Impressionist & Modern Art \ Post-War & Contemporary Art - 11.15.17 by Doyle

IMPRESSIONIST & MODERN ART POST-WAR & CONTEMPORARY ART

Wednesday, November 15, 2017

NEW YORK

IMPRESSIONIST & MODERN ART EUROPEAN & AMERICAN ART

POST-WAR & CONTEMPORARY ART

AUCTION Wednesday, November 15, 2017 at 11am

EXHIBITION Saturday, November 11, 10am – 5pm Sunday, November 12, Noon – 5pm Monday, November 13, 10am – 6pm

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 Rhoda Blumberg Charles Austin Buck Helen Getler Dr. Paul Hershenson Rita Hirsch Mary Kettaneh The Collection of Willa Kim and William PÃ¨ne du Bois Eve G. Kingsland Ellin Jane Krinsly Trust Eugene M. Lang Dorothy Lewis 2013 Irrevocable Trust A New York Private Estate Harry Oppenheimer A Private New York Estate Miriam and Howard Rand, Beverly Hills, California Stanley Silverstein, New York The I. A. Victor III Trust The James P. and Joan M. Warburg Collection

INCLUDING PROPERTY FROM Formerly in the inventory of Berry-Hill Galleries, New York A New York Collection A New York Collector The Collection of Faith Stewart-Gordon

CONTENTS IMPRESSIONIST & MODERN ART European American POST-WAR & CONTEMPORARY ART Post-War Contemporary

1-58 59-87

88-132 133-159

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 12

1 Jean-Joseph Benjamin Constant French, 1845-1902 Lady with a Jewel Box (Prima Donna Marguerite in “Jewel Song” of Gounod’s ‘Faust’ Signed Benj. Constant (ul) Oil on canvas 38 3/4 x 24 1/4 inches (98.5 x 61.5 cm) Provenance: Berry-Hill Galleries, Inc., New York C $8,000-12,000

2 John Brett British, 1831-1902 Some Fell on Stony Ground, 1890 Signed John Brett and dated 1890 (ll); inscribed by the artist on the canvas overlap Begun 7th day 90/ There is “a time to cast away stones”/Eccles 3/ some fell on stony ground, where it had not much earth.../”no end of Stones”; inscribed John Brett/Putney/London on the stretcher Oil on canvas 24 x 48 inches (61 x 122 cm) Provenance: Sale: Sotheby Parke-Bernet, New York, Oct. 30, 1990, lot 119 Anderson Galleries, Chicago Sale: Christie’s East, New York, Oct. 29, 1985, lot 169 Berry-Hill Galleries, Inc., New York Exhibited: London, The Royal Academy of Arts, 123rd Exhibition, 1891, no. 600, exhibited in Gallery VII Birmingham, England, The Royal Birmingham Society of Artists (RBSA), 1891, no. 110 Manchester, 1892, no. 283 Chicago, The World’s Columbian Exposition, 1893, The British Section, no. 98

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Literature: The Academy Notes, 1901, London, May 1901, no. 647 Christiana Payne and Charles Brett, John Brett: Pre-Raphaelite Landscape Painter, New Haven/London, 2010, no. 1344. p. 236 C $8,000-12,000

3 Sir John Lavery, R.A. British, 1856-1941 Portrait of the Artist’s Wife Signed J. Lavery (lr) Oil on canvasboard 13 7/8 x 10 inches (35.3 x 25 cm) Provenance: Ernest Brown & Phillips/The Leicester Galleries, London Orgel & Co., Private collection, CT, acquired from the above circa 1960, thence by descent in the family to the present owner C $8,000-12,000

4 Leon-Augustin Lhermitte French, 1844-1925 Chemin Face à Chartèves, 1913 Bears signature L. Lhermitte (ll); also inscribed Chartèves, Brouillard on the backing Pastel on paper laid down on linen 16 x 23 inches (40.7 x 58.4 cm) Provenance: Bousson, Valadon & Cie. Sale, J.K. Newman, Anderson Galleries, American Art Association, Dec. 6, 1935, no. 7 Findlay Galleries Literature: Monique Le Pelley Fonteny, Leon Augustin Lhermitte (1844-1925), Catalogue Raisonné, Paris, Cercle d’Art, 1991, p. 265, no. 607, illus. The Comité Leon Lhermitte has confirmed the authenticity of this work, and a letter from the Comité dated Paris October 3, 2017 will be offered with this lot. C $20,000-30,000

BID ONLINE AT DOYLE.COM 7

5 5 Jean Baptiste Camille Corot French, 1796-1875 Passeur en Barque à la Rive Boisée avec une Femme et ses Deux Enfants, circa 1860-65 Signed COROT (ll) Oil on canvas 18 1/4 x 15 inches (46.5 x 38.1 cm) Provenance: Musard Collection, Paris, 1877 Cottier and Co., New York Dr. Arthur Corwin, Chicago, 1920 Thence by descent in the Corwin Family Newhouse Galleries, New York Acquired by the family of the present owner in 1975 from the above We are grateful to Claire Lebeau for confirming the authenticity of this work, which will be included in the forthcoming Supplement to the Robaut Catalogue Raisonné. It is probably related to a Corot work in the Metropolitan Museum of Art, Robaut 1728, entitled Passeur atterrissant avec deux paysannes dans sa barque. C $40,000-60,000 8

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6 Jules Breton French, 1827-1906 Jeune Femme Nourrissant ses Volailles, 1860, Signed Jules Breton and dated twice 1860 (lr) Oil on canvas 22 x 18 1/8 inches (55.8 x 46 cm) Provenance: M. Knoedler & Co., New York We kindly thank Annette Bourrut Lacouture for confirming the authenticity of this work, which she states is very characteristic of the artist's style in the 1860s. The painting will be included in her forthcoming Catalogue RaisonnĂŠ of Jules Breton. C $15,000-25,000

7 Odilon Redon French, 1840-1916 A Man Standing Beside the Sea Signed Odilon Redon (lr) Graphite pencil on paper 10 7/8 x 8 3/4 inches (27.4 x 22.2 cm) Provenance: The Estate of Alexander Bing III C $8,000-12,000

7 VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 9

Property of a New York Collector 8 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

9 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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10 Property from the Estate of Harry Oppenheimer 10 Lovis Corinth German, 1858-1925 Portrait of a Man (possibly the artist Hermann Struck) Signed and dated Lovis Corinth/1918 (ul); also signed (lr) Oil on board 25 1/4 x 21 inches (84 x 53.3 cm) It has been suggested that the image on the reverse is of a peasant from Appenzell or the Black Forest. Hermann Struck, 1876-1942, was an artist from Berlin known primarily for his etchings and other graphic work. Among his students were Max Liebermann and Lovis Corinth. C $8,000-12,000

11 Property from the Collection of Faith Stewart-Gordon 11 Hermann Max Pechstein German, 1881-1955 Fischerboote an der Kurischen Nehrung Signed with initials and dated HMP 1911 (ur) Colored crayons on paper 6 1/2 x 8 inches (16.5 x 20.3 cm)

12 Leon Schulman Gaspard Russian/American, 1882-1964 Troops in Winter, 1914 (16?) Signed Leon Gaspard and indistinctly inscribed and dated Russie 191... (lr) Oil on canvas laid down on board 7 3/4 x 19 inches (19.7 x 48.2 cm)

Exhibited: Berlin, Hochschule für bildende Künste, Der Junge Pechstein, Feb. 1-Mar. 15, 1959, no. 123

Provenance: Sale: Sotheby’s, NY, Apr. 23, 1998, lot 144 Berry Hill Galleries, Inc., New York C $30,000-50,000

Provenance: Private Collection, Berlin C $8,000-12,000

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13 Property from the Ellin Jane Krinsly Trust 13 Natalia Sergeevna Goncharova Russian, 1881-1962 Untitled, circa 1910-1922 Signed and dated N. Gontcharova Moscou 1910 on the reverse, center; also dated 1910 and numbered 50 at top center, all in a later hand (ul) and faintly inscribed Mme Gontcharova on the reverse; [contemporary to the painting]; also stamped Verlag der Sturm on the reverse Oil on canvas 34 1/4 x 27 3/8 inches (87 x 69.5 cm) Exhibited: Berlin, Kunstausstellung Der Sturm Provenance: Roland, Browse and Delbanco, London Waddington Galleries, London, acquired June 25, 2002 C $150,000-250,000 VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 13

14 Édouard Vuillard French, 1868-1940 Au Theatre Antoine, circa 1889 Stamped with initials E.V. (lr) Brush and ink on paper 9 7/8 x 13 3/8 inches (25 x 34 cm) Provenance: Paul Vallotton, Lausanne, Switzerland C $10,000-15,000

15 Paul Signac French, 1863-1935 Notre Dame, Paris, 1910 Signed P. Signac and dated 1910 (lr) Watercolor and pencil heightened with white on paper 7 1/8 x 9 3/4 inches (18.1 x 24.8 cm)

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This work was examined by Marina Ferretti and is accompanied by a certificate dated Paris, le 24 avril 2017 attesting that the work is by Signac’s hand. C $8,000-12,000

Property from the Estate of Eugene M. Lang 16 Jean Dufy French, 1888-1964 Les Trois Fratellini au Cirque Medrano, 1927 Signed Jean Dufy and dated 27 (lr); inscribed as titled on the reverse Oil on canvas 23 5/8 x 28 3/4 inches (60 x 73 cm) Literature: Jacques Bailly, Jean Dufy: Catalogue Raisonné de l’Oeuvre, 1888-1964, Paris, 2002, no. B. 497, p. 268, illus. (as Trio de Clowns Musiciens) The painting is accompanied by a photo-certificate of authenticity from Madame Germaine Dufy, dated June 25, 1970. C $30,000-50,000

VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 15

17 Property from the Estate of Elsie Adler 17 Jean Metzinger French, 1883-1956 Arlequin Signed Metzinger (lr); inscribed 1196/Jean Metzinger/Arelquin/oil on canvas/64 x 45 1/2; lot 85 and again 1196 on the stretcher Oil on canvas 63 5/8 x 44 7/8 inches (161.5 x 114 cm) Provenance: Léonce Rosenberg, Paris Henri Bénézit collection, Paris Sale: Parke-Bernet Galleries, New York, Impressionist and Modern Paintings, Sculptures, Drawings, Apr. 14, 1965, lot 40, illus.

