Impressionist & Modern Art, Post-War & Contemporary Art - 5.10.17 by Doyle

IMPRESSIONIST & MODERN ART POST-WAR & CONTEMPORARY ART

Wednesday, May 10, 2017

NEW YORK

IMPRESSIONIST & MODERN ART EUROPEAN & AMERICAN ART

POST-WAR & CONTEMPORARY ART AUCTION Wednesday, May 10, 2017 at 11am

EXHIBITION Saturday, May 6, 10am – 5pm Sunday, May 7, Noon – 5pm Monday, May 8, 10am – 6pm Tuesday, May 9, 9am – Noon

LOCATION Doyle New York 175 East 87th Street New York City 212-427-2730 www.Doyle.com

Catalogue: $40

INCLUDING PROPERTY FROM THE ESTATES OF Elsie Adler The Eileen & Herbert C. Bernard Collection Charles Austin Buck Roberta K. Cohn & Richard A. Cohn, Ltd. A Connecticut Collector Claudia Cosla, New York Ronnie Cutrone Mildred and Jack Feinblatt Dr. Paul Hershenson Myrtle Barnes Jones Mary Kettaneh The Collection of Willa Kim and William Pène du Bois Carol Mercer A New Jersey Estate A New York and Connecticut Estate A New York Estate Miriam and Howard Rand, Beverly Hills, California Dorothy Wassyng

INCLUDING PROPERTY FROM A Private Beverly Hills Collector The Collection of Mr. and Mrs. Raymond J. Horowitz sold for the benefit of the Bard Graduate Center A New England Collection A New York Collector The Jessye Norman ‘White Gates’ Collection A Pennsylvania Collection A Private Collection A Private Collector, Ardsley, NY A Private New York State Collector A Prominent New York Family The Watermill, Water Mill, New York

CONTENTS IMPRESSIONIST & MODERN ART 1-118 European 1-66 American 67-118 POST-WAR & CONTEMPORARY ART Post-War Contemporary

119-235 119-199 200-235

Glossary I Conditions of Sale II Terms of Guarantee IV Information on Sales & Use Tax V Buying at Doyle VI Selling at Doyle VIII Auction Schedule IX Company Directory X Absentee Bid Form XII

EUROPEAN ART

Lot 10

1 Albert (Albrecht) Frans Lieven De Vriendt Belgian, 1843-1900 Mary Stuart, Queen of Scots, at Fotheringhay Castle, 1867 Signed Albert De Vriendt and dated 1867 (lr); inscribed indistinctly in French on a paper label affixed to the reverse Oil on panel 23 1/2 x 32 7/8 inches (59.7 x 83.5 cm) C $6,000-8,000 Property of a New York Collector 2 Jean-Louis-Ernest Meissonier French, 1815-1891 Midday Rest Monogramed EM (ul) Oil on panel 7 3/4 x 5 3/8 inches (19.7 x 13.7 cm) C $4,000-6,000

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Property of a Private Collector, Ardsley, NY 3 Jan van Chelminski Polish, 1851-1925 Napoleon and Two of his Marshalls, Mounted, on the Retreat from Moscow Signed Jan V. Chelminski (lr) Oil on canvas 21 3/8 x 30 1/4 inches (54.3 x 76.8 cm) Provenance: With Knoedler Gallery, New York C $10,000-20,000 4 Vittorio Reggianini Italian, 1858-1939 The Love Letter Signed VReggianini (ll) Oil on canvas 37 1/2 x 23 5/8 inches (95.3 x 60 cm) C $15,000-25,000

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Property of a Private Collection 5 Federico Andreotti Italian, 1847-1930 Lost in Thought Signed F. Andreotti (lr) Oil on canvas 18 1/8 x 14 3/16 inches (46 x 36.5 cm) C $7,000-9,000 6 Luis Riccardo Falero Spanish, 1851-1896 Reclining Female Nude, 1893 Signed with conjoined first initials LFalero and dated 93 (ll) Oil on canvas 15 3/4 x 29 1/2 inches (40 x 75 cm) Provenance: Private collection, New York C $8,000-12,000

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7 7 Charles Burton Barber British, 1845-1894 Trust, 1888 Signed C. Burton Barber and dated 1888 (ll) Oil on canvas 24 x 18 7/8 inches (61 x 48 cm) Provenance: With Savoy Galleries, New York, April 1967 Judge Allan Horowitz, thence by descent to the present owner Literature: H. Furniss, The Works of Charles Burton Barber, London, 1896, pl. 9, illus. C $60,000-80,000

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78 8 Jean-Baptiste-Camille Corot French, 1796-1875 Dieppe - Vue Panoramique prise aux Environs, 1823 Stamped Vente COROT (lr); inscribed 3168 on the reverse and stamped TEMPELAERE Rue Laffitte 23 PARIS on the stretcher Oil on paper laid down on paper which has been laid down on canvas 4 3/4 x 10 3/4 inches (12 x 27.3 cm)

Property from the Estate of Claudia Cosla, New York 9 Nicolae Jon Grigorescu Romanian, 1838-1907 Landscape Signed Grigor (ll) Oil on panel 3 1/2 x 7 1/8 inches (9 x 18 cm)

Provenance: Vente Corot, Paris, May 26-28, 1875, no. 251 M. Fantin Latour, Paris Gustave Tempelaere, Paris Knoedler & Co., New York, Inv. no. 15457 Private collection, New York Sale: Loudmer, Paris, Nov. 19, 1989, lot 66

Provenance: Collection of Dr. and Mrs. O.K. Cosla Claudia Cosla, New York, by inheritance to the present owner Private collection, New York C $3,000-5,000

Literature: Alfred Robaut, L’Oeuvre de Corot, Catalogue Raisonné et Illustré, Paris, 1905, vol. II, p. 8, no. 11, (with incorrect dimensions); illus. vol. IV, p. 223 (with correct dimensions) C $20,000-30,000

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10 Eugène Boudin French, 1824-1898 Brest, Bateaux dans la Rade Signed E. Boudin and inscribed Brest (lr) Oil on canvas 14 1/2 x 23 inches (36.8 x 58.3 cm) Provenance: Galerie Georges Petit, Paris Hector Brame, Paris Donon-Maigret, Paris Palais Galliéra, Paris, June 20, 1968, lot 240 Sotheby’s, London, April 30, 1969, lot 18 Sotheby’s, New York, May 19, 1983, lot 307 Exhibited: Rennes, France, Musée des Beaux-Arts, Eugène Boudin en Bretagne, 1964, no. 17 Literature: Ruth L. Benjamin, Eugène Boudin, New York, 1937 Robert Schmit, Eugène Boudin, vol. I, Paris, 1973, no. 562, p. 209, illus. C $50,000-70,000

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11 Eugène Boudin French, 1824-1898 Village Breton - Foire Stamped with initials E. B. (Lugt 828 lr); inscribed indistinctly (lc); inscribed 91 and with partial sketch on the reverse Pencil and watercolor on paper 8 5/8 x 11 5/8 inches (22 x 29.5 cm)

Provenance: Artcurial, Paris, Feb. 22, 2006, lot 121 C $5,000-7,000

Provenance: Christie’s East, New York, Nov. 8, 2000, lot 25 Robert Schmit has confirmed the authenticity of this work. C $4,000-6,000

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12 Eugène Boudin French, 1824-1898 Moulin du Perrey, Le Havre, circa 1848 Signed E. Boudin (lr) Charcoal heightened with white chalk on light brown paper 9 5/8 x 15 5/8 inches (24.5 x 39.7 cm)

13 13 Eugène Boudin French, 1824-1898 Phare au Bout de la Digue Signed with initials E.B. (lr) Pastel on paper Sight 3 1/8 x 4 3/4 inches (8 x 12 cm)

14 Paul Signac French, 1863-1935 Saint Tropez, Voilier à Quai Stamped twice P. Signac (lr) Crayon on paper 7 3/8 x 9 15/16 inches (18.7 x 25.2 cm)

Provenance: Maître Binoche, Paris, Oct. 11, 2002, lot 120 C $4,000-6,000

Provenance: Sale: Briest, Paris, Apr. 16-17, 2002, lot 25 C $4,000-6,000

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Property from the Estate of Mary Kettaneh 15 Armand Guillaumin French, 1841-1927 Madame Guillaumin et sa Fille, circa 1890-1895 Signed Guillaumin (lr) Oil on canvas 25 5/8 x 32 inches (65 x 81.3 cm) Provenance: Wally Findlay Gallery, New York According to the Comité Armand Guillaumin, this work will be included in the second volume of the Guillaumin Catalogue Raisonné. C $20,000-40,000

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AUGUSTE Property from A Prominent New York Family 16 Auguste Rodin French, 1840-1917 Frère et Soeur (Brother and Sister) Signed A. Rodin on the base at the right and stamped .Alexis. Rudier./.Fondeur.Paris. on the base; bears the artist’s raised signature A. Rodin on the interior Bronze with brown and mottled green patina Height 15 3/16 inches (38.6 cm), width 5 7/8 (15 cm), depth 7 1/16 (18 cm) Conceived circa 1890-91 and cast circa 1920-1930, according to the Comité Auguste Rodin, which mentioned that the sand casting executed by the Alexis Rudier Foundry and seen on this piece is typical of the works cast during this time Provenance: Acquired by the decedent’s godfather before World War II Given to the decedent by the above circa 1951 This work will be included in the forthcoming Catalogue Critique de l’Oeuvre sculpté d’Auguste Rodin by the Galerie Brame & Lorenceau under the direction of Jérôme Le Blay and with the number 2016-5092B. C $100,000-200,000

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17 Albert Paul Guillaume French, 1873-1942 The Match-Maker, 1904 Signed with monogramed first initials, inscribed Clarens and dated 1904 (lr) Oil and graphite on panel 17 3/4 x 21 1/2 inches (45 x 55 cm) C $6,000-8,000 18 Émile Bernard French, 1868-1941 La Grand-mère de l’Artiste, 1887 Signed Emile Bernard (ll); inscribed and signed peint en 1887/E. Bernard, as well as Portrait par Émile Bernard (19th Siècle)/(la grand me... de l’artiste) on the stretcher; also with remnants of an inscription Bought by me in 1935... The Artist... Bernard... on the stretcher Oil on canvas 21 3/4 x 17 3/8 inches (55.3 x 44.1 cm) Provenance: Leslie Paffrath, Racine, Wisconsin Sale: Christie’s East, New York, Oct. 28, 1998, lot 335 This work is accompanied by a certificate of authenticity from the Wildenstein Institute. It is included in the Catalogue Raisonné. C $4,000-6,000 18

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19 Hippolyte Petitjean French, 1854-1929 Portrait de sa Femme, 1914 Signed Hipp. Petitjean and dated 1914 (lr); inscribed PH 951 and with other indistinct notations on the stretcher Oil on canvas 39 3/8 x 31 7/8 inches (100 x 81 cm) Provenance: E. & J. Silberman Galleries, New York Sale: Parke Bernet, New York, Dec. 12, 1968, lot 13 Iris and B. Gerald Cantor, Beverly Hills, acquired at the above sale Private collection, gift of the above on December 31, 1984 Sale: Sothebyâ&#x20AC;&#x2122;s, NY, Jun. 13, 2007, lot 293 C $12,000-18,000

20 Georges Lemmen Belgian, 1865-1916 Grand Arbre, 1904 Signed with monogram and dated 1904 (lc) Oil on board 21 3/4 x 19 5/8 inches (55.3 x 49.9 cm) Provenance: Studio of the artist Galerie Druet, Paris (possibly) C $5,000-7,000

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21 Maximilien Luce French, 1858-1941 Le Pont de Solférino, 1884 Signed Luce (ll); inscribed with the number 4363 and Pont de Solférino on the stretcher; also inscribed indistinctly 2870/Wal... on an old paper label affixed to the stretcher Oil on canvas 15 x 24 1/8 inches (38.1 x 61.3 cm) Provenance: Arthur Tooth & Sons, Ltd., London, no. 4363 Private Collection, Liverpool (acquired from the above) Lord Constantine (acquired from the above and sold: Sotheby’s, New York, November 8, 2006, lot 240) Private collection Literature: Jean Bouin-Luce & Denise Bazetoux, Maximilien Luce, Catalogue Raisonné de l’Oeuvre Peint, vol. II, Paris, 1986, no. 277, illus. p. 76 (with incorrect dimensions) C $20,000-30,000

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22 Maximilien Luce French, 1858-1941 L’Échafaudage, Étude, 1905 Signed Luce and dated 1905 (ll) Oil on paper laid to canvas 25 1/4 x 19 5/8 inches (64 x 50 cm) Provenance: Annette and Louis Kaufman, Los Angeles Earl Stendahl Collection, Los Angeles Thence by descent to the present owner Literature: Jean Bouin-Luce & Denise Bazetoux, Maximilien Luce, Catalogue de l’Oeuvre Peint, vol. II, Paris, 1986, no. 209, illus. C $15,000-25,000

23 Albert Marquet French, 1875-1947 Les Grisons Signed Marquet (lr) Watercolor on paper laid down on board Sight 4 3/8 x 6 11/16 inches (11 x 17 cm) Provenance: Sale: Piasa, Paris, Dec. 11, 2000, lot 178 C $4,000-6,000

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Property from a Pennsylvania Collection 24 Henri-Jean Guillaume Martin French, 1860-1943 Le Petit Escalier, Labastide-du-Vert Signed Henri Martin (ll) Oil on canvas 29 1/8 x 33 1/2 inches (74 x 85 cm) Provenance: Kaplan Gallery, London Acquired from the above May 15, 1971 Exhibited: Paris, Galerie Georges Petit London, Kaplan Gallery, An Exhibition of Paintings by Henri Martin, Apr. 20-May 29, 1971, as La Maison Fleurie, no. 10, illus. in color C $50,000-70,000

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25 Raoul Dufy French, 1877-1953 Le Village au bord de la Mer Signed Raoul Dufy in pencil (ll, center) Watercolor on Arches paper 18 3/4 x 25 5/8 inches (50 x 65 cm) Provenance: Arthur Tooth Gallery, London Knoedler Gallery, New York Literature: Fanny Guillon-Laffaille, Raoul Dufy, Catalogue RaisonnÃ© des Aquarelles, Gouaches et Pastels, Paris, 1981, vol. I, no. 264, p. 95, illus. C $20,000-30,000

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26 26 Stefan Luchian Romanian, 1868-1916 Still Life with Blue Flowers and Pitcher Signed Luchian (ll) Oil on board 15 3/4 x 19 11/16 inches (40 x 50 cm) Unframed Provenance: Private collection Mrs. Ioana Gabriela Beldiman has confirmed the authenticity of this work C $12,000-18,000 Property from the Estate of Claudia Cosla, New York 27 Stefan Luchian Romanian, 1868-1916 Flowers Signed Luchian (ll) Pastel on canvas 18 1/2 x 14 3/16 inches (47 x 36 cm) C $6,000-8,000

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ODILON

28 28 Odilon Redon French, 1840-1916 La Naissance de Vénus, circa 1910 Signed ODILON REDON (ll) Oil on paperboard laid down on cradled panel 9 7/8 x 12 5/8 inches (25 x 32 cm) Provenance: Sale: Hôtel Drouot, Paris, June 3, 1927, lot 81 Gaston Louis, Paris (sold: Hôtel Drouot, Paris, Nov. 17, 1932, lot 99) Jean-Arthur Fontaine, Paris (circa 1934) Olivier Senn, Paris Family of the above, Tucson (sold: Sotheby’s, New York, May 12, 1987, lot 286) Exhibited: Paris, Gazette des Beaux-Arts, Les Étapes de l’Art contemporain, II, 1934, no. 88 Tucson Museum, Tucson Collects, 1975 Literature: Alec Wildenstein, Odilon Redon: Catalogue Raisonné de l’Oeuvre Peint et Dessiné, Mythes et Légendes, vol. II, Paris, 1994, no. 741, illus. p. 10 C $80,000-120,000

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Property from the Estate of Miriam and Howard Rand, Beverly Hills, California 29 Maurice Utrillo French, 1883-1955 La Medina à Constantine, circa 1918 Signed Maurice Utrillo V.; also titled by the artist on the reverse Oil on board 11 1/2 x 14 5/8 inches (29.2 x 37.1 cm) Provenance: M.C. Wordworth Leicester Gallery, London Hammer Galleries, New York, acquired January 25, 1961 Exhibited: Pittsburgh, PA, Museum of Art, Carnegie Institute, Maurice Utrillo, Oct. 17-Dec. 1, 1963 Literature: Paul Pétridès, L’Oeuvre Complet de Maurice Utrillo, vol. I, 1959, no. 772, illus. p. 245 C $50,000-70,000

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30 Albert André French, 1869-1954 Le Rhone à L’Ardoise, circa 1924 Signed Albert Andre (ll) Oil on canvas 16 1/2 x 19 5/16 inches (42 x 49 cm) Provenance: Private collection Sale: Sotheby’s, New York, Sep. 29, 2004, lot 207 C $7,000-10,000

31 Willem van Hasselt Dutch, 1882-1963 View of Brehat Signed Van Hasselt (lr) Oil on canvas 28 3/4 x 36 1/4 inches (73 x 92 cm) Provenance: Private collection, New York C $4,000-6,000

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32 Arbit Blatas Lithuanian/American, 1908-1999 The Bridges of Paris Signed A. BLATAS (lr) Oil and gouache on board laid to board 15 3/16 x 27 3/16 inches (38.5 x 69 cm) C $2,000-4,000 33 Maurice de Vlaminck French, 1876-1958 Paysage Signed Vlaminck (ll) Oil on canvas 15 x 18 1/8 inches (38 x 46.5 cm) This painting will be included in the Catalogue Raisonné of Maurice de Vlaminck, under the reference number 6060, according to the Wildenstein Institute, in a letter dated February 1, 2001. C $20,000-30,000

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34 Maurice de Vlaminck French, 1876-1958 Bouquet of Flowers Signed Vlaminck (ll) Oil on canvas 18 1/8 x 15 inches (46 x 38 cm) This painting will be included in the Catalogue RaisonnĂŠ of Maurice de Vlaminck under the reference number 6059, according to the Wildenstein Institute, in a letter dated February 1, 2001. C $20,000-30,000

35 Sigmund Menkes Polish/American, 1896-1986 Woman with Flowers Signed Menkes (ll) Oil on canvas 26 1/4 x 18 1/4 inches (66.5 x 46.5 cm) C $12,000-18,000

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36 Pablo Picasso Spanish, 1881-1973 Mercure - Design for the Front Curtain, circa 1924 Signed Picasso (lr) Gouache, pastel and pencil on light gray paper 7 7/8 x 8 3/4 inches (20 x 22.2 cm) Provenance: Emily Milliken Wilson Sale: Sotheby’s, New York, April 23, 1986, lot 100 Maya Widmaier Picasso, on March 26, 1985, and the Comité Picasso, on May 31, 1990, have confirmed the authenticity of this work. Mercure was a ballet produced by Count Étienne de Beaumont, with music by Erik Satie and decor and costumes by Picasso. C $40,000-60,000

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Property from The Eileen & Herbert C. Bernard Collection 37 Alberto Giacometti Swiss, 1901-1966 Studies for Sculpture Inscribed Giacometti in pencil (lr) Red ballpoint pen on an envelope, addressed to “Mr Teriade c/o ‘Verve’ 4 rue Ferou Paris France !”, sent from London July 9, 1954 6 1/4 x 5 1/8 inches (15.8 x 13 cm) This work has been examined by the Comité Giacometti in December 2016, who certified its authenticity and registered the drawing in the online Alberto Giacometti Database [AGD] under the number 3697. C $12,000-16,000

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38 38 Georges Valmier French, 1885-1937 Composition Cubiste, circa 1917 Signed G. Valmier (lr) Collage with ink and watercolor on paper laid down on card 5 1/2 x 5 1/8 inches (14 x 13 cm) Provenance: Sale: Christie’s, London, Mar. 31 and Apr. 2, 1987, lot 253 This work is included in the Valmier Catalogue Raisonné prepared by Marthe Domee and Alain Barrault, in collaboration with Denise Bazetoux. C $20,000-30,000

