New York, b. 1928)

The Hartley Elegies: Berlin Series, Karl von Freyburg II Color screenprint on Saunders Watercolor paper, 1990. Titled, numbered, signed, and dated in pencil at bottom “KvF II / AP 4/12 / R Indiana 90” (aside from an edition of 50). Sheet: 77"H x 53"W; Acrylic display box: 83"H x 59"W. Literature: Sheehan, 146. Note: Published by Park Granada Editions, Tarzana, California. $3,000 - 5,000

95 • R O B E R T I N D I A N A (American/New York, b. 1928)

From the Set of Red Eye of Love (Beef) Oil on canvas mounted on panel, 1998. Signed with artist's stamp and number on verso “INDIANA VINALHAVEN 8.” Canvas: 72"H x 72"W. Provenance: Gift of the artist; Christie’s New York: September 23, 2003, Lot 136; Private Collection, New York, NY. Literature: To be included in the forthcoming catalogue raisonné being prepared by Simon Salama-Caro. This work was part of a series of eight paintings by Indiana created for a revival of Arnold Weinstein’s play “Red Eye of Love.” The artist was commissioned by John Wulp, the producer of the play and a friend of Indiana’s. The plot of the play follows the story of a young idealist who dreams of creating an eight-story department store completely devoted to meat. The paintings in the series include: MEAT (2), BEEF, CHOP, LAMB, PORK, RIBS and VEAL. Eventually, the eight paintings were donated to the Watermans Community Center to benefit their capital campaign. $100,000 - 150,000

96 • A N D Y W A R H O L (American, 1928-1987)

Skull Screenprint on Strathmore Bristol paper, 1976. Signed and numbered lower left “Andy Warhol / 12/50.” Sheet: 30"H x 40"W; Frame: 33.875"H x 43"W. Literature: Feldman/Schellmann, 11.157. $20,000 - 30,000

97 • A N D Y W A R H O L (American, 1928-1987)

Skull Screenprint on Strathmore Bristol paper, 1976. Signed and numbered lower center “12/50 Andy Warhol.” Sheet: 30"H x 40"W; Frame: 33.875"H x 43"W. Literature: Feldman/Schellmann, 11.158. $20,000 - 30,000

98 • A N D Y W A R H O L (American, 1928-1987)

Skull Screenprint on Strathmore Bristol paper, 1976. Signed lower right “Andy Warhol” and numbered lower left “12/50.” Sheet: 30"H x 40"W; Frame: 33.875"H x 43"W. Literature: Feldman/Schellmann, 11.160. $20,000 - 30,000

9 9 • LO U I S E L AW L E R (American, b. 1947)

Red, Yellow and Black Cibachrome print mounted to plexiglass on museum box, 2008. Signed, dated and numbered on verso “Louise A Lawler / 2008 / 1/5.” 12"H x 29.5"W. Provenance: Metro Pictures, New York (label verso); Paul Kasmin Gallery (label verso); Private collection (acquired from the above); Sotheby’s New York: November 10, 2001, Lot 00526.; Private collection, New York. Note: This work is Lawler’s re-photographing of a portion of Andy Warhol’s 1986 “Detail of the Last Supper (Christ 112 Times)” with red chains from another artist’s work hanging in the foreground. $12,000 - 18,000

100 • LO U I S E L AW L E R (American, b. 1947)

Something About Time and Space But I'm Not Sure What It Is (More) Orange Pekoo Cibachrome mounted on aluminum museum box, 1998. Signed, dated and numbered on verso “Louise A. Lawler / 1998 / 1/5.” Photo: 18.75"H x 23.5"W. Provenance: Metro Pictures, New York (label verso); Phillips: New York, May 13, 2011, Lot 00242; Private collection, New York. Note: This work is a photographic detail of a room-sized Andy Warhol installation of helium-filled Mylar balloons entitled “Silver Clouds.” It was first installed at the Leo Castelli Gallery in 1966 and has been restaged several times since. $15,000 - 20,000

101 • D E N N I S H O P P E R (American, 1936-2010)