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Jean Metzinger was fascinated with the mechanical world, but his imagination took him in other directions as well. In the 1920s and 1930s he painted a number of figural works in styles of varying degrees of abstraction. An example of a painting in this mode is his monumental Arlequin, in which Harlequin, the classic trickster of the Italian commedia dell’arte, is shown at night, throwing a cloak about his shoulders as he hurriedly steps into a small boat, presumably to make his escape from a nocturnal adventure. The background is composed of pale russets and greens, against which the imposing figure of Harlequin is set. He is clearly recognizable in his traditional costume of tricorne hat, ruff collar and motley suit, here enlivened with orange reflections from his cloak. The stock characters of the Italian comedy, especially Harlequin, have fascinated many artists. Picasso is thought to have personally identified with this clever rogue, an “outsider” to society that he revisited in his art a number of times in his art. Perhaps in this essay on Harlequin, Metzinger intended to express a similar feeling of his own. C $150,000-250,000

18 Property from the Estate of Elsie Adler 18 Jean Metzinger French, 1883-1956 Nature Morte, circa 1929 Signed JMetzinger with conjoined initials (lr); inscribed W. Brewster and numbered 48.556 on pieces of the original stretcher Oil on canvas 23 3/4 x 32 inches (60.3 x 81.3 cm) Provenance: Galerie L’Effort Moderne [Leonce Rosenberg], Paris, inscribed with remnants of a number 9028... on the gallery label Sale: Sotheby Parke-Bernet, New York, Nineteenth and Twentieth Century Paintings, Drawings and Sculpture, May 31, 1972, lot 114, illus. and illus. on cover of catalogue

A good example of the “mechanical” style of Cubism that flourished during the 1920s is Jean Metzinger’s Nature Morte (Still Life), painted around 1929. Here we can see the bright colors and flat planes so characteristic of Synthetic Cubism, but instead of building up a single image from smaller pieces, this work presents a group of discreet objects. Some of these are quintessentially mechanical: a wrench, a pair of pliers, a freestanding dial. Others are indirectly so: solid geometrical forms that appear to have been cut from sheet metal. These mechanistic pieces are shown with flowers, which at first seem to be an organic counterpoint to the tools and metallic shapes. Upon closer examination, however, they too have a mechanical appearance, as if bolted together from machined parts and coated with industrial paint. At the right, the bust of a woman, tinted in the same dark blue as the background, appears to be gazing impassively past this array. Like the flowers, the bust seems die-cut and spray painted, another product of 20th-century industry. The viewer of this beautiful but enigmatic work is led to contemplate whether we are all, like this metallic woman, parts of the great machine of modern society, stamped out and colored by the hidden processes of contemporary life. C $80,000-120,000

VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 17

19 Jean Lurçat French, 1892-1966 Les Voiles, 1930 Signed Lurçat and dated N.Y. 30 (lr); inscribed LD 167 in pencil and N.Y. 727 in marker on the stretcher Oil on canvas 42 x 30 1/8 inches (106.7 x 76.5 cm) Provenance: Galerie Demotte, Paris/New York Annette and Louis Kaufman collection, Los Angeles Earl Stendahl collection, Los Angeles, thence by descent to the present owner The former owner of the painting, Louis Kaufman, was a classical violinist who became known for recording soundtracks for Hollywood, in films such as Casablanca, The Grapes of Wrath, and Gone with the Wind. He also performed chamber music with Pablo Casals and Jascha Heifetz. Together with his wife Annette, also a musician, they amassed a large art collection, including works by Lurçat and Milton Avery, many of which were donated to the National Gallery. Earl Stendahl opened his first gallery in Los Angeles in 1921, and became one of the most important dealers in modern art on the West Coast. C $8,000-12,000 19

20 Albert Gleizes French, 1881-1953 Cubist Composition, 1922 Signed ALBERT GLEIZES and dated 1922 (lr); inscribed on the verso by the artist’s wife Cette gouache a été executée par mon mari Albert Gleizes/Juliette Roche Gleizes Gouache on board Sight 8 1/8 x 6 3/4 inches (20.6 x 17.1 cm) Provenance: Galerie Ferraro, Geneva Sale: Sotheby’s, New York, May 14, 1986, lot 125 Private Collection, New York Thence by descent to the current owner C $8,000-12,000

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Property from the Ellin Jane Krinsly Trust 21 Fernand Léger French, 1881-1955 Composition, 1937 Signed with initials F.L. (lr); inscribed on verso pour Sophie très amicalement (ll); and L’oeuvre authentique F. Leger/N. Leger and N.G 222 bis composition 1937 (34 x 33.5 cm) (lr) Gouache on paper 11 5/8 x 13 1/2 inches (29.5 x 34.3 cm) Provenance: Waddington Galleries, London, acquired March 17, 1987 C $30,000-50,000

VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 19

22 22 Raoul Dufy French, 1877-1953 Le Cargo Noir, 1951 Signed Raoul Dufy (lc) Oil on canvas 14 1/2 x 16 5/16 inches (36.8 x 41.5 cm) Provenance: Sale, Hôtel Rameau, Versailles, March 6, 1960, no. 56, illus. Sale, Galerie Motte, Geneva, June 18-19, 1965, no. 131 Literature: Maurice Laffaille, Catalogue Raisonné de l’Oeuvre Peint, vol. II, Geneva, 1973, no. 742, p. 260, illus. Accompanied by a photo-certificate from Maurice Laffaille, confirming the authenticity of the work; and a photo-certificate from a former assistant of the artist, dating the painting to 1951. C $80,000-120,000

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23 Raoul Dufy French, 1877-1953 Promenade sur les Quais, 1908 Signed and dated Raoul Dufy 1908 (lr) Watercolor and graphite on paper 10 x 12 inches (25.4 x 30.5 cm) Accompanied by a signed photo-certificate in color from Fanny Guillon-Laffaille, number A06-1618, in which she states that the work will be reproduced in the supplement of the Catalogue Raisonné des Aquarelles, Gouaches et Pastels de Raoul Dufy, now in preparation. C $10,000-15,000

24 Raoul Dufy French, 1877-1953 Les Trapézistes, circa 1922 Signed Raoul Dufy (lc) and stamped with the Atelier stamp (lr) Watercolor and ink on paper 21 7/8 x 17 3/8 inches (55.5 x 44.1 cm) Provenance: Sale: Briest, Jun. 8, 2000, lot 51 Fanny Guillon-Laffaille has confirmed that she will include this work in the forthcoming supplement to her Raoul Dufy Catalogue Raisonné. C $8,000-12,000

24 VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 21

Property from the Estate of Eugene M. Lang 25 Jean Dufy French, 1888-1964 Marché au Limousin, 1929 Signed Jean Dufy and dated 29 (lc) Oil on canvas 23 5/8 x 28 3/4 inches (60 x 73 cm) Literature: Jacques Bailly, Jean Dufy: Catalogue Raisonné de l’Oeuvre, 1888-1964, Paris, 2002, no. B. 142, p. 152, illus. This painting is accompanied by two photo-certificates of authenticity, one from Madame Germaine Dufy, sister of the artist, and the other from André Pacitti, dated October 15, 1966. C $20,000-30,000

26 Raoul Dufy French, 1877-1953 Le Chef d’Orchestre, circa 1948 Stamped with the initials RD (ll) Gouache and pencil on paper 8 7/8 x 11 1/2 inches (22.5 x 29.2 cm)

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Accompanied by a photo-certificate in color from Fanny Guillon-Laffaille, number A06-1617, in which she states that the work will be included in her forthcoming Catalogue Raisonné des Aquarelles, Gouaches et Pastels de Raoul Dufy. C $8,000-12,000

Property from the Estate of Eugene M. Lang 27 Jean Dufy French, 1888-1964 Coupe de Fruits et Bouquet de Fleurs à L’atelier, 1924 Signed Jean Dufy and dated 24 (lr) Watercolor heightened with white on paper 23 1/2 x 19 5/8 inches (59.7 x 50 cm) Literature: Jacques Bailly, Jean Dufy: Catalogue Raisonné de l’Oeuvre, 1888-1964, Paris, 2002, no. J. 632, p. 317, illus. This painting is accompanied by a photo-certificate of authenticity from Madame Germaine Dufy, dated June 1970. C $8,000-12,000

Property from the Collection of Faith Stewart-Gordon 28 Maurice de Vlaminck French, 1876-1958 La Table Chargée Signed Vlaminck (lr) Watercolor, gouache and ink on paper 7 7/8 x 13 3/8 inches (20 x 34 cm) Provenance: David B. Findlay Galleries, New York Mrs. Allen Owens, Palm Beach, FL Sale: Sotheby Parke-Bernet Inc., New York, Dec. 11, 1980, lot 41, acquired here by the present owner According to Sotheby Parke-Bernet, Paul Pétridès had confirmed the authenticity of this work in a photo-certificate dated Paris, September 15, 1980. According to David B. Findley Galleries, this is one of thirty gouaches painted in 1945/46 to illustrate Marcel Amyé’s La Table aux Crevés, which was published by Editions Flammarion. C $7,000-10,000

28 BID ONLINE AT DOYLE.COM 23

29 29 Maurice de Vlaminck French, 1876-1958 Village sous la Neige Signed Vlaminck (lr) Oil on canvas 20 x 24 inches (50.2 x 61 cm) Provenance: Galerie Moderne, Paris Hirschl & Adler Galleries, New York, 1967 Niveau Gallery, New York With a photo-certificate from Gilbert Pétridès, dated Paris March 29, 1990, attesting to the authenticity of the work This work will be included in the forthcoming Maurice de Vlaminck Digital Catalogue Raisonné being prepared under the sponsorship of the Wildenstein Plattner Institute C $60,000-80,000

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30 Property from the Estate of Miriam and Howard Rand, Beverly Hills, California 30 Maurice de Vlaminck French, 1876-1958 Paysage Signed Vlaminck (lr) Oil on canvas 18 1/8 x 21 5/8 inches (46.2 x 55 cm) Provenance: George Dambassis, New York Stephen Silagy Galleries, Beverly Hills Hammer Galleries, New York, purchased February 26, 1960 This painting will be included in the forthcoming Catalogue Critique of the paintings of Maurice de Vlaminck, according to the Wildenstein Institute, Paris, in a letter dated May 11, 2017. C $25,000-35,000

Property from the Estate of Miriam and Howard Rand, Beverly Hills, California 31 Jean Dufy French, 1888-1964 CalĂ¨ches et Cavaliers Signed Jean Dufy (lr) Oil on canvas 18 x 13 inches (45.7 x 33 cm) This work is accompanied by a photo-certificate from Jacques Bailly, dated Paris, 26 July 2017, and numbered 4627, in which he confirms the authenticity of the painting and states that the work will be included in the Catalogue RaisonnĂŠ, now in preparation. 31 C $20,000-30,000 VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 25

32 Marie Laurencin French, 1883-1956 Buste de Jeune Fille au Collier de Perles Signed Marie Laurencin (ll) Oil on panel 10 5/8 x 8 1/2 inches (27 x 21.5 cm) Provenance: Galerie J. Le Chapelin, Paris Bernard Danenberg Gallery, New York C $15,000-20,000

33 Louis Valtat French, 1869-1952 Les Couturieres, 1918 Signed L. Valtat (ll) Oil on canvas 32 x 26 inches (81.3 x 66 cm) Literature: Docteur Jean Valtat, Louis Valtat: Catalogue de l’Oeuvre Peint, 1869-1952, vol. I, Paris, 1977, no. 1371, p. 153, illus. C $25,000-35,000

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34 Louis Valtat French, 1869-1952 Afternoon Tea, circa 1925 Signed L.V (ll); inscribed 8320/CHICAGO/ WFindlay on the stretcher Oil on canvas 12 x 14 3/8 inches (30.5 x 36.5 cm) Provenance: Wally Findlay Galleries, New York, acquired from the Valtat Family in the 1950s Mr. Leon Aymonier, Chicago, acquired from the above in 1965 Wally Findlay Galleries, Chicago/New York, 1969, Inv. no. 8320 Collection of Mr. and Mrs. Leo Neuberger, NY, acquired from the above in 1969 C $10,000-15,000

35 Louis Valtat French, 1869-1952 Femmes au Bois de Boulogne, 1918 With stamped initials (Lugt 1771 bis) (lr) Oil on paper laid to canvas 19 1/2 x 15 3/16 inches (49.5 x 38.6 cm) Provenance: Wally Findlay Galleries, New York, acquired in 1966 Literature: Docteur Jean Valtat, Louis Valtat: Catalogue de lâ&#x20AC;&#x2122;Oeuvre Peint, 1869-1952, vol. I, Paris, 1977, no. 1367, p. 152, illus. Accompanied by a photo-certificate of authenticity from Dr. Jean Valtat dated Paris July 12, 1965 C $10,000-15,000

35 VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 27

36 Maurice Utrillo French, 1883-1955 Le Cabaret du Lapin Agile Signed Maurice Utrillo V. (lr) Oil on canvas 13 3/8 x 16 5/16 inches (34 x 41.5 cm) Provenance: Galerie Henri Gaffié, Nice Niveau Gallery, New York Accompanied by a photo-certificate of authenticity from the artist C $30,000-50,000