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39 Georges Valmier French, 1885-1937 Flowers, 1930 Signed G. Valmier and dated 1930 (lr) Ink and gouache on paper 12 1/8 x 8 3/4 inches (30.8 x 22.2 cm) Provenance: Sigmund E. Edelstone, Chicago Sale: Christie’s East, New York, Nov. 29. 1984, lot 296 (Estate of Sigmund E. Edelstone) Loudmer, Paris, Feb. 10, 1993, lot 60 C $12,000-18,000

40 Ivan Vasilyevich Kliun Russian, 1870-1942 Composition with Circle, 1921 Signed in Cyrillic and dated 1921 (ul) Gouache with traces of pencil on paper 10 7/8 x 8 5/8 inches (27.6 x 21.9 cm) Provenance: Annely Juda, London Dorothy Carus, New York Sale: Sotheby’s, London, April 2, 1987, lot 635 Exhibited: Ithaca, New York, Herbert F. Johnson Museum of Art, Cornell University, A Private Eye: Dada, Surrealism and More from the Brandt Collection, Oct. 21-Dec. 24, 2006 C $10,000-15,000

40 VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 31

42 41 Rudolf Bauer German, 1889-1953 Untitled (Red Circle and Lines) Signed Rudolf Bauer (lr) Ink, gouache and pastel on paper 12 5/8 x 17 1/4 inches (32 x 43.8 cm) C $6,000-8,000 42 Rudolf Bauer German, 1889-1953 Untitled Abstraction Signed Rudolf Bauer (ll) Gouache and colored pencil on paper 17 3/4 x 11 1/4 inches (45 x 28.5 cm) C $4,000-6,000 43 Rudolf Bauer German, 1889-1953 Untitled (Skiier) Signed Rudolf Bauer (lr) Ink and gouache on paper 15 5/8 x 12 5/8 inches (39.7 x 32 cm) C $3,000-5,000

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44 František Kupka Czech, 1871-1957 Composition Lyrique Stamped Kupka and numbered 171 (lr) Watercolor and pencil on paper Sight 10 1/2 x 5 3/4 inches (26.7 x 14.6 cm) Provenance: Christie’s, New York, Feb. 20, 1990, lot 265 Exhibited: Ithaca, New York, Herbert F. Johnson Museum of Art, Cornell University, A Private Eye: Dada, Surrealism, and More from the Brandt Collection, Oct. 21-Dec. 24, 2006 The authenticity of this work has been confirmed by Karl Flinker, in a photo certificate, dated Paris, January 16, 1990, in which he says the work probably dates from the 1920’s and is close to the painting Intensification, belonging to the series of organic forms. C $5,000-7,000 45 František Kupka Czech, 1871-1957 Composition (Black and White) Signed Kupka (lr) Gouache and ink on paper 4 3/4 x 9 5/8 inches (12 x 24.5 cm) C $5,000-7,000

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46 Wassily Kandinsky Russian, 1866-1944 Etude pour “Appui” (Dessin 34 du Carnet), 1942 Signed with monogram and dated 42 (ll) Ink on paper laid down on card 7 7/8 x 10 5/8 inches (20 x 27 cm) Provenance: Nina Kandinsky, Paris Galerie Karl Flinker, Paris (no. 577) Sale: Sotheby’s, London, Jun. 28, 2000, lot 287 Exhibited: Paris, Galerie Karl Flinker, Kandinsky: Carnet des dessins 1941, 1972, no. 34, illus. in the catalogue Boone, North Carolina, Turchin Center for the Visual Arts, The Omnipotent Dream, Oct. 1-Dec. 13, 2003 Executed in 1942, this drawing is a study for the painting Appui, 1942. C $25,000-35,000

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47 Mikhail Larionov Russian, 1881-1964 Composition Rayonniste, circa 1912-1913 Signed with Cyrillic initials (ll) Watercolor on paper 6 1/2 x 6 7/8 inches (16.5 x 17.5 cm) Provenance: Sale: Phillips, London, Dec. 2, 1985, lot 48 Andrei Nakov has confirmed the authenticity of this work in a photo certificate dated April 4, 1991. C $4,000-6,000 Property from the Estate of Roberta K. Cohn & Richard A. Cohn, Ltd. 48 Paul Kleinschmidt German, 1883-1949 Bridge, 1933 Signed with monogram and dated 33 (ur) Oil on canvas 27 5/8 x 35 3/8 inches (70 x 90 cm) Unframed C $12,000-18,000 47

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Property from the Estate of Roberta K. Cohn & Richard A. Cohn, Ltd.

49 Paul Kleinschmidt German, 1883-1949 Lilacs, circa 1920 Signed Kleinschmidt (ll); partially obscured inscription als... in German on the reverse Oil on board 19 11/16 x 13 5/8 inches (50 x 34.5 cm) C $6,000-9,000

50 Paul Kleinschmidt German, 1883-1949 Still Life of Lilacs in a Vase, 1936 Signed with initials P. Kl. and dated 36 (uc) and with unidentified stamp (ll); also titled Still-life-Flowers and inscribed Watercolor-Kl. 37 on the board [verso] Watercolor with pencil laid down on thin board 20 x 14 inches (50.8 x 35.5 cm) C $3,000-5,000

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51 Iosif Iser Romanian, 1881-1958 Young Romanian Woman Spinning Signed Iser (lr) Oil on board 24 x 19 5/8 inches (61 x 50 cm) Born in Bucharest, Iser studied in Munich and in Paris, first working in an Expressionist and then in a Cubist vein, before adopting a more lyrical style. Iser became fascinated with the Dobrujan area, today between Bulgaria and Romania, making portraits of the local Tatar people. C $7,000-10,000

Property of a New York Collector 52 Grigory Gluckmann Russian/American, 1898-1973 An Elegant Group, Paris, 1928 Signed Grigory Gluckmann and dated Paris 1928 (lr) Oil on beveled panel 13 x 9 3/8 (33 x 23.8 cm) C $4,000-6,000

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53 Pavel Tchelitchew Russian, 1898-1957 (i) Skull, circa 1943 Numbered 45-15 and inscribed skull on the reverse Ink and charcoal wash on paper 20 x 12 3/4 inches (50.8 x 32 cm) Provenance: Estate of Dr. Gerald Lutovich, Sausalito, CA Thence by descent to the current owner 53

(ii) Skull with Vascular Detail Inscribed T-73 (ll) Ink on wax paper 14 x 11 1/2 inches (35.5 x 29.2 cm) Provenance: Estate of Dr. Gerald Lutovich, Sausalito, CA Thence by descent to the current owner C $3,500-4,500

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54 Pavel Tchelitchew Russian, 1898-1957 (i) Internal Maxillary Artery, a double sided work Inscribed 767, 44-107 and T-71 on the reverse Ink on paper 11 x 8 1/2 inches (28 x 21.6 cm) Provenance: Estate of Dr. Gerald Lutovich, Sausalito, CA Thence by descent to the current owner (ii) Anatomical Head, Double Sided Drawing Inscribed 753, T-72 and 44-113 on the reverse Ink and wash on paper 11 x 8 1/2 inches (28 x 21.6 cm)

Provenance: Estate of Dr. Gerald Lutovich, Sausalito, CA Thence by descent to the current owner C $3,500-5,500

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55 Paul Henry Irish, 1876-1958 Landscape, West Ireland Signed PAUL HENRY (lr) Oil on panel laid to panel 14 x 16 inches (35.5 x 40.6 cm) C $30,000-50,000

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56 Ludolfs Liberts Latvian, 1895-1959 Fishers, Miami Signed L. Liberts and inscribed Miami (lr); inscribed indistinctly Fish... Miami on the stretcher Oil on canvas 18 x 24 inches (45.8 x 61 cm) C $3,000-5,000 57 Ludolfs Liberts Latvian, 1895-1959 Carnival, Venice Signed L. Liberts (lr) Oil on canvas 30 1/2 x 25 3/8 inches (77.5 x 64.5 cm) C $3,000-5,000

57 VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 41

Property from the Estate of Miriam and Howard Rand, Beverly Hills, California 58 Gen Paul French, 1895-1975 Le Cavalier Signed Gen Paul (ur) Oil on board 16 1/4 x 10 3/4 inches (41.3 x 27.3 cm) Provenance: Edgardo Acosta Gallery, Beverly Hills, California, purchased January 8, 1962 C $3,000-5,000 59 Constantin Kluge French, 1912-2003 La Porte Saint-Denis Signed C. Kluge (lr); titled on the stretcher Oil on canvas 28 7/8 x 45 7/8 inches (73.5 x 116.5 cm) Provenance: Wally Findlay Galleries, New York, Inv. no. 74899 This work will be included in the Catalogue Raisonné of Constantin Kluge currently in preparation by The Findlay Institute, and is accompanied by a certificate of authenticity dated April 7, 2017 C $8,000-12,000

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60 Constantin Kluge French, 1912-2003 Notre-Dame (Dessin) Signed C. Kluge (lr) Oil on canvas 28 3/4 x 28 3/4 inches (73 x 73 cm) Provenance: Wally Findlay Galleries, Palm Beach,1969 Private Collection, 1969, from whom acquired by the present owner This work will be included in the Catalogue RaisonnĂŠ presently in preparation by The Findlay Institute, and is accompanied by a certificate of authenticity dated April 7, 2017 C $3,000-5,000 61 Constantin Kluge French, 1912-2003 Les Arches Romaines Signed C. Kluge (lr); titled on the stretcher Oil on canvas 32 1/4 x 39 3/4 inches (82 x 101 cm) Provenance: Wally Findlay Galleries, New York, Inv. no. 67962 This work will be included in the Catalogue RaisonnĂŠ of Constantin Kluge, currently in preparation by The Findlay Institute, and is accompanied by a certificate of authenticity dated April 7, 2017. C $3,000-5,000

61 VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 43

62 62 Le Pho French/Vietnamese, 1907-2001 Fleurs Signed in Latin Le Pho and in Vietnamese characters (lr) Oil on canvas 46 x 32 inches (116.8 x 81.2 cm) Provenance: Studio of the Artist, 07/01/1968 Wally Findlay Galleries, New York According to The Findlay Institute, this painting will be included in the Catalogue Raisonné of the works of Le Pho, currently in preparation. C $15,000-25,000

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63 André Hambourg French, 1909-1999 Le Matin sur la Place, au Printemps, 1979 Signed a. hambourg (ll) and dated “N.Y. 1979” (lr); also signed a. h., titled and dated on the reverse Oil on canvas 10 5/8 x 13 7/5 inches (27 x 35.3 cm) Provenance: Wally Findlay Galleries, New York, circa 1985 C $6,000-9,000 64 André Hambourg French, 1909-1999 Jour de Fête de la Mer, à Honfleur Signed a. hambourg (ll); initialed and titled on the reverse Oil on canvas 8 7/8 x 10 5/8 inches (22.5 x 27 cm) Provenance: Wally Findlay Galleries, New York, Inv. no. 65128 C $5,000-8,000

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65 Georges Terzian French, b. 1939 La Feuille Grise Signed with initials G.T. (lc); also signed and titled on the reverse and inscribed 2014 65 x 54 on the stretcher Oil on canvas 25 5/8 x 21 3/8 inches (65 x 54.3 cm) C $4,000-6,000

66 Bela De Kristo Hungarian, 1920-2006 Les Amoureux Hongrois Signed de Kristo (lr); also inscribed AK 5733 on the reverse Oil over pencil on board 26 1/4 x 18 inches (66.6 x 46 cm) C $4,000-6,000

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AMERICAN ART

Lot 90

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68 Kenyon C. Cox American, 1856-1919 The Education of Cupid, 1917 Signed Kenyon Cox and dated 1917 (lr); inscribed as titled and By Kenyon Cox 1917 on the reverse Oil on canvas 23 x 46 3/4 inches Provenance: The artist By descent to his niece, Jeanette Prentiss Cox (Mrs. Gordon Niles Morrill), Cleveland, OH By descent to F. Gordon Morrill, Delray Beach, FL By gift to his nephew, Michael Hunter, Palm Beach, FL Exhibited: New York, National Academy of Design, Winter Exhibition, Dec. 15, 1917-Jan. 13, 1918, no. 194 Literature: The Sun, Dec. 15, 1917, p. 9 American Art News, vol. 16, no. 12, p. 2 Kenyon Cox and Howard Wayne Morgan, An Artist of the American Renaissance: The Letters of Kenyon Cox, 1883-1919, Kent University Press, 1995, p. 179

67 Property from the Collection of Mr. and Mrs. Raymond J. Horowitz, sold for the benefit of the Bard Graduate Center 67 William Merritt Chase American, 1849-1916 Portrait of a Young Woman Signed indistinctly WM Ch (rc); inscribed indistinctly along right edge. Inscribed Return to Mr. WM Chase / 234 East 15th St / New York on the reverse Pencil on paper 12 1/4 x 91/2 inches (irregular) Provenance: Spanierman Galleries LLC, New York Mr. & Mrs. Raymond J. Horowitz, New York C $2,000-4,000

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In 1917, Kenyon Cox wrote to his son, Allyn, “Is this light-minded enough for you? [Sketch] The Education of Cupid. Venus teaching cupid how to shoot. Target hung on terminal statue with a pure Cornish landscape background, the extreme distance being Platt’s riverview. Such is to be my next picture. I’ve been working at the sketch all the time your mother was in Boston. There’s such a bully chance in it for serious study of action that even your mother doesn’t object to the playfulness of the motive. To me it is a kind of relief from the horrid seriousness of reality just now. It’s only in pleasant and peaceful times that one wants to be ultra-serious in art. Caroline [the artist’s daughter] is going to pose for Venus — white and gorgeous piece of brilliant rose stuff, a brand new material, which is the most glittery and amazing thing you can imagine.” [Kenyon Cox and Howard Wayne Morgan, An Artist of the American Renaissance: The Letters of Kenyon Cox, 1883-1919, Kent University Press, 1995, p. 179 ] When exhibited in the 1917 Winter Exhibition at the National Academy of Design, The Education of Cupid was praised by a reviewer from American Art News for being “bright and light-spirited.” A critic for The Sun wrote of the work more extensively, “Mr. Cox’s effort is The Education of Cupid, in which every touch is worked out with clear, intellectual and perhaps cold precision. Venus, according to Mr. Cox, is an American lady, but Cupid, properly enough, bears a strong facial resemblance to the heroines of Sir Peter Lely, who, if history be credited, did indeed live in a time of instructed Cupids.” Painted as a respite from the horrors of a world at war, The Education of Cupid remained in Cox’s family until now; it continues to delight today. C $9,000-12,000

69 Daniel Ridgway Knight American, 1839-1924 Autumn Evening Signed Ridgway Knight and inscribed Paris (ll); inscribed Autumn Evening and numbered 903 on the stretcher Oil on canvas 32 x 25 3/4 inches â&#x20AC;¢ $40,000-60,000

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70 Frank Myers Boggs American, 1855-1926 Harbor Scene Signed Frank Boggs (ll) Oil on canvas 25 x 34 1/2 inches C $4,000-6,000

Property from a Private New York State Collector 71 Leon Dabo American, 1864-1960 The Peak of Arran, by 1907 Signed Leon Dabo with artist’s device (lr) Oil on canvas 21 x 14 3/4 inches Provenance: M. A. Newhouse & Son, St. Louis, MO One Gallery of Art, New York Exhibited: Boston, through Jan. 12, 1907 Literature: The New York Times, Jan. 6, 1907, p. 24 The Peak of Arran was among twenty-two works exhibited in Boston in 1907. Arran is an island off the coast of Scotland, near the Firth of Clyde. C $6,000-8,000

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72 Property from a Private New York State Collector 72 Arthur Bowen Davies American, 1862-1928 Free of the World, circa 1910 Signed AB Davies (ll); inscribed as titled on a fragment of the original stretcher affixed to the backing; incised 1525 on a second fragment; Oil on canvas 14 1/4 x 28 3/8 inches Provenance: M. Knoedler & Co., New York, inv. A9824 Exhibited: Toronto, CA, Art Gallery of Ontario; Puvis de Chavannes and the Modern Tradition, Oct. 24-Nov. 30, 1975, cat. no. 85 C $8,000-12,000 73

73 Max Weber American, 1881-1961 Bathers, 1909 Signed Max Weber and dated 1909 (lr); numbered GR. 16 171 on a label beneath the mat Watercolor and graphite pencil on paper 4 3/4 x 5 1/2 inches Provenance: Krasner Gallery, New York C $5,000-7,000

74 Max Weber American, 1881-1961 Three Bathers, 1910 Signed Max Weber and dated 1910 (ll) Watercolor and graphite pencil on paper 7 x 5 inches C $4,000-6,000

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75 Max Weber American, 1881-1961 Figures , 1911 Signed Max Weber and dated 1911 (lr) Ink on paper laid to board 8 1/4 x 5 5/8 inches C $3,000-5,000 76 Max Weber American, 1881-1961 Abstract Woman in Profile, 1910 Signed Max Weber and dated 1910 (lr) Graphite pencil on paper laid to card 12 1/2 x 5 7/8 inches<\n>Provenance: Eva Lee Gallery, Inc., Great Neck, NY C $3,500-4,500 75 77 Max Weber American, 1881-1961 Landscape with Houses and Trees, circa 1906 Signed Max Weber (lr); numbered 91 on an old label on the verso Graphite pencil on paper laid to board 6 5/8 x 8 3/8 inches C $2,000-3,000

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78 Morton Livingston Schamberg American, 1881-1918 Composition Signed Schamberg (lr) Pastel on paper Sight 3 3/4 x 5 3/4 inches Provenance: The artist Batakue Morris Estate of Natalie Morris Salander-O’Reilly Galleries, Inc., New York Sale: Sotheby’s New York, Important American Paintings, Drawings and Sculpture, Dec. 3, 1987, lot 324 [With] Francis H. Nauman Fine Art, New York Exhibited: New York, Salander-O’Reilly Galleries, Inc., Nov. 3-Dec. 31, 1982; Columbus, OH, Columbus Museum of Art, Jan. 22-Mar. 13, 1983; Philadelphia, PA, The School of the Pennsylvania Academy of the Fine Arts, Peale Galleries, Spring 1983, Milwaukee, WI, Milwaukee Art Museum, Feb. 11-Mar. 27, 1984; Morton Livingston Schamberg (1881-1918) (a traveling exhibition) New York, Salander-O’Reilly Galleries, Inc, Morton Livingston Schamberg (1881-1911): The Machine Pastels, Jan.-Feb., 1986 Ithaca, NY, Herbert F. Johnson Museum of Art, Cornell University; A Private Eye: Dada, Surrealism and More from the Brandt Collection; Oct. 21-Dec. 24, 2006 C $10,000-15,000

79 Morton Livingston Schamberg American, 1881-1918 Composition, 1916 Pastel on paper 5 x 5 7/8 inches Provenance: Estate of the artist Natalie Morris Estate of Natalie Morris Private collection [With] Francis M. Naumann Fine Art, New York Exhibited: New York, Salander-O’Reilly Galleries, Inc., Nov. 3-Dec. 31, 1982; Columbus, OH, Columbus Museum of Art, Jan. 22-Mar. 13, 1983; Philadelphia, PA, The School of the Pennsylvania Academy of the Fine Arts, Peale Galleries, Spring 1983, Milwaukee, WI, Milwaukee Art Museum, Feb. 11-Mar. 27, 1984; Morton Livingston Schamberg (1881-1918) (a traveling exhibition) Ithaca, NY, Herbert F. Johnson Museum of Art, Cornell University; A Celebration of American Art from the Collections of Alumni and Friends, Aug. 21-Nov. 4, 1990, no. 23 Ithaca, NY, Herbert F. Johnson Museum of Art, Cornell University; A Private Eye: Dada, Surrealism, and More from the Brandt Collection, Oct. 21-Dec. 24, 2006 Literature: William C. Agee, Morton Livingston Schamberg (1881-1918), New York, Salander O’Reilly Galleries, 1982, no. 50, illus. C $10,000-15,000

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80 Blanche (Nettie Blanche) Lazzell American, 1878-1956 Cubist Composition, 1927 Signed Lazzell and dated 1927 (lr) Graphite pencil on tracing paper Sheet 10 1/2 x 8 5/16 inches; image 9 x 7 inches Provenance: Sale: Christies New York, American Watercolors, Drawings, Paintings and Sculpture of the 19th and 20th Centuries, Sep. 28, 1989, no. 376 Exhibited: New York, Studio Gallery, 1944 C $4,000-6,000

