Holiday Fine Art Auction, December 3, 2016 by Franklin Bowles Galleries, Inc.

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Holiday

FINE ART AUCTION 2016

PREVIEWS: Friday, December 2 / 10 AM – 10 PM Saturday, December 3 / 11:30 AM – 12:30 PM AUCTION: Saturday, December 3, 2016 Bidding starts at 12:30 PM LOCATION: 765 Beach Street, San Francisco, CA 94109

San Francisco / New York

FRANKLIN BOWLES GALLERIES PRESIDENT: Franklin Bowles CHIEF EXECUTIVE OFFICER: Robert Grenon

SAN FRANCISCO GALLERY DIRECTOR: Pamela Walsh CONSULTING DIRECTOR: Michael LaPrade ASSOCIATE DIRECTOR: Carla Schmidt ASSISTANT DIRECTORS: Don Keenan, Sue Kim DIRECTOR OF SPECIAL PROJECTS: Bernard Blair SENIOR ART CONSULTANTS: Ella Day, Patrick Duman, Sasha Grotell, Dan Root, Ashley Sorenson, Valarie Versace ADMINISTRATION: Ken Amorino, Laura Anderson, Stacey Bellis, Rob Conley, Delia Fernando, Micah Garcia, Octavio Gonzalez, Lauren Hensarling, Sophuan Khun, Alexandre Mandereau, Scott Saraceno, Lindsey Stephenson

NEW YORK GALLERY DIRECTOR: Phebe Carter ASSOCIATE DIRECTOR: Eric Chelman CURATOR: Leslie Lund ART CONSULTANTS: Duane Bousfield, Matthew Hannan, Michael Montanaro ADMINISTRATION: Kyle Phillips, Zane York, Allison Zuckerman

CHINA BASIN DESIGN OPERATIONS MANAGER: Rick Potts FLOOR MANAGER: Aaron Machado FRAMERS: Tyler Hunsaker, Maureen Shields, Craig Thomson SHIPPER: Robert Bishop.

FRONT COVER:

Lot 160, Alexander Calder, Les Ballons, 1971

PROJECT MANAGER :

Ken Amorino /

CATALOG DESIGN :

D. Lee Myers /

PHOTOGRAPHY:

Scott Saraceno

SAN FRANCISCO

St. Anthony’s is a family of resources. I came in looking for one item, and I ended up getting a whole bunch of others. I needed all of them, I just didn’t know it at the time. – Carlos, a Social Work Center client

This year, Franklin Bowles Galleries is pleased to donate a portion of the proceeds from its holiday auction to support St. Anthony Foundation which, for 65 years, has offered a gateway out of poverty to the most vulnerable among us: veterans, seniors, the working poor, homeless and low-income residents, recent immigrants, recent parolees, and the mentally and addictively ill. St. Anthony’s mission is to feed, heal, shelter, clothe, lift the spirits of those in need and create a society in which all persons flourish. People come for food, clothing and healthcare. St. Anthony’s supports them as they pursue training, work, sobriety and purpose. In community with volunteers, donors and guests, they work on long-term solutions to homelessness and hunger while meeting the critical needs of the day.

ST. ANTHONY’S PROGRAMS • St. Anthony’s New Dining Room just re-opened in 2014 and is the only free food program in San Francisco open every day of the year. They serve an average of 2,400 hot, nutritious meals a day to poor and low-income people, including about 300 children. • St. Anthony’s Medical Clinic is the only pediatric clinic in the Tenderloin. One of the city’s oldest and largest medical clinics, they provide primary and urgent care and specialty services to 3,100 uninsured patients, 20% of whom are children. • St. Anthony’s Free Clothing Program is the largest in San Francisco. They provide used, ready-to-wear clothing to about 7,300 people, including 300 families sending their children to school, to unemployed and underemployed individuals looking for a job, and to homeless people seeking stability and safety in their lives. • St. Anthony’s Social Work Center provides counseling, connections to basic services, rental assistance, emergency food boxes, payee services and laundry and haircut vouchers for over 1,600 clients a year, including 140 families. • The Tenderloin Technology Lab helps bridge the digital divide by offering free basic and advanced computer classes and drop-in computer access for 1,700 low-income and homeless clients. • The Father Alfred Center is one of the few year-long residential drug and alcohol recovery programs in San Francisco. It empowers 180 residents a year with the resources to overcome their addictions, to build life skills and develop work skills and experience. • St. Anthony’s volunteer Social ACTion Program brings guests together with volunteers, staff members and the community-at-large through educational workshops and volunteer opportunities to address the causes at the root of hunger, homelessness, unemployment and addiction. Through the Advocacy Program, St. Anthony’s advocates for policies and programs that address root causes of poverty and that will better serve the needs of poor and homeless people in San Francisco.