Untitled (Barn Shadow) Gelatin silver print, 1953. Dated, numbered, and signed on bottom verso “1953 / 5/15 / Dennis Hopper.” Print: 19.875"H x 19.875"W; Frame: 27.625"H x 27.125"W.” Provenance: Ace Gallery, Los Angeles (label verso); Phillips New York: June 24, 2010, lot 00132; Private collection, New York. $4,000 - 6,000

102 • D E N N I S H O P P E R (American, 1936-2010)

Daily News (Harlem) Gelatin silver print, 1962. Dated, numbered, and signed on the verso bottom “1962 / 11/15 / Dennis Hopper.” Photo: 16"H x 24"W; Frame: 23.5"H x 31.125"W. Provenance: Ace Gallery, Los Angeles (label verso); Phillips, June 24, 2010, lot 134; Private collection, New York. Literature: Tony Shafrazi, ed. Dennis Hopper Photographs 1961 - 1967, Cologne, 2009 (another example illustrated). $4,000 - 6,000

103 â&#x20AC;˘ H I R O S H I S U G I M O T O (Japanese, b. 1948)

Winnetka Drive-In Paramount gelatin silver print, 1993. Ed. 16/25. Titled and editioned with blindstamp in margin. Mounted, signed, and titled in pencil on mount. Photo: 16.675"H x 21.5"W. Provenance: Sonnabend Gallery, New York (label verso); Private Collection, Dallas (acquired from the above). $15,000 - 20,000

104 • H A R R Y B E R T O I A (American, 1915-1978).

Landscape Brazed metal. Circa 1950. 5"H x 8"W x 7.5"D. Provenance: William R. Valentiner, New York; Gift from the above to the second owner; Christie’s New York: March 7, 2012, Lot 00151; Private collection, New York. Exhibited: Raleigh, North Carolina Museum of Art “Masterpieces of Art: In Memory of William R. Valentiner,” April-May 1959, no. 208 (illustrated; sticker on reverse of base); The White House, Washington D.C. “The White House Festival of the Arts,” June 1965, no. 2. $8,000 - 12,000

105 • H A R R Y B E R T O I A (American, 1915-1978)

Early Bush Welded patinated bronze and copper on a stone base, 1960. 9.875"H x 9.75"W x 9.75"D. Provenance: Acquired directly from the artist; Phillips New York: December 15, 2010, Lot 00057; Private collection, New York. Literature: Nancy N. Schiffer and Val O. Bertoia The World of Bertoia, Atglen, PA, 2003, pp. 10615 for examples of the welded plants series. $18,000 - 24,000

106 • H A R R Y B E R T O I A (American, 1915-1978)

Fountain Maquette Layered twisted bronze, 1967. 12.125"H x 17"W x 12"D. Provenance: Acquired directly from the artist, 1981; Leon Prince; Thence by descent; Sotheby’s New York: December 18, 2008, Lot 00192; Private collection, New York. Literature: Nancy N. Schiffer and Val O. Bertoia The World of Bertoia, Atglen, PA, 2003, pp. 97-105 (for maquettes and photographs of the fully realized sculpture); “In Nature’s Embrace: The World of Harry Bertoia” (exhibition catalog), Philadelphia, 2006, p. 15 (for the realized fountain at the Philadelphia Civic Center). $20,000 - 30,000

107 • H A R R Y B E R T O I A (American, 1915-1978).

Sound Sculpture, Circa - 1974 Beryllium, copper and brass. 68"H with a 15.75" square base. Provenance: Staempfli Gallery, Philadelphia, PA, 1974; Sotheby’s New York: December 18, 2008, Lot 00193; Private collection, New York. Literature: Nancy N. Schiffer and Val O. Bertoia “The World of Bertoia", Atglen, PA, 2003, p. 215 (for a similar example). Note: Twenty-one rods are set diagonally across the base, each topped with an eight-inch long element. $70,000 - 90,000

With this wonderful grouping of four sculptures by Harry Bertoia, one can easily grasp the formal and technical proficiencies that informed the diverse paths of the celebrated artist, sculptor and designer. Created over a span of two decades of Bertoia’s varied and prolific career, these works range from an early planar landscape with sprouting vegetal forms in brazed metals to a humanscale “Sonambient” sound sculpture whose rods are set diagonally across the base. Additionally, an early example of the artist’s bush sculptures set on a stone cube base and a 1967 maquette for a fountain for the Philadelphia Civic Center (not realized) round out the lots offered here. As they straddle the line between art and design, their tactile sensibilities inform and excite the eye while always referring back to their creation by the artist’s hand.