81 Albert Eugene Gallatin American, 1882-1952 Composition, 1943-44 Signed Eugene E. Gallatin, inscribed no. 71 and dated 1943-44 on the reverse; titled on a Willard Gallery label on the reverse Oil on canvasboard 15 3/4 x 19 1/2 inches Provenance: Willard Gallery, New York Mr. Blankarn, Princeton, NJ Thence by descent in the family to the current owner C $10,000-15,000

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82 Suzy Frelinghuysen [Estelle Condid Frelinghuysen] American, 1911-1988 Cubist Still Life with Wine Bottle and Glass, 1939 Signed Frelinghuysen, dated 1939 and numbered 28 on the reverse 9 1/4 x 7 3/4 inches Oil on canvas laid to board Provenance: The artist Mary Elizabeth Frelinghuysen, Palm Beach, FL Estate of Mary Elizabeth Frelinghuysen, Palm Beach, FL J. K. Thannhauser, New York Mr. Blankarn, Princeton, NJ Thence by descent in the family to the current owner C $6,000-8,000

83 Arthur Dove American, 1880-1946 Wet Sunset, 1932 Signed (lc); inscribed Wet Sunset and dated 1932 on An American Place label on the reverse Watercolor on paper laid down to paper 5 x 7 inches Provenance: The artist [With] An American Place, New York [With] The Downtown Gallery, New York Park Gallery, Detroit, MI Exhibited: San Francisco Museum of Art, Paintings by Arthur Dove, Apr. 22-May 18, 1947 C $10,000-15,000

83 VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 55

The Collection of

Willa Kim & William PÈne De Bois

56 DOYLE • MAY 10, 2017 • NEW YORK

Doyle is honored to offer an important selection of works by Guy Pène du Bois from the Collection of Willa Kim and William Pène du Bois. These pieces, including a variety of drawings and watercolors as well as important works in oil, have remained in the artist’s family since they were painted and are completely fresh to market. This is the first of two groups. The second will be offered this Fall. Guy Pène du Bois (1884-1958) Born into a cultured, sophisticated family of French origin but with roots in America dating back to 1748, Guy Pène du Bois developed an early interest in art. At the age of 14 he enrolled in William Merritt Chase’s New York School of Art. While Guy developed a painterly technique and an appreciation for realism under Chase, the arrival at the School in 1903 of a new instructor, Robert Henri, and his advice to venture out of the studio and into the city to better understand the subjects had an immediate impact on the young artist – as well as his fellow students Edward Hopper, Gifford Beal, George Bellows and Rockwell Kent. An early trip to Paris in 1905 in the company of his father, Henri Pène du Bois, a journalist and an avowed Francophile, earned him an invitation to exhibit at the Paris Salon in 1905. The tragic death of his father in 1906 on board ship for their return home to America forced Guy to turn to art criticism to help support his family. He began writing for the New York American, his father’s former employer, and continued to write as well as paint for the rest of his life, eventually publishing monographs on the work of John Sloan, William Glackens, Edward Hopper and Ernest Lawson. He was considered an astute critic. In 1911, Guy married Florence “Floy” Sherman Duncan; the couple welcomed a daughter, Yvonne, in 1913 and their son, William, three years later. Guy’s dual career, with his success as a painter enhancing his insight as a critic, led not only to his inclusion in the 1913 Armory show, but also to his publicizing the landmark exhibition in a special issue of Arts and Decoration magazine, which he edited. The same year, Kraushaar Galleries began to represent his work, and continued to do so until the death of John Kraushaar, his longtime friend and dealer, in 1946. Guy took to heart Henri’s advice, however the subjects he favored were not generally those of the Ash Can School. As a rule, they were generally urban, but ran the gamut from city toughs to politicos, young flappers to the affluent at play. The artist himself called them “symbols of sophistication.” They are studies of manners, as keen and acute as those of William Hogarth, at times caustic and revealing the pomposity and foibles of modern society. By 1920, Guy had achieved the style for which he is best known: flattened and abstracted forms with smooth, volumetric contours rendered with imperceptible brushstrokes, and scenes informed by a satirical sensibility. Duncan Phillips praised him as “an irrepressible mocker of human absurdity and a clever satirist of types familiar to our modern world.” He also praised his “flair for good painting.” Guy became known as a colorist; his use of rose madder was unusual. In his honor students created The Rose Madder Club, which may have inspired the title of one of Guy’s lighthearted compositions from 1934 [Collection Westmoreland Museum of American Art]. In 1924, in order to devote himself to painting, Guy brought his young family to France. Out of a desire to escape the temptations of Paris, they settled in the small village of Garnes, remaining for six years. With the increased popularity of Modernism the artist found a decreased demand for his paintings. Despite financial constraints (mitigated to some degree by the generosity of John Kraushaar), the period was a productive one, and for the first time landscape began to play a part in his compositions. Subjects were shown at the race track and in

the countryside. When Kraushaar could no longer continue to subsidize his stay, the artist returned to America with his family. Paintings of Yvonne and William, the artist’s children, constitute an important part of his oeuvre through these years. For the rest of his life, Guy continued to teach, write and paint, even participating in WPA projects during the Depression years. But it is his early pictures, those of the 1920s and early 1930s, for which he is best remembered. Edward Alden Jewell, art critic for The New York Times eloquently summarized his work: “It is pretty safe to call him a master and to add that there isn’t a better artist working hereabout today. His draughtsmanship, to put it coldly, commands instant and unlimited respect. His line is pure and vigorous. Color can and not infrequently does attain truly remarkable intensity of tone and subtlety of harmonious relationship. Add to these qualifications an almost unerring sense of composition and one has perhaps sufficiently justified the word master as applied to Guy Pène du Bois.” 57

GUY The Collection of Willa Kim and William Pène du Bois 84 Guy Pene du Bois American, 1884-1958 Protectrice, 1921 Signed Guy Pene du Bois and dated 1921 (lr); titled Protectrice and inscribed cat. no 3 on a label; identified as ...k Girls on a second fragmentary label, both on the reverse Oil on panel 25 x 20 inches Provenance: The artist By descent to William Pène du Bois, his son By descent to Willa Kim, his wife Exhibitions: New York, James Graham & Sons, Guy Pene du Bois, 1884-1958, Paintings of 20 Younger Years, 1913-1933, Nov. 19-Dec. 14, 1963, no. 11, illus. New York, James Graham & Sons, Guy Pene du Bois, 1884-1958, Mar. 17-Apr. 15, 1964, no. 27 Southampton, NY, Parrish Art Museum, Guy Pene du Bois, 1884-1958, Jul. 10-Aug. 2, 1964, no. 23 Literature: Raphael Soyer, “The Lesson: The Academy, The League, The Classroom,” Arts Magazine, Sep.-Oct Magazine, 1967, vol. 42, no. 1, p. 36, illus We extend our most sincere thanks to Dr. Betsy Fahlman, Professor of Art History, Arizona State University for her kind assistance in cataloguing this lot. As Betsy Fahlman astutely observes, Guy Pène du Bois “often composed his paintings in pairs, presenting their highly structured roles as though parts in a theatrical performance, and his sharply urbane perspective enabled him to record the foibles and pretensions (frequently dictated by class or profession) of his subjects. [Betsy Fahlman, Guy Pène du Bois: Painter of Modern Life, The Quantuck Lane Press, 2004] On April 15, 1921, Pène du Bois wrote, in his journal of a renewed dedication to painting as well as a visit to Coney Island with his wife, Floy and daughter, Fairlie, “And there’s a new start now — a new interest in life — a new sympathy — a curious sympathy for individuals in crowds — crowds such as — last Sunday for an example — Fairlie and Floy and I saw, at Coney Island, a nice want of disguise in their expressions of sincerity. But life flirts with that at times and pathetically, and a common twist of a mouth or an eye comes, an ugly line or wrinkle wanting in grace, palpably un-beautiful, which stamps them, places them — where? But you meet it rarely among more civilized people... We do not so readily publish our experiences. Perhaps ours are worse though Coney Island is not a prude’s Paradise nor a Hell either.” [Guy Pène du Bois Journal, vol. 1, pp. 212-13] The two figures seen in this extraordinarily compelling composition, rich with cobalt blue and the artist’s signature rose madder, seem drawn from the hurly-burly crowds at Coney Island that the Pène du Bois family experienced. The woman on the right, a rather tough character is dominant, her mouth in a “common twist” such as described by the artist in his journal. Is she a friend, a paramour, or perhaps a procuress? The more slender woman at left appears more demure — or do her eyes peek out slyly, perhaps even invitingly, from beneath her stylish hat? The provocative title of the painting, Protectrice, is rich with implication but leaves the meaning ambiguous. Pène du Bois depicts this extraordinary pair without comment, presenting them on a shallow proscenium as it were, the lights of a city or a park twinkling out of the darkness. Their stockinged legs and pointed shoes divide the lower portion of the canvas, which uncannily seems to anticipate color field painting with its exquisite palette. C $100,000-200,000 See Illustration of Front Cover

58 DOYLE • MAY 10, 2017 • NEW YORK

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GUY The Collection of Willa Kim and William Pène du Bois 85 Guy Pène du Bois American, 1884-1958 Conversation On the Balcony, 1926 Signed Guy Pene du Bois and dated 26 (ll); titled twice On the Balcony in graphite pencil and titled Conversation on the Balcony on a James Graham & Sons label, all on the reverse Oil on panel 21 3/4 x 17 3/4 inches Provenance: The artist By descent to William Pène du Bois, his son By descent to Willa Kim, his wife We extend our most sincere thanks to Dr. Betsy Fahlman, Professor of Art History, Arizona State University for her kind assistance in cataloguing this lot. In March and April 1926, Pène du Bois wrote with enthusiasm of a group of paintings he was about to send to his dealer, John Kraushaar. Though he had moved his family to France with the dual objectives of devoting more time to his painting and to living more frugally, the many attractions of Paris were impossible to resist, making the period both less productive and more costly than the struggling painter might have wished. Yet, for once, he wrote with pleasure of his latest group of works: “By the end of next week I should be able to send Kraushaar a fine lot of pictures...There is not much more to do on any. During the three or four days in the country I began and finished three little things, two of them landscapes. My actual knowledge — which includes much intentional matter — of color is greater than it has ever been. I am able to hide the method to a greater degree and to arrive at results almost without thought. In any case I am, today, very cocky.” [Guy Pène du Bois Journal, Mar. 30 and Apr. 5, 1926, vol. 1, pp. 23-4] Conversation on the Balcony, from 1926, corresponds with Pène du Bois’s euphoric description of his paintings. The volumetric forms of the figures, most particularly of the woman at left, are realized with brushstrokes that are nearly imperceptible. Once again depicting the interaction of a pair, this time Pène du Bois has painted a fashionably dressed couple on a balcony, distant city lights twinkling in a deep blue sky. The woman’s bright green eyes gaze out at the viewer while her companion faces her, slightly inclining toward her in a manner that could be either ominous or amorous. Is this an intimate conversation? Or is the young woman looking out imploringly, seeking to escape an untenable, perhaps even unpleasant, encounter? C $75,000-150,000

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The Collection of Willa Kim and William Pène du Bois 86 Guy Pène du Bois American, 1884-1958 William Wearing a Sailor Suit Oil on panel 25 x 20 inches Provenance: The artist By descent to William Pène du Bois, his son By descent to Willa Kim, his wife In May 1921 the Pène du Bois household relocated to Saugatuck, Connecticut, where Guy hoped to be able to concentrate on painting with fewer distractions than in New York City. They found life there congenial, with a vibrant and bohemian community of artists and writers in nearby Westport with whom to socialize. On May 28, 1921, Pène du Bois wrote in his journal, “Took Billy to have his hair cut in Westport today. We walked both ways... I’m trying to get acquainted with him and making good progress. He’s five now. I’m going to try to work at a picture I started in town — felt more in the mood for it than I have in a very long time.” [Guy Pène du Bois Journal, vol. 1, p. 217]

This charming undated portrait of a chubby-cheeked Billy could easily depict Guy’s son at around the age of five. The cheerful little boy, dressed in a sailor suit, gazes out at the viewer. The simplified form of a globe behind him echoes the contours of Billy’s collar, imparting a rhythmic sensibility to the composition. In this warm family portrait, the caustic sensibility that informs much of Pène du Bois’s work is entirely absent, replaced here by a modernist view. C $10,000-15,000

The Collection of Willa Kim and William Pène du Bois 87 Guy Pène du Bois American, 1884-1958 Politician Signed G.P. du B. (lr) Oil on board 20 x 14 3/4 inches Provenance: The artist By descent to William Pène du Bois, his son By descent to Willa Kim, his wife Given the innately acerbic perspective so frequently seen in his paintings, it is unsurprising that Pène du Bois chose to depict politicos in a similar manner. He painted politicians on a few occasions; one such work, The Politicians, from 1914, was acquired by the collector Albert Coombs Barnes. Another composition, The Politicians, was acquired by Chester Dale, a patron of the artist, who helped underwrite his trip to France in 1924. The present undated work shows a politician pontificating, possibly while on the stump, a patriotic bunting prominently displayed beneath him. The figures surrounding the central character are essentially caricatures, swiftly realized likenesses of a politician’s less than savory entourage. C $7,000-10,000

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The Collection of Willa Kim and William Pène du Bois 88 Guy Pène du Bois American, 1884-1958 Gay Faulkner Landscape, 1931 Signed G. P. du Bois within the drawing (lc); inscribed The Gay Faulkner Landscape - by Guy Pène du Bois / Published in Saturday Review of Literature at lower edge Ink on paper 7 7/8 x 12 3/4 inches Provenance: The artist By descent to William Pène du Bois, his son By descent to Willa Kim, his wife The present work appeared as an illustration in the October 17, 1931 issue of The Saturday Review of Literature. It accompanied “A Collection of Studies,” a review by Edward Cushing of These Thirteen by William Faulkner. C $2,000-3,000 88

89 Leon Kroll American, 1884-1974 Cassis/Roundout Hills, 1923 Signed and dated 1923 (lr); inscribed #548 Leon Kroll - Roundout Hills (1923) on stretcher Oil on canvas 26 1/8 x 32 1/8 inches During his fourth trip to Europe, Leon Kroll met his future wife Geneviève Domec at the home of Robert and Sonia Delaunay. In October 1923, after a six week engagement, the couple married and traveled to Cassis, in the south of France, for their honeymoon. It is possible that the present work, which is dated 1923, was executed during this romantic sojourn. C $5,000-7,000

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90 Property from a New York and Connecticut Estate 90 Joseph Raphael American, 1869-1950 Returning Home (Near Uccle, Belgium), circa 1918 Signed Joe Raphael (lr) Oil on canvas 26 5/8 x 35 3/4 inches In 1912 Joseph Raphael moved to Uccle, in Belgium, with his new wife, a young Dutch woman he had met in the artist’s colony of Laren, where he had lived for several years. In Uccle he painted radiant views of his home and gardens, rendered in a vivid palette and broad brushstrokes The present work epitomizes Raphael’s work from this period, which earned him a silver medal at the 1915 Panama Pacific International Exposition. C $50,000-70,000

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91 91 William Glackens American, 1870-1938 Garden at Les Pivoines, 1925-6 Inscribed on a label on the reverse, Garden at Les Pivoines, Vence, circa 1930 Oil on canvas 14 7/8 x 20 1/8 inches Provenance: Estate of the Artist Kraushaar Galleries, New York Private Collection The Glackens family spent much time in the late 1920s living in France. The winter of 1925 was spent in the south, in Venice. After much searching, a suitable villa was found to rent. Glackens’ son, Ira, described it: “A Victorian edifice with a cupola overlooking the whole town and the Mediterranean beyond. Behind it loomed the Baou des Blancs, a curious domed mountain... and a road wound by down which black-garmented women came.... Les Pivoines (The Peonies) was the name of the villa. From the garden, the whole town with its ancient walls spread out below...” Among other works inspired by this sojourn is Le Baou, 1925 [Collection New Britain Museum of American Art]. C $12,000-18,000

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92 Everett Shinn American, 1876-1953 Stage Dance, 1948 Signed Everett Shinn and dated 1948 (ll) Oil on canvas 20 1/16 x 24 inches Provenance: Henry and Herma Chanin, Atlanta, GA and Palm Beach, FL, acquired late 1940 Thence by descent to the current owners Throughout his career, Everett Shinn was enchanted by dance and the theatre, even constructing a theatre in his home on Irving Place. Shinn’s early views of theatrical and ballet performances placed equal emphasis on the audience in the foreground and the performers in the middle distance. By contrast, in his mature works such as The Green Ballet from 1943 [Collection Westmoreland Museum of American Art] and the slightly later Stage Dance, the dancers themselves are the focus of attention, depicted with Shinn’s effervescent brushwork in a space that is barely defined. The audience is nowhere to be seen. C $40,000-70,000

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93 Guy Carleton Wiggins American, 1883-1962 Wall Street Signed Guy Wiggins (lr): signed Guy Wiggins and inscribed Wall Street on the reverse Oil on canvasboard 12 x 16 inches Provenance: Chapellier Fine Art, Raleigh, NC Owen Gallery, New York C $30,000-50,000

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Property from A New England Collection 94 Reginald Marsh American, 1898-1954 Coney Island Beach Scene, 1951 Signed Reginald Marsh and dated 1951 (lr) Tempera on board 19 3/4 x 24 inches Provenance: Felicia Marsh collection, cat. no. 51-4 Forum Gallery, New York Private collection, California DC Moore Gallery, New York Exhibited: New York, DC Moore Gallery, Reginald Marsh’s New York, Nov. 13 - Dec. 28, 1996 C $8,000-12,000

Property from A New England Collection 95 Reginald Marsh American, 1898-1954 In the Bay, Coney Island, 1947 Signed Reginald Marsh and dated 1947 (lc) Chinese ink and wash on paper 22 x 30 1/2 inches Provenance: DC Moore Gallery, New York Exhibited: New York, DC Moore Gallery, Reginald Marsh: New York Views, Dec. 12, 2001 - Jan. 26, 2002 C $5,000-7,000

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Property of a Private Collector, Ardsley, NY 96 Andrew George Winter American, 1893-1958 Maine Lighthouse, 1938 Signed A Winter and dated 38 (lr); signed Andrew Winter on the reverse Oil on canvas 24 1/4 x 30 1/4 inches C $7,000-9,000

Property of a Private Collector, Ardsley, NY 97 Andrew George Winter American, 1843-1958 Lighthouse, Maine, 1946 Signed A Winter and dated 46 (lr) Oil on canvas 25 x 30 inches C $5,000-7,000

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Property from A New England Collection 98 Paul Cadmus American, 1904-1999 Seated Dancer, NM 72, 1969 Signed Cadmus and inscribed NM72 (lr) Graphite pencil and colored crayons on toned paper 21 1/8 x 17 1/8 inches Provenance: DC Moore Gallery, New York C $12,000-18,000 Property from A New England Collection 99 Paul Cadmus American, 1904-1999Male Nude (NM 102), 1966 Signed Cadmus (ur); inscribed Male Nude #NM 102; inscribed indistinctly at lower left edge ... watercolor... Crayon heightened with white on toned paper 17 5/8 x 23 inches Provenance: Midtown Galleries, New York Palm Beach Gallery, New York Michael Rosenfeld Gallery, New York C $10,000-15,000

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100 Luigi Lucioni Italian/American, 1900-1988 The Last Leaf, 1950 Signed Luigi Lucioni and dated 1950 (ll) Oil on canvas 12 x 11 inches Provenance: The artist [With] Associated American Artists Gallery, New York Private collection, New York, acquired from the above, 1950 By descent in the family to the current owner Exhibited: New York, Associated American Artists, New York, 1950 C $4,000-6,000