ST. ANTHONY’S APPROACH St. Anthony’s Dining Room is more than a place to get a hot meal every day—it is a community. Whether in a residential hotel room or on the street, 83% of St. Anthony’s guests live alone, and the Dining Room is a place to share stories and smiles, a place where someone notices if they do not show up. St. Anthony’s Gateway Strategy uses the Dining Room as an entry point into their other programs and into other services in the city. To ensure that they draw guests from the Dining Room into other programs, the Dining Room is staffed with St. Anthony’s social workers who talk with guests about other needs and connect them with additional help: food stamps, housing searches, healthcare, computer access and money management and benefit payee services. For more information about St. Anthony Foundation, please visit www.stanthonysf.org

1 LARRY HOROWITZ Pleasant Bay from an edition of 45 signed etching 15 x 31 in., 1999 Gallery price: $1,800

3 LUIGI KASIMIR Yosemite Falls signed aquatint 17.5 x 11 in., 1949 Gallery price: $1,500

2 LARRY HOROWITZ Sepia Marsh from an edition of 45 signed etching 23 x 30 in., 1999 Gallery price: $1,900

4 SALVADOR DALI Divine Comedy - Heaven 8 ML 1113 1580/3044 unsigned woodcut 16 x 13 in., 1960 Gallery price: $1,550 Illustrated: Dali, Catalogue RaisonnÃ© II 1956-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 111.

5 SALVADOR DALI Divine Comedy - Heaven 9 ML 1114 1580/3044 unsigned woodcut 16 x 13 in., 1960 Gallery price: $1,550

6 SALVADOR DALI Divine Comedy - Heaven 26 ML ML 1131 II/III signed woodcut 16 x 13 in., 1960 Gallery price: $5,950

7 SALVADOR DALI Divine Comedy - Heaven 30 ML ML 1135 II/III signed woodcut 16 x 13 in., 1960 Gallery price: $5,950

Illustrated: Dali, Catalogue Raisonné II 1956-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 111.

Illustrated: Dali, Catalogue Raisonné II 1956-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 114.

8 PIERRE BONCOMPAIN Primeveres sur le Kilim AP 10/50 signed serigraph 28 x 22 in., 2004 Gallery price: $3,000

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9 PABLO PICASSO Buffon's L'Histoire Naturelle: L'Ane B. 329 / Ba. 576 from an edition of 226 unsigned etching, 14 x 11 in., 1942 Gallery price: $7,500 Illustrated: Baer, Brigitte, Picasso Peintre-Gravure, Editions Kornfeld, Vol. III, 1985, pg. 33.

10 PABLO PICASSO La Tauromaquia: Cintando A Banderillas B. 963 / Ba. 983 from an edition of 263 unsigned aquatint, 11.4 x 14 in., 1959 Gallery price: $8,950 Illustrated: Baer, Brigitte, Picasso Peintre-Gravure, Editions Kornfeld, Vol. IV, 1985, pg.310.

11 PABLO PICASSO Buffon's L'Histoire Naturelle: L'Aigle Blanc B. 340 / Ba. 587 from an edition of 226 unsigned etching, 14 x 11 in., 1942 Gallery price: $7,500 Illustrated: Baer, Brigitte, Picasso Peintre-Gravure, Editions Kornfeld, Vol. III, 1985, pg. 50.

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12 JOAN MIRÓ Les Pénalités de l'Enfer - Plate 15 M. 974 144/200 unsigned lthograph 10.6 x 29.3 in., 1974 Gallery price: $2,500 Illustrated: Joan Miró Lithographs, Volume V, Maeght, 1992, pg. 104.