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Property from the Estate of Miriam and Howard Rand, Beverly Hills, California 37 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 $20,000-40,000

VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 29

38 Milton Dacosta Brazilian, 1915-1988 House with Covered Porch, 1936 Signed Da Costa (lr); inscribed indistinctly in Portuguese on the reverse DA Costa/ SOLAR/O...erecido... Associacao/...aule..de Impreusa/po... intermedeo do Grupo/chove ...o Molhado/M DACOSTA/936 Oil on canvas 19 7/8 24 1/8 inches (50.5 x 61.4 cm) Provenance: Breno Krasilchik, São Paulo, Brazil Private collection, New York, acquired from the above in January 1993 C $7,000-10,000

39 Esteban Chartrand Cuban, 1840-1884 Cuban Landscape, 1877 Signed and dated E. S. Chartrand/1877 (lr) Oil on canvas 18 1/4 x 24 1/2 inches (46.3 x 62.2 cm) Dr. Olga Lopez has confirmed the authenticity of this work in a letter dated December 21, 2005. C $12,000-18,000

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Property from The James P. and Joan M. Warburg Collection 40 Diego Rivera Mexican, 1886-1957 Shade Trees with House and Figures, circa 1935 Signed Diego Rivera (lr) Ink and watercolor heightened with white on laid paper 19 1/8 x 25 5/8 inches (48.5 x 65 cm) C $25,000-45,000

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41 Salvador Dalí Spanish, 1904-1989 Portrait of Ruth Lachman, 1961 Signed and dated Salvador Dalí 1961 (lr) Oil on canvas 36 x 24 3/4 inches (91.5 x 62.9 cm) Provenance: Acquired from the artist in 1961 by Ruth Lachman Thence by descent to the current owner C $80,000-120,000

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42 [Salvador Dalí] Dali: A Study of His Life and Work Greenwich: New York Graphic Society, [1958]. First American edition with a large original drawing and inscription in blue ink over the half title and adjacent blank leaf, the drawing at left depicting a standing figure signed "Dalí 1957" and the inscription "Pour Ruth Lochman/Homage de Dalí", the right side with a horseman and two figures in a vast landscape. The book 13 1/2 x 14 1/4 inches (34.3 x 36.2 cm); the inscribed leaves open to 13 1/2 x 28 1/2 inches (34.3 x 72.4 cm). Publisher's decorated boards. Illustrated with tipped-in color reproductions and black and white illustrations after Dalí. Provenance: Acquired as a gift from Dali to Ruth Lachman [See previous lot] C $8,000-12,000

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43 Victor Léon Charreton French, 1864-1936 Garden in Bloom Signed Victor Charreton (lr) Oil on canvas 23 1/2 x 28 3/4 inches (59.7 x 73 cm) Provenance: Private collection, acquired in Geneva, Switzerland circa 1970/80 Thence by descent in the family to the present owner C $8,000-12,000

44 Victor Léon Charreton French, 1864-1936 Chateau with Flowering Trees Oil on canvas 23 5/8 x 28 3/4 inches (60 x 73 cm) Provenance: Private collection, acquired in Geneva, Switzerland circa 1970/80 Thence by escent in the family to the present owner C $7,000-10,000

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45 Maximilien Luce French, 1858-1941 Madame Luce (Portrait d’Ambroisine), circa 1900 Stamped with signature Luce (lr) Oil on printed paperboard 16 1/2 x 14 1/2 inches (41.9 x 36.8 cm) Provenance: Studio of the artist Collection of Frédéric Luce Sale: Appay, Gairoard Et Besch, Cannes, Jul. 18, 2000 Literature: Denise Bazetoux, Maximilien Luce: Catalogue Raisonné de l’Oeuvre Peint, Paris, 2005, vol. III, no. 400, illus. p. 120 C $8,000-12,000

46 Carl Emil (Vilhelm) Milles American/Swedish, 1875-1955 Europa (From Europa and the Bull) Stamped with foundry mark Herman Bergman Fud. on the back of the base Bronze Height 23 1/2 inches (59.7 cm) including integral base C $12,000-18,000

46 VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 35

47 Joseph Floch Austrian, 1894-1977 City Park, 1955 Signed Floch (lr) Oil on canvas 24 x 30 1/4 inches (61 x 76.8 cm) Literature: Karl Pallauf, Josef Floch - Leben und Werk, 1894-1977, 2000, no. 525, p. 318, illus. C $10,000-15,000

48 Joseph Floch Austrian, 1894-1977 San Francisco Bay, circa 1960 Signed Floch (ll) Oil on canvas 21 x 27 inches (53.3 x 68.5 cm) Provenance: Forum Gallery, New York C $10,000-15,000

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49 Willy Eisenschitz Austrian/French, 1889-1974 Pyrenees Town Signed W. Eisenschitz (ll); inscribed Walter Gatzart/4675 on the reverse Oil on canvas 28 3/4 x 36 1/4 inches (73 x 92 cm) Provenance: Sale: Braswell Galleries, Norwalk, CT, Sep. 12, 1995 C $12,000-18,000

50 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

50 VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 37

Property from the Estate of Rita Hirsch 51 Emilio Grau-Sala Spanish, 1911-1975 Interieur, 1970 Signed Grau Sala (ll); signed, dated and titled Grau Sala/1970/”Interieur” on the reverse Oil on canvas 23 1/2 x 28 3/4 inches (59.7 x 73 cm) C $8,000-12,000

52 Emilio Grau-Sala Spanish, 1911-1975 Country Road, 1938 Signed and dated Grau Sala 38 (ll) Oil on canvas 15 x 18 1/8 inches (38 x 46 cm) Provenance: Alexander Kahan Fine Art, Ltd., New York Sale: Sotheby’s, NY, Feb. 23, 2006, lot 129 C $8,000-12,000

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53 Emilio Grau-Sala Spanish, 1911-1975 The Aquarium, 1962 Signed Grau-Sala (lr); signed and dated GRAU SALA/Paris 1962 on the reverse and inscribed Grau Sala twice on the stretcher Oil on canvas 28 7/8 x 36 1/4 inches (73.3 x 92 cm) C $8,000-12,000

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54 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

54 55 Constantin Kluge French, 1912-2003 Notre-Dame (Dessin), 1963 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, 1963 Private Collection, 1964 Wally Findlay Galleries, Palm Beach, 1969 Private Collection, 1969, from whom acquired by the present owner This work will be included in the Catalogue Raisonné presently in preparation by The Findlay Institute, and is accompanied by a certificate of authenticity dated April 7, 2017 C $3,000-5,000

56 André Hambourg French, 1909-1999 Chalutiers et Vaurien au Large (Deauville) Signed a. hambourg (lr); also signed with initials and inscribed Chalutiers et/vaurien au/large/ (Deauville) on the reverse Oil on canvas 10 3/4 x 18 1/8 inches (27.4 x 46.5 cm) Provenance: Wally Findlay Galleries, New York C $8,000-12,000

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57 Montague Dawson British, 1890-1973 In Pursuit Signed Montague Dawson (ll) Oil on canvas 24 x 36 1/8 inches (61 x 91.8 cm) C $50,000-70,000

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58 Montague Dawson British, 1890-1973 Silver Clouds: The J. N. Cushing of Newburyport, 671 Tons Built in 1853 Signed Montague Dawson (ll); inscribed M.D. 57 mv/co and titled on the stretcher Oil on canvas laid to panel 24 x 35 7/8 inches (61 x 91 cm) Provenance: Private estate, MA, thence by descent in the family to the present owner C $30,000-50,000

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AMERICAN ART

Lot 66

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59 John White Alexander American, 1856-1915 Woman in Black (Portrait of Mrs. Paul W. Bartlett), 1893 Signed John W. Alexander and dated 93 (ll); inscribed Portrait by John W. Alexander on the reverse Oil on canvas 75 1/2 x 36 inches Provenance: Emily Montgomery Skinner Bartlett (Mrs. Paul Wayland Bartlett), Rome, Italy Mint Museum of Art, Charlotte, NC, acquired from the above Berry-Hill Galleries, New York Exhibited: Paris, Societé Nationale des Beaux-Arts, Salon of 1894 Chicago, IL, Art Institute of Chicago, 1894 St. Petersburg, Russia, Exposition internationale artistique de Saint-Petersbourg, 1901-1902, no. 90 (as Portrait de Mme. B.) Literature: Berry-Hill Galleries, New York, American Paintings II, 1983, p. 47, illus. In a letter dated Aug. 31, 1978, Mary Anne Goley wrote, “The Portrait of Mrs. Paul W. Bartlett, also known as Woman in Black, is the painting exhibited on the Champ de Mars at the Societé Nationale des Beaux-Arts in 1894. This is well documented. However, according to my records, it was never exhibited at the World’s Fair, but one year later in 1894 at the Art Institute of Chicago. Emily Montgomery, former wife of the sculptor Paul Wayland Bartlett, wrote of her portrait in a letter dated January 1, 1938: “I knew all the artists of note in Paris and I was the youngest of the artists’ wives so I was rather popular... “

She described the portrait as “one of John Alexander’s earliest portraits, painted in 1894. Exhibited in the Paris salon the following year, with great success, that same year Mr. Alexander was made ‘Hors Concours.’ This portrait has been exhibited all over the world in Russia – Italy – the Chicago World Exhibition etc. etc.“ While her dates are slightly off, her reminiscence of her Parisian sojourn more than forty years earlier sheds a uniquely personal perspective on the close-knit circle of American artists working abroad. C $12,000-18,000

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60 part

Property from the James P. and Joan M. Warburg Collection 60 John Gutzon de la Mothe Borglum American, 1867-1941 Maquette for the Lincoln Memorial in Newark, New Jersey, 1910 Signed, dedicated and dated With love / to Paul Warburg / Gutzon Borglum / 1910 on the top of the bench; stamped Gorham & Co. Founders on the rear edge of the bench; Together with John Gutzon de la Mothe Borglum, Self Portrait, signed J G Borglum, dated June 15 - 1904 and inscribed Phila (lr), graphite pencil on paper, 7 7/8 x 4 3/4 inches Bronze with greenish brown patina 20 1/2 x 27 x 17 inches Provenance: The artist Paul Moritz Warburg, New York, gift of the above By descent in the family; C $70,000-110,000 60 part

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Property from the Estate of Eve G. Kingsland 61 Colin Campbell Cooper American, 1856-1937 West Side, New York, 1908 Signed Colin Campbell Cooper and dated 1908 (lr); titled on a label affixed to the verso Gouache, graphite and colored pencil, and pastel on paper laid to board 30 x 22 inches Although identified by the artist as West Side New York, this vibrant view of Manhattan, painted during an election year, appears to depict a curving, busy thoroughfare wending its way in the general direction of the Williamsburg bridge. In a foreground dominated by brownstones and an elevated train, a throng of bystanders regards a delivery made by horse and carriage. In the middle distance, where the buildings are much taller, a campaign banner for presidential candidate William Howard Taft traverses the busy street. Colin Campbell Cooper was a master at rendering the smoke and steam of a dynamic city; here he captures the excitement of a campaign year in vivid hues of pink, vermilion and ochre, interspersed with blue and gray. C $10,000-15,000

61 62 Luigi Lucioni American/Italian, 1900-1988 Crystal Fountain and Loggia at Laurelton Hall, 1925 Signed L. Lucioni and dated 1925 (ll) Oil on canvas 25 1/8 x 20 1/8 inches Provenance: Mrs. H. H. Wehrhane, Manchester, VT By descent to her nephew Berry-Hill Galleries, New York Luigi Lucioni enjoyed a fruitful relationship with the Louis Comfort Tiffany Foundation, which had been established in 1918 in order to foster the abilities of young artists. The participants in the program resided at Laurelton Hall for the summer months, with no other restrictions than these: to make sketches inspired by the exquisite grounds and specimen plantings that they would then work up into finished paintings over the winter, and to not work from the model. Among the hundreds of artists who were admitted to the program were Paul Cadmus, Ilya Bolotowski, and Alan Dunn. There was no formal instruction, only the opportunity to work in a collaborative and supportive environment.