100 Property of a Connecticut Collector 101 Hugo Robus American, 1885-1964 First Born (The Family), 1951 Signed Hugo Robus on the left leg of the woman at rear Bronze with reddish-brown patina Height 18 inches C $5,000-7,000 101 Property from A New England Collection 102 Jack Levine American, 1915-2010 Kronos, 1983 Signed JLevine (ll); inscribed in Greek characters Kronos Paidophagos (Kronos the Childeater) (ul) Oil on canvas 24 1/4 x 21 1/4 inches Provenance: The Artist [with Kennedy Galleries, NY] Midtown Payson Galleries, New York Private collection, New York Michael Rosenfeld Gallery, New York Exhibited: New York, Midtown Payson Galleries, Jack Levine, An Overview, 1930-1990, Oct. 11-Nov. 24, 1990 Ogunquit, ME, Ogunquit Museum of Art. The Art of Jack Levine, 1992 New York, Michael Rosenfeld Gallery, Facets of the Figure: A Spectrum of 20th Century American Art, Jun. 5-Aug. 22, 1997 Literature: Milton Brown, Jack Levine, Rizzoli, New York, 1989, p. 137, illus. Gerrit Henry and John Payson, Jack Levine, An Overview, 1930-1990, Midtown Payson Galleries, New York, 1990, p. 48, illus. An etching by the same title dates from 1983; an identically titled lithograph depicting the same image was produced in an edition of fifty in 1998. C $4,000-6,000

102

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Property from A New England Collection 103 Robert Brackman American, 1898-1980 Unmasked, circa 1949 Signed Brackman (ll); inscribed “Unmasked”/ Robert Brackman/Noank, Conn on the verso Oil on canvas 60 x 50 inches Provenance: The Casper Collection Hollis Taggart Galleries, New York Exhibited: Pittsburgh, Carnegie Institute, Painting in the United States, 1949, Oct. 13 - Nov. 11, 1949, award-winning entry Allied American Artists, Gold Medal of Honor, n.d. C $4,000-6,000

103

104 Robert Brackman American, 1898-1980 In Abundance Arrangement #2 Signed Brackman (ll); inscribed In Abundance Arrangement #2 / Robert Brackman / Noank, CT on reverse Oil on canvas 35 x 27 7/8 inches Provenance: Mr. and Mrs. Seymour Stein, Old Westbury, NY, acquired circa 1985 Private collection, New York, gift of the above, 2002 C $4,000-6,000

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105 Property from a New York Estate 105 David Davidovich Burliuk American/Russian Federation, 1882-1967 Sunflowers (“Flowers by the Sea”), 1948 Signed Burliuk and dated 1948 (ll); titled on the stretcher Oil on canvas 36 x 22 inches C $20,000-40,000

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106 David Davidovich Burliuk American/Russian Federation, 1882-1967 Our Garden, 1945 Signed Burliuk (ll) and inscribed Our Garden / December 11 January 1 1945 / no. 13 on Catalogue ACA Gallery on stretcher Oil on canvas 21 7/8 x 32 inches Provenance: Harbor Gallery, Cold Spring Harbor, NY Alfredo Valente, Sea Cliff, NY Exhibited: New York, ACA Gallery, Burliuk: Paintings. December 11 through January 1, 1945 Literature: New York, ACA Gallery, Burliuk: Paintings. December 11 through January 1, 1945, cat. no 13 C $7,000-9,000 106 107 David Davidovich Burliuk American/Russian Federation, 1882-1967 Florida Fishing Signed Burliuk and inscribed Florida (lc) Oil on canvas 12 x 16 inches Provenance: Alfredo Valente, Sea Cliff, NY C $5,000-7,000

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Property from the Estate of Dorothy Wassyng 108 David Davidovich Burliuk American/Russian Federation, 1882-1967 Capri Signed Burliuk and inscribed Capri (ll) Oil on canvasboard 15 5/8 x 11 3/4 inches C $5,000-7,000

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109

Property from the Estate of Charles Austin Buck 109 Aiden Lassell Ripley American, 1896-1969 Grouse Cover, circa 1949 Signed A. Lassell Ripley and copyrighted (ll) Oil on canvas 27 1/8 x 40 inches Provenance: Vose Galleries, Boston Peter L. Villa Fine Art, New York C $40,000-60,000

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110 Property from the Estate of Charles Austin Buck 110 Ogden Minton Pleissner American, 1905-1983 Quail Hunting Signed Pleissner (ll) Watercolor on paper 15 3/4 x 23 inches C $15,000-20,000 Property from the Estate of Charles Austin Buck 111 Aiden Lassell Ripley American, 1896-1969 Woodcock Shooting, 1946 Signed A. Lassell Ripley, dated 1946 and copyrighted (ll); inscribed Woodcock Shooting, lettered F and numbered 4 on the reverse Watercolor on paper 19 x 24 inches Provenance: Field & Stream, New York 111

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In 1947 the present work was made into a lithograph for a portfolio of six prints entitled The Field and Stream Portfolio; Gunning In America – Six Paintings By A. Lassell Ripley. The six watercolors chosen for the project were considered the finest group of gunning scenes that had ever been painted. Woodcock Shooting was the sixth lithograph in the porfolio. C $3,000-5,000

112 Property from a New York and Connecticut Estate 112 Eric Sloane American, 1905-1985 Fall Foliage Signed Eric Sloane NA and inscribed Fall Foliage (ll) Oil and graphite pencil on board Sight 23 3/8 x 29 1/2 inches Provenance: Hammer Galleries, New York Private collection, acquired from the above, 1986 C $15,000-20,000

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113 113 Harry Leith-Ross American, 1876-1943 Horses at Heber Signed Leith-Ross (lr); inscribed Horses at Heber and Leith-Ross on stretcher and on an old label affixed to the stretcher Oil on canvas 20 x 42 inches C $7,000-9,000

114 Clarence Keiser HinkleAmerican, 1880-1960 View of Santa Barbara Hills, 1948 Signed Hinkle and dated 48 (ll) Oil on canvas 23 7/8 x 30 1/8 inches C $5,000-7,000

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115

Property from a New York and Connecticut Estate 115 Peter Ellenshaw American, b. 1913 Monetâ&#x20AC;&#x2122;s Garden, 1985 Signed Peter Ellenshaw and dated 85 (ll) Oil on canvas 30 1/4 x 48 inches Provenance: Hammer Gallery, New York C $7,000-10,000 116 Rutherford Boyd American, 1884-1952 Mount Desert Island, 1947 Signed Rutherford Boyd and dated 1947 (lr) Watercolor on board 19 1/2 x 26 inches C $5,000-7,000 116

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117

117 Russell Vernon Hunter American, 1900-1955 Crater #2 Signed RUSSELL VERNON HUNTER (lr); inscribed as titled with the name of the artist on a label on the reverse; a statement of authenticity by Virginia Hunter Ewing, widow of the artist, dated Nov. 23, 1969, is affixed to the reverse Oil on Masonite 15 1/2 x 36 inches Provenance: Bill and Dorothy Harmsen Collection, Denver, CO Denver Art Museum, gift of the above, 2001 Property Sold to Benefit the Acquisition Fund of the Denver Art Museum Exhibited: Bristol, VA, Virginia Intermont College, Annual Regional Exhibition, n.d. C $5,000-7,000

118

118 Orville Bulman American, 1904-1978 Les Voila Partis (La Potiche), 1965 Signed Bulman (lr); signed Orville Bulman and dated 1965 on the reverse Oil on Masonite 10 x 8 inches Provenance: Private collection, Washington, D.C. C $3,000-5,000

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POST-WAR ART

Lot 144 VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 81

119

119 Eugene Berman Russian/American, 1899-1972 Perspective dans une Plaine, 1928 Signed E. Berman and dated 1928 (lr), signed E. Berman, dated Paris Mai 1928 and inscribed as titled on the reverse Oil and sand on canvas 25 1/2 x 36 1/4 inches (64.77 x 92.07 cm) C $4,000-6,000 120 Marino Marini Italian, 1901-1980 Cavalier, 1948 Oil on board laid to panel 7 x 5 inches (17.78 x 12.7 cm) Provenance: Curt Valentin, New York Mr. Blankarn, Princeton, NJ Thence by descent to the current owner C $4,000-6,000

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121 Pavel Tchelitchew Russian, 1898-1957 Skull in Profile, circa 1944 Isncribed Skull, numbered 794 and 44-75 on the reverse Ink and wash on paper 11 x 8 1/2 inches (27.94 x 21.59 cm) Provenance: Estate of Dr. Gerald Lutovich, Sausalito, CA Thence by descent to the current owner C $3,000-5,000

121

122 Pavel Tchelitchew Russian, 1898-1957 Anatomical Head Inscribed T-87, 45-15, List #2 and as titled on the reverse Ink and watercolor on paper 14 x 11 1/8 inches (35.56 x 28.25 cm) Provenance: Estate of Dr. Gerald Lutovich, Sausalito, CA Thence by descent to the current owner C $4,000-6,000

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123

124

123 Manolo Millares Spanish, 1926-1972 Untitled Signed Manolo Millares (ll) Ink and gouache on paper 26 1/2 x 19 inches (67.31 x 48.26 cm) Provenance: Galeria Juana Mordo, Madrid C $5,000-7,000 Estate of Mildred and Jack Feinblatt 124 Natalia Dumitresco Romanian/French, 1915-1997 Untitled, 1955-56 Signed N. Dumitresco (ll), signed Natalia Dumitresco and dated 55-56 on the reverse Oil on canvas 29 x 36 inches (73.66 x 91.44 cm) C $3,000-5,000

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Property of a New York Collector 125 Paul Aïzpiri French, 1919-2016 Le Chandelier, 1964 Signed Aïzpiri (ll) Oil on canvas 23 5/8 x 11 3/4 inches (60 x 29.84 cm) Provenance: Galerie Felix Vercel, New York Private collection, NY (acquired from the above, 1964) C $4,000-6,000

126 126 Oskar Fischinger German/American, 1900-1967 The Guitar, 1961 Signed O.W. Fischinger (lr), inscribed with artistâ&#x20AC;&#x2122;s mark (lr) Oil on Masonite 25 1/2 x 9 1/2 inches (64.77 x 24.13 cm) Provenance: Peyton Wright, Santa Fe, NM C $4,000-6,000

127 127 Eusebio Sempere Spanish, 1923-1985 Nad, 1960 Signed Sempere and dated 60 (ll), signed Sempere, dated 1960 and inscribed as titled on the reverse Gouache on board 43 1/2 x 19 3/4 inches (110.49 x 50.16 cm) C $8,000-12,000

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128

Property from a Pennsylvania Collection 128 Alexander Calder American, 1898-1976 Star, 1975 Signed CA and dated 75 (lr) Gouache and ink on paper 22 3/4 x 30 5/8 inches (57.78 x 77.78 cm) Provenance: Acquired from the artist Private collection, New York [Sale] Doyle New York, May 7, 1987 lot 27 Private collection, Pennsylvania This work in registered in the archives of the Calder Foundation, New York, under application number A11270 C $30,000-50,000

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129

Property from a Pennsylvania Collection 129 Alexander Calder American, 1898-1976 Wheel and Stripes, 1970 Signed Calder and dated 70 (lr) Ink and gouache on paper 29 1/2 x 43 1/2 inches (74.93 x 110.49 cm) Provenance: Galerie Maeght, Paris Sold by the above in 1974 to Galerie Bel'Art, Stockholm [Sale] Sotheby's New York, Oct. 22, 1975, lot 88 Private Collection, Pennsylvania This work in registered in the archives of the Calder Foundation, New York, under application number A11754 C $40,000-60,000

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130 The Jessye Norman ‘White Gates’ Collection 130 Zoran Music Italian, 1909-2005 Interieur de Cathedrale, 1984 Signed Music and dated 1984 (lc), signed Music, dated 1984 and inscribed as titled on the reverse Oil on canvas 39 3/8 x 31 7/8 inches (100 x 81 cm) Provenance: Galerie Claude Bernard, Paris C $25,000-35,000

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131 131 Kurt R.H. Sonderborg German, 1923-2008 Untitled, 1961 Signed Sonderborg and dated 61 (lr) Oil on vinyl laid to canvas 43 x 27 5/8 inches (109.22 x 70.16 cm) Provenance: Lefebre Gallery, New York Private collection C $20,000-30,000

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132 Avni Arbas Turkish, 1919-2003 Bouquet of Flowers, 1955 Signed Avni Arbas and dated 1955 (ll) Oil on canvas 36 x 28 1/2 inches (91.44 x 72.39 cm) C $15,000-20,000

132

133 Adham Wanly Egyptian, 1908-1959 Untitled (Dancers), 1952 Signed Wanly and dated 52 (lr) Oil on card 13 1/2 x 19 3/8 inches (34.29 x 49.21 cm) C $8,000-12,000

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134

134 Saliba Douaihy Lebanese/American, 1915-1994 Untitled Signed S. Douaihy (lr) Acrylic on canvas 30 x 32 inches (76.2 X 81.28 cm) C $30,000-50,000

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135

135 Louay Kayyali Syrian, 1934-1978 Due Bambini (Two Boys), 1960 Signed Kayali (ll), signed Kayali Louay, dated 1960, numbered 24 and inscribed as titled on the reverse Oil on canvas 38 x 45 1/2 inches (96.52 x 115.57 cm) C $30,000-50,000

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136 Louay Kayyali Syrian, 1934-1978 Portrait of Clarisse B. Kampel, 1960 Signed Kayali (ll), signed Kayali Louay, dated 1960, numbered 33 and inscribed Rittratto di Mrs. Kampel on the reverse Oil on canvas 37 3/4 x 30 inches (95.88 x 76.2 cm) C $20,000-30,000

136

137 Louay Kayyali Syrian, 1934-1978 Fiori Rossi, 1960 Signed Kayali (ll), signed Kayali Louay, dated 1960, inscribed 28 and as titled on the reverse Oil on canvas 31 1/2 x 23 1/2 inches (80.01 x 59.69 cm) C $15,000-20,000

137 VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 93

138 138 Ibrahim Hussein Malaysian, 1936-2009 Firebird, 1967 Signed Ibrahim Hussein and dated ‘67 (ll), inscribed as titled on the stretcher 59 5/8 x 60 inches (151.44 x 152.4 cm) Unframed Provenance: The artist Galerie Internationale, New York Thence by descent to the current owner C $40,000-60,000

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139

139 Ibrahim Hussein Malaysian, 1936-2009 City, 1964 Signed Ibrahim Hussein and dated â&#x20AC;&#x2DC;64 (lr), inscribed as titled on the mount Gouache on magazine page laid to card 9 1/2 x 13 inches (24.13 x 33.02 cm) Provenance: The artist Galerie Internationale, New York Thence by descent to the current owner C $3,000-5,000 140 Ibrahim Hussein Malaysian, 1936-2009 Assembly of Figures, 1964 Signed Ibrahim Hussein and dated 64 (lr), inscribed as titled on mount Gouache on magazine page laid to card 10 3/8 x 8 3/8 inches (26.35 x 21.27 cm) Provenance: The artist Galerie Internationale, New York Thence by descent to the current owner C $3,000-5,000

140 VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 95

141 141 Hossein Kazemi Iranian, 1924-1996 Untitled, 1958 Signed Kazemi H and dated 1958 (ul) Oil on canvas 25 1/2 x 17 1/4 inches (64.77 x 43.81 cm) Provenance: Acquired from the artist Thence by descent through the family C $25,000-45,000

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143

142

142 Lois Mailou Jones American, 1905-1998 Vielles Maisons Le Soir; Port-au-Prince, Haiti, 1960 Signed Lois M. Jones and dated Haiti 60 (lr), inscribed as titled on the stretcher Oil on canvas 36 x 19 1/8 inches (91.44 x 48.57 cm) C $12,000-18,000

143 Jacob Lawrence American, 1917-2000 Hotel Astor Signed J. Lawrence (ll), inscribed Hotel Astor/Times Square/New York/R.K. Christenberry, President (ul), inscribed title to come (cl) Ink on vinyl 12 x 9 inches (30.48 x 22.86 cm) C $3,000-5,000

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144 144 Stanton Macdonald-Wright American, 1890-1973 Triple Birth on a Dark Star, 1966 Signed S Wright (ul), signed S Wright, dated Kyoto 1966 and inscribed as titled on the reverse Oil on panel 40 x 30 inches (101.6 x 76.2 cm) Provenance: Foster Harmon, FL thence by bequest C $40,000-60,000

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145 Stanton Macdonald-Wright American, 1890-1973 La Petite Cathedrale, 1964 Signed S Wright (lr), signed S Wright, dated 1964 and inscribed as titled on the reverse Oil on panel 24 x 20 inches (60.96 x 50.8 cm) Provenance: Foster Harmon, FL thence by bequest C $8,000-12,000 146 Françoise Gilot French, b. 1921 Egregore d’Oiseaux/Birds Gathering, 1972 Signed F.GILOT.(ll); also inscribed Birds Gathering/ Egregor d’Oiseaux on the verso Mixed media with gouache and ink on paper 22 1/8 x 30 inches (56.3 x 76.2 cm.) The term egregore first appeared in French in a poem by Victor Hugo in 1857. It was used by the Surrealists to denote a group whose personality differed from that of the individuals who composed it. Françoise Gilot has confirmed the authenticity of this work; and it is included in the Françoise Gilot archives under the number G 1979. C $15,000-18,000 145

146 VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 99

147 John Ferren American, 1905-1970 Untitled Stamped John Ferren Atelier, Paris on the reverse Oil and pumice on canvas 13 3/4 x 13 3/4 inches (34.92 x 34.92 cm) C $6,000-8,000

147

148 Byron Browne American, 1907-1961 Reverie, 1952 Signed Byron Browne and dated 1952 (ll), signed Byron Browne, dated 1952 and inscribed as titled on the reverse Oil and sand on canvas 48 x 36 inches (121.92 x 91.44 cm) Provenance: The Estate of George Byron Browne Ruth and Hy Glickstein, Florida, purchased from above May 25, 1962 Thence by descent to the current owner C $10,000-15,000

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149 Irene Rice Pereira American, 1907-1971 Untitled (Dew) Signed I. Rice Pereira (lr) Oil on canvas 50 x 36 inches (127 x 91.44 cm) C $3,000-5,000 Property from a Pennsylvania Collection 150 Saul Steinberg American, 1914-1999 Three Long Island Sunsets, 1971 Signed Steinberg and dated 1971 (lc) Watercolor, ink stamps and emobssed foil on paper 30 x 20 inches (76.2 x 50.8 cm) Provenance: Betty Parsons Gallery, New York Budley Gallery, New York Galerie Maeght, New York Acquired from the above, January 30, 1985 C $8,000-12,000

Property of a New York Collector 151 Mark Tobey American, 1890-1976 Still Life, 1933 Signed Tobey and dated ‘33 (ur) Oil and tempera on canvas 22 x 27 inches (55.9 x 68.6 cm) Provenance: Royal S. Marks Exhibited: New York, The Gallery of Modern Art, Dealer’s Choice, Dec. 12 - Jan. 12, 1968 New York, M. Knoedler & Co. Inc., Mark Tobey, Apr. 10-May 1, 1976 Literature: Mark Tobey, Knoedler & Co. Inc, illus. b/w, No. 4, p. 17 C $5,000-7,000

149

151

150 VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 101

152 Estate of Dr. Paul Hershenson 152 Hans Hofmann German/American, 1880-1966 (i) Untitled, circa 1935 India ink on paper Stamped Estate of Hans Hofmann and numbered M-933/182 on the backing 10 7/8 x 8 3/8 inches (27.62 x 21.27 cm) (ii) Untitled, circa 1935 Stamped Estate of Hans Hofmann and numbered M-933/185 on the backing 11 x 8 1/2 inches (27.94 x 21.59 cm) C $15,000-25,000 Property from a Pennsylvania Collection 153 Hans Hofmann German 1880-1966 Untitled Signed Hans Hofmann (lr) Ink, gouache and crayon on paper 14 x 17 inches (35.56 x 43.18 cm) Provenance: [Sale] Christie’s New York, May 6, 1992, lot 299 C $10,000-15,000 153

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154

Estate of Dr. Paul Hershenson 154 Hans Hofmann German/American, 1880-1966 Untitled, 1941 Initialed HH and dated VII 29/41 (ll) Ink and crayon on paper 11 x 14 inches (27.94 x 35.56 cm) Provenance: Andre Emmerich Gallery, New York This work is registered in the Hans Hofmann Archives as number M-441/9. C $8,000-12,000 155 Robert Motherwell, Budd Hopkins, Varujan Boghosian, Fritz Bultman, Carmen Cicero, Sideo Fromboluti, Edward Giobbi, Rick Klauer, Leo Manso, Paul Resika, Judith Rothschild, Sidney Simon, Nore Speyer, and Tony Vevers Untitled, 1977 Signed Hopkins, Resika, Nora Speyer, Leo Manso, J. Rothschild, T. Vevers, Fritz Bultman, Cicero, Fromboluti, RM, Klauber, Simon, VB and Giobbi Mixed media collage on paper with silkscreen 30 x 22 inches (76.2 x 55.88 cm) C $4,000-6,000