13 JIM DINE The Yellow Belt 83/200 signed lithograph 27 x 20.5 in., 2005 Gallery price: $15,000

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14 SALVADOR DALI Aliyah: The Price – Bereaved F 68-1 R 118/250 signed lithograph, 20 x 16 in., 1968 Gallery price: $6,500 Illustrated: Official Catalog of the Graphic Works of Dali, Field, Albert, Dali Archives, 1996, pg. 154.

15 MARC CHAGALL Bible: The Circumcision - Plate 6 C.7 227/275 unsigned etching, 12 x 9 in., 1956, Gallery price: $3,750 Illustrated: Chagall and the Bible, Universe Books, 1987, pg. 26.

16 SALVADOR DALI Surrealistic Flowers: Lilium aurancacium et labra barocantia ML 546 210/350, signed heliogravure with etching 30 x 22 in., 1972 Gallery price: $6,500 Illustrated: Dali, Catalogue Raisonné I 1924-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 205.

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19 PABLO PICASSO La Cèlestine: Enlèvement,à Cheval B. 1644 / Ba. 1628 338/350, unsigned aquatint 2.3 x 3.3 in., 1968, Gallery price:$4,500 Illustrated: Baer, Brigitte, Picasso Peintre-Gravure, Editions Kornfeld, Vol. VI, 1994, pg. 352.

17 PABLO PICASSO Visiteur au Nez Bourbonien chez la Célestine B. 1631 / Ba. 1647 323/350, unsigned aquatint 2.3 x 3.3 in., 1968, Gallery price:$4,500 Illustrated: Baer, Brigitte, Picasso Peintre-Gravure, Editions Kornfeld, Vol. VI, 1994, pg. 355.

18 PABLO PICASSO Enlèvement, à peid, avec la Célestine B. 1627 / Ba. 1643 146/350, unsigned aquatint 2.3 x 3.3 in., 1968, Gallery price:$4,500 Illustrated: Baer, Brigitte, Picasso Peintre-Gravure, Editions Kornfeld, Vol. VI, 1994, pg. 351.

20 PABLO PICASSO La Célestine: Théâtre: Autour de Rembrandt B. 1605 / Ba. 1621 323/350, unsigned aquatint 4.5 x 2.25 in., 1968, Gallery price:$4,500 Illustrated: Baer, Brigitte, Picasso Peintre-Gravure, Editions Kornfeld, Vol. VI, 1994, pg. 322.

NOTE: this image has been corrected from the printed version 22

21 REMBRANDT The Goldsmith B. 123 ii/ii unsigned etching with drypoint 3.1 x 2.25 in. Gallery price:$9,200 Illustrated: Schwartz, Gary, The Complete Etchings of Rembrandt, Dover Publications, 1988.

22 REMBRANDT Nude Man Seated on Ground B. 196 ii/ii unsigned etching 4 x 6 in. Gallery price:$21,500 Illustrated: Schwartz, Gary, The Complete Etchings of Rembrandt, Dover Publications, 1988.

23 REMBRANDT Jan Lutma, Goldsmith B. 267 iii/iii unsigned etching 7.8 x 5.9 in. Gallery price:$12,000 Illustrated: Schwartz, Gary, The Complete Etchings of Rembrandt, Dover Publications, 1988.

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24 SALVADOR DALI Divine Comedy - Heaven 33 ML 1138 2348/3044 unsigned woodcut 16 x 13 in., 1960 Gallery price: $1,550 Illustrated: Dali, Catalogue Raisonné II 1956-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 114.

25 SALVADOR DALI Divine Comedy - Purgatory 6 ML 1078 1580/3044 unsigned woodcut 16 x 13 in., 1960 Gallery price: $1,550 Illustrated: Dali, Catalogue Raisonné II 1956-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 107.

26 SALVADOR DALI Divine Comedy - Purgatory 8 ML 1081 II/III signed woodcut 16 x 13 in., 1960 Gallery price: $5,950 Illustrated: Dali, Catalogue Raisonné II 1956-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 107

27 SALVADOR DALI Divine Comedy - Purgatory 25 ML 1097 II/II signed woodcut 16 x 13 in., 1960 Gallery price: $5,950 Illustrated: Dali, Catalogue Raisonné II 1956-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 109.

28 SALVADOR DALI Divine Comedy - Purgatory 28 ML 1100 II/II signed woodcut 16 x 13 in., 1960 Gallery price: $5,950

Illustrated: Dali, Catalogue Raisonné II 1956-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 110.