108 • A N T O N I TA P I E S (Spanish, 1923-2012)

Ohne Titel Color lithograph, 1971. Signed lower right “Tapies” and numbered lower left “85/150.” Sheet: 17"H x 24.25"W. $400 - 600

109 • A N T O N I TA P I E S (Spanish, 1923-2012)

Llambrec Material Lithograph, 1975. Signed lower right “Tapies" and numbered lower left “64/75" with watermark upper right “GUARRO.” Sheet: 30"H x 21.5"W. $400 - 600 98

110 • E D U A R D O C H I L L I D A (Spanish, 1924-2002)

Barcelona I Color lithograph on Guarro paper, 1971. Signed in pencil lower right “Chillida” and numbered in pencil lower left “12/75.” Sheet: 28.125"H x 19.625"W. Literature: Koelen, 71018. Note: Published by Sala Gaspar, Barcelona. $1,000 - 2,000

111 • J E S Ú S R A FA E L S O T O (Venezuelan, 1923-2005)

Escritura (from the Sintesis Series) Screenprint on Plexiglas with metal rods, 1978. Signed, titled, and numbered on label verso “Soto / Escritura / 31/110.” 11.75"H x 27.375"W x 5.5"D. Note: Published by Editions Denise Rene, Paris. $7,000 - 9,000

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112 • J E S Ú S R A FA E L S O T O (Venezuelan, 1923-2005)

Tes Azules y Negras (from the Sintesis Series) Screenprint on Plexiglass with metal rods, 1979. Signed, titled, and numbered on label verso “Soto / Tes Azules y Negras / 34/110.” 19.625"H x 19.625"W x 5.5"D. Note: Published by Editions Denise Rene, Paris. $7,000 - 9,000

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113 • H . R . G I G E R (Swiss, 1940-2014)

Bambi Alien Silvered bronze, 2009. Initialed and editioned along back leg “HRG 22/500.” 10.25"H x 6.25"W x 3.25"D. $1,000 - 1,500

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114 • C A R O L E A . F E U E R M A N (American, b. 1945)

Innertube II Oil painted resin, 1984. Incised “CJF © 83” on right rear of tube and signed “Carole Jean Feuerman © 1984 1/8” on left rear of tube. 17"H x 32"W x 13"D. Provenance: Private Collection, Dallas. Literature: Carole Feuerman, et al. Carole Feuerman: Sculpture New York: Hudson Hills Press, 1999. pp. 58-61 (illustrated) $7,000 - 10,000

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115 • LU I L I U (Chinese, b. 1957)

Narcissus Bronze and metal, 1999. Stamped, signed, numbered, and dated “ARTCAST / Lui Liu / 1/8 / '99.” 61"H x 15"W x 15"D. Note: This was a commissioned sculpture and the remainder of the edition was never realized; therefore, this sculpture is a unique work. $10,000 - 15,000

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116 • LU I L I U (Chinese, b. 1957)

Flying Angels Bronze and metal, 1999. Signed, numbered, and stamped, “Lui Liu / 1/12 / ARTCAST.” 61"H x 33"W x 16"D. Note: This was a commissioned sculpture and the remainder of the edition was never realized; therefore, this sculpture is a unique work. $10,000 - 15,000

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117 • J O H N C H A M B E R L A I N (American, 1927-2011)