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Beginning in 1924 and continuing for a decade, for part of each year Lucioni painted at Laurelton Hall; in 1925 the financial support of the Foundation permitted him to travel to Italy for the first time since his childhood. Exposure while there to the work of Renaissance masters had a lasting impact on his work. This light-infused composition, painted in the impressionistic style of his early years depicts the crystal fountain and loggia at Laurelton Hall, to which fellows could gain entrance by special request. A portion of the loggia that survived the devastating 1957 fire that destroyed Tiffany’s architectural masterpiece is an integral part of the American Wing at The Metropolitan Museum of Art. C $10,000-15,000

63 Emil (Soren Emil) Carlsen American/Danish, 1848-1932 Autumn Forest, circa 1919 Oil on canvas 24 x 20 inches Provenance: The artist Luella May Carlsen, the artist’s wife, by inheritance, 1932 Dines Carlsen, the artist’s son, circa 1944 Estate of Florence B. G. S. Carlsen, Falls Village, CT, 1966 Wortsman Rowe Galleries, San Francisco, CA, circa 1975 Mr. and Mrs. Gunnar Anderson, circa 1975 Sotheby’s New York, Dec. 5, 1985, lot 131, illus. Frederick R. Koch, New York, NY, acquired at the above Sotheby’s New York, Mar. 11, 1999, lot 56

Exhibited: San Francisco, CA, Wortsman Rowe Galleries, San Francisco, CA, The Art of Emil Carlsen: 1853-1932, Jan. 10 - Feb. 21, 1975; Los Altos, CA, Rubicon Gallery, Jan. 17 - Feb. 28; El Paso, TX, The El Paso Museum of Art, Mar. 2 - Mar. 30; Houston, TX, Robert Rice Gallery, Apr. 10 - May; New York, Coe Kerr Gallery, Jun. - Jul.; San Diego, CA, The Fine Arts Gallery of San Diego, Aug. 20 - Oct. 10; West Palm Beach, FL, The Norton Gallery of Art, Nov. - Dec., no. 15, p. 92, illus. p. 85 San Francisco, CA, The Fine Arts Museums of San Francisco: California Palace of the Legion of Honor and M. H. De Young Memorial Museum, n.d. (on loan) Literature: Archive of Works by Emil Carlsen Compiled by Dines Carlsen, circa 1960, no. U70, p. 18, illus. Rubicon-Wortsman Publishing, San Francisco, CA, The Art of Emil Carlsen: 1853-1932, exhi. cat., 1975, no. 15, illus. The present work is included in the online Emil Carlsen Archives, which indicates that it was painted on Jerome Avenue. C $10,000-15,000

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64 64 Charles Caryl Coleman American, 1840-1928 A View of Monte Solaro, Capri (A Capri Villa) Inscribed Coleman in chalk on the backing; affixed to the stretcher is an old exhibition label 9 A Capri Villa, morning effect as seen from. . . a window Oil on canvas with original panel-back stretcher 18 5/8 x 24 1/2 inches Provenance: Rose O’Neill, Bonniebrook, MO Paul O’Neill, her nephew, Springfield, MO Private collection, MA, acquired from the above, 1986 Exhibited: New York, National Academy of Design, Winter exhibition, Nov. 25 - Dec. 7, 1924, no. 87 [as Capri View] Federation of Arts Rotary Exhibition, about 1924-1926 [as View of Capri] Oguinquit, ME, Ogunquit Museum of American Art, Painted Air: American Impressionism, Aug. 14 - Oct. 15, 2000, cat. p. 11, dated circa 1870 Rose O’Neill (1875-1944) was a friend of Coleman’s and an artist herself. Today she may be best remembered as the creator of the Kewpie books, comic strip, and other products. She inherited his Villa Narcissus on Capri. In an email dated July 9, 2002, Adrienne Baxter Bell, who is compiling the catalogue raisonné of Charles Caryl Coleman’s work, observed, “As for your... Coleman painting, Capri View... really should be called View of Monte Solaro, Capri. Monte Solaro is the highest mountain on the island, the place from which one derives a panoramic view. The view Coleman selected is one of the most popular, which suggests that he painted this work more for the commercial market than, strictly speaking, for himself.” C $12,000-18,000 48 DOYLE • NOVEMBER 15, 2017 • NEW YORK

65 65 George Gardner Symons American, 1863-1930 Fishing Village, St. Ives, 1900-1915 Signed Gardner Symons (ll) Oil on canvas 25 1/4 x 30 1/4 inches Provenance: Estate of the artist Zara Symons Betts Estate of Irene Treverrow, Bronxville, NY Sale: Sotheby’s New York, Jan. 30, 1980, lot 295, illus. Dr. and Mrs. John J. McDonough, Youngstown, OH, acquired at the above Estate of Dr. John J. McDonough Christie’s New York, Dec. 4, 1992, lot 40 Exhibited: Brooklyn, NY, Pratt Institute Art Gallery, Exhibition of Twenty Three Landscape Paintings by Gardner Symons, 1915, no. 5 New York, William Macbeth Gallery, Paintings by American Artists, n.d. Pittsburgh, PA, Museum of Art, Carnegie Institute, Directions in American Painting 1875-1925: Works from the Collection of Dr. and Mrs. John J. McDonough, Jun. 5 - Aug. 8, 1982; traveling to Columbus, OH, Columbus Museum of Art, Oct. 16 - Nov. 28, 1982; Chattanooga, TN, Hunter Museum of Art, Jan. 9 - Feb. 27, 1983; Jacksonville, FL, Cummer Gallery of Art, Mar. 25 - May 17, 1983, no. 35, pp. 82-83, illus. Youngstown, OH, Youngstown State University, The John J. McDonough Museum of Art, Inaugural Exhibition, Oct. 1992 - May 1993, p. 29 C $20,000-30,000

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66 Willard Leroy Metcalf American, 1858-1925 Partridge Woods, 1906 Signed W. L. Metcalf and dated 1906 (ll) Oil on canvas 29 x 26 1/8 inches Provenance: Harry N. Redman, Boston, MA Rose Zarucki, New York By descent in the family By gift to the current owner Exhibited: Corcoran Gallery of Art, Annual Exhibition of Oil Paintings by Contemporary Artists, Feb. 7 - Mar. 9, 1907 (possibly) New York, Montross Gallery, Ten American Painters, 10th Annual Exhibition, Mar. 19 - Apr. 6, 1907 no. 17 [as lent by Harry N. Redman] Boston, Museum of Fine Arts, lent by Harry N. Redman to the galleries from Apr. 16, 1907 - Feb. 23, 1909; Oct. 30, 1909 - Nov. 21, 1910; Dec. 18, 1912 - Mar. 25, 1913; Sep. 18, 1913 - Nov, 23, 1915; Jan. 11 - Mar. 13, 1916; Sep. 14, 1916 - Apr. 13, 1952 Literature: Museum of Fine Arts, Boston, Annual Report, 1916, p. 113, lists two paintings lent by Harry N. Redman, Partridge Woods and Johnny Cake Hill. William H. Gerdts et al, Ten American Painters, Spanierman Gallery, New York, 1990, p. 182 50 DOYLE • NOVEMBER 15, 2017 • NEW YORK

A copy of the letter of authenticity dated Oct. 17, 2017, from the Willard Leroy Metcalf Catalogue Raisonné Project, accompanies this work. Partridge Woods is one of three landscapes by Willard Metcalf that had been owned by Harry Newton Redmond, a Boston area composer and sometime painter. His collection also included Johnnycake Hill and Budding Oak #2. Two of the three, Partridge Woods and Budding Oak #2, were included in the 1907 exhibition of The Ten at Montross Gallery, which was reviewed by James B. Townsend in American Art News [Mar. 23, 1907, vol. v, no. 23, n.p.]. The reviewer infers that Partridge Woods was included in an exhibition at the Corcoran Gallery prior to the Montross show: From Willard Metcalf come his Corcoran Gallery Partridge Woods and a tonal outdoor study, Budding Oak. Townsend closes his review with a word of advice to the reader: This is the message of The Ten as spelled in all these 29 canvases. Go and read it and come away with heart and soul rejoicing, that American painters can give such a message of joy, of life and promise. Partridge Woods is included in the chronological listing of the work of Willard Metcalf compiled by Bruce Chambers. This work will be included in the forthcoming catalogue raisonné coordinated by Betty Krulik and the Willard Leroy Metcalf Catalogue Raisonné Project, Inc. C $150,000-250,000

67 Maurice Brazil Prendergast American, 1859-1924 Farm House near Annisquam, Massachusetts, circa 1916-19 Signed Prendergast twice (ll and lr) Watercolor, graphite pencil, pastel, charcoal and gouache on paper 11 1/2 x 15 5/8 inches Provenance: The artist Charles Prendergast, by inheritance, 1924 Dr. and Mrs. J. R. Dunham Laird, Spring Valley, NY [With] Paul Kunkel [With] Arcadia, Washington, DC, by 1983 [With] Larry Schar, New York [With] Richard York Gallery, New York, 1986 [With] Marshall Henis, Great Neck, NY, 1986 Private collection, 1986 Exhibited: Los Angeles, Los Angeles County Museum of Art, Maurice Prendergast, Feb. 20 - Apr. 21, 1991 Literature: Carol Clark, Nancy Mowll Mathews, and Gwendolyn Owens, Maurice Brazil Prendergast, Charles Prendergast: A Catalogue RaisonnĂŠ, Williams College Museum of Art, 1990, p. 520, no. 1281, illus. C $30,000-50,000

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68 Walt Francis (Walter) Kuhn American, 1877-1949 Vera Kuhn Reading on the Porch, circa 1911 Oil on canvas 20 1/8 x 24 1/4 inches Provenance: Estate of the artist Kennedy Galleries, Inc., New York Midtown Payson Galleries, New York Barridoff Galleries, Portland, ME Vose Galleries, Boston, MA Sotheby’s New York, Arcade, Sep. 24, 1998, lot 167 Private collection, acquired from the above C $10,000-15,000

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69 Alexis Jean Fournier American, 1865-1948 Spring Morning, Seine, 1923 Signed Fournier and inscribed Spring Morning • Seine (ll) Oil on canvas 28 1/2 x 60 3/8 inches Provenance: Commissioned by Maude Ireland Bunker, South Bend IN, 1923 Charles and Virginia Bunker of South Bend, IN, gift of the above Jeffery and Carol Bunker, Clark’s Hill, IN, gift of the above, 1957 Estate of Carol Bunker C $8,000-12,000

70 Reynolds Beal American, 1866-1951 Wellfleet, 1916 Inscribed as titled and dated 1916 (ll); inscribed Wellfleet / Cape Cod / 1916 on the upper stretcher and painted by Reynolds Beal 1916 / Early 20th Century American Impressionist / 23 June 1976 in another hand on the lower stretcher Oil on canvas 24 x 30 1/8 inches

Provenance: Acquired at auction at Mystic Fine Arts, New London, CT, late 1980s / early 1990s C $7,000-10,000

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71 71 John Fulton Folinsbee American, 1892-1972 Hockamock Bay, circa 1935 Signed John Folinsbee (lr); inscribed as titled on the upper stretcher Oil on canvas 20 x 30 inches Provenance: The artist Mrs. Tudor Gardiner, Boston, MA, acquired from the above Coryell Gallery, Lambertville, NJ High Tri Volume Engineering, Burlington, MA Private collection, 1988-2003 Sotheby’s, New York, American Paintings, Drawings and Sculpture, Mar. 13, 2002, lot 28 Private collection, acquired from the above