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29 ALEXANDER CALDER Our Unfinished Revolution, Untitled V unsigned lithograph 22 x 30 in., 1975 Gallery price: $3,950

30 ALEXANDER CALDER Our Unfinished Revolution, Untitled IX unsigned lithograph 22 x 30 in., 1975 Gallery price: $3,950

31 LEROY NEIMAN The Artist - LeRoy Neiman AP 13/47 signed serigraph 14.5 x 12.5 in., 2004 Gallery price: $4,000

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32 LEROY NEIMAN Big Five AP 72/117 signed serigraph 21 x 42 in., 2001 Gallery price: $12,000

33 LEROY NEIMAN Carnival: Passistas AP signed serigraph 14 x 10 in., 1981 Gallery price: $5,000

34 LEROY NEIMAN Three Tenors 345/385 signed serigraph 27 x 40 in., 1996 Gallery price: $6,500

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37 SALVADOR DALI Divine Comedy - Purgatory 3 ML 1075 1293/4765, unsigned woodcut 16 x 13 in., 1960, Gallery price: $1,550 Illustrated: Dali, Catalogue Raisonné II 1956-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 107.

35 JOAN MIRÓ Càntic del Sol - Plate 21 D. 857 25J/250, unsigned etching with aquatint 13.5 x 20 in., 1975, Gallery: $3,200 Illustrated: Miro Engraver, Volume III, Ediciones Poligrafa, 1992, pg. 188.

38 SALVADOR DALI Divine Comedy - Purgatory 11 ML 1083 4237/4765, unsigned woodcut 16 x 13 in., 1960, Gallery price: $1,550 Illustrated: Dali, Catalogue Raisonné II 1956-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 108.

39 SALVADOR DALI Divine Comedy - Purgatory 16 ML 1088 4237/4765, unsigned woodcut 16 x 13 in., 1960, Gallery price: $1,550 Illustrated: Dali, Catalogue Raisonné II 1956-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 108.

40 SALVADOR DALI Surrealistic Flowers: Dahlia rapax ML 538 EA, signed heliogravure with etching 30 x 22 in., 1972, Gallery price: $6,500 Illustrated: Dali, Catalogue Raisonné I 1924-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 204.

36 JOAN MIRÓ Càntic del Sol - Plate 27 D. 862 25J/250, unsigned etching with aquatint 13.5 x 20 in., 1975, Gallery: $3,200 Illustrated: Miro Engraver, Volume III, ]Ediciones Poligrafa, 1992, pg. 187.

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41 SALVADOR DALI Dali de Draeger para Rodrigo Iglesias original signed felt pen on paper 12 x 22 in., 1975 Gallery price: $12,000

42 PABLO PICASSO Tête de Femme, de Profil B. 6 / Ba. 7 from an edition of 250 unsigned drypoint 11.5 x 9.8 in., 1913 Gallery price: $29,000

REPLACED

(see website addendum) 18

Illustrated: Baer, Brigitte, Picasso Peintre-Gravure, Editions Kornfeld, Vol. I, 1990, pg. 28.

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43 PABLO PICASSO La Celestine: ReÎtre Enlevant une Femme pour Le Compte d'un Cavalie B. 1626/ Ba.1642 323/350 unsigned aquatint 2.3 x 3.3 in., 1968 Gallery price: $21,000 Picasso: Catalog of Printed Graphic Work 1966-1969, Georges Bloch, Vol. II, 1977, pg 212.

44 PABLO PICASSO Góngora: Femme Blonde de Profil Ba. 743 25/250, unsigned aquatint 15 x 11 in., 1947, Gallery price: $9,500

45 PABLO PICASSO Femme au Miroir B. 52/ Ba. 69 3/25, stamped unsigned drypoint etching 6.9 x 5 in., 1981, Gallery price: $8,500

Illustrated: Baer, Brigitte, Picasso Peintre-Gravure, Editions Kornfeld, Vol. I, 1990, pg. 37.

Illustrated: Baer, Brigitte, Picasso Peintre-Gravure, Editions Kornfeld, Vol. I, 1988, pg. 141.