Fistfull of Funn Painted and chromed steel, 2000. 14.25"H x 19.5"W x 11.5"D. Provenance: Purchased directly from the artist in 2000; Sotheby’s, New York, November 12, 2008, Lot 213; Private collection, New York. Note: Deed of Conveyance signed and issued by the artist comes with this lot. Beginning in the late 1950s, Chamberlain started working with crushed automobile parts that he welded together to form stand-alone sculptures. Due to the readymade qualities of dealing with the prescribed size and form of the raw materials, the majority of the early work – and well into the 1980s – roughly assumes a human scale. Always experimenting throughout his career, Chamberlain utilized foam, aluminum, Plexiglass and film as his medium of choice. However, the simplicity of both material and form is also refined by means of method-making over the span of his career. With his later tabletop-sized works like “Fistfull of Funn,” Chamberlain echoes the found qualities of his early automotive sculptures with a simplified system of linear steel elements marked in an alternating palette of shiny chrome and controlled colors, resulting in a dynamic, yet closed knot of contained energy. $200,000 - 300,000

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118 • T E R E N C E L A N O U E (American, b. 1941)

Prosperous Voyage Etching, aquatint, mezzotint, lithograph and collage, 1991. Signed and dated in pencil lower right “Terence La Noue 1991” and numbered in pencil lower left “24/25.” Sheet: 39.75"H x 79.125"H; Frame: 43"H x 84.5"W. $5,000 - 7,000

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119 • DAN NAMINGHA (Native American, b. 1950)

Kachina Symbolism II Bronze with green and brown patina, 1994. Incised with the artist’s signature and edition number on the base “Dan Namingha 5/12.” 20"H x 13.75"W x 4.35"D. Note: Thanks to Nicole of the Niman Fine Art for her assistance in researching this work. It is listed under inventory number: B-5 in Mr. Namingha’s records. $3,000 - 5,000

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120 • W I L L I A M W O O D (American, b. 1960)

(3) White/Grey Triptych Oil on board, 1996. Signed and dated twice on verso “William Wood 1996.” Wood: 24"H x 18"W; Frames: 26.125"H x 20.125"W. $2,500 - 3,500

121 • C A M E R O N M A R T I N (American, b. 1970)

Untitled Acrylic on canvas, 1999. Titled, dated, and signed on verso “Untitled / 1999 / Cameron Martin / CM073.” Canvas: 34.25"H x 42"W. $6,000 - 8,000

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122 â&#x20AC;˘ J O H N Z I N S S E R (American, b. 1961)

One Hundred Famous Views of Edo (3) Enamel and oil on paper, 2005. Sheets: 16.25"H x 12.25"W; Frames: 20"H x 16.125"W. (1) Furukawa River, Hiroo. Signed, titled, and dated on verso. Image size: 6.375"H x 6.375"W. (2) Nihonbashi, Clearing After. Signed, titled, and dated on verso Image size: 10.875"H x 10.875"W. (3) Fudo Falls. Signed, titled, and dated on verso. Image size: 10.875"H x 10.875"W. $1,500 - 2,500

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123 • P E T E R D O I G (Scottish, b. 1959)

Untitled (from Portfolio) Cibachrome print mounted on board, 2000. Signed, titled, numbered and dated on verso “Peter Doig / 2/12 / 2000.” Print: 26.5"H x 40"W; Frame: 27.125"H x 40.675"W. Provenance: Thomas Dane Limited, London (label verso); Sotheby’s New York, March 9, 2011, Lot 163 (one of two photos in the lot); Private collection, New York. $1,500 - 2,500

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1 2 4 • J AY D A V I S (American, b. 1975)

Why Don’t You Take Me Seriously Acrylic on vinyl, 2005. Titled and dated on canvas overlap verso “Why Don’t You Take Me Seriously 2005.” Vinyl: 84"H x 68"W. Provenance: Mary Boone Gallery, New York (label verso). $4,000 - 6,000

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125 • DAN KOPP (American/New York, b. 1974)

The Holy Mountain Acrylic on canvas over panel. Circa 2000. Signed and titled on verso “Dan Kopp / The Holy Mountain.” Canvas: 60"H x 72"W. $3,000 - 5,000

126 • DAN KOPP (American/New York, b. 1974)