155 VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 103

156 Paul Jenkins American, 1923-2012 Phenomena Lutice Premier Plan de la Ville de Paris, 1982-85 Signed Paul Jenkins (lr), signed Paul Jenkins, dated 1982-85 and inscribed as titled on the reverse Acrylic and mixed paper collage on canvas 51 x 38 inches (129.54 x 96.52 cm) C $7,000-9,000

156

157 Robert De Niro Sr. American, 1922-1993 Untitled (Portrait of a Woman), circa 1961 Signed DeNiro and dated 61 (ll) Oil on paper 29 7/8 x 21 7/8 inches (75.88 x 55.56 cm) C $4,000-6,000

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158

Property from a Pennsylvania Collection 158 Sam Francis American, 1923-1994 Untitled, 1979 Signed Sam Francis and dated 1979 on the reverse Acrylic on paper 11 3/4 x 17 3/4 inches (29.84 x 45.08 cm) Provenance: Sothebyâ&#x20AC;&#x2122;s, NY, Contemporary Art, Part II, Sale 6555, Lot 150, May 5, 1994 C $15,000-20,000 159 Jules Olitski American, 1922-2007 Untitled, 1964 Signed Jules Olitski (lr) Pastel on green paper 12 x 8 3/4 inches (30.48 x 22.22 cm) Provenance: Kasmin Limited, London C $3,000-5,000

159 VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 105

160 Joe Stefanelli American, b. 1921 The Black Voyage, 1963 Signed Stefanelli and dated ‘63 (lr), signed Stefanelli, dated 1963 and inscribed as titled on the reserve Oil on canvas 61 1/2 x 51 3/4 inches (156.21 x 131.44 cm) Provenance: Thibaut Gallery, New York C $7,000-9,000

160

161 Joe Stefanelli American. b. 1921 The Calm of Giza, 1972 Signed Stefanelli, dated 1972 and inscribed as titled on the reverse Acrylic on canvas 70 1/4 x 50 3/4 inches (178.43 x 128.9 cm) Unframed C $5,000-7,000

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162 Joe Stefanelli American, b. 1921 Senmut’s Color Play, 1982 Signed Stefanelli, dated 1982 and inscribed as titled on the reverse Oil and acrylic on canvas 70 3/4 x 51 inches (179.70 x 129.54 cm) C $5,000-7,000

162

163 John Harrison Levee American, b. 1924 December III, 1958 Signed Levee and dated 58 (uc), signed Levee and dated December III/1958 on the reverse Mixed media on canvas 25 1/2 x 32 inches (64.77 x 81.28 cm) Provenance: Andre Emmerich Gallery, New York Evelyn Annenberg Hall, New York [Sale] Christie’s New York, Jul. 11, 2006, lot 12 C $3,000-5,000

163 VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 107

164

164 Robert Natkin American, 1930-2010 Venus, 1960 Signed Natkin, dated 1960 and inscribed as titled on the reverse Oil on canvas 61 x 78 inches (154.94 x 198.12 cm) C $10,000-15,000 165 André Bloc French, 1896-1966 Remodelation, 1958 Signed André Bloc, dated 1958 and inscribed as titled on the reverse Oil on canvas 51 x 35 inches (129.54 x 88.9 cm) Provenance: Ruth and Hy Glickstein, Florida Thence by descent to the current owner C $3,000-5,000

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166 Emilio Baz Viaud Mexican, 1918-1991 Painter George Hutzler, Age 28, with His Pet Bimba, 1949 Signed Emilio Baz Viaud and inscribed Portrait of the painter/George Hutzler,/aged 28, with his/pet Bimba, don it/San Miguel de Allende,/Mexico,/in the month of/April, 1949,/by his friend (ul) Pencil and tempera on Glarco watercolor board 30 x 22 inches (76.2 x 55.88 cm) Exhibited: Emilio y Ben Hur Baz Viaud, 1987, Instituton Nacional de Bellas Artes, Mexico City, additional venues: Centro Cultural, San Miguel Allende, Museo de Arte Contemporaneo, Morelia, Michoacan, Casa de la Cultura de Nuevo Leon, Monterrey, Museo del Palacio de Bellas Artes, Mexico City, Instituto de Cultural de Tabasco, Villahermosa, Tabasco Herencia y Creacion, Aug. - Oct. 1991 Literature: de la Cera, Manuel, Emilio y Ben Hur Baz Viaud, illus in color (detail) cover, 1987 Rivas Mercado, Antonieta, Herencia y Creacion, 1991, color illus. p. 44 C $15,000-20,000

166

167 Marcelo Bonevardi Argentine, 1929-1994 The Preacher, 1966 Signed Bonevardi, dated 66, numbered 236 and inscribed as titled on the reverse Acrylic and wood construction on canvas 55 x 36 inches (139.7 x 91.44 cm) C $7,000-9,000

167 VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 109

168

168 Angel Botello Puerto Rican, 1913-1986 Woman Signed Botello (lr) Oil on Masonite 15 x 18 inches (38.1 x 45.72 cm) C $8,000-12,000 169 Gustavo Montoya Mexican, 1905-2003 Untitled (Seated Girl) Signed Gustavo Montoya (lr) Oil on canvas 22 x 17 3/4 inches (55.9 x 45 cm) C $6,000-8,000

169 110 DOYLE • MAY 10, 2017 • NEW YORK

170 Property of a Private Beverly Hills Collector 170 Francisco Zúñiga Mexican, 1912-1998 Juchitecas Sentadas, 1976 Signed Zúñiga, dated 1976 and numbered VI/VIII Bronze 18 1/2 x 23 1/2 x 17 1/8 inches (47 x 59.7 x 43.5 cm) Provenance: Galeria de Arte Misrachi, Mexico City Literature: Ariel Zúñiga, Francisco Zúñiga, Catalogo Razonado/ Catalogue Raisonné, vol. I: 1923-1993, Albedrio, in association with Fundacion Zúñiga Laborde, A.C., 1999, no. 735, another example illus. b/w, p. 425 C $20,000-30,000 The Jessye Norman ‘White Gates’ Collection 171 Francisco Zúñiga Mexican, 1912-1998 Yucateca, 1980 Signed Zúñiga, dated 1980 and numbered V/VI Bronze with brown patina on wood base Height with base 16 1/2 inches (41.91 cm) Literature: Ariel Zúñiga, Francisco Zúñiga, Catalogo Razonado/ Catalogue Raisonne, vol. I: 1923-1993, Albedrio, in association with Fundacion Zúñiga Laborde, A.C., 1999, no. 882, another example illus. b/w, p. 510 C $10,000-15,000

171 VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 111

172

173 172 Francisco Zúñiga Mexican, 1912-1998 Desnuda Descansandro, 1978 Signed Zga and dated 1978 (lr) Graphite on paper 19 1/2 x 27 1/2 inches (49.53 x 69.85 cm) Provenance: Galerie Ninety-Nine, Bay Harbor Islands, FL [Sale] Sotheby’s New York, May 7-9, 1981, lot 214 Please note this work will be included in the forthcoming Volume V of the Francisco Zúñiga catalogue raisonne. C $3,000-5,000 112 DOYLE • MAY 10, 2017 • NEW YORK

173 Luis Nishizawa Mexican, b. 1920 Naturaleza Muerta, 1982 Signed Nishizawa (lr), signed Nishizawa, dated 1982 and inscribed as titled on the reverse Acrylic on canvas 27 1/4 x 47 1/4 inches (69.21 x 120.01 cm) Provenance: Acquired directly from the artist by the current owner, Mexico City C Property of a Private Beverly Hills Collector $6,000-9,000

The Jessye Norman ‘White Gates’ Collection 174 Louise Nevelson American, 1899-1988 Untitled, 1972 Signed Nevelson and dated 1972 Aerosol paint on found wood construction 2 1/2 x 6 1/4 x 5 1/4 inches (6.35 x 15.87 x 13.33 cm) C $6,000-9,000

174

Estate of Dr. Paul Hershenson 175 George Segal American, 1924-2000 Woman in Lace, 1985 Bronze with white patina, from an edition of 9 Height 25 1/2 inches (64.77 cm) C $15,000-25,000

175 VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 113

The Collection of Willa Kim and William Pène du Bois 176 Andy Warhol American, 1928-1987 Untitled (Angels with Fruit), circa 1950s Ink and watercolor on collaged paper, in an oval 19 1/4 x 14 inches (48.89 x 35.56 cm) Provenance: Gift of the artist to Willa Kim Thence by descent to the Estate This work is accompanied by a signed document from Willa Kim discussing her friendship with Warhol. This is an original work of art by Andy Warhol. The work was given to me by Andy Warhol as a gift. Andy and I first met in the 1950’s. We met through Otto Fenn. Andy was not only a friend, he was also a collaborator. When I designed the sets and costumes for a show entitled Dynamite Tonight, I asked Andy to collaborate on a special show curtain. This collaboration is well-documented in two books: Collision: When Reality and Illusion Collide by Ron Bruguiere (Page 43) and Off Broadway Musicals, 1910-2007: Casts, Credits, Songs, Critical Reception... by Dan Dietz. C $10,000-15,000

176

177 Tom Wesselmann American, 1931-2004 Study for Sunset Nude (Sitting), 2002 Signed Tom Wesselmann, dated 2002 inscribed D02167, For Alice with/appreciation/ Tom Wesselmann/Nov 2003 and as titled on backing board Ink and colored pencil on 100% rag tracing paper Sheet size 5 7/8 x 6 1/4 inches (14.92 x 15.87 cm), image size 3 1/8 x 2 1/2 inches (7.93 x 6.35 cm) Provenance: Gift of the artist to the current owner. This work is listed in the Wesselmann studio archives as titled. C $10,000-15,000

177

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178

178 Gene Davis American, 1920-1985 Untitled, 1959 Signed Gene Davis and dated 1959 on the stretcher Acrylic on raw canvas 28 x 34 inches (71.12 x 86.36 cm) Provenance: Fischbach Gallery, New York C $3,000-5,000 179 Robert Indiana American, b. 1928 Untitled (Paris, Lewiston 25), 2006 Signed R.I. and dated â&#x20AC;&#x2DC;06 (lr) Pencil and ink on brown paper 18 3/4 x 14 3/4 inches (47.62 x 37.46 cm) C $5,000-7,000 179 VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 115

Property from a Pennsylvania Collection 180 Paul John Wonner American, 1920-2008 Dutch Still Life with Flowers in Pitchers, Two Tables and a Chair, 1988 Signed Paul Wonner, dated 1988 and inscribed as titled on the stretcher Acrylic on canvas 72 x 48 inches (182.88 x 121.92 cm) Provenance: John Berggruen Gallery, San Francisco C $18,000-22,000 Estate of Myrtle Barnes Jones 181 Wayne Thiebaud American, b. 1920 (i) Kneeling Woman (Study of Patti Thiebaud) Pencil on tissue paper 10 3/8 x 8 inches (26.35 x 20.32 cm) (ii) Seated Woman (Study of Patti Thiebaud) Pencil on tissue paper 6 1/2 x 7 1/4 inches (16.51 x 18.41 cm) (iii) Standing Woman, Back Turned (Study of Patti Thiebaud) Pencil on paper 11 3/4 x 9 inches (28.89 x 22.86 cm) This lot includes a letter of authenticity from Patti Thiebaud, the former wife of the artist C $6,000-8,000 180

181 116 DOYLE â&#x20AC;˘ MAY 10, 2017 â&#x20AC;˘ NEW YORK

182 H.C. Westermann American, 1922-1981 Untitled (Classical Frisbee Thrower), 1973 Ink and marker on notebook paper laid to construction paper 12 x 9 inches (30.48 x 22.86 cm) Provenance: Gift of the artist to the current owner C $8,000-12,000

182

183 Red Grooms American, b. 1937 Lumberjack, 1977 Signed Red Grooms and dated 77 (lr) Oil on wood construction 49 1/2 x 35 1/2 x 5 inches (125.73 x 90.17 x 12.7 cm) Exhibited: Red Grooms: A Retrospective, Jun. 21, 1985 - Oct. 26, 1986, Pennsylvania Academy of Fine Arts, Philadelphia; traveled to: Denver Art Museum, Denver, MoCA Los Angeles, Tennessee State Museum, Nashville C $15,000-20,000

183 VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 117

185

Property of a Connecticut Collector

184 Saul Baizerman American, 1889-1957 Vivace - April, 1978 Signed S. Baizerman and dated 78 Hammered copper on a steel and wood armature Height 39 1/4 inches (99.69 cm) C $3,000-5,000

185 Yaacov Agam Israeli, b. 1928 Untitled Marked Agam and numbered 6/6 (ll), manufacturer’s lable on the reverse Warp and welt, cotton, pile wool, handknotted at Maskit, Israel, from an edition of 6 85 x 67 1/2 inches (215.9 x 171.45 cm) Provenance: Goldman’s Art Gallery, Haifa, Israel Private collection, New York, acquired from the above April 6, 1977 C $8,000-12,000

184 118 DOYLE • MAY 10, 2017 • NEW YORK

Property from a Pennsylvania Collection

187 César French, 1921-1998 Oscar, 1968 Signed César Bronze with brown patina 8 3/4 x 11 1/2 x 5 inches (22.22 x 29.21 x 12.7 cm) C $8,000-12,000

186 Ernest Tino Trova American, 1927-2009 Study/Falling Man (Table Man), 1979/84 Signed Trova, dated 84 and numbered 3/8 Chrome plated bronze and stainless steel, from an edition of 8 Height 81 inches (205.74 cm) Provenance: Hokin Gallery, Inc., Bay Harbor, FL Acquired from the above, February 15, 1985 C $20,000-30,000 See Illustration Back Cover

187

186

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188 Manuel Gomez Raba Spanish, 1928-1983 Untitled (No. 1), 1965 Signed Raba and dated 65 (lr), inscribed No. 1 on the reverse Concrete, wood and burned wood on metal support 44 x 50 1/2 inches (111.76 x 128.27 cm) Provenance: The artist Galerie Internationale, New York Thence by descent to the current owner C $4,000-6,000 189 Richard Mayhew American, b. 1924 Extensive Landscape Signed Mayhew (lr) Oil on canvas 39 1/2 x 56 1/4 inches (100.33 x 142.87 cm) C $10,000-20,000

188

189 120 DOYLE • MAY 10, 2017 • NEW YORK

190

Property of a New Jersey Estate 190 Wolf Kahn American, b. 1927 Evening on the Connecticut II, 1979 Signed W Kahn (lr), dated 1979 and inscribed as titled on the stretcher Oil on canvas 36 x 52 inches (91.44 x 132.08 cm) Provenance: Kornbluth Gallery, Fairlawn, N.J. C $20,000-30,000 Property of a New Jersey Estate 191 Wolf Kahn American, b. 1927 Midsummer Barn, 1979 Signed W Kahn (ll), dated 1979 and inscribed as titled on the stretcher Oil on canvas 36 x 44 inches (91.44 x 111.76 cm) Provenance: Kornbluth Gallery, Fairlawn, N.J. C $12,000-18,000 191 VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 121

192

192 Harry Bertoia American, 1915-1978 Untitled (Gong), circa 1979 Patinated bronze 15 1/2 x 11 3/4 x 1/8 inches (39.37 x 29.84 x 0.31 cm) Provenance: Benjamin Mangel Gallery, Philadelphia, PA Purchased from the above in 1979 Thence by descent to the current owner C $10,000-15,000 193 Antonio Grediaga Kieff Spanish/Canadian, b. 1936 Galaxia Songs No. 1, 1980 Signed Kieff and numbered 3/3 Polished bronze, from an edition of 3 Height 62 inches (157.48 cm) C $5,000-7,000

193

122 DOYLE â&#x20AC;˘ MAY 10, 2017 â&#x20AC;˘ NEW YORK

194

195

194 Antonio Grediaga Kieff Spanish/Canadian, b. 1936 Jerga, 1974 Signed Kieff, dated 1974, numbered 4/6 and inscribed as titled Polished bronze on stone base, from an edition of 6 Height including base 18 inches (45.72 cm) C $8,000-12,000 195 James Denmark American, b. 1936 Untitled, circa 1980 Signed Denmark (lr) Paper collage, fabric collage and oil on Masonite 42 1/4 x 32 3/4 inches (107.31 x 83.18 cm) Provenance: The artist Private collection, New York C $6,000-8,000 196 Jay Milder American, b. 1934 Noahâ&#x20AC;&#x2122;s Arc Series, 2004 Signed Jay Milder, dated 2004 and inscribed Noah Ark 86 on the overlap Acrylic, oil and volcanic ash on canvas 24 x 30 inches (60.96 x 76.2 cm) Unframed C $4,000-6,000

196

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197

198 197 Alexander Baturin Russian, 1914-2003 Diagonal, 2003 Signed and inscribed as titled in Cyrillic and dated 2003 on the reverse Oil on canvas 31 1/2 x 23 1/2 inches (80 x 59.69 cm) Provenance: Guild of Masters Gallery, St. Petersburg C $3,000-5,000

Estate of Carol Mercer 198 Norman Mercer American, 1916-2007 Untitled Chromatic Cones, 2000 Signed NJM, dated May-’00 and numbered 223 Cast acrylic 35 x 17 x 17 inches (88.9 x 43.18 x 43.18 cm) C $3,000-5,000 Estate of Carol Mercer 199 Norman Mercer American, 1916-2007 Polychromatic Maze, 2003 Signed NJM, dated May -’03 and numbered 252 Cast acrylic 36 x 18 x 16 inches (91.44 x 45.72 x 40.64 cm) C $3,000-5,000

199 124 DOYLE • MAY 10, 2017 • NEW YORK

CONTEMPORARY ART

Lot 221

200

201 200 Hunt Slonem American, b. 1951 Picul, 1994 Signed Hunt Slonem, dated 1994 and inscribed as titled on the reverse 30 x 25 inches (76.2 x 63.5 cm) C $4,000-6,000 201 William T. Wiley American, b. 1937 I Visit Bob, 1981 Acrylic and charcoal on canvas 43 x 45 inches (109.22 x 114.3 cm) Unframed Provenance: Allan Frumkin Gallery, New York George Adams Gallery, New York Exhibited: The Window In Twentieth Century Art, Sep. 21, 1986 - Jan. 18, 1987, Neuberger Museum of Art, Purchase College, Purchase NY Traveled to Contemporary Arts Museum, Houston, Apr. 24 - Jun. 29, 1987 C $5,000-7,000

202

126 DOYLE • MAY 10, 2017 • NEW YORK

202 Jennine Hough American, b. 1948 Tea in China, 1993 Signed Jennine Hough and dated 1993 (ur) Acrylic on linen 60 x 41 3/4 inches (152.4 x 106.04 cm) C $7,000-9,000

203 203 Alexis Rockman American, b. 1962 The Suspension of Disbelief, 1988 Signed Alexis Rockman, dated 88 and inscribed as titled on the reverse Oil on canvas 66 x 112 inches (167.64 x 284.48 cm) Unframed Provenance: Jay Gorney Modern Art, New York C $8,000-12,000

204 Stephen Hannock American, b. 1951 Flooded Pasture: Evening Rain, OK, 1999 Signed Stephen Hannock, dated 8/99 and inscribed as titled on the reverse Polished oil over acrylic on canvas mounted on board 24 x 36 inches (60.96 x 91.44 cm) C $8,000-12,000

204 VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 127

205 Michael Heizer American, b. 1944 (i) Actual Size/Fish with Objects I, 1982 Signed Heizer and dated 82 (lr) Photo offset, acrylic, crayon, spray paint, and graphite on zinc plate 35 1/2 x 44 inches (90.17 x 111.76 cm) Provenance: Xavier Fourcade, Inc., New York (ii) Actual Size/Fish with Objects III, 1982 Signed Heizer and dated 82 (lr) Photo offset, acrylic, crayon, spray paint, and graphite on zinc plate 35 1/2 x 44 inches (90.17 x 111.76 cm) Provenance: Xavier Fourcade, Inc., New York C $8,000-12,000