46 MIHAIL CHEMIAKIN Nocturne in Grey and Gold from an edition of 40 signed serigraph 36 x 36 in., 1998 Gallery price: $3,500

47 MIHAIL CHEMIAKIN Gendarme and Rebekka from an edition of 125 signed lithograph, 1988 24 x 21 in. Gallery price: $2,250

48 MIHAIL CHEMIAKIN Metamorphosis from an edition of 125 signed lithograph, 1988 29 x 19 in. Gallery price: $2,250

49 PIERRE MARIE BRISSON Golfeur original signed mixed media on paper 20 x 20 in., 1990 Gallery price: $8,500

50 PIERRE MARIE BRISSON Danseuse original signed mixed media on paper 20 x 20 in., 1990 Gallery price: $8,500

51 PIERRE MARIE BRISSON Gymnastique original signed mixed media on paper 20 x 20 in., 1990 Gallery price: $8,500

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52 LEROY NEIMAN Coach Bill Walsh AP 21/40 signed serigraph 36 x 30.25 in.,1993 Gallery price: $6,500

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53 LEROY NEIMAN Silverdome Superbowl Artists’s Proof signed serigraph 28 x 38 in.,1982 Gallery price: $10,700

54 LEROY NEIMAN Quarterback of the Eighties AP 34/50 signed serigraph 26.5 x 14.5 in.,1990 Gallery price: $11,500

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55 IGOR MEDVEDEV Magic Maze original signed mixed media on board 40 x 60 in., 2001. Gallery price: $19,000

56 IGOR MEDVEDEV Walled Jerusalem original signed mixed media on canvas 36 x 72 in., 2000, Gallery price: $16,900

57 IGOR MEDVEDEV View of Oia original signed mixed media on board 60 x 40 in., 2004 Gallery price: $19,000

58 IGOR MEDVEDEV Up in the Sky original signed mixed media on board 30 x 40 in., 2002 Gallery price: $11,300

59 LARRY HOROWITZ Pleasant Bay 1 original signed oil on canvas 30 x 40 in., 1998 Gallery price: $7,300 60 LEROY NEIMAN New York Stock Exchange AP 31/80 signed serigraph 26.5 x 30 in., 2003 Gallery price: $6,500

61 LEROY NEIMAN Roulette II AP 15/50 signed serigraph 27 x 32 in., 1996 Gallery price: $9,000 62 PIERRE MARIE BRISSON L'Oiseau II original signed mixed media on paper 22 x 17 in., 1993 Gallery price: $8,500 63 PIERRE MARIE BRISSON Petite Monde original signed mixed media on paper 30 x 22 in., 2004 Gallery price: $9,500

64 LEROY NEIMAN Bartender original signed mixed media on paper 15 x 11 in. Gallery price: $9,500 65 LEROY NEIMAN Big A Jockey original signed mixed media on paper 12 x 9.25 in., 1973 Gallery price: $9,500 66 LEROY NEIMAN Chuck Mangione, New Year's Eve original signed mixed media on paper 10.25 x 13.5 in., 2004 Gallery price: $6,500

67 LEROY NEIMAN Maura: Caesar's Palace Pool Goddess original signed mixed media on paper 25.75 x 20.25 in., 1980 Gallery price: $25,000

68 PIERRE BONCOMPAIN Nu à la Jambe Levée original signed pastel on board 13 x 18 in. Gallery price: $13,750

69 JOAN MIRÓ Càntic del Sol - Plate 26 D. 858 160/250 unsigned etching with aquatint 13.5 x 20 in., 1975 Gallery price: $2,400 Illustrated: Miro Engraver, Volume III, Ediciones Poligrafa, 1992, pg. 185.

70 JOAN MIRÓ Càntic del Sol - Plate 23 D. 853 160/250 unsigned etching with aquatint 13.5 x 20 in., 1975 Gallery price: $2,400 Illustrated: Miro Engraver, Volume III, Ediciones Poligrafa, 1992, pg. 183.

71 JOAN MIRÓ Càntic del Sol - Plate 22 D. 852 160/250 unsigned etching with aquatint 13.5 x 20 in., 1975 Gallery price: $4,200 Illustrated: Miro Engraver, Volume III, Ediciones Poligrafa, 1992, pg. 183.