The Super Computer Acrylic on canvas. Signed and titled on stretcher verso “Dan Kopp The Super Computer.” Canvas: 72"H x 96"W. $3,000 - 5,000

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127 • DAMIEN HIRST (British, b. 1965)

Spin Painting on Libertine Jacket Beige trench coat, 2005, by Johnson Hartig & Cindy Greene for Libertine with spin painting on reverse. Signed and dated below painting “Damien Hirst 9/9/05.” Painting: 12.75"H x 12.5"W; Coat: 41.5"L; Sleeves: 26"L. Note: This jacket was one of two trenches painted by Damien Hirst for the “Spring 2006 Ready-to-Wear” Libertine runway show (the other being a women's jacket). Modeled by Matt Gontier. $18,000 - 24,000

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128 • R O L F B E H M (German, b. 1952)

Gavea Oil on canvas, 2007. Initialed, titled and dated on verso “R. B. / Gavea / 07.” Canvas: 59"H x 63"W. $3,000 - 5,000

129 • J O H N B A L D E S S A R I (American, b. 1931)

Raised Eyebrows/Furrowed Foreheads: Two Foreheads (One Green) Offset lithograph and serigraph, 2009. Numbered, signed and dated at bottom “A.P.10/10 / Baldessari / 09” (aside from an edition of 30). Image: 25.5"H x 23.625"W; Sheet: 30.675"H x 27.5"W; Frame: 32.5"H x 29.25"W. $3,000 - 5,000 116

130 • C A E TA N O D E A L M E I D A (Brazilian, b. 1964)

Quadrado Blanco Pollution on canvas, 2007. Titled, initialed and dated on verso “Quadrado Blanco / CA / 2007.” Canvas: 15.75"H x 15.75"W; Frame: 17.25"H x 17.25"W. Provenance: 2 x 2 for Aids and Art Auction, 2009; Private collection, Dallas. $1,000 - 1,500

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131 â&#x20AC;˘ C A L LU M I N N E S (Scottish, b. 1962)

Exposed Painting Dioxiane Violet Oil on linen, 2012. Signed and dated on overlap and stretcher. Canvas: 94.5"H x 91.375"W. Provenance: Sean Kelly Gallery, New York (label verso); Private collection. $25,000 - 35,000

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132 • M E L B O C H N E R (American, b. 1940)

Going Out of Business Monoprint with engraving with embossment and collage on hand-dyed Twinrocker handmade paper, 2012. Signed and dated lower left: “Bochner, 2012.” Work: 93.25"H x 71"W; Frame: 98.75"H x 75.75"W. Provenance: Two Palms, New York, New York; Private collection, Los Angeles, California (purchased from the above at Miami Basel, 2012). $75,000 - 100,000

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GUIDE FOR PROSPECTIVE BUYERS Dallas Auction Gallery is an established international antiques and fine art auction house known for integrity, simplicity and personal service for both the buyer and seller. When it comes to auctions, some people find the buying process complicated. Our experienced auction specialists are available to work with you personally to ensure an experience that is clear and straight forward. We welcome you to attend an auction or two, in person before ever bidding on anything. Ask an auction specialist questions about the process and items. This will allow you to become comfortable and knowledgeable within the auction environment. Today’s technology and global marketplace allow for buyers around the world to participate in auctions. Dallas Auction Gallery provides several options for you to preview items prior to the auction. You can view our online catalogues two weeks prior to each sale. There is a detailed description and photographs of each lot offered in the auction.

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

TELEPHONE BIDDING

http://www.dallasauctiongallery.com/assets/Phone-Bidding-Form.pdf For buyers unable to attend the auction in person, Dallas Auction Gallery offers phone bidding. You participate live on the phone with one of our trained professionals who manages phone bids around the world during each auction. Our auction professionals are fluent in English and Mandarin. Telephone bid requests must be placed at least 24 hours prior to the auction. All telephone bidders are encouraged to leave an absentee bid or safety bid in the event a call should fail. Each registered phone bidder is bound by the terms and conditions of sale. Telephone Bid Form is available on our Website and by calling an auction specialists 214-653-3900.