Sketch of Hockamock Bay, Folinsbee Stock Book, Courtesy of the John Fulton Folinsbee Art Trust

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The present work is no. 1139 in The John F. Folinsbee Catalogue Raisonné. The notes for this painting in the online catalogue indicate that a small related working sketch appears in Folinsbee’s Stockbook documenting the years 1920s-1940s, on a page dated 1935. Hockomock Bay is a small brackish bay connected to Montsweag Bay, in the vicinity of Wiscasset and Bath, Maine. Beginning in the mid-1930s, Folinsbee and his family spent their summers in Maine. In 1949 they bought an old farmhouse, Murphy’s Corner, on Montsweag Bay. We thank Nikki Hayes, manager of the Catalogue Raisonné and the John Fulton Folinsbee Art Trust for assistance in cataloguing and documenting the present work. C $15,000-25,000

72 Marguerite Thompson Zorach American, 1887-1968 Baby Girl (The Awakening), circa 1915 Signed M. Zorach (lr); titled Baby Girl on a Kraushaar Galleries label affixed to the backing Oil on canvas, laid to board 18 1/4 x 15 3/8 inches Provenance: Kraushaar Galleries, Inc., New York C $8,000-12,000

73 Marguerite Thompson Zorach American, 1887-1968 Boothbay Harbor, Maine Oil on canvas 19 x 26 1/8 inches Provenance: Columbus Gallery of Fine Arts, Columbus, OH Dr. and Mrs. Elton R. Yasuna, Worcester, MA Kraushaar Galleries, Inc., New York C $12,000-18,000 72

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

GUY Property from the Collection of Willa Kim and William Pène du Bois 74 Guy Pène du Bois American, 1884-1958 Bus Top [On Top of the Bus], 1924 Signed Guy Pène du Bois and dated 24 (lr); inscribed as titled on an old label on the reverse; numbered K28 on a second label on the reverse Oil on panel 20 x 15 inches Provenance: Estate of the artist By descent to William Pène du Bois, his son By descent to Willa Kim, his wife Exhibited: New York, C. W. Kraushaar Art Galleries, An Exhibition of Paintings and Drawings by Guy Pène du Bois, Nov. 3 - 5. 1925, no. 2, illus. [as On Top of the Bus] New York, James Graham and Sons, Guy Pène du Bois, 1884-1958, Paintings of 20 Younger Years, no. 16, illus. Southampton, NY, Parrish Art Museum, Guy Pène du Bois, 1884-1958, Jul. 10 - Aug. 2, 1964, no. 25, illus. This striking composition of two young women riding on the upper tier of a double-decker bus epitomizes the work of Guy Pène du Bois in the 1920s. Rendered in the artist’s mature style, these fashionably attired flappers are lost in thought, isolated although they appear to be traveling together. They wear identical black coats and hats; only their blouses are different. The head of one is bowed, her gloved hands clasped in her lap, while her companion gazes out as the bus follows its route. Neither appears to move. Betsy Fahlman writes that the artist “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].

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Probably painted before the Pène du Bois family departed for France in December of 1924, Bus Top may reflect a level of confidence of which he writes in his journal on September 2 of that year: “I’m quite past worrying about lights now. I feel that I can manage to do what I like with the model before me. That is a tremendous step for me whom models have always hypnotized.” [Pène du Bois journal, vol. 1, p. 265]

Pène du Bois’s paintings often teeter at the edge of satire. On April 6, 1924, the artist wrote, “I do not know why I am called satirical except that I tell a truth which has a material rather than a spiritual glamour.” [Pène du Bois journal, vol. 1, p. 236]

In a marvelous essay written for a volume devoted to Guy Pène du Bois in the Whitney Museum’s American Artists Series, Royal Cortissoz likened his work to that of two other acerbic masters: “His paintings are of types rather than incidents. But the tone, the temper of these paintings is what gives them point, the sympathy and the wit behind them, and in this he follows the memorable tradition of Daumier and Forain. He shares their questing, malin spirit, looking about him with a consciousness of the weakness and folly of mankind and reporting thereon with a mental vivacity that is half the battle. He looks on at the actors in his cosmos as if he were watching a show but there is nothing of the theatre in his reflecting of the proceedings, nothing factitious. He is, instead, direct and clear. His art is life seen through a temperament, through a mentality. It is a vital thing.” [Royal Cortissoz, Guy Pène du Bois, American Artists Series, Whitney Museum of American Art, 1931, pp. 10-11]

We extend our most sincere thanks to Dr. Betsy Fahlman, Professor of Art History, Arizona State University for her generous assistance in cataloguing this lot. C $80,000-120,000

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Property from the Collection of Willa Kim and William Pène du Bois 75 Guy Pène du Bois American, 1884-1958 Les Proprietaires Signed Guy Pène du Bois and dated indistinctly (lr); titled Les Proprietaires and numbered cat 116 on a label affixed to the stretcher Oil on canvas 25 5/8 x 35 3/4 inches Unframed Provenance: The artist By descent to William Pène du Bois, his son By descent to Willa Kim, his wife C $40,000-60,000

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Property from the Collection of Willa Kim and William Pène du Bois 76 Guy Pène du Bois American, 1884-1958 Captain Billy (Portrait of William Pène du Bois Seated, with a Sailboat Model), 1925 Signed Guy Pène du Bois (lr) Oil on canvas 36 x 29 inches Provenance: The artist By descent to William Pène du Bois, his son By descent to Willa Kim, his wife Exhibited: New York, Kraushaar Galleries, Exhibition of Paintings by Guy Pène du Bois, Dec. 6 - 28, 1927, no. 8 Pittsburgh, PA, Carnegie Institute, 17th Annual International Exhibition of Paintings, Oct. 18 - Dec. 9, 1928, no. 77 Philadelphia, PA, Pennsylvania Academy of the Fine Arts, 127th Annual Exhibition of Painting and Sculpture, Jan. 24 - Mar. 13, 1932, no. 269 New York, Kraushaar Galleries, Paintings by Guy Pène du Bois from 1908-1938, Nov. 15 - Dec. 10, 1938, no. 18 Pittsburgh, PA, Carnegie Institute, An Exhibition of Paintings by Guy Pène du Bois from 1908 to 1938, Jan. 4 - 22, 1939, no. 29 New York, Portraits Inc., American Portraits by American Painters, 1730-1944, 1921-1944 group, Apr. 24 - May, 13, 1944, Knoedler Galleries, no. 44 Literature: Helen Appleton Read, “News and Views of Current Art: Guy Pène du Bois,” Brooklyn Daily Eagle, Dec. 11, 1927 Helen Appleton Read, “Portraits of Children,” Vogue, Apr. 15, 1931, p. 90, illus.

The present work was photographed by Peter A. Juley & Son; the original nitrate negative is part of the Peter A. Juley & Son Collection, Photograph Archives, Smithsonian American Art Museum, Washington, DC We extend our most sincere thanks to Dr. Betsy Fahlman, Professor of Art History, Arizona State University for her generous assistance in cataloguing this lot. C $8,000-12,000

Property from the Collection of Willa Kim and William Péne du Bois 77 Guy Pène du Bois American, 1884-1958 Billy, circa 1941 Signed Guy Pène du Bois (lr); initialed GPB on the reverse; inscribed as titled on an exhibition label from the Pennsylvania Academy of the Fine Arts on the reverse Oil on canvas 25 1/4 x 20 inches Unframed Provenance: The artist By descent to William Pène du Bois, his son By descent to Willa Kim, his wife Exhibited: Philadelphia, PA, Pennsylvania Academy of the Fine Arts, Thirty-Sixth Annual Exhibition, 1941, no. 1631 C $6,000-8,000

Peter A. Juley, Photograph of William Pène Du Bois, n.d

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78 Boris Lovet-Lorski American/Lithuanian, 1894-1973 God Unknown, circa 1930 Signed Lovet-Lorski at the nape of the neck on the left White marble on black marble base Height 10 1/2 inches Provenance: Helena Rubinstein, New York Private collection, CA Exhibited: New York, The Jewish Museum, Helena Rubinstein: Beauty is Power, Oct. 12, 2014 - Feb. 15, 2015 Literature: Merle Armitage, The Sculpture of Lovet-Lorski, New York: E. Weyhe, 1937, pp. 74, 76 C $10,000-15,000 78

78 alternate view

79 Bror Julius Olsson Nordfelt American/Swedish, 1878-1955 Portrait of a Woman with Red Hair (Woman with Orange Hair), circa 1916 Signed Nordfeldt (ul) Oil on canvas 27 1/4 x 24 3/8 inches Provenance: Berry-Hill Galleries, New York C $8,000-12,000

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80 William Gropper American, 1897-1977 The Smokers Signed Gropper (lr); inscribed Smokers on the backing Oil on canvas 25 3/4 x 30 3/4 inches Exhibited: Miami, FL, Joe and Emily Lowe Art Gallery, University of Miami, William Gropper Retrospective, Feb. 15 Mar. 10, 1968, traveling to Phoenix AZ, Phoenix Art Museum; Palm Springs, CA, Palm Springs Desert Museum; Syracuse, NY, Syracuse University School of Art; Montclair, NJ, Montclair Art Museum C $7,000-10,000

Property from the Collection of Faith Stewart-Gordon 81 Walt Francis (Walter) Kuhn American, 1877-1949 Trude, 1931 Inscribed as titled and dated 1931 (ll) Watercolor and graphite pencil on paper 19 1/2 x 14 5/8 inches Provenance: Kennedy Galleries, Inc., New York Coe Kerr Gallery, New York Andrew Crispo Gallery, New York C $7,000-10,000

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82 Max Weber Russian/American 1881-1961 Sketch for Mural, 1932 Signed Max Weber (ll); titled and dated on an old label on the stretcher Oil on canvas 18 x 21 1/2 inches C $8,000-12,000

83 Ernest Fiene American/German, 1894-1965 South American Labor, A Mural Study II, circa 1935-7 Oil on Masonite 30 x 55 inches Provenance: Estate of the artist Sale: Tepper Galleries, New York, “33 works from the estate of the artist," May 2, 1996, lot 45 Private collection, acquired at the above Exhibited: New York, ACA Galleries New York, Sid Deutsch Gallery C $7,000-10,000

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84 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

Property from the Collection of Faith Stewart-Gordon 85 Milton Clark Avery American, 1885-1965 Still Life with Fruit Signed Milton Avery (lr) Oil on board 6 3/4 x 14 1/2 inches C $7,000-10,000

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86 Robert William Wood American, 1889-1979 Bluebonnets Signed Robt Wood (lr) Oil on canvas 25 1/8 x 30 1/4 inches • $8,000-12,000 Property from the Estate of Charles Austin Buck 87 Robert Kennedy Abbett American, 1926-2015 Split Rail Bobwhite Signed Abbett, copyrighted and dated 1974 (ll) Oil on canvasboard 24 x 36 inches; Together with Robert Kennedy Abbett, Split Rail Bobwhite, color lithograph, 1974, signed and numbered 1/500 and with pencil remarque of a bird in a landscape, published in 1977 by Sportsman’s Edge, Ltd.; image 18 x 27 inches, sheet 23 x 31 1/3 inches C $8,000-12,000 86

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POST-WAR ART

Lot 93 VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 65

Property from the Estate of Dr. Paul Hershenson 88 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 $10,000-15,000

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Property from the Dorothy Lewis 2013 Irrevocable Trust 89 Alexander Calder American, 1898-1976 Untitled, 1971 Signed with initials (lc) Gouache and ink on paper 22 7/8 x 15 1/2 inches (58.1 x 39.37 cm) Provenance: Gift of the artist to Joel and Dorothy Lewis Thence by descent to the current owner This work is registered in the archives of the Calder Foundation, New York, under application number A01530 C $40,000-60,000