72 HENRI MATISSE Pasiphae - Plate 2 D. 10 122/250, unsigned linocut, 13 x 10 in., 1944 Gallery price: $5,900 Matisse Catalogue Raisonne des Ouvrages Illustres Duthuit, 1988, pg 57.

73 HENRI MATISSE Pasiphae - Plate 5 D. 10 122/250, unsigned linocut, 13 x 10 in., 1944 Gallery price: $5,900 Matisse Catalogue Raisonne des Ouvrages Illustres Duthuit, 1988, pg 57.

74 HENRI MATISSE Pasiphae - Plate 16 D. 10 122/250, unsigned linocut, 13 x 10 in., 1944 Gallery price: $5,900 Matisse Catalogue Raisonne des Ouvrages Illustres Duthuit, 1988, pg 61.

75 LEROY NEIMAN Charing Cross Road Playboy Mansion original signed mixed media on paper 16.5 x 22.25 in., 1984 Gallery price: $15,000

76 LEROY NEIMAN Showgirls original signed mixed media on paper 18 x 16 in., 1970 Gallery price: $17,500

77 LEROY NEIMAN Wynton Marsalis original signed mixed media on paper 11.25 x 15 in., 1999 Gallery price: $15,000

78 LEROY NEIMAN Tour de France Artist's Proof signed serigraph 24 x 34 in., 1981 Gallery price: $17,500

79 LEROY NEIMAN Elephant Family 286/300 signed serigraph 29 x 38 in., 1983 Gallery price: $21,000

WITHDRAWN

Marc Chagall b. 1887, L IOZNA , B ELARUS d. 1985, S AINT PAUL

V ENCE , F RANCE

Marc Chagall was at odds with the century in which he lived. Despite this, Chagall's reputation is now secure as one of the most critically acclaimed and popular artists of the century. In an age of science and reason, Chagall defied these prevailing standards by seducing the viewer through the illogical inventiveness of his subject matter and his dazzling use of color. Chagall's popularity, in part, is due to his art being resistant to over-intellectualization which is the fate of so much art in the past century. For Chagall, Russia was his past but Paris was his present and future. It was in Paris in 1910 â&#x20AC;&#x201C;14 and again in 1923 when he finally settled there that Chagall found himself artistically. He remembered Russia as a world of whites, grays, and blacks. It was in Paris that Chagall discovered and embraced an all-encompassing sense of color. He observed it everywhere from the streets and the sky to paintings in artists' studios and the Louvre. It was a revelation that transformed his art and caused him to later say that in Paris he was born a second time. While in exile in America, he was finally given his first opportunity to create color prints. The series of 13 color lithographs illustrating Four Tales from the Arabian Nights were begun in 1946 and published in 1948. This publication was an extraordinary achievement considering that it was Chagall's first venture into that medium and that it was printed in New York, devoid of the tradition and skills of color printing that Paris had in abundance. However, in 1948 in the workshop of the Parisian lithographic printer Fernand Mourlot, Chagall finally found his home as a printmaker. Under the patient tutelage of printers like Charles Sorlier, Chagall found color lithography to be the perfect graphic medium for his art. Christopher Conrad has written: "lithography soon became his favored printing technique. This is certainly due primarily to the fact that he could integrate the one element he had previously always missed in his graphic art: color. Color is employed in Chagall's work with greatly varying intensity, from watercolor-like washes and fragile crayon lines to opaque layers whose effect closely resembles that of his luminescent gouaches." In his greatest color lithographs Chagall created works that are the equal of his finest achievements in painting, drawing, stained glass, and ceramics. Henri Deschamps contributed the wonderful remark, "Chagall, they say he came into the world every morning." To see life afresh each day, to act on one's imagination and impulses in creating an art based on a poetry of feeling is Chagall's gift to the world. His work is done, his achievement secure. It is for us to appreciate his genius and take refuge from an often uncomprehending world in the beauty he left us. â&#x20AC;&#x201C; Robert Flynn Johnson, Achenbach Foundation for Graphic Art, Fine Arts Museums of San Francisco

80 MARC CHAGALL MaternitĂŠ Rouge M. 984 E. A., signed color lithograph, 37 x 23.5 in., 1980, Gallery price: $95,000 Illustrated: Marc Chagall: The Illustrated Books: Catalogue Raisonne, P. Cramer, 1995, pg. 370.