ABSENTEE BIDDING

http://www.dallasauctiongallery.com/assets/Absentee-Bidding-Form.pdf In addition to our catalogues, Dallas Auction Gallery offers an open house preview for several days prior to each auction. Items are professionally displayed in the gallery and our auction experts are available to consult with clients. We encourage you to inspect each item of interest carefully as all items are sold “as is.” Antiques by nature, show signs of use and age, which often enhances their unique characteristics and creates their value, as in a fine patina. If you are unable to inspect the items of interest in person, please request a condition report and our experts will inspect the item for you and provide a written report of its condition. Items available at auction are valued at “auction estimates” in a range which is based on the research of what similar items have sold at auction. They do not necessary indicate the highest amount an item will sell for. The market and bidding will determine final hammer prices.

BID IN PERSON The traditional form of bidding is live, in person during the auction offering an exciting and fast paced experience. All buyers must register prior to bidding and receive a bid card which is raised to indicate a bid to the auctioneer. Once the auction starts, the lots are offered in sequential order. You will receive a printed catalogue to follow along. When your desired item is offered, be sure 120

For buyers unable to participate in the live bidding process, Dallas Auction Gallery accepts Absentee Bids. We bid on your behalf just as if you were in the auction house, up to your pre-determined maximum bid. Dallas Auction Gallery will not use your maximum bid as a starting bid and always attempt to purchase your desired item at the lowest possible price. You must provide a specified fixed maximum bid, we do not accept open ended “buy” bids. We execute absentee bids as a convenience for our clients, however under no circumstances will we be responsible for inadvertently failing to execute bids or for errors relating to execution of bids including technology related errors. In the event of identical absentee bids, the earliest received will take priority. Completed and signed bid forms must be received by Dallas Auction Gallery no later than 5pm (EST) on the evening of the auction.

ABSENTEE BIDDING ONLINE AT DAG When leaving an absentee bid online on our website, please click on the “view catalog” link, and then click “new bidder.” You will be asked to resubmit your personal information. Once registered online, you will be able to quickly log in and bid on any future auctions.

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Download a Condition Request Form from our website. (requires Adobe Acrobat Reader)

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Domestic Clients: We accept bank wire transfers, cash, personal or company check with proper ID, cashier's check, travelers check, money order, Visa, MasterCard, or Discover. There is a maximum of $10,000 that may be charged to credit cards, per client invoice. (a) Items purchased in person must be paid for on the day of the auction. If you leave without paying, your credit card will be charged the next day.

Submit a Condition Request Form Online. We encourage you to inspect each item of interest carefully as all items are sold “as is.” Antiques by nature, show signs of use and age, which often enhances their unique characteristics and creates their value, as in a fine patina. If you are unable to inspect the items of interest in person, please request a condition report via email (info@dallasauctiongallery.com) or telephone (866-653-3900) and our experts will inspect the item for you and provide a written report of its condition, and additional images if needed.

BID INCREMENTS $0 – 999

$ 50

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

$1,000 – 2,499

$ 100

$2,500 – 4,999

$ 250

$5,000 – 9,999

$ 500

$10,000 – 24,999

$ 1,000

(c) For items purchased online, you will be emailed an invoice the day after the auction. It is your responsibility to contact DAG via telephone 866-6533900 or email at billing@dallasauctiongallery.com to make payment.

$25,000 – 49,999

$ 2,500

$50,000 – 99,999

$ 5,000

$100,000 – 249,000

$ 10,000

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$250,000 – 499,999

$ 25,000

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$ 50,000

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

$1,000,000

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(a) For items purchased via phone or absentee bidding, your credit card will be charged the day after the auction. If other payment arrangements have been made and good funds have not been received by the 5th business day after the auction, your credit card will be charged. (b) For items purchased online, you will be emailed an invoice the day after the auction. It is your responsibility to contact DAG via telephone 866-6533900 or email at billing@dallasauctiongallery.com to make payment.