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90 Property from the Dorothy Lewis 2013 Irrevocable Trust 90 Alexander Calder American, 1898-1976 Untitled, 1972 Signed Sandy Calder and dated 1972 (lr), inscribed to Joel & Dorothy (lc) Gouache and ink on paper 29 1/2 x 43 1/4 inches (74.93 x 109.85 cm) Provenance: Gift of the artist to Joel and Dorothy Lewis Thence by descent to the current owner This work is registered in the archives of the Calder Foundation, New York, under application number A01532 C $80,000-120,000 68 DOYLE â&#x20AC;˘ NOVEMBER 15, 2017 â&#x20AC;˘ NEW YORK

91 Property from the Dorothy Lewis 2013 Irrevocable Trust 91 Alexander Calder American, 1898-1976 Untitled, 1971 Signed with initials (lr) Gouache and ink on paper 22 7/8 x 15 1/2 inches (58.1 x 39.37 cm) Provenance: Gift of the artist to Joel and Dorothy Lewis Thence by descent to the current owner This work is registered in the archives of the Calder Foundation, New York, under application number A01531 C $40,000-60,000

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ALEXANDER Property of the I. A. Victor III Trust 92 Alexander Calder American, 1898-1976 Long Orange Tail, 1948 Sheet metal, brass, wire and paint 3 3/4 x 4 x 2 1/2 inches (9.52 x 10.16 x 6.35 cm) Provenance: Curt Valentin Gallery, New York Private collection, CT [Sale] Sotheby’s Parke Bernet, New York, Oct. 21, 1977, lot 372 Perls Galleries, New York, November 3, 1977 This work is registered in the archives of the Calder Foundation, New York, under application number A08175 C $150,000-250,000

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WILLIAM

Property from the Ellin Jane Krinsly Trust 93 William Scott British, 1913-1989 Black and White Coffee Pot, 1955 Signed W. Scott (lr) Oil on canvas 16 x 20 inches (40.64 x 50.8 cm) Provenance: Hanover Gallery, London Acquired 1958 by Mrs. Stuart Krinsly Literature: Sarah Whitfield, William Scott Catalogue Raisonné of Oil Paintings, vol. 4, p. 349 (appendix of untraced works), #A82 (not illustrated) C $100,000-150,000

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94 Property from the Ellin Jane Krinsly Trust 94 Ben Nicholson British, 1894-1982 Pink, Red and Black, 1978 Signed Nicholson, dated 1978/April and inscribed as titled on the reverse Ink and oil on prepared paper Sheet size 13 1/2 x 19 1/4 inches (34.29 x 48.89 cm Provenance: Waddington Galleries, London C $25,000-35,000

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95 95 David Hockney British, b. 1937 Gene Baro (diptych), 1966 Signed by David Hockney, inscribed Gene Baro and dated March 1966 (lr) Ink and watercolor on paper 17 3/4 x 10 1/4 inches (45.08 x 26.03 cm) Provenance: Gift of the artist to Gene Baro Private collection Thence by descent to the current owner Exhibited: David Hockney Exhibition, 1970, The British Council, traveling exhibition with venues in Hanover, Museum Boymans-van Beuningen, Rotterdam and Belrgade. Cat no. D.22 C $20,000-30,000 VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 75

96 David Hockney British, b. 1937 Gene Baro (diptych), 1969 Initialed DH and dated 69 (lc) Ink on paper 14 x 29 inches (35.56 x 73.66 cm) Provenance: Gift of the artist to Gene Baro Private collection Thence by descent to the current owner C $20,000-30,000

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97 David Hockney British, b. 1937 Man Drawing, 1965 Initialed DH, dated 65 and inscribed as titled (lc) Ink on paper 10 x 12 1/2 inches (25.4 x 31.75 cm) Provenance: Gift of the artist to Gene Baro Private collection Thence by descent to the current owner C $12,000-18,000

98 Claude Venard French, 1913-1999 Sanary s/Mer, circa 1969 Signed C. Venard (ll), inscribed Cat. 4 and as titled on the reverse Oil on canvas 29 x 36 inches (73.66 x 91.44 cm) Provenance: Galerie Felix Vercel, New York C $8,000-12,000

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99 Claude Venard French, 1913-1999 Sacré Cœur Oil on canvas 38 x 51 inches (96.52 x 129.54 cm) Provenance: Bank United of Texas, FSB [Sale] The Channel 13 Auction, 1994, lot 0411 Private collection C $8,000-12,000

Property from the Dorothy Lewis 2013 Irrevocable Trust 100 Marcel Mouly French, 1918-2008 Yachtman Au Ciel d’ Orage, 1970 Signed M. Mouly and dated 1970 (lr), signed M. Mouly, dated Paris 1970 and inscribed as titled on the reverse Oil on canvas 28 1/2 x 36 1/2 inches (72.39 x 92.71 cm) C $8,000-12,000

100

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101

Property from the Dorothy Lewis 2013 Irrevocable Trust 101 Marcel Mouly French, 1918-2008 Barques et Falaises au Soleil Couchant, 1970 Signed M. Mouly and dated 1970 (lr), signed M. Mouly, dated Paris 1970 and inscribed as titled on the reverse Oil on canvas 35 x 45 1/2 inches (88.9 x 115.57 cm) C $8,000-12,000 102 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 $8,000-12,000

102 VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 79

Property from a New York Private Estate 103 Affandi Indonesian, 1907-1990 Untitled, 1960 Signed with artist’s monogram and dated 1960 (lc) Oil on canvas 40 x 58 inches (101.6 x 147.32 cm) C $100,000-150,000

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103

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104

105

Property from a New York Private Estate

104 Arie Smit Dutch/Indonesian, 1916-2016 The Holy Tree, 1962 Signed Arie and dated ‘62 (lr), inscribed as titled (ll) Oil on canvas 34 3/4 x 26 5/8 inches (88.26 x 67.62 cm) C $25,000-35,000

106 Arie Smit Dutch/Indonesian, 1916-2016 Ravine - Bali, 1968 Signed Arie, dated 68 and inscribed as titled (ll) Oil on canvas 17 3/4 x 15 3/4 inches (45.08 x 40 cm) C $8,000-12,000

Property from a New York Private Estate

106 82 DOYLE • NOVEMBER 15, 2017 • NEW YORK

105 Arie Smit Dutch/Indonesian, 1916-2016 Banyan Tree Signed Arie and inscribed as titled (ll) Gouache on paper 25 x 17 1/2 inches (63.5 x 44.45 cm) C $8,000-12,000

107 Ibrahim Hussein Malaysian, 1936-2009 (i) The Game, 1964 Signed Ibrahim Hussein and dated November 64 (lr), signed Ibrahim Hussein and inscribed as titled on the mount Gouache on magazine page laid to card 9 x 8 inches (22.86 x 20.32 cm) Unframed Provenance: The artist Galerie Internationale, New York Thence by descent to the current owner (ii) Untitled, 1964 Signed with artist’s device and dated 64 (lr) Acrylic, ink and collaged paper on paper laid to card 13 x 8 inches (33.02 x 20.32 cm) Unframed Provenance: The artist Galerie Internationale, New York Thence by descent to the current owner

107

(iii) Untitled, 1963 Signed with artist’s device and dated ‘63 (ll) Gouache on magazine page laid to card 9 1/2 x 14 1/8 inches (24.13 x 35.87 cm) Unframed Provenance: The artist Galerie Internationale, New York Thence by descent to the current owner C $8,000-12,000 VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 83

108 108 Toshimitsu Imai Japanese, 1928-2002 Untitled, 1963 Signed Toshimitsu Imai, dated 1963 Paris and inscribed in Japanese on the reverse Oil on canvas 31 1/2 x 21 3/4 inches (80.01 x 55.24 cm) C $50,000-70,000

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Property from the Estate of Rhoda Blumberg 109 Sigmund Menkes Polish/American, 1896-1986 Woman at a Mirror Signed Menkes (ll) Oil on canvas 27 1/8 x 21 3/8 inches (69 x 55 cm) C $10,000-15,000

109

110 George McNeil American, 1908-1995 Shaman and Magic Birds, 1980 Signed McNeil and dated 80 (lr), signed George McNeil, dated 1980, inscribed REKP and as titled on the reverse Oil on canvas 60 x 56 inches (152.4 x 142.24 cm) Provenance: Collection of the artist, New York Gruenbaum Gallery, New York Private collection, New York C $8,000-12,000

110 VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 85

111 111 Theodoros Stamos Greek/American, 1922-1997 La Prisonnière, 1945 Signed in Greek lettering, dated 45 and inscribed NYC (ll), signed Theodoros Stamos, dated Oct. 1945 and inscribed as titled on the reverse Oil on Masonite 24 x 30 inches (60.96 x 76.2 cm) Provenance: Purchased 1991, from a New York dealer by the present owner Exhibited: ACA Gallery, 1992, New York C $25,000-35,000

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112 112 Esteban Vicente Spanish/American, 1903-2001 Unite, 1990 Signed Esteban Vicente, dated 1990 and inscribed as titled on the reverse Oil on canvas 44 x 66 inches (111.76 x 167.64 cm) Provenance: Riva Yares Gallery, Scottsdale, AZ Private collection C $25,000-35,000

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Property from a New York Collection 113 Sam Francis American, 1923-1994 Zeichnung (SF-610621), 1961 Signed Sam Francis, dated 1961, inscribed S1-17A and G 61-062, and stamped with estate stamp on the reverse Ink on paper 15 5/8 x 11 inches (39.68 x 27.94 cm) Provenance: Richard Gray Gallery, #0797021, Chicago C $15,000-25,000 Ellin Jane Krinsly Trust 114 Norman Bluhm American, 1921-1999 Untitled: Triptych, 1970 Signed Bluhm, dated 70 and inscribed D on the reverse of each canvas Acrylic on canvas 28 x 68 inches (71.12 x 172.72 cm) Provenance: Martha Jackson Gallery, New York C $10,000-20,000

113

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115

115 Norman Bluhm American, 1921-1999 Helen, 1973 Oil on canvas 24 x 36 1/4 inches (60.96 x 92.07 cm) Provenance: Martha Jackson Gallery, New York (no. 15065) Anderson Gallery, Buffalo, NY Private collection C $8,000-12,000 116 Robert Goodnough American, 1917-2010 Circle in Gray, 1962-63 Signed Goodnough and dated 62-63 (lr), signed Goodnough, dated 1962-63 and inscribed as titled on the reverse Oil on canvas (tondo) Diameter 79 1/2 inches (201.93 cm) C $10,000-15,000

116 VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 89

117

117 Robert Goodnough American, 1917-2010 Struggling Horse, 1958 Signed Goodnough and dated 58 (lr), signed Goodnough, inscribed as titled and Tibor de Nagy Gallery/24 E. 67 St NYC on the reverse Oil on canvas 80 1/2 x 104 1/2 inches (204.47 x 264.16 cm) Provenance: The artist Tibor de Nagy Gallery, New York Private collection C $10,000-15,000 Property from the Estate of Dr. Paul Hershenson 118 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 $10,000-15,000

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119 119 Julian Stanczak Polish/American, 1928-2017 Melting in Late Color, 1972 Signed J. Stanczak and dated 1972 on the reverse Acrylic on canvas 94 x 72 inches (238.76 x 182.88 cm) Provenance: Gene Baro Private collection Thence by descent to the current owner Exhibited: Julian Stanczak, Corcoran Gallery of Art, Washington, DC, Sep. 8 - Oct. 15, 1972 C $60,000-80,000

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120

121 120 Julian Stanczak Polish/American, 1928-2017 Superimposed in White, 1972 Signed J Stanczak, dated 1972 and inscribed as titled (lr) Oil on aluminum 24 x 24 inches (60.96 x 60.96 cm) C $10,000-15,000