81 JOAN MIRĂ&#x201C; Oiseau entre deux Astres D. 429 15/75, signed etching, aquatint and carborundum, 28 x 22.5 in., 1967, Gallery price: $27,000 Illustrated: Miro Engraver, Volume II, Ediciones Poligrafa, 1992, pg. 92.

82 JOAN MIRĂ&#x201C; L'Exile Noir D. 497 16/75, signed etching, aquatint and carborundum, 41.75 x 26.75 in., 1969, Gallery price: $58,000 Illustrated: Miro Engraver, Volume II, Ediciones Poligrafa, 1992, pg. 146.

83 MARC CHAGALL Celui qui Dit les Choses sans Rein Dire - Plate XI C. 99 25/25 signed etching with aquatint 15.5 x 12 in., 1975 Gallery price: $26,500 Illustrated: Marc Chagall: The Illustrated Books: Catalogue Raisonne, P. Cramer, 1995, pg. 293.

84 MARC CHAGALL Celui qui Dit les Choses sans Rein Dire - Plate XVII C. 99 25/25 signed etching with aquatint 15.5 x 12 in., 1975 Gallery price: $26,500 Illustrated: Marc Chagall: The Illustrated Books: Catalogue Raisonne, P. Cramer, 1995, pg. 293.

85 MARC CHAGALL Le Songe du Capitaine Bryaxis M. 328 22/250 unsigned lithograph 21 x 30 in., 1956 Gallery price: $29,500 Illustrated: Marc Chagall: Marc Chagall: The Lithographs, Catalogur Raisonne, Charles Solier, 1960, pg. 159.

86 REMBRANDT Nude Man Seated and Another Standing B.194 iii/iii unsigned etching 7.75 x 5.25 in. Gallery price: $17,500 Illustrated: Schwartz, Gary, The Complete Etchings of Rembrandt, Dover Publications, 1988.

87 REMBRANDT The Circumcision in the Stable B. 47 i/ii unsigned etching 4 x 5.8 in. Gallery price: $17,500 Illustrated: Schwartz, Gary, The Complete Etchings of Rembrandt, Dover Publications, 1988.

88 REMBRANDT The Artist's Mother Seated at a Table B. 343 ii/iii unsigned etching 5.8 x 5.25 in. Gallery price: $22,000 Illustrated: Schwartz, Gary, The Complete Etchings of Rembrandt, Dover Publications, 1988.

89 SALVADOR DALI Flordali (Les Fruits): Gernade et l'ange ML 355 1/35 signed lithograph 22 x 14.5 in., 1969-70 Gallery price: $11,500 Illustrated: Dali, Catalogue Raisonné I 1924-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 175.

90 SALVADOR DALI Alchemie des philosophes: L'Immortalité ML 839 216/225 signed lithograph 30 x 22 in., 1976 Gallery price: $12,000 Illustrated: Dali, Catalogue Raisonné I 1924-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 250

91 SALVADOR DALI Carmen: Harpist: Symbol of Carmen's Love ML 1309 LXI/CXXV signed lithograph 21 x 17in., 1970 Gallery price: $7,950 Illustrated: Dali, Catalogue RaisonnĂŠ I 1956-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 139.

92 SALVADOR DALI Surrealistic Flowers: Rosa e morte floriscens ML 539 210/350 signed heliogravure with etching 30 x 22 in., 1975-76 Gallery price: $6,500 Illustrated: Dali, Catalogue RaisonnĂŠ I 1956-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 204.

93 LEROY NEIMAN Fragrance original signed mixed media on paper 11 x 18 in., 1992 Gallery price: $39,000

94 LEROY NEIMAN Gin and Tonic 2 original signed mixed media on paper 17 x 14 in., 1995 Gallery price: $31,500

Le Roy Neiman b. 1921, S T. PAUL , M INNESOTA d. 2012, N EW Y ORK , N EW Y ORK LeRoy Neiman was born on June 8, 1921 in St. Paul, Minnesota. As a young man, the artist attended a Roman Catholic school where he gained attention for his drawings.