205

206 Sol LeWitt American, 1928-2007 Irregular Form, 1998 Signed LeWitt and dated 88 (lr) Gouache on paper 11 1/4 x 10 7/8 inches (28.57 x 27.62 cm) C $7,000-9,000

206 128 DOYLE • MAY 10, 2017 • NEW YORK

207 Estate of Dr. Paul Hershenson 207 Sol LeWitt American, 1928-2007 Brushstrokes, 1992 Signed S. LeWitt and dated 1992 (lr) Gouache on paper 30 x 30 inches (76.2 x 76.2 cm) Provenance: Dan Galeria, Sao Paulo Pace Wildenstein, New York C $30,000-50,000

VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 129

Property from a Pennsylvania Collection 208 Nabil Nahas Lebanese, b. 1949 Untitled, 1981 Signed Nahas and dated 81 on the reverse Acrylic on canvas 24 x 24 inches (60.96 x 60.96 cm) C $5,000-8,000 Estate of Mary Kettaneh 209 Nancy Graves American, 1939-1995 Hexangulate, 1988 Signed N. S. Graves, numbered X-16-88 and inscribed as titled Painted bronze 39 1/2 x 51 x 39 inches (100.33 x 129.54 x 99.06 cm) Provenance: M. Knoedler & Co., New York Purchased from the above in 1988 by the current owner C $8,000-12,000

208

209 130 DOYLE â&#x20AC;˘ MAY 10, 2017 â&#x20AC;˘ NEW YORK

210 Suzan Frecon American, b. 1941 Untitled (Solar Energy), 1998 Watercolor on old Nepal paper 14 x 18 inches (35.56 x 45.72 cm) Provenance: Galerie Franck + Schulte, Berlin Lawrence Markey, Inc., New York Purchased from the above by the current owner C $4,000-6,000

211 Suzan Frecon American, b. 1941 Untitled (Dark Red & Vermillion Shapes, Blue Stroke), 2003 Watercolor on Indian jute paper 11 x 15 1/2 inches (27.94 x 39.37 cm)

210

Provenance: Lawrence Markey, Inc., New York Purchased from the above by the current owner C $4,000-6,000

211 Property from the Watermill Center, Water Mill, New York 212 Dan Walsh American, b. 1960 Untitled, 1996 Signed DW and dated 96 (lr) Encaustic on museum board 20 x 40 inches (50.8 x 101.6 cm) Provenance: Paula Cooper Gallery, New York C $6,000-8,000

212 VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 131

Estate of Ronnie Cutrone 213 Ronnie Cutrone American, 1948-2013 Persian Nights and Tiger Balm, 2011 Signed Ronnie Cutrone, dated 2011 and inscribed as titled on the reverse Acrylic and collage on canvas 48 x 48 inches (121.92 x 121.92 cm) C $10,000-15,000

213

214 SEEN American, b. 1961 Spiderman, 2016 Signed Seen and dated 2016 on the reverse Aerosol paint on canvas 43 1/2 x 44 inches (110.49 x 111.76 cm) Unframed C $12,000-18,000

214 132 DOYLE â&#x20AC;˘ MAY 10, 2017 â&#x20AC;˘ NEW YORK

215 Martin Wong American, 1946-1999 Untitled Still Life, circa 1973 Acrylic on canvas in artist’s painted frame 30 x 24 inches (76.2 x 60.96 cm) C $15,000-20,000

215

216 Martin Wong American, 1946-1999 A Corner in My Cabin Up Inside Waco Warehouse, 1973 Signed Martin Wong, dated 1973 inscribed Painted from life and Eureka California and stamped with artist’s stamp on the reverse, inscribed Corner of Second and “C” Street Eureka California and as titled on the stretcher Acrylic on canvas in artist’s painted frame 20 x 15 inches (50.8 x 38.1 cm) C $10,000-15,000

216 VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 133

218

217

217 Peter Tunney American, b. 1961 Untitled (Skull) Signed Peter (lr) Acrylic and collage on canvas 48 x 36 inches (121.92 x 91.44 cm) Unframed C $6,000-8,000 218 Charles Lutz American, b. 1982 Self Portrait (Denied Fright Wig) from the Warhol Denied series, 2008 Signed Charles Lutz, stamped with artist’s stamp, dated 2008, inscribed Self Portrait and stamped with artist’s replica of the Warhol Authentication Board’s mark and Denied on the reverse Acrylic and silkscreen on canvas 12 x 12 inches (30.48 x 30.48 cm) Unframed Provenance: C24 Gallery, New York C $4,000-6,000

219 133 DOYLE • MAY 10, 2017 • NEW YORK

219 Nicole Charbonnet American, b. 1966 After Durer #5, 2008 Signed Charbonnet, dated 05-08 and inscribed as titled on the reverse Acrylic, graphite and paper collage on canvas 72 x 66 inches (182.88 x 167.64 cm) C $3,000-5,000

220 220 Margaret Kilgallen American, 1967-2001 Untitled (Pride), circa 1999 Acrylic on card 18 3/8 x 11 1/2 inches (46.67 x 29.21 cm) Exhibited: To Friend and Foe, Sep. 9 - Oct. 9, 1999, Deitch Projects, New York Hammer Projects: Margaret Kilgallen, Feb. 6 - Apr. 2, 2000, UCLA Hammer Museum, Los Angeles Literature: Eungie Joo, Margaret Kilgallen, In the Sweet Bye and Bye, Los Angeles: Cal Arts, 2005, pp. 155, 174, 179-180, color illus. C $18,000-22,000

VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 134

221 Elizabeth Strong-Cuevas American, b. 1929 Midnight, 2008 Signed with artist’s mark, dated 2008 and numbered 5/6 Bronze with blue patina on a brushed steel base, from an edition of 6 Dimensions with base 22 x 8 x 11 inches (55.88 x 20.32 x 27.94 cm) Provenance: Property of an important European collector Literature: Strong-Cuevas Sculpture: Premonitions in Retrospect 2014-15, Serge Bril Panijel Gallery, front and back cover color illus., pp. 34-35 color illus. C $40,000-60,000

221

221 detail 135 DOYLE • MAY 10, 2017 • NEW YORK

222 222 Elizabeth Strong-Cuevas American, b. 1929 Aquarius, 1976 Inscribed Aquarius on the reverse Ink and watercolor on paper 17 x 12 inches (43.18 x 30.48 cm) Exhibited: 2014, Serge Bril Panijel Gallery, Brussells C $20,000-30,000

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223 Property from the Watermill Center, Water Mill, New York

Property from the Watermill Center, Water Mill, New York

223 Robert Wilson American, b. 1941 Mask (From the Life and Death of Marina Abramovic), 2011 Acrylic and mixed media on a rubber casting taken from the model 9 x 5 x 4 3/4 inches (22.86 x 12.7 x 12.06 cm) This work was one of four unique casts created for and used in the opera/ performance The Life and Death of Marina Abramovic. C $7,000-9,000

224 Robert Wilson American, b. 1941 The White Raven, Act IV, B, 1991 Signed Robert Wilson and dated ‘91 (lr), inscribed as titled (lc) Charcoal on paper 22 x 29 3/4 inches (55.88 x 75.56 cm)

225 Robert Wilson American, b. 1941 The White Raven, Act I Sc 2, 1991 Signed Robert Wilson and dated ‘91 (lr), inscribed as titled (lc) Charcoal, graphite, conte crayon, oilstick and spray paint on paper 23 x 29 inches (58.42 x 73.66 cm)

Provenance: Paula Cooper Gallery, New York C $4,000-8,000

224 225 137 DOYLE • MAY 10, 2017 • NEW YORK

226

Property from the Watermill Center, Water Mill, New York 226 Robert Wilson American, b. 1941 Untitled, 1977 Signed Robert Wilson and dated 77 (lr) Graphite on paper 18 x 42 inches (45.72 x 106.68 cm) Provenance: Marian Goodman Gallery, New York C $3,000-5,000 227 Maureen Gallace American, b. 1960 Untitled Watercolor on paper 6 x 7 7/8 inches (15.24 x 20 cm) C $3,000-5,000

227

228 Sebastian Black American, b. 1985 Untitled, circa 2013 Watercolor on paper 8 1/2 x 11 inches (21.59 x 27.94 cm) C $3,000-5,000

228 VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 138

229 Christophe von Hohenberg American, b. 1952 Nude with Wookie, 2012 Digital fiber on paper, from an edition of 5 Image size 38 1/2 x 25 1/2 inches (97.79 x 64.77 cm) Exhibited: Leonard Tourne Gallery, New York C $3,000-5,000

229

Estate of Dr. Paul Hershenson 230 Chihung Yang Taiwanese/American, b. 1947 Untitled, 1995 Signed C. Yang and dated 95 (lc) Acrylic and charcoal on paper 30 x 22 inches (76.2 x 55.88 cm) C $5,000-7,000

230 139 DOYLE â&#x20AC;˘ MAY 10, 2017 â&#x20AC;˘ NEW YORK

231 231 Jorge Blanco Venezuelan/American, b. 1945 Smile (Maquette), 2000 Signed Jorge Blanco, dated 2000 and inscribed To Jill with love and admiration... Elena & Jorge April 2004 Painted acrylic and aluminum hardware, from an edition of two 15 x 10 x 8 1/2 inches (38.1 x 25.4 x 21.59 cm) We would like to thank the Studio at Jorge Blanco, Inc. for their assistance in cataloging this work C $10,000-15,000

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232 232 Gerardo Pita Spanish, b. 1950 Dried Hops, 1993 Signed Gerardo Pita and dated 1993 (ll) Oil on masonite 51 x 21 3/4 inches (129.5 x 55.2 cm) Provenance: Acquired from the artist, 1993 Private collection, New York C $7,000-9,000

141 DOYLE â&#x20AC;˘ MAY 10, 2017 â&#x20AC;˘ NEW YORK

233 233 Jorge Castillo Spanish, b. 1933 Viajero, 1986 Dated N.Y. 1986 and inscribed as titled on the stretcher Oil on canvas 70 x 60 inches (177.8 x 152.4 cm) Provenance: Marlborough Gallery, New York Literature: Castillo, Carter Ratcliff, Riaolli International Publications, 1986, p. 387, illus. C $4,000-6,000

235

234 Richard Smith British, 1931-2016 In September, 1979 Signed R. Smith, dated 1979 and inscribed as titled on canvas tag Acrylic on canvas 76 x 40 inches (193.04 x 101.6 cm) Provenance: Galleri Malmgran, Goteborg, Sweden C $4,000-6,000

Property from a Pennsylvania Collection 235 Suzanne Caporael American. b. 1949 473 (From Where I Sit), 2005 Oil on linen stretched to panel 48 x 66 inches (121.92 x 167.64 cm) Unframed Provenance: Richard Gray Gallery, New York C $3,000-5,000

End of Sale

234

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Artist Index Agam, Yaacov Aïzpirii, Paul André, Albert Andreotti, Federico Arbas, Avni

185 125 30 5 132

Baizerman, Saul Barber, Charles Burton Baturin, Alexander Bauer, Rudolf Baz Viaud, Emilio Berman, Eugene Bernard, Émile 18 Bertoia, Harry Black, Sebastian Blanco, Jorge Blatas, Arbit Bloc, André Boggs, Frank Myers Bonevardi, Marcelo Botello, Angel Boudin, Eugène Boyd, Rutherford Brackman, Robert Browne, Byron Bulman, Orville Burliuk, David Davidovich

192 228 231 32 165 70 167 168 10-13 116 102, 103 148 118 104-107

Cadmus, Paul Calder, Alexander Caporael, Suzanne Castillo, Jorge Cesar Charbonnet, Nicole Chase, William Merritt Chelminski, Jan van Corot, Jean-Baptiste-Camille Cox, Kenyon C. Cutrone, Ronnie

98, 99 128, 129 235 233 187 219 67 3 8 68 213

Dabo, Leon Davies, Arthur Bowen Davis, Gene De Kristo, Bela De Niro, Robert Sr. De Vriendt, Albert (Albrecht) Frans Lieven Denmark, James Douaihy, Saliba Dove, Arthur Dufy, Raoul Dumitresco, Natalia

143 DOYLE • MAY 10, 2017 • NEW YORK

184 7 197 41-43 166 119

71 72 178 66 157 1 195 134 83 25 124

Ellenshaw, Peter Falero, Luis Riccardo Ferren, John Fischinger, Oskar Francis, Sam Frecon, Suzan Frelinghuysen, Suzy Gallace, Maureen Gallatin, Albert Eugene Giacometti, Alberto Gilot, Françoise Glackens, William Gluckmann, Grigory Graves, Nancy Grigorescu, Nicolae Jon Grooms, Red Guillaume, Albert Paul Guillaumin, Armand Hambourg, André Hannock, Stephen Hasselt, Willem van Heizer, Michael Henry, Paul Hinkle, Clarence Keiser Hofmann, Hans Hohenberg, Christophe von Hough Jennine Hunter, Russell Vernon Hussein, Ibrahim

115 6 147 126 158 210, 211 82 227 81 37 146 91 52 209 9 183 17 15 63, 64 204 31 205 55 114 152-154 229 202 117 138-140

Indiana, Robert Iser, Iosif

179 51

Jenkins, Paul Jones, Lois Mailou

156 142

Kahn, Wolf 190, Kandinsky, Wassily Kayyali, Louay Kazemi, Hossein Kieff, Antonio Grediaga Kilgallen, Margaret Kleinschmidt, Paul Kliun, Ivan Vasilyevich Kluge, Constantin Knight, Daniel Ridgway Kroll, Leon Kupka, František

191 46 135-137 141 193, 194 220 48-50 40 59-61 69 89 44, 45

Larionov, Mikhail Lawrence, Jacob Lazzell, Blanche (Nettie Blanche) Le Pho Leith-Ross, Harry Lemmen, Georges Levee, John Harrison Levine, Jack LeWitt, Sol 206, Liberts, Ludolfs Luce, Maximilien Luchian, Stefan Lucioni, Luigi Lutz, Charles MacDonald-Wright, Stanton Marini, Marino Marquet, Albert Marsh, Reginald Martin, Henri-Jean Guillaume Mayhew, Richard Meissonier, Jean-Louis-Ernest Menkes, Sigmund Mercer, Norman Metzinger, Jean Milder, Jay Millares, Manolo Montoya, Gustavo Motherwell, Robert with Hopkins, Boghosian, Resika and others Music, Zoran

47 143 80 62 113 20 163 108 207 56, 57 21, 22 26, 27 101 218 144, 145 120 23 94, 95 24 189 2 35 198, 199 53, 54 196 123 169 155 130

Nahas, Nabil Natkin, Robert Nevelson, Louise Nishizawa, Luis

208 164 174 173

Olitski, Jules

159

Paul, Gen Pène du Bois, Guy Pereira, Irene Rice Petitjean, Hippolyte Picasso, Pablo Pita, Gerardo Pleissner, Ogden Minton Raba, Manuel Gomez Raphael, Joseph Redon, Odilon Reggianini, Vittorio Ripley, Aiden Lassell Robus, Hugo Rockman, Alexis Rodin, Auguste

58 84-88 149 19 36 232 110

Schamberg, Morton Livingston SEEN Segal, George Sempere, Eusebio Shinn, Everett Signac, Paul Sloane, Eric Slonem, Hunt Smith, Richard Sonderborg, Kurt Stefanelli, Joe Steinberg, Saul Strong-Cuevas, Elizabeth

78, 79 214 175 127 92 14 112 200 234 131 160-162 150 221, 222

Tchelitchew, Pavel Terzian, Georges Thiebaud, Wayne Tobey, Mark Trova, Ernest Tino Tunney, Peter

121, 122 65 181 151 186 217

Utrillo, Maurice Valmier, Georges Vlaminck, Maurice de Walsh, Dan Wanly, Adham Warhol, Andy Weber, Max Wesselmann, Tom Westermann, H.C. Wiggins, Guy Carleton Wiley, William T. Wilson, Robert Winter, Andrew George Wong, Martin Wonner, Paul John Yang, Chihung Zúñiga, Francisco

29 38, 39 33, 34 212 133 176 73-77 177 182 93 201 223-226 96, 97 215, 216 180 230 170-172

188 90 28 4 109, 111 100 203 16 VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 144

GLOSSARY The following examples define some of the terms used in this catalogue. The reader is reminded that all of the terms and descriptions used in this catalogue as to authorship, period, culture, source or origin for any property are made and used as qualified statements and opinions only, and are subject to the Conditions of Sale and the Terms of Guarantee. In connection with the attribution of authorship, as described in paragraph 2 of the Terms of Guarantee, the following terms are used in this catalogue, and are defined as follows:

FURNITURE AND DECORATIONS REGENCY ROSEWOOD SOFA TABLE First quarter of the 19th century. This heading with the date included means that the piece is, in our best judgment, of the period indicated with no major alterations or restorations. REGENCY ROSEWOOD SOFA TABLE This heading without inclusion of a date indicates that in our best judgment, the piece, while basically of the period, has been substantially altered or restored and in some cases it may also indicate that the piece has been constructed from old parts. REGENCY STYLE SOFA TABLE The inclusion of the word “style” in the heading indicates that, in our opinion, the piece is an intentional copy or reproduction of an earlier work or style of works.

PAINTINGS NICOLAES MAES In our best judgment the work is by the named artist. This is our highest category of authenticity in the present catalogue. ATTRIBUTED TO NICOLAES MAES In our best judgment, while the work is of the period of the named artist, and on the basis of style can be ascribed to him, we cannot state with certainty that it is by him. SCHOOL OF NICOLAES MAES In our best judgment, the work is of the period of the named artist, by a pupil or close follower of the artist, but is not by the artist.

SIGNED NICOLAES MAES In our best judgment, the signature, monogram, initials or other similar indicia of authorship is a recognized signature of the artist and appears in one of the six areas of the painting designated as follows: (u.l.) Upper left (l.l.) Lower left (u.r.) Upper right (l.r.) Lower right (u.c.) Upper center (l.c.) Lower center BEARS SIGNATURE, NICOLAES MAES In our best judgment, the signature, monogram, initials or other similar indicia of authorship is not that of the artist and may have been added at a later date. DATED In our best judgment, the date indicated on the work is the date the work was executed. DATED (FOR BRONZES) In our best judgment, the date indicated when the original model was executed. Since the exact date of the casting of a bronze sculpture is often unknown and illustrations in reference books may not specify which particular cast is discussed or illustrated, it should be pointed out that dates of execution and entries listed under Literature in the individual catalogue entries do not necessarily refer to the castings included in the sale.

PRINTS

EDITION Information regarding the size of the edition is given when possible. SIGNATURE Only manuscript signatures of the artists are indicated. Signatures “in the plate” are not mentioned since they are considered part of the image. QUALITY AND CONDITION An attempt has been made to give relevant information concerning the quality of the impression, the size of the margins and the condition of the prints when possible. These descriptions are qualified statements or opinions only, and are made subject to the Conditions of Sale and Terms of Guarantee. The print sleeves are the property of Doyle New York and are not included in the sale. MEASUREMENTS As with any description in this catalogue, measurements are qualified statements or opinions and are subject to the Conditions of Sale and Terms of Guarantee. Doyle New York shall not be liable for any mistakes in measurements. Measurements have been made to the best of our ability, and are given in inches to the nearest 1/4 inch and millimeters, height before width. Unless otherwise indicated, etchings and engravings are measured by the dimensions of the plate marks.Woodcuts, lithographs and silkscreens are measured by the dimensions of the images. All pictures are framed unless otherwise noted in this catalogue.

NAME OF THE ARTIST Subject to the Conditions of Sale and Terms of Guarantee set forth in this catalogue, and except where stated as being “after” or “attributed to” an artist, each lot is by the artist appearing at the head of the lot, except in the case of lots containing works by more than one artist. TITLE If there is a generally accepted title for the print, that title is given in upper case at the beginning of the lot description. If the work has no title or the title is unknown to us, a descriptive title is given in brackets. REFERENCES Information from the standard catalogues of the artists’ works is cited when possible following the title.

CIRCLE OF NICOLAES MAES In our best judgment, the work is of the period of the named artist and closely related to his style.

MEDIUM The mediums are described as fully as possible, although secondary techniques may not be listed.