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121 Gene Davis American, 1920-1985 Batman, 1975 Signed Gene Davis, dated 1975 and inscribed as titled on the reverse Graphite and acrylic on raw canvas 46 3/4 x 92 inches (118.74 x 233.68 cm) Provenance: Fishbach Gallery, New York Private collection, New York C $30,000-50,000

122

122 Gene Davis American, 1920-1985 Wayward Puppet, 1980 Signed Gene Davis, dated 1980 and inscribed as titled on the reverse Acrylic on raw canvas 68 1/4 x 95 1/2 inches (173.35 x 242.57 cm) Provenance: Charles Cowles Gallery Inc., New York C $30,000-50,000

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123 part

123 HC Westermann American, 1922-1981 Untitled Letter (Dear Vivian...), 1973 Signed Cliff (ll), signed H.C. Westermann (lr), dated 1973 (ur) Ink and watercolor on paper 14 x 10 7/8 inches (35.56 x 27.62 cm); Together with Untitled Envelope (Air Mail), 1973 Signed H.C. Westermann (ul) 4 3/4 x 11 inches (12.06 x 27.94 cm); Also with Stop the War, 1973 Signed Cliff and dated 1973 (ll) Photocopy, ink and watercolor on paper 8 1/2 x 11 inches (21.59 x 27.94 cm) A version of this work appears in Letters from H.C. Westermann, Timken Publishers, 1988, p. 109 b/w illus.; And also with a collection of correspondence including an Air Mail envelope (with ink and watercolor embellishments by the artist), three postcards from Westermann and wife Joanna, and an envelope with letter from Joanna Beall Westermann, dated from 1973-1977 Unframed Provenance: The artist Gift of the artist to the current owner C $8,000-12,000

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124 Leon Golub American, 1922-2004 Head IV, 1959 Signed Golub (lr), dated 1959 and inscribed as titled on the reverse Oil and lacquer on canvas 35 x 26 inches (88.9 x 66.04 cm) Provenance: Adam Frumkin Gallery, New York C $12,000-18,000

125 Property from a Private New York Estate 125 Will Barnet American, 1911-2012 Woman, Cat and String, 1962 Signed Will Barnet and dated June 1962 on the reverse, signed Will Barnet, inscribed Begun March 1962 finished June 25th 1962 and as titled on the stretcher Oil on canvas 51 x 50 inches (129.54 x 127 cm) Provenance: Bertha Schaefer Gallery, New York Private collection, NJ Literature: Doty, Robert Will Barnet, 1984, b/w illus. p. 75 C $60,000-80,000

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Property from a Private New York Estate 126 Will Barnet American, 1911-2012 Dark Image, 1960 Signed Will Barnet (lr), signed Will Barnet and dated 1960 on the reverse Oil on canvas 53 x 30 1/2 inches (134.62 x 77.47 cm) Provenance: Bertha Schaefer Gallery, NY Private collection, NJ Exhibited: Will Barnet, Aug. 19 - Sep. 17, 1961, Institute of Contemporary Art, Boston, cat. no. 41 Will Barnet: Works of Six Decades, Jul. 1 - Aug. 10, 1994, The Museum of Art of Ogunquit, Ogunquit, ME Will Barnet: The Abstract Work, Oct. 15 - Nov 14, 1998, Tibor de Nagy Gallery, New York Literature: Robert Doty, Will Barnet, 1984, p. 62, b/w illus. C $30,000-50,000

126

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127 William Theophilus Brown American, 1919-2012 Figures in a Field, 1960-62 Initialed W.B. and dated 60 (ll), signed William Theophilus Brown, dated 60-62 and inscribed as titled on the reverse Oil on canvas 50 x 60 inches (127 x 152.4 cm) Exhibited: Three Young Collections, Jan. 15 - Feb. 26, 1967, Santa Barbara Museum of Art, Santa Barbara C $8,000-12,000

127

128 Wolf Kahn German/American, b. 1927 Benâ&#x20AC;&#x2122;s Pond, Midsummer, 1982 Signed W. Kahn (lr), dated 1982 and numbered #114 on the reverse Oil on canvas 28 x 40 inches (71.12 x 101.6 cm) C $15,000-25,000

128

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129

130 129 Wolf Kahn German/American, b. 1927 Maples Bordering a Road, 1984 Signed W. Kahn (lr), dated 1984 and numbered 77 on the reverse, dated 1984, numbered 77 and inscribed as titled on the stretcher Oil on canvas 16 x 28 inches (40.64 x 71.12 cm) Provenance: Thomas Segal Gallery, Boston C $10,000-15,000 98 DOYLE • NOVEMBER 15, 2017 • NEW YORK

130 LeRoy Neiman American, 1921-2002 Hunt Field, 1967 Signed LeRoy Neiman and dated ‘67 (ll) Oil on Masonite 9 x 11 1/4 inches (22.86 x 28.57 cm) Provenance: Hammer Galleries [Sale] Bonhams, New York, Nov. 28, 2012, lot 14 C $10,000-15,000

131 Property from the Estate of Helen Getler 131 Jack Levine American, 1915-2010 Pawnshop, 1951 Signed J. Levine (lr) Oil on canvas 80 x 96 inches (203.2 x 243.84 cm) Provenance: Bernard Danenberg Galleries, New York, sale, January 31, 1969 Exhibited: Long Island Collections May 29 - Sep. 12, 1993, Nassau County Museum of Art, Roslyn, NY Literature: Frank Getlein, Jack Levine, 1966, illus. b/w, full page, pl. 57 C $60,000-80,000

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132

132 Allan Houser American, 1914-1994 New Gossip, 1983-86 Signed Allan Houser, dated 83, stamped S for the Shidoni Foundry, and numbered 6/10 Bronze with brown patina, from an edition of 10 plus one AP Height 26 inches (66.04 cm) Published by the Shidoni Foundry, Tesuque, NM, 1983-86 C $10,000-15,000

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CONTEMPORARY ART

Lot 159 VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 101

Property from the Estate of Helen Getler 133 Richard Smith British, 1931-2016 Cartouche I-4, 1979 Signed R Smith and dated 1979 on front panel (ll) Paper collaged to cloth in three parts suspended on aluminum tubes with twine Overall size 60 x 42 inches (152.4 x 106.68 cm), front panel 19 1/2 x 19 1/2 inches (49.53 x 49.53 cm), middle panel 37 x 19 1/2 inches (93.98 x 49.53 cm), back panel 53 x 19 1/2 inches (134.62 x 49.53 cm) C $8,000-12,000

134 William Hodd McElcheran Canadian, 1927-1999 Untitled (Five Businessmen), 1978 Initialed Mc, dated 78 and numbered 4/6 Bronze, from an edition of 6 Height 14 1/2 inches (36.83 cm) C $8,000-12,000

133

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135 135 Rainer Fetting German, b. 1949 Zauberflöte I, 1984 Signed Fetting, dated 84 and inscribed as titled on the reverse Oil on canvas 90 x 72 inches (228.6 x 182.88 cm) Provenance: Galerie Daniel Templon, Paris McGlothlin Collection, Seattle Private collection, New York Exhibited: Musique dans l’Art, 1986, Galerie Daniel Templon, Paris C $20,000-30,000 VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 103

136

136 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

Property from the Estate of Rita Hirsch 137 Angel Botello Puerto Rican, 1913-1986 Lolita, circa 1965 Signed Botello and numbered #10 Bronze with brown patina Height 21 1/2 inches (54.61 cm) The artist’s estate believes 12 bronze casts were made in this edition C $8,000-12,000

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138 Francisco Zúñiga Mexican, 1912-1998 Mujer Sentada con Rebozo, 1973 Signed Zúñiga, dated 1973 and numbered I/VI Bronze with dark green patina 15 x 10 x 11 3/8 inches (38 x 25.5 x 29 cm) Literature: Ariel Zúñiga, Francisco Zúñiga, Catalogo Razonado/Catalogue Raisonne, vol. I: Escultura, 1993, no. 672, another example illus. b/w, p. 395 C $10,000-15,000

138

139 Bosco Sodi Mexican, b. 1970 Organic Work, Orange, 2009 Signed Bosco, dated 09 and inscribed as titled on the reverse, signed Bosco on the stretcher Mixed media on canvas 12 x 12 inches (30 x 30 cm) Provenance: The artist Galeria Ysabel Pinyol Private collection C $8,000-12,000

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

140 Property from a New York Collection 140 Fernando Botero Columbian, b. 1932 Untitled, 1980 Signed Botero and dated 80 (lr) Pencil and pastel on paper laid to four-ply board 17 1/4 x 14 inches (43.81 x 35.56 cm) Provenance: Richard Gray Gallery, #10-97-039, New York [Sale] Sotheby’s, New York, Latin American Art, Nov. 24, 1988, lot 190 C $18,000-22,000

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141 141 Jesús Rafael Soto Venezuelan, 1923-2005 Stèle Bleu et Verte, 1995 Signed Soto and numbered 3/8 Silkscreen on plexiglas with painted wood elements on nylon wire, from an edition of 8, published by Francis Delille, Editions La Difference 30 1/2 x 8 x 18 inches (77.47 x 20.32 x 45.72 cm) C $30,000-50,000

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142 Nasser Ovissi Iranian, b. 1934 Untitled, Reclining Figure Signed Ovissi and in Farsi (lr), inscribed in Farsi (lc) Oil on canvas 27 1/2 x 31 1/2 inches (69.85 x 80.01 cm) C $10,000-15,000

142

Property from the Estate of Mary Kettaneh 143 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

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144 144 Pino Manos Italian, b. 1930 Spazio Estroflesso Nero Ovale, 2011 Signed Pino Manos and Manos, dated 2011 and inscribed as titled on the reverse, signed Manos, dated 2011 and inscribed as titled on artistâ&#x20AC;&#x2122;s label affixed to the reverse Acrylic on oval canvas 23 5/8 x 35 1/4 inches (60 x 90 cm) Includes a certificate of authenticity from Lattuada Studio, no. 2904 We thank the artist for confirming the authenticity of this work C $8,000-12,000

145 Ablade Glover Ghanian, b. 1934 Many Fruitful Years II, 2002 Signed with artistâ&#x20AC;&#x2122;s mark and dated 02 (lr), dated 2002, inscribed No. 158 and as titled on the reverse Oil on canvas 39 3/4 x 59 3/4 inches (100.96 x 149.86 cm) Unframed C $8,000-12,000

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

146 Property from the Estate of Stanley Silverstein, New York 146 Pruitt and Early (Rob Pruitt and Jack Early) American, 20th Century Artwork for Teenage Boys (Pabst, American Flag Six Pack), circa 1990 Heat transfer on fabric with plastic shrinkwrap, beer cans with decals, in six parts Each panel size 23 x 23 inches (58.42 x 58.42 cm), total size 69 x 46 inches (175.26 x 116.84 cm) Provenance: Leo Castelli Gallery, New York Purchased from the above by Stanley Silverstein, 1992 Estate of Stanley Silverstein, New York Thence by descent to the present owner C $8,000-12,000

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147 Equipo Crónica Spanish, 1964-1981 Three Musicians, 1971 Signed Equipo Cronica and numbered 14/25 Acrylic on papier mâché, from an edition of 25 Height 26 inches (66.04 cm) C $8,000-12,000

148 148 Mel Ramos American, b. 1935 The Pause that Refreshes, 2008 Signed Mel Ramos and inscribed EA I/IV Polychrome resin, from an edition of 8 plus 4 artist proofs 29 1/2 x 29 1/2 x 5 1/2 inches (74.93 x 74.93 x 13.97 cm) An example from this edition is in the permanent collection at the Centre Pompidou, Paris. C $80,000-120,000