Later, LeRoy

dropped out of school to serve in the U.S. Army during World War II and worked as a cook until the end of the war. He returned to the states in 1946, and attended the St. Paul School of Art for a short time before continuing on to the School of the Art Institute of Chicago. LeRoy earned his degree there and went on to become a member of the faculty for ten years, teaching figure drawing and fashion illustration. During his tenure, Neiman began a life-long relationship with Hugh Hefner, who, along with Art Paul, commissioned an illustration from LeRoy for the cover of Playboy magazine’s fifth edition. The artist would continue to illustrate for the magazine for the next 50 years, creating the Femlin series for the Party Jokes page and contributing to the running feature, “Man at His Leisure,” which chronicled LeRoy’s painting while traveling to exotic locations. LeRoy spent the majority of his career capturing the leisurely lifestyles of the wealthy and famous. Travelling the world, he depicted sporting events, safari trips, horse races and international high life with brightly colored, impressionistic sketches, drawings and paintings. He worked in various mediums including: oil, enamel, watercolor, pencil drawings, pastels, serigraphy and a small number of lithographs and etchings, which add diversity to his body of work. LeRoy Neiman gained a strong and loyal fan base over his years as an artist. Collectors and admirers of his work enjoy the vibrant colors, deep, rich textures and a certain feel for a life of opulence and grandeur that LeRoy fully embodied throughout his career. Mr. Neiman passed away on June 20, 2012 at the age of 91.

95 LEROY NEIMAN Oxford-Cambridge Rowing original signed mixed media on paper 19 x 26 in., 1962 Gallery price: $125,000

96 JOAN MIRÓ Càntic del Sol - Plate 7 D. 844 160/250, unsigned etching with aquatint 13.5 x 20 in., 1975, Gallery price: $3,200 Illustrated: Miro Engraver, Volume III, Ediciones Poligrafa, 1992, pg. 180.

97 JOAN MIRÓ Càntic del Sol - Plate 2 D. 836 129/250, unsigned etching with aquatint 13.5 x 20 in., 1975, Gallery price: $2,400 Illustrated: Miro Engraver, Volume III, Ediciones Poligrafa, 1992, pg. 176..

98 SALVADOR DALI Les Chevaux Daliniens: Le Centaure de Crête ML 1272 232/250, signed lithograph with embossing, 26 x 20 in., 1970-72 Gallery price: $9,500 Illustrated: Dali, Catalogue Raisonné II 1956-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 128.

99 SALVADOR DALI Les Chevaux Daliniens: La Femme-cheval ML 1274 232/250, signed lithograph with embossing 26 x 20 in., 1970-72 Gallery price: $9,500 Illustrated: Dali, Catalogue Raisonné II 1956-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 167.

100 SALVADOR DALI Les Chevaux Daliniens: Le Centurion ML 1278 232/250, signed lithograph with embossing 26 x 20 in., 1970-72 Gallery price: $9,500 Illustrated: Dali, Catalogue Raisonné II 1956-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 248.

100

101 LEROY NEIMAN Glenn Hall original signed acrylic and enamel on board 24 x 12 in., 1966 Gallery price: $60,000

102 LEROY NEIMAN Jockey #5 original signed acrylic and enamel on board 10 x 11 in., 1969 Gallery price: $110,000

103 EDUARDO ARRANZ-BRAVO Jardi-Nit original signed oil on canvas 37 x 51 in., 2006 Gallery price: $29,000

104 EDUARDO ARRANZ-BRAVO Neck of the Woods IX original signed oil on canvas 58.5 x 58.5 in., 2011 Gallery price: $45,000

Salvador Dalí b. 1904, F IGUERAS , S PAIN ; d. 1989, F IGUERAS , S PAIN Salvador Dalí was born Salvador Felipe Jacinto Dalí y Domenech in the Catalan town of Figueras, Spain, on May 11, 1904. In 1921, he enrolled in the Real Academia de Bellas Artes de San Fernando in Madrid, where he became a friend of Federico García Lorca and Luis Buñuel. His first solo show was held in 1925 at the Galeries Dalmau in Barcelona. In 1926, Dalí was expelled from the Academia and, the following year, he visited Paris and met Pablo Picasso. He collaborated with Buñuel on the film Un Chien Andalou in 1928. At the end of the year, he returned to Paris and met Tristan Tzara and Paul Eluard. About this time, Dalí produced his first Surrealist publications and illustrated the works of Surrealist writers and poets. His first solo show in