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The following as amended by any posted notices or oral announcements during the sale, constitutes the entire terms and conditions on which property listed in the catalogue shall be offered for sale or sold by Dallas Auction Gallery, Ltd. (“DAG”) and any consignor of such property for whom DAG has acted as agent. By bidding at an auction, whether in person or by agent, absentee bid, telephone, Internet or other means, the purchaser or bidder agrees to be bound by these Terms and Conditions of Sale.

3. The successful bidder is the highest bidder acknowledged by the auctioneer. In the event of any dispute between bidders, or in the event of doubt on DAG’s part as to the validity of any bid, the auctioneer will have the final discretion either to determine the successful bidder or to re-offer and resell the article in dispute. If any dispute arises after the sale, DAG’s sale record is conclusive. DAG records the audio portion of each auction. 4. The purchaser assumes full responsibility for items at the fall of the hammer.

TERMS AND CONDITIONS OF SALE 1. All items are sold “AS IS, WHERE IS” with all faults. There are no warranties or representations of merchantability, of fitness, nor of any other kind, express or implied. All items are available for your examination prior to bidding. Written and oral descriptions are our opinions and should in no way be construed as a guarantee of any kind as to authenticity, age, condition, materials or any other feature of items being sold. DAG attempts to catalog every lot correctly and will attempt to point out any defects but will not be responsible or liable for the correctness of the catalog or other descriptions of the lot. We recommend prospective bidders examine all items in which they have an interest. By placing a bid, either in person, by phone, absentee or via the Internet, you signify that you have examined the items as fully as you desire to or that you have chosen not to examine them. If you require absolute certainty in all areas of authenticity, and the results of your evaluation leave uncertainty in your mind, we recommend you have an expert examine the lot for you or do not bid on the item in question. If your item(s) are damaged in shipping, you will need to contact the shipper to file a claim. If your item(s) are being shipped and there is a condition problem upon receipt, you are expected to notify us immediately by phone at 866-653-3900. Any condition concerns will be null and void after the 10th business day following the end of the auction. Please note that if you pay late and thus receive your item(s) late, this does not qualify you for special privileges. We do not give refunds! All sales are final! Dallas Auction Gallery does not warranty watch movements. 2. All property is sold “AS IS, WHERE IS” and neither DAG nor the consignor makes any warranties or representations of any kind or nature with respect to property or its value, and in no event shall be responsible for the correctness of description, genuineness, attribution, provenance, authenticity, authorship, completeness, condition of property or estimate of value. No statement (oral or written) in this catalog, at the sale, or elsewhere shall be deemed such a warranty or representation, or any assumption of responsibility. All measurements are approximate.

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5. As a convenience to customers, absentee bids and phone bids will be executed by DAG personnel in a competitive and confidential manner. Phone bid arrangements must be made 24 hours prior to start of the auction. DAG will not be responsible for failure to execute absentee or phone bids. 6. There will be a buyer’s premium of 25% added to the hammer price of each lot for the portion up to and including $100,000; 20% on the portion from $100,001 through $1,000,000, and 12% on the portion exceeding $1,000,000 and all will be considered part of the total purchase price. All purchases will be subject to an 8.25% Texas sales tax unless (1) you are an out-of-state resident and your purchases are being shipped out of Texas or (2) if you are a Texas resident and you possess a valid tax-exempt number. and signature on any tax exempt sale. 7. PAYMENT: DOMESTIC CLIENTS: We accept bank wire transfers, cash, personal or company check with proper ID, cashier’s check, travelers check, money order, Visa, MasterCard, or Discover. There is a maximum of $10,000 that may be charged to credit cards, per client invoice. (a) Items purchased in person must be paid for on the day of the auction. If you leave without paying, your credit card will be charged the next day. (b) For items purchased via phone or absentee bidding, your credit card will be charged the day after the auction. If other payment arrangements have been made and good funds have not been received by the 5th business day after the auction, your credit card will be charged. (c) For items purchased online, you will be emailed an invoice the day after the auction. It is your responsibility to contact DAG via email at billing@dallasauctiongallery.com or telephone 866-653-3900 to make payment. (d) If paying by check, DAG reserves the right to hold all purchases until the check has cleared to the satisfaction of DAG and its bank.