MANNER OF NICOLAES MAES OR AFTER NICOLAES MAES OR FOLLOWER OF NICOLAES MAES In our best judgment, although the work is in the style of or a copy of a work by the named artist, it is of a later period.

DATE The date given is that of the original plate, block, stone or screen. It is not necessarily the date at which the impression offered for sale was printed.

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CONDITIONS OF SALE 1. BINDING TERMS The lots listed in this catalogue will be offered by Doyle New York as owner or as agent for consignor subject to the following terms and conditions. Where Doyle is agent, the contract is between seller and buyer. The following Conditions of Sale and Terms of Guarantee constitute the entire agreement with the purchaser relative to the property listed in this catalogue. By bidding at auction you agree to be bound by these terms:

2. AS IS All lots are sold “AS IS” and without recourse and neither Doyle New York nor its consignor makes any warranties or representations, express or implied, with respect to such lots, except for the limited warranties expressly stated in the Terms of Guarantee section of this catalogue. Prospective buyers are strongly advised to examine personally any property in which they are interested, before the auction takes place, to determine its condition, size, and whether or not it has been repaired or restored. Except as otherwise expressly and specifically provided in the Terms of Guarantee, neither Doyle New York nor its consignor makes any express or implied warranty or representation of any kind or nature with respect to merchantability, fitness for purpose, correctness of the catalogue or other description of the physical condition, size, quality, rarity, importance, medium, material, genuineness, attribution, provenance, period, culture, source, origin, exhibitions, literature or historical significance of any lot sold. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging; nor does a reference to particular defects imply the absence of others. References in the catalogue entry or the condition report to damage or restoration are for guidance only and should be evaluated by personal inspection by the bidder or a knowledgeable representative. The Terms of Guarantee are controlling, and no statement, whether written or oral, and whether made in this catalogue, an advertisement, a bill of sale, a salesroom posting or announcement, the remarks of an auctioneer, or otherwise, shall be deemed to create any warranty, representation or assumption of liability. All statements by Doyle New York in the catalogue entry for the property or in the condition report, or made orally or in writing elsewhere, are statements of opinion and are not to be relied on as statements of fact. Except as stated in the Terms of Guarantee, neither Doyle New York nor the seller is responsible in any way for errors or omissions in the catalogue or any supplemental material. Buyers are responsible for satisfying themselves concerning the condition of the property and the matters referred to in the catalogue entry. Doyle New York and its consignor make no warranty or representation, express or implied, that the purchaser will acquire any copyright or reproduction rights to any lot sold. Doyle New York expressly reserves the right to reproduce any image of the lots sold in this catalogue.

The copyright in all images, illustrations and written material produced by or for Doyle New York relating to a lot, including the contents of this catalogue, is, and shall remain at all times, the property of Doyle New York and shall not be used by the buyer, nor by anyone else, without our prior written consent.

3. WITHDRAWAL Doyle New York reserves the right to withdraw any lot at any time prior to the commencement of bidding for such lot and shall have no liability whatsoever for such withdrawal.

4. RESERVES If the auctioneer decides that any opening bid is below the value of the lot offered, the auctioneer may reject that bid and withdraw the lot from sale; and if, having acknowledged an opening bid, he decides that any advance thereafter is insufficient, he may reject that advance. Unless otherwise indicated, all lots are offered subject to a reserve, which is the confidential minimum price below which such lot will not be sold. No reserve will exceed the low estimate of the lot. Reserves are agreed upon with the consignor or, in the absence thereof, in the absolute discretion of Doyle New York. Unless otherwise announced by the auctioneer, all bids are per lot as numbered in the catalogue. Lots marked C preceding the estimate are consigned and reserved. Those marked • are reserved property in which Doyle New York has an interest. Doyle New York on occasion makes loans or advances funds to consignors. The auctioneer may implement the reserve by opening bidding on any lot by placing a bid on behalf of the seller. The auctioneer will not specifically identify bids placed on behalf of the seller. The auctioneer may further bid on behalf of the seller, up to the amount of the reserve, by placing successive or consecutive bids for a lot or by placing bids in response to other bidders. Unless otherwise noted in the catalogue or by an announcement at the auction, Doyle New York acts as agent on behalf of the seller and does not permit the seller to bid on his or her own property.

5. ESTIMATES Each lot in the catalogue is given a low and high estimate representing that range which, in the opinion of Doyle New York, represents a fair and probable auction value. When possible, the estimate is based on previous auction records of comparable property, condition, rarity, quality and provenances. The estimates are often determined several months before a sale and are therefore subject to change upon further research of the property, or to reflect market conditions or currency fluctuations. Estimates are subject to revision. Actual prices realized for items can fall below or above this range. An estimate of the selling price should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose. Estimates do not include the buyer’s premium. Where “Estimate on Request” appears, please contact the Specialist Department for further information.

6. BIDDING Doyle New York reserves the right, at our complete discretion, to refuse admission to the premises or participation in any auction and to reject any bid, as well as the right to refuse to acknowledge any bidder. The highest bidder acknowledged by the auctioneer will be the purchaser. The auctioneer has the right at his absolute and sole discretion to advance the bidding in such a manner as he may decide, to withdraw or divide any lot, and to combine any two or more lots. In the event of error or dispute between bidders, or in the event of doubt on our part as to the validity of any bid, whether during or after the sale, the auctioneer has final discretion to determine the successful bidder, to continue the bidding, to cancel the sale, or to reoffer and resell the lot in dispute. If any dispute arises after the sale, the Doyle New York sale record shall be conclusive.

7. PURCHASER’S RESPONSIBILITY Title passes upon the fall of the auctioneer’s hammer to the highest acknowledged bidder, subject to the conditions of sale set forth herein. Such bidder there upon assumes full risk and responsibility there for (including, without limitation, liability for or damage to frames and glass covering prints, paintings or other works). Although in our discretion we will execute orders or absentee bids or accept telephone bids as a convenience to clients who are not present at auctions, we are not responsible for any errors or omissions in connection therewith. When making a bid, a bidder is accepting personal liability to pay the purchase price as follows, unless it has been explicitly agreed in writing with Doyle New York before the commencement of the sale that the bidder is acting as agent on behalf of an identified third party acceptable to Doyle New York, and that Doyle New York will look only to the principal for payment: The total purchase price to be paid by purchaser is the amount of the successful bid price plus a premium of 25% on the first $250,000 of the hammer price, 20% on the portion of the hammer price from $250,001 through $3,000,000, and 12% on that portion of the hammer price exceeding $3,000,000. Payment of each lot shall be made as follows: An additional fee will be charged on any purchase made through live online bidding. The provider of our live online bidding service (Invaluable) charges a fee of five percent (5%) on the final hammer price of successful bids placed on their web site (Invaluable.com) and four percent (4%) of the final hammer price of successful bids using BidLive! on our web site (Doyle.com). The purchaser is responsible for paying 100% of this fee, the amount of which is determined by which site is used for their purchases. A cash deposit of not less than 25% of the purchase price (unless the whole purchase price is required at the sole discretion of Doyle New York) will be paid on the day of the auction. Deposits shall apply to all purchases made at this sale and not to any one particular lot.

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CONDITIONS OF SALE CONTINUED Prior to the sale, the buyer must provide us with his or her name and permanent address and, if so requested, details of the bank from which payment will be made. The balance of the purchase price, if any, will be paid not later than 5 pm one (1) day following the day of the auction. Such payment shall be made in U.S. dollars by certified or cashier check drawn on a U.S. bank unless other arrangements are made with Doyle New York. The buyer will not acquire title to the lot until we have received all amounts due to us from the buyer in good cleared funds even in circumstances where we have released the lot to the buyer. Doyle New York reserves the right to hold merchandise purchased by personal check until the check has cleared the bank. The purchaser agrees to pay Doyle New York a handling charge of $35 for any check dishonored by the drawee. At some auctions there may be a video or digital screen. Errors may occur in its operation and in the quality of the image, and Doyle New York does not accept liability for such errors. Any objects offered at this auction which contain materials from a species that is endangered or protected, including, but not limited to, ivory, coral and tortoiseshell, may require a license or certificate prior to exportation from the United States or an individual state and additional certificates or licenses for importation into another state or country. Some materials may not be exported, imported into other states or countries or resold. It is the purchaser’s responsibility to be aware of applicable laws and regulations and to obtain any required export or import licenses or certificates and any other required documentation. Further, the purchaser shall be responsible for on-time payment of the full purchase price of the lot, even if the obtaining of any such license is denied or delayed. Doyle assumes no liability for failing to identify materials from endangered or protected species or for incorrectly identifying such materials.

8. REMEDIES AVAILABLE TO DOYLE NEW YORK In addition to the other remedies available to us by law, we reserve the right to impose a late charge of 1 1/2% per month of the total purchase price if payment is not made in accordance with the conditions set forth herein. All property must be removed from our premises by the purchaser at their expense not later than (2) business days following its sale and, if it is not removed, Doyle New York reserves the right to charge a minimum storage fee of $5 per lot per day or to deliver the property to a public warehouse for storage at the purchaser’s expense, to be released only after payment in full of all removal, storage, handling, insurance and any other costs incurred, together with payment of all other amounts due to us. Doyle New York shall have no liability for any damage to property left on its premises for more than (2) days following the sale.

If any applicable conditions herein are not complied with by the purchaser, in addition to other remedies available to us and the consignor by law, including without limitation the right to hold the purchaser liable for the total purchase price, including all fees, charges and expenses more fully set forth herein, we shall be entitled in our absolute discretion to exercise one or more of the following rights or remedies: a) To charge interest at such rate as we shall reasonably select; b) To hold the defaulting buyer liable for the total amount due and to commence legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law; c) Cancel the sale of that, or any other lot or lots sold to the defaulting purchaser at the same or any other auction, retaining as liquidated damages all payments made by the purchaser; d) Resell the property whether at private sale or public auction without reserve, and the purchaser will be liable for any deficiency, cost, including handling charges, the expenses of both sales, our commission on both sales at our regular rate, all other charges due hereunder and incidental damages; e) To set off the outstanding amount remaining unpaid by the buyer against any amounts which we may owe the buyer in any other transactions; f) Where several amounts are owed by the buyer to us, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the buyer so directs; g) To reject at any future auction any bids made by or on behalf of the buyer or to require a deposit from the buyer before accepting any bids;

9. LIMITED LIABILITY If for any cause a purchased lot cannot be delivered in as good condition as at the time of sale, or should any purchased lot be stolen or mis-delivered or lost prior to delivery, Doyle New York shall not be liable for any amount in excess of that paid by the purchaser. We are not responsible for the acts or omissions of carriers or packers of purchased lots, whether or not recommended by us. Packing and handling of purchased lots by us is at the entire risk of the purchaser and Doyle New York will have no liability for any loss or damage to such items.

10. DOYLE NEW YORK EMPLOYEES Employees of Doyle New York are not prohibited from bidding on property. In the course of their employment it is possible that they may have access to information not available to the public.

11. WAIVER OF CONDITIONS Any and all of these conditions may be waived or modified in the sole discretion of Doyle New York. The Conditions of Sale, Terms of Guarantee, the glossary, if any, and all other contents of this catalogue are subject to amendment by us by oral announcements made during the sale. Salesroom notices amend the catalogue description of a lot after our catalogue has gone to press. They are posted in the viewing galleries and salesroom or are announced by the auctioneer. Please take note of them.

12. All measurements and weight are approximate. Doyle New York is not responsible for damage of glass covering paintings, drawings, other works or frames and lamp shades regardless of cause. 13. If any part of these Conditions of Sale is found

h) To take such other actions as we deem necessary or appropriate; or

by any court to be invalid, illegal or unenforceable, the balance of the conditions shall continue to be valid to the fullest extent permitted by law.

i) To effect any combination thereof.

14. The rights and obligations of the parties with

In addition, a defaulting purchaser will be deemed to have granted and assigned to us a continuing security interest of first priority in, and we may retain as collateral security for such purchaser’s obligations to us, any property or money of or owing to such purchaser in our possession. We shall have all of the rights accorded a secured party under the New York Uniform Commercial Code with respect to such property and we may apply against such obligations all monies held or received by us for the account of, or due from us, to such purchaser. At our option, payment will not be deemed to have been made in full until we have collected funds represented by checks, or in the case of bank or cashier’s checks, we have confirmed their authenticity. In the event the purchaser fails to pay any or all of the total purchaser price for any lot and Doyle New York nonetheless elects to pay the consignor any portion of the sale proceeds, the purchaser acknowledges that Doyle New York shall have all of the rights of the consignor to pursue the purchaser for any amounts paid to the consignor, whether at law, in equity, or under these Conditions of Sale.

respect to these Conditions of Sale and Terms of Guarantee, as well as the purchaser’s and our respective rights and obligations hereunder, the conduct of the auction and any matters connected with any of the foregoing, shall be governed and interpreted by the laws of the State of New York. By bidding at auction, whether present in person or by agent, by written bid, telephone or other means, the buyer shall be deemed to have submitted, for the benefit of Doyle New York, to the exclusive jurisdiction of the federal or state courts located in the state and county of New York and waives any objection to the jurisdiction and venue of any such court.

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TERMS OF GUARANTEE Doyle New York warrants the authenticity of authorship of each lot contained in this catalogue solely and expressly subject to the terms and conditions set forth below.

1. DEFINITION OF AUTHORSHIP “Authorship” is defined as the artist, artisan, workshop, designer, school, period, culture, or source of origin, as applicable and indicated in the description of the lot. The warranted information appears in bold print immediately following the individual lot number; no other language in the catalogue is warranted, including any supplemental material which appears below the bold print headings. Doyle New York is not responsible for any errors or omissions in any material, which appears below the bold print headings. The description of authorship in this catalogue may be amended by a supplement to the catalogue, or by notices or announcements at the time and place of the auction sale. This catalogue may contain one or more glossaries explaining the terminology used in the catalogue. All terminology used in this catalogue, including the contents of the glossaries, are merely qualified statements or opinions and are not intended or made as warranted statements or representations under these Terms of Guarantee. Doyle New York makes no warranties whatsoever, express or implied, with respect to any material in the catalogue, except as set forth in bold print headings following individual lot numbers in this catalogue and subject to the exclusions set forth below.

2. COVERAGE UNDER THE GUARANTEE Subject to the exclusions set forth below in paragraphs 5 and 6, Doyle New York warrants the authorship (as that term is defined above) of each lot in this catalogue for a period of five years from the date of the sale of the lot. The guarantee is made only to the original purchaser of record at the auction, and only the registered bidder for the lot at the auction will be considered as the original purchaser. The buyer must give written notice of claim within five years from the date of the auction. Doyle New York may require, at its option, to have the purchaser obtain at the purchaser’s expense the opinion of two recognized experts (approved by Doyle New York) in the field relating to the item in question, before Doyle New York determines whether to rescind a sale under the above warranty. Upon request, Doyle New York will provide the purchaser with the names of acceptable experts.

3. NON-ASSIGNABILITY The benefits of this warranty are not assignable and shall be applicable only to the original purchaser of record (i.e., the registered bidder) and not to any subsequent owners (including, without limitation, donees, heirs, successors, beneficiaries or assigns) who have, or may acquire, an interest in any purchased property. The original buyer must have remained the owner of the lot without disposing of any interest in it to any third party.

4. SOLE REMEDY The purchaser agrees that in the case of a breach of warranty under these Terms of Guarantee, he shall have no remedy other than rescission of the sale and the refund of the original purchase price paid. The original purchase price paid is defined as the amount of the successful bid price, plus the buyer’s premium. No rescission and refund will be made unless the item is returned to Doyle New York at 175 East 87th Street, New York, NY 10128, in the same condition as at the time of sale. The remedy of rescission and refund is exclusive and the purchaser waives any other remedy which may be otherwise available in law or equity. Doyle New York shall not be liable for any special, consequential or incidental damages incurred or claimed including, without limitation, loss of profits or for interest.

5. EXCLUSIONS This warranty does not apply to: i. authorship of any paintings, drawings or sculpture created prior to 1870, unless the lot is determined to be a counterfeit which has a value at the date of the claim for rescission which is materially less than the purchase price paid for the lot; or ii. any catalogue description where it was specifically mentioned that there is a conflict of specialist opinion on the authorship of a lot; or iii. authorship which on the date of sale was in accordance with the then generally accepted opinion of scholars and specialists, despite the subsequent discovery of new information, whether historical or physical, concerning the artist or craftsman, his students, school, workshop or followers; or iv. the identification of periods or dates of execution which may be proven inaccurate by means of scientific processes not generally accepted for use until after publication of the catalogue, or which were unreasonably expensive or impractical to use at the time of publication of the catalogue. The term counterfeit is defined as a modern fake or forgery, made less than fifty years ago, and made with the intent to deceive. The authenticity of signatures, monograms, initials or other similar indications of authorship is expressly excluded as a controlling factor in determining whether a work is a counterfeit under the meaning of this Terms of Warranty.

6. LIMITED WARRANTY As stated in paragraph 2 of the Conditions of Sale, neither Doyle New York nor its consignor makes any express or implied representations or warranties whatsoever concerning any property in the catalogue, including without limitation, any warranty of merchantability or fitness for a particular purpose, except as specifically and expressly provided in these Terms of Guarantee.

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INFORMATION ON SALES AND USE TAX RELATED TO PURCHASES AT AUCTION To better assist our clients, we have prepared the following information on Sales and Use Tax related to property purchased at auction.

WHY DOYLE NEW YORK COLLECTS SALES TAX Virtually all State Sales Tax Laws require a corporation to register with the State’s Tax Authorities and collect and remit sales tax if the corporation maintains a presence within the state, such as offices. In the states that impose sales tax, Tax Laws require an auction house, with a presence in the state, to register as a sales tax collector, and remit sales taxcollected to the state. New York sales tax is charged on the hammer price, buyer’s premium and any other applicable charges on any property picked up or delivered in New York, regardless of the state or country in which the purchaser resides or does business.

WHERE DOYLE NEW YORK COLLECTS SALES TAX Doyle New York is currently registered to collect sales tax in the following states: New York and the District of Columbia. For any property collected or received by the purchaser in New York City, such property is subject to sales tax at the existing New York State and City rate of 8.875%.

WHERE DOYLE NEW YORK IS NOT REQUIRED TO COLLECT SALES TAX Doyle New York is not required to collect sales tax on property delivered to states other than those listed above. If the property is delivered to a state where Doyle New York is not required to collect sales tax, it is the responsibility of the purchaser to self-assess any sales or use tax and remit it to taxing authorities in that state. Doyle New York is not required to collect sales tax for property delivered to the purchaser outside of the United States.

RESTORATION AND OTHER SERVICES Regardless of where the property is subsequently transported, if any framing or restoration services are performed in New York, it is considered to be a delivery of the property to the purchaser in New York, and Doyle New York will be required to collect the 8.875% New York sales tax.

CERTAIN EXEMPTIONS Most states that impose sales taxes allow for specified exemptions to the tax. For example, a registered re-seller such as a registered art dealer may purchase without incurring a tax liability, and Doyle New York is not required to collect sales tax from such re-seller. The art dealer, when re-selling the property, may be required to charge sales tax to its client, or the client may be required to self-assess sales or use tax upon acquiring the property. If a not-for-profit or charitable organization is selling property through Doyle New York, it may be sold as a tax exempted purchase. The not-for-profit seller must be registered with the New York Department of Taxation and Finance as an exempt organization and the property must be picked up or delivered in New York. However, a compensating use tax is due from the buyer if any such lot is shipped to any of the states where Doyle New York maintains offices. It is the buyer’s responsibility to ascertain and pay all taxes due. Buyers claiming exemption from sales tax must have the appropriate documentation on file with Doyle New York prior to the release of the property.

LOCAL TAX ADVISORS As sales tax laws vary from state to state, Doyle New York recommends that clients with questions regarding the application of sales or use taxes to property purchased at auction seek tax advice form their local tax advisors.

If the property is delivered into any of the states in which Doyle New York is registered, Doyle New York is required by law to collect and remit the appropriate sales tax in effect in the state where the property is delivered. Property collected from Doyle New York premises by common carriers on behalf of the purchaser for delivery to the purchaser at his address outside of New York is not subject to New York Sales Tax. If it is delivered by the common carrier to any of the states where Doyle New York is required to collect sales tax, applicable tax will be added to the purchase price.