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

149 149 Jay Milder American, b. 1934 Noah’s Ark Series, 2002 Signed Jay Milder, dated 2002 and inscribed as titled on the reverse Acrylic, oil and volcanic ash on canvas 48 x 48 inches (121.92 x 121.92 cm) C $20,000-30,000

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Property from the The Collection of Faith Stewart-Gordon 150 Beryl Cook British, 1926-2008 Woman with Dogs on the Hoe Signed B. Cook (lr) Oil on board 38 1/8 x 24 inches (96.83 x 60.96 cm) C $15,000-25,000

150

151 Ross Penhall Canadian, b. 1959 Long Walk Phoenix Park, 2011 Signed Penhall (lr), signed Ross Penhall, dated 2011, numbered 1157 and inscribed as titled on the reverse Oil on canvas 40 x 50 inches (101.6 x 127 cm) C $8,000-12,000

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

152 152 Deborah Kass American, b. 1952 4 Black Barbras (Jewish Jackie Series), 1993 Signed D. Kass, dated 93 and inscribed as titled on the reverse Acrylic and screenprint on canvas 20 x 24 inches (50.8 x 60.96 cm) Unframed Provenance: Arthur Roger Gallery, New Orleans Purchased from the above by the current owner C $10,000-15,000

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153 153 Deborah Kass American, b. 1952 Gold Barbra (Jewish Jackie Series), 1993 Signed D. Kass, dated 93 and inscribed as titled on the reverse Acrylic and screenprint on canvas 50 x 40 inches (127 x 101.6 cm) Unframed Provenance: Arthur Roger Gallery, New Orleans Purchased from the above by the current owner C $20,000-40,000

VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 115

154

154 Andre von Morisse Norwegian, b. 1966 Launch, 1999 Signed Andre von Morisse and dated 99 on the reverse Oil on two canvases Total size 50 x 72 inches (127 x 182.88 cm) C $12,000-18,000 155 April Gornik American, b. 1953 Untitled (Yellow Wind), 1982 Signed April Gornik, dated 1982 and inscribed as titled on the reverse Oil on canvas 66 x 76 inches (167.6 x 193 cm)

155 116 DOYLE â&#x20AC;˘ NOVEMBER 15, 2017 â&#x20AC;˘ NEW YORK

Provenance: Edward Thorp Gallery, New York SBC Communications, Kansas City, Kansas Private Collection [Sale] Bonhams, New York, Nov. 11, 2014, lot 77 Birnam Wood Galleries, New York C $8,000-10,000

156

156 Charles Bell American, 1935-1995 Raggedy Ann Signed C. Bell (lr) Oil on canvas 72 x 36 inches (182.88 x 91.44 cm) C $40,000-60,000

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

157 157 Richard Hambleton Canadian/American, b. 1952 Into the Woods, circa 1985 Acrylic on canvas 54 1/4 x 44 inches (137.79 x 111.76 cm) Unframed Provenance: The artist Purchased from the artist by Tracy Williams, New York Private collection, New York C $8,000-12,000

118 DOYLE • NOVEMBER 15, 2017 • NEW YORK

158 158 Margaret Kilgallen American, 1967-2001 Untitled (Tree) Ink on paper 12 1/8 x 8 5/8 inches (30.79 x 21.9 cm) Unframed C $8,000-12,000

159 159 Peter Schuyff Dutch, b. 1958 Self Portrait, 1984 Signed Peter Schuyff, dated 84 and inscribed as titled on the reverse Acrylic on canvas 90 x 66 inches (228.6 x 167.64 cm) Unframed Provenance: Pat Hearn Gallery, New York [Sale] Christie’s, New York, May 8, 1990, lot 533 [Sale] Sotheby’s, New York, Sep. 22, 2011, lot 269 C $8,000-12,000 VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 119

ARTIST INDEX Abbett, Robert Kennedy 87 Affandi 103 Alexander, John White 59 Arbas, Avni 102 Avery, Milton Clark 85 Barnet, Will 125, 126 Beal, Reynolds 70 Bell, Charles 156 Bluhm, Norman 114, 115 Borglum, John Gutzon de la Mothe 60 Botello, Ángel 136, 137 Botero, Fernando 140 Brackman, Robert 84 Breton, Jules 6 Brett, John 2 Brown, William Theophilus 127 Calder, Alexander 89-92 Carlsen, Emil (Soren Emil) 63 Charreton, Victor Léon 43, 44 Chartrand, Esteban 39 Coleman, Charles Caryl 64 Constant, Jean-Joseph Benjamin 1 Cook, Beryl 150 Cooper, Colin Campbell 61 Corot, Jean-Baptiste-Camille 5 Corinth, Lovis 10 Dacosta, Milton 38 Dalí, Salvador 41, 42 Davis, Gene 121, 122 Dawson, Montague 57, 58 Dufy, Jean 16, 25, 27, 31 Dufy, Raoul 22-24, 26

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Eisenschitz, Willy 49 Equipo Crónica 147 Falero, Luis Riccardo 9 Fiene, Ernest 83 Floch, Joseph 47, 48 Fetting, Rainer 135 Folinsbee, John Fulton 71 Fournier, Alexis Jean 69 Francis, Sam 113 Gaspard, Leon Schulman 12 Gleizes, Albert 20 Glover, Ablade 145 Golub, Leon 124 Goncharova, Natalia Sergeevna 13 Goodnough, Robert 116, 117 Gornik, April 155 Grau-Sala, Emilio 51-53 Gropper, William 80 Hambleton, Richard 157 Hambourg, André 56 Hockney, David 95-97 Hofmann, Hans 88 Houser, Allan 132 Hussein, Ibrahim 107 Imai, Toshimitsu

108

Kahn, Wolf Kass, Deborah Kilgallen, Margaret Kluge, Constantin Kuhn, Walt Francis (Walter)

128, 129 152, 153 158 55 68, 81

Laurencin, Marie 32 Lavery, Sir John 3 Léger, Fernand 21 Levine, Jack 131 Lhermitte, Léon-Augustin 4 Liberts, Ludolfs 54 Lovet-Lorski, Boris 78 Luce, Maximilien 45 Lucioni, Luigi 62 Lurçat, Jean 19 Manos, Pino 144 McElcheran, William Hodd 134 McNeil, George 110 Meissonier, Jean-Louis-Ernest 8 Menkes, Sigmund 50, 109 Metcalf, Willard Leroy 66 Metzinger, Jean 17, 18 Milder, Jay 149 Milles, Carl Emil (Vilhelm) 46 Morisse, Andre Von 154 Mouly, Marcel 100, 101 Nahas, Nabil 143 Neiman, LeRoy 130 Nicholson, Ben 94 Nordfelt, Bror Julius Olsson 79 Ovissi, Nasser 142

Ramos, Mel 148 Redon, Odilon 7 Rivera, Diego 40 Schuyff, Peter 159 Scott, William 93 Segal, George 118 Signac, Paul 15 Smit, Arie 104-106 Smith, Richard 133 Sodi, Bosco 139 Soto, Jesús Rafael 141 Stamos, Theodoros 111 Stanczak, Julian 119, 120 Symons, George Gardner 65 Utrillo, Maurice

36, 37

Valtat, Louis Venard, Claude Vicente, Esteban Vlaminck, Maurice de Vuillard, Edouard

33-35 98, 99 112 28-30 14

Weber, Max Westermann, HC Wood, Robert William

82 123 86

Zorach, Marguerite Thompson Zúñiga, Francisco

72, 73 138

Pechstein, Hermann Max 11 Pène du Bois, Guy 74-77 Penhall, Ross 151 Prendergast, Maurice Brazil 67 Pruitt & Early (Rob Pruitt & Jack Early) 146

VIEW THE FULLY ILLUSTRATED CATALOGUE AND BID ONLINE AT DOYLE.COM 121

ANYONE CAN SHOW HOMES. IT’S OUR JOB TO KNOW HOMES.

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212.710.1900 • contact@bhhsnyp.com • 590 Madison Avenue, New York, New York © 2017 BHH Affiliates, LLC. An independently operated subsidiary of HomeServices of America, Inc., a Berkshire Hathaway affiliate, and a franchisee of BHH Affiliates, LLC. Berkshire Hathaway HomeServices and the Berkshire Hathaway HomeServices symbol are registered service marks of HomeServices of America, Inc.® Equal Housing Opportunity. Information not verified or guaranteed. If your home is currently listed with a Broker, this is not intended as a solicitation.

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 $300,000 of the hammer price of each lot, 20% on the portion of the hammer price from $300,001 through $3,000,000, and 12.5% on that portion of the hammer price exceeding $3,000,000. Payment of each lot shall be made as follows: 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.

STATELY COLONIAL IN MAPLEWOOD

$1,295,000

Nestled at the edge of South Mountain Reservation, this luxurious brick Colonial has a commanding presence in the neighborhood and offers a location of quiet enjoyment. Built in 2001, the aesthetics and lifestyle conveniences are numerous. Expect a grand foyer, high ceilings, open floor plan, outstanding millwork, spectacular designer gourmet kitchen, custom stone, wood and marble floors, his/her walk-in closets, fivestar master bath, sound system, multi-zone heat and CAC system, spa hot tub in a villa-like setting, fenced play area, stone patio, and much more. Be the beneficiary of modern architecture in an idyllic setting.

HELEN BARATTA Sales Associate Cell: 973-477-7469 H.Baratta@BHHSNJ.com BHHSNJ.com/H.Baratta Summit Office | 908-273-0400 | 392 Springfield Ave, Summit, NJ 07901 ÂŠ2017 BHH Affiliates, LLC. An independently owned and operated franchisee of BHH Affiliates, LLC. Berkshire Hathaway HomeServices and the Berkshire Hathaway HomeServices symbol are registered service marks of HomeServices of America, Inc.ÂŽ Equal Housing Opportunity.

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.

III

L A D E R A OR A NGE

R A N C H COU NT Y

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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.

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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 ABSENTEE BIDS 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 ONLINE BIDDING BidLive! with a click of your mouse. Bidders from around the world now can experience the excitement of bidding live at Doyle on their computers. 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 $300,000 of the hammer price of each lot, 20% on the portion of the hammer price from $300,001 through $3,000,000, and 12.5% on that portion of the hammer price exceeding $3,000,000. 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.

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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, a representative 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.

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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 NOVEMBER

DECEMBER

PRINTS & MULTIPLES Auction: Wednesday, NOVEMBER 1 at 10am Exhibition: October 28 – 30

DOYLE AT HOME Auction: Wednesday, DECEMBER 6 at 10am Exhibition: December 2 – 4

RARE BOOKS, AUTOGRAPHS & MAPS Auction: Tuesday, NOVEMBER 7 at 10am Exhibition: November 4 – 6 COINS, BANK NOTES, POSTAGE STAMPS & MINERALS Auction: Tuesday, NOVEMBER 7 at 2pm Exhibition: November 4 – 6

IMPORTANT JEWELRY Auction: Wednesday, DECEMBER 13 at 10am Exhibition: December 9 – 12 PHOTOGRAPHS & PHOTOBOOKS Auction: Thursday, DECEMBER 14 at 10am Exhibition: December 9 – 12

JEWELRY, WATCHES, SILVER & COINS BY ORDER OF THE PROVIDENT LOAN SOCIETY Auction: Wednesday, NOVEMBER 8 at 10am Exhibition: November 4 – 6

JEWELRY – BEVERLY HILLS Auction: Monday, NOVEMBER 13 at 10am (Pacific) NY Exhibition: October 14 - 17 CA Exhibition: November 11 & 12

IMPRESSIONIST & MODERN ART POST-WAR & CONTEMPORARY ART Auction: Wednesday, NOVEMBER 15 at 10am Exhibition: November 11 – 13 DOYLE+DESIGN® Auction: Tuesday, NOVEMBER 21 at 10am Exhibition: November 18 – 20

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

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