INTERNATIONAL CLIENTS: We accept wire transfers, Visa, MasterCard, or Discover. There is a maximum of $10,000 that may be charged to credit cards, per client invoice. (a) For items purchased via phone or absentee bidding, your credit card will be charged the day after the auction. If other payment arrangements have been made and good funds have not been received by the 5th business day after the auction, your credit card will be charged. (b) For items purchased online, you will be emailed an invoice the day after the auction. It is your responsibility to contact DAG via email at billing@dallasauctiongallery.com or telephone 866-653-3900 to make payment. 8. SHIPPING: It is the buyer’s responsibility to arrange for and pay for shipping. On the 30th calendar day following the auction, all lots that have not been removed from DAG will be moved to an off-site storage facility and incur storage fees of $10.00 per lot per day until removed. For a recommended list of shippers and a Shipping Authorization Form, please click the “Shipping” link under the “Services” tab of our homepage at www. dallasauctiongallery.com. We must have a signed, completed Shipping Authorization to release your lots. 9. If we are prevented by fire, theft, or any other reason whatsoever from delivering any property to the purchaser, our liability shall be limited to the sum actually paid, by the purchaser for such property. 10. DAG reserves the right to withdraw any lot at any time before the auction without liability.

14. In the unlikely event we lose our internet connection, DAG reserves the right in its sole and absolute discretion to cancel the remainder of the auction. 15. Some lots may be offered with a “reserve” which is the minimum price below which the lot will not be sold. DAG may act to protect the reserve by bidding through the auctioneer. The auctioneer may open the bidding on any lot below the reserve by placing a bid on behalf of the consignor. The auctioneers may continue to bid on behalf of the consignor up to the amount of the reserve, either by placing bids in response to other bidders or by placing consecutive bids. In no event will the reserve exceed the low estimate. 16. These terms and conditions of sale, as well as the respective rights and obligations of DAG and any purchasers or bidder at any sale of DAG, shall be governed by and construed and enforced in accordance with the laws of the State of Texas. 17. The auctioneer is licensed and regulated by the Department of Licensing and Regulation. Licensure with the Department does not imply approval or endorsement by the State of Texas. If you have an unresolved complaint, it should be directed to: Texas Department of Licensing and Regulation, P.O. Box 12157, Austin, Texas 78711, 512-463-6599. Scott H. Shuford, TXL #13769 : Jerry W. Holley, TXL #10262 email at billing@dallasauctiongallery.com

11. The auctioneer reserves the right to reject any bid not commensurate with the value of the property offered. 12. A range of estimates is given on each lot with a low and a high estimate. Estimates should not be relied on as a prediction of the actual selling price. 13. If any applicable conditions herein are not complied with by the purchaser, in addition to other remedies available to it by law, including without limitation the right to hold the purchaser liable for the total purchase price, DAG at its option may either (a) cancel the sale, retaining as liquidated damages all payments made by the purchaser or (b) resell the property at public auction without reserve or minimum selling price, and the purchaser will be liable for any deficiency and costs, including handling charges, expenses of both sales, the commission on both sales at regular rates, all other charges due hereunder and incidental damages.

214.653.3900 2235 MONITOR STREE T DALLAS T X 75207 DA L L A S AU C T I O N G A L L E RY.CO M

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DALLAS AUC TION GALLERY

FINE ART AUCTION W E D N E S D AY

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Featuring Works From The Collection of Sam Wyly, Dallas, TX

DEPARTMENT OF FINE ART: Brandon Kennedy, Director of Fine Arts & Design bkk@dallasauctiongallery.com Elizabeth Rhodes, Fine Art Associate emr@dallasauctiongallery.com

PHOTOGRAPHY: Gary Heiner

CATALOGUE DESIGN: WinshipPhillips www.winshipphillips.com

DALLAS AUCTION GALLERY CALL

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2235 Monitor Street â&#x20AC;˘ D a lla s T X 75207 214-653-3900 w w w.da lla sa uc t ionga ller y.com