BUYING AT DOYLE Since 1963, Doyle New York has built a worldwide reputation for expertise, integrity and service. In our New York salesrooms, we hold approximately forty auctions annually featuring fine art, jewelry, furniture, decorative arts, books, prints, couture and a variety of other categories. Our global audience of buyers and sellers know the quality of our sales and appreciate our standard of service. If you are new to the auction process, please take a moment to review the following information. The following will help in understanding the auction buying process. All bidders should read the Conditions of Sale and Terms of Guarantee in this catalogue, as well as the Glossary or any other notices. By bidding at auction, bidders are bound by the Conditions of Sale and Terms of Guarantee, as amended by oral announcements or posted notices, which together form the sale contract between the successful bidder (purchaser), Doyle New York and the seller (consignor) of the lot.

BEFORE YOU BID Doyle New York produces both printed and Internet auction catalogues that contain descriptions of the property being offered and the presale estimates and are available prior to the sale date. Our free Internet catalogues, available at Doyle.com, also provide illustrations, direct communication with our specialists, and the ability to leave online absentee bids and track lots. The catalogues will help familiarize you with property being offered at the designated auction. In addition, Doyle.com offers a free Internet Personal Shopper that allows collectors to enter keywords of objects they are seeking. As each Internet auction catalogue is posted online, the collector is notified by email of any matches. A prospective buyer must complete and sign a registration form and provide identification before bidding. We may require the production of bank or other financial references. PROVENANCE In certain circumstances, Doyle New York may print in the catalogue the history of ownership of a work of art if such information contributes to scholarship or is otherwise well known and assists in distinguishing the work of art. However, the identity of the seller or previous owners may not be disclosed for a variety of reasons. For example, such information may be excluded to accommodate a seller’s request for confidentiality or because the identity of prior owners is unknown given the age of the work of art. SPECIALIST’S ADVICE Prospective bidders may be interested in specific information not included in the catalogue description of a lot. For additional information please contact either a Doyle New York specialist or Doyle New York’s Client Services Department. You may also request a condition report from the specialist in charge.

BIDDING AT AUCTION Auctions are open to the public without any admission fee or obligation to bid. Pre-auction viewings are open to the public free of charge. Doyle New York’s specialists are available to give advice and condition reports at viewings or by appointment. The auctioneer introduces the objects for sale - known as “lots” in numerical order as listed in the catalogue. The auctioneer accepts bids from those present in the salesroom, from telephone bidders, from Internet bidders or by absentee written bids left with Doyle New York in advance of the auction. LIVE BIDDING The most exciting way to participate at auction is the traditional method of bidding live in the salesroom with an auction paddle. Buyers who would like to bid may register for a paddle on the day of the sale upon entering the salesroom at least 30 minutes before the sale. The paddle is numbered so as to identify you to the auctioneer. To register, you will need a form of identification such as a driver’s license or credit card. If you are a first-time bidder, you will also be asked for your address, phone number and signature and a bank reference in order to create your account. To avoid any delay in the release of purchases, please pre-arrange check or credit approval through Doyle New York’s Credit Department at 212-427-4141 ext. 205. If you are bidding for someone else, you will need to provide a letter from that person authorizing you to bid on that person’s behalf. Issuance of a bid paddle is in Doyle New York’s sole discretion. Once the first bid has been placed, the auctioneer asks for higher bids, in increments determined by the auctioneer. To place your bid, simply raise your paddle until the auctioneer acknowledges you. As a courtesy to bidders, a currency board may be operated. It displays the lot number and current bid in both U.S. dollars and foreign currency. Exchange rates are approximations based on recent exchange rate information and should not be relied upon as a precise invoice amount. Doyle New York assumes no responsibility for any error or omission in foreign or United States currency amounts shown. TELEPHONE BIDDING Clients unable to attend the sale may still participate live by bidding on the telephone with a trained staff member on the auction floor. The Telephone Bid Forms are available on our Web site, in our printed catalogue, and through our Client Services Department. Please contact the Bid Department prior to the sale to make arrangements or to answer any questions you may have. Telephone bids are accepted only at Doyle New York’s discretion and at the caller’s risk. Calls may also be recorded at Doyle New York’s discretion. By bidding on the telephone, prospective buyers consent thereto. Telephone bids cannot be accepted for lot estimated below $1,000. Arrangements must be confirmed with the Bid Department at least 24 hours prior to the auction at 212-427-4141 ext. 242. Arrangements to bid in languages other than English must be made well in advance of the sale date. Doyle New York offers all absentee and telephone bidding services as a convenience to our clients but will not be responsible for errors or failures to execute bids.

ABSENTEE BIDDING For buyers unable to participate live in the salesroom or on the telephone, Doyle offers the option of Absentee Bids. Absentee Bids work exactly as if the bidder were in the salesroom bidding up to a predetermined price limit, except that the price limit is given confidentially to Doyle ahead of time. Absentee Bid Forms are available on our Web site, in our printed catalogues, and through our Client Services Department. Return the completed Absentee Bid Form to Doyle New York either by mail or by fax. When the lot that you are interested in comes up for sale, a Doyle New York representative will execute the bid on your behalf, making every effort to purchase the item for as little as possible and never exceeding your limit. The auctioneer may execute absentee bids directly from the rostrum, identifying these as “absentee bids,” “book bids,” or “order bids.” This service is free and confidential. For detailed instructions and information, please see the Doyle New York Absentee Bid Form at the back of this catalogue or on our Web site. In the event that identical bids are submitted, the earliest will take precedence. INTERNET BIDDING Buyers may also conveniently leave bids on our Web site through our Internet catalogues. These bids are executed at the auction in the same fashion as an Absentee Bid. LIVE INTERNET BIDDING BidLive! with a click of your mouse! Bidders from around the world now can experience the excitement of bidding live at Doyle New York on their computers. Simply sign in at Doyle.com, then register to bid live in real time in an upcoming sale. It couldn’t be easier or more convenient! No increased Buyer’s Premium! Purchases made on BidLive! are subject to the identical buyer’s premium as purchases made through the saleroom bids, telephone bids and absentee bids. There are no additional fees! Bid throughout the sale! With BidLive! you may log in during the sale to bid on specific lots, or leave the bidding console open all day on your computer. Total convenience for a global clientele! In the past, foreign bidders often required the assistance of telephone clerks who spoke Spanish, German, French, Mandarin etc., in order to execute their bids. With BidLive’s clear numeric display, foreign buyers need no longer rely on bilingual telephone clerks to place their bids. MAC USERS: Please use Firefox browser (download). BidLive!, powered by Invaluable, does not support iPhone or iPad at this time. Doyle New York does not guarantee that live Internet bidding will be uninterrupted or without error, or that Internet bids will be received.

BUYING AT DOYLE CONTINUED SUCCESSFUL BIDS Successful absentee bidders will be notified after the sale. Absentee bidders will receive a list of sale results if they enclose a stamped self-addressed envelope with their Absentee Bid Form. Printed lists of auction prices are available immediately after the sale on our Web site and at our galleries. While invoices are sent out by mail after the auction, we do not accept responsibility for notifying you of the result of your bids. Buyers are requested to contact us by telephone or in person as soon as possible after the sale to obtain details of the outcome of their bids to avoid incurring unnecessary storage charges.

AFTER THE AUCTION If your bid is successful, you can go directly to Purchaser Accounting to make payment arrangements. Otherwise, your invoice will be mailed to you. The final price is determined by adding the buyer’s premium to the hammer price on a per-lot basis. Sales tax, where applicable, will be charged on the entire amount. Payment is due in full immediately after the sale. However, under certain circumstances, and generally with the seller’s agreement, Doyle New York may offer buyers it deems creditworthy the option of an extended payment plan. Credit terms should be arranged prior to the sale. Please contact the Credit Department for information on credit arrangements for a particular lot. METHODS OF PAYMENT Accepted forms of payment include bank wire transfers, cash (in US currency up to $5,000), traveler’s check (in US currency up to $5,000), money orders (in US currency up to $5,000), or personal check made payable in US dollars drawn on a US bank, unless other arrangements are made with Purchaser Accounts. It is Doyle New York’s policy to request any new clients or purchasers preferring to make a cash payment to provide: verification of identity (by providing some form of government issued identification containing a photograph, such as a passport, identity card, or driver’s license), confirmation of permanent address and identification of the source of the funds. Invoices greater than $5,000 require payment by certified check, bank check or wire transfer. Credit cards are not accepted for payment of auction purchases.

To pay for a purchase by check, please see our cashier and fill out a Check Acceptance Account form. Until approved, you will not be permitted to remove purchases before the check has cleared. To avoid delivery delays, prospective buyers are encouraged to supply bank or other suitable references before the auction. Check acceptance privileges are reviewed from time to time by Doyle New York and may be granted or withdrawn at our sole discretion. Checks should be made payable to Doyle New York. Note that checks drawn on foreign banks may be accepted with the approval of the Credit Department, may not be accepted for values under $500, and that there is a $100 minimum collection charge on checks drawn on foreign banks located outside the U.S. Certified checks, banker’s drafts and cashier’s checks are accepted at Doyle New York’s discretion provided they are issued by a reputable financial institution governed by anti-money laundering laws. Instruments not meeting these requirements will be treatedas “cash equivalents” and subject to theconstraints noted above. Please direct inquiries regarding wire transfer or ACH credit to Steven L. Kuzio, 212.427.4141 ext. 202, steven.kuzio@doyle.com BUYER’S PREMIUM The invoice will include the successful hammer price of the item and the buyer’s premium. Doyle New York charges a premium to the buyer on the final bid price of each lot sold at the following rates: 25% on the first $250,000 of the hammer price of each lot, 20% on the portion of the hammer price from $250,001 through $3,000,000, and 12% thereafter. Applicable sales tax will also be added to the final total. New York Sales tax is charged on the hammer price, buyer’s premium and any other applicable charges on any property picked up or delivered in New York State, regardless of the state or country in which the purchaser resides or does business. Please refer to “Information on Sales and Use Tax Related to Purchases at Auction” in the back of the catalogue. All sales are final and subject to the Conditions of Sale. PICK-UPS Once your payment has been cleared, property may be released. Unless otherwise agreed by Doyle New York, auction purchases should be paid for and picked up at Doyle New York within 48 hours of the auction. Items left beyond the 48 hours may be subject to a storage fee (see below). Please note that the hours for removal of property are Monday through Friday from 8:15am until 4:45pm, except on auction days during which only purchases made that day may be picked up. As a courtesy to purchasers who come to Doyle New York to pick up property, Doyle New York will assist in the packing of lots, although Doyle New York may, in the case of fragile articles, choose not to pack or otherwise handle a purchase. Doyle New York will not be responsible or liable for damage to glass covering paintings, drawings or other works, or damage to frames, regardless of cause.

STORAGE FEES Pursuant to section 8 of our Conditions of Sale, we request that successful buyers collect their property within two business days following the sale. Should the property (except jewelry, coins, stamps or as announced by the auctioneer) remain on our premises for more than 31 days following a sale it will be transferred to an independent warehouse on the buyer’s behalf at the purchaser’s risk and subject to storage charges at the purchaser’s expense. As transferred property will no longer be in Doyle New York’s custody or care, Doyle New York will not be able to assist you with pick-up or shipping arrangements. To avoid storage charges, please arrange for the removal of your purchases as soon as possible. Please Note: Transfer to a Storage facility of uncollected purchases past the 31-day grace period will constitute delivery of the property to the buyer in New York State. As a result, buyer will be liable to pay New York State Sales Tax if not tax-exempt. The charges are payable to an outside Storage Company and therefore cannot be waived by Doyle New York. We encourage all buyers to collect purchased property within two business days following the sale. In order to collect property from Yorkville Van and Storage, buyers must present a copy of a paid invoice bearing a Yorkville warehouse release stamp. This warehouse release stamp can only be obtained from the cashier at Doyle New York’s main reception desk located at 175 East 87th St in Manhattan. SHIPPING Shipping is the responsibility of the buyer. Upon request, our Client Services Department will provide a list of shippers who deliver to destinations within the United States and overseas. Kindly disregard the sales tax if an I.C.C. licensed shipper will ship your purchases anywhere outside the state of New York or the District of Columbia. ENDANGERED SPECIES Certain property sold at auction, for example, items made of or incorporating plant or animal materials such as coral, crocodile, ivory, whalebone, tortoise shell, mother-of-pearl, etc., irrespective of age or value, may require a license or certificate prior to exportation and additional licenses or certificates upon importation to another country. Doyle New York suggests that buyers check on their government wildlife import requirements prior to placing a bid. Although licenses can be obtained to export some types of endangered species, other types may not be exported at all, and other types may not be resold in the United States.

VII

SELLING AT DOYLE At Doyle New York, we commit our expertise, experience, market knowledge and global outreach to every sale. The numerous auction records set in our salesrooms are testimony to the advantages of selling property at Doyle. To make the auction process as easy and convenient as possible, our team of dedicated professionals will guide you through the entire appraisal and auction procedure. As part of our commitment to providing comprehensive auction services to collectors, institutions and estates, Doyle New York offers several options to those seeking to sell their property: consignment of the objects to auction at Doyle, outright sale of the objects to Doyle, a combination of both, or referrals to other organizations.

OBTAINING AN APPRAISAL The first step in selling property at auction is to obtain a free informal appraisal of the item. The appraisal includes an estimated value, which is the specialist’s best judgement as to what the object will sell for at auction. The figure is based upon the specialist’s expertise and knowledge of what similar items are fetching in the current auction market. There are various ways to obtain appraisals. Information and appointments to view property in your home or in the gallery can be arranged through our Scheduling Department, an appropriate Specialist Department, or a Doyle New York Regional Representative. Once your property has been evaluated, Doyle New York representatives can then help you determine how to proceed with the auction process. They will provide information regarding sellers’ commission rates and other charges, auction timetable, shipping and any other further services you may require. SUBMITTING PHOTOGRAPHS We welcome photographs of property to evaluate for possible auction if the property is not portable, or if you are not able to visit our galleries. If you have a large collection, are presentative selection of photographs is acceptable. Please bring in the photographs or email photos of your objects to the Scheduling Department. You may also mail photographs to the Scheduling Department, or call them at 212-427-4141, ext. 260, to discuss your property and perhaps arrange an appointment with a specialist. Please be sure to include the dimensions, artist’s signature or maker’s mark, medium, physical condition, and any other relevant information. Our specialists will provide a free preliminary auction estimate subject to a final estimate upon first hand inspection.

VIII

REGIONAL APPRAISAL DAYS Doyle New York’s Regional Representatives host free appraisal days on a regular basis throughout Connecticut, the metropolitan Washington, DC area, as well as in other areas throughout the United States. These popular events provide ease and convenience for collectors outside of New York who wish to sell their property at Doyle. At these events, we accept property for upcoming auctions in our New York salesrooms through both consignment and outright purchase.

SELLING YOUR PROPERTY CONSIGNING TO AUCTION In consigning property to auction, the seller retains ownership until the successful sale of the item at auction. When property is consigned to Doyle for auction, we devote the expertise of our specialists and professional staff to achieving outstanding prices at auction. THE CONSIGNMENT CONTRACT When you consign property to Doyle New York you will receive two copies of our Consignment Agreement, the legal document delineating the terms of sale. One copy should be initialed, signed and returned; the other kept for your records. Once the property is received in our gallery, you will be sent a Contract Schedule listing the property, the planned sale dates, the estimated price ranges, and the reserves will be listed, along with the agreed upon seller’s commission and other related fees. RESERVE PRICE Before an item is offered at auction, the consignor and Doyle New York may agree on a reserve price, a confidential minimum selling price. Unless a specific reserve is arranged, a discretionary reserve is fixed at fifty percent of the low estimate. If the consignor designates a reserve on a lot, and it remains unsold, there will be a buy-in fee charged on the reserve price. OUTRIGHT SALE TO DOYLE Outright purchase of property by Doyle allows the seller the advantage and convenience of immediate payment. Many sellers prefer this method of sale rather than consigning their property to auction and awaiting payment after the successful sale of the items. For further information please contact our Scheduling Department.

AFTER THE AUCTION RESULTS OF SALE You may track realized prices of your consigned property in real time and view all sales results online at Doyle.com. A preliminary settlement statement itemizing the hammer prices, commissions and fees is mailed to the consignor after the auction. You may also call us at 212-427-2730 for prices realized.

PAYMENT TO CONSIGNORS Payment to consignors is mailed five weeks after the date of the sale, together with a final settlement statement. The amount of payment is the hammer price of each lot successfully sold, less the commission and any other fees.

ESTATE AND APPRAISAL SERVICES For forty years, Doyle New York’s Appraisal and Auction Services Department has worked with museums, corporate collections, banks and law firms, trust and estate professionals, heirs, and private clients across the nation providing our comprehensive appraisal and auction services. Our thorough, well-researched fair market appraisals have earned Doyle a solid reputation for professionalism, integrity and service throughout the United States. Doyle New York offers a full range of expert appraisal services, specializing in providing timely formal appraisals for estate tax and probate purposes. Our expert team of specialists and our professional staff bring years of experience to each appraisal. Full color digital photographs may be included in the appraisal in order to make each object easily identifiable. Depending on the location, we are happy to provide, at no charge, a preliminary walk-through examination to determine approximate costs and special needs. Appraisal fees are based on the scope of the property with travel expenses additional. Doyle New York will prepare a customized proposal tailored to the specific property under consideration for auction, including a commission and fee structure developed to maximize returns to consignors. We may also make an outright purchase offer on individual items or entire estates. As part of our focus on comprehensive estate liquidation, we offer our unique “Broomclean Service” – our own trucks and crew will transport the fine property to Doyle, remove remaining items, and leave the premises “broomclean.”

INFORMATION For more information please call 212-427-4141, ext 260, or email info@Doyle.com. For estate and appraisal services, please contact our Appraisal and Auction Services Department at 212-427-4141, ext. 227.

AUCTION SCHEDULE MAY

JUNE

AUGUST

PRINTS & MULTIPLES Auction: Monday, MAY 1 at 10am Exhibition: April 28 – 30

DOYLE+DESIGN® Auction: Wednesday, JUNE 7 at 10am Exhibition: June 3 – 5

DOYLE AT HOME Auction: Wednesday, AUGUST 16 at 10am Exhibition: August 10, 11 & 14

COINS, BANK NOTES, POSTAGE STAMPS & MINERALS Auction: Monday, MAY 1 at 2pm Exhibition: April 28 – 30

FINE JEWELRY Auction: Tuesday, JUNE 20 at 10am Exhibition: June 17 – 19

JEWELRY & CONTENTS OF ABANDONED SAFE DEPOSIT BOXES Auction: Thursday, AUGUST 17 at 10am Exhibition: August 10, 11 & 14

IMPRESSIONIST & MODERN ART Auction: Wednesday, MAY 10 at 10am Exhibition: May 6 – 8 POST-WAR & CONTEMPORARY ART Auction: Wednesday, MAY 10 at 2pm Exhibition: May 6 – 8 FINE JEWELRY – BEVERLY HILLS Auction: Monday, MAY 22 at 10am (Pacific) ENGLISH & CONTINENTAL FURINITURE & DECORATEIVE ARTS / OLD MASTER PAINTINGS Auction: Wednesday, MAY 24 at 10am Exhibition: May 20 – 22 at 10am

DOYLE AT HOME Auction: Wednesday, JUNE 21 at 10am Exhibition: June 17 – 19

JULY JEWELRY, WATCHES, SILVER & COINS BY ORDER OF THE PROVIDENT LOAN SOCIETY Auction: Wednesday, JULY 12 at 10am Exhibition: July 7, 10 & 11 ®

DOYLE AT HOME Auction: Wednesday, JULY 26 at 10am Exhibition: March 20, 21 & 24

CATALOGUES

EXHIBITION HOURS

SELLING AT AUCTION

View the catalogues and leave bids online at Doyle.com, or for printed catalogues please call 212-427-2730 x203 or email subscriptions@Doyle.com

212-427-4141, option 5 or visit Doyle.com

We invite you to contact us for a complimentary auction evaluation of your collection. Please call 212-427-2730 or email info@Doyle.com

DOYLE

175 EAST 8 7 TH STREET

NEW YORK, NY 10128

212 - 4 2 7- 2 730

DOY L E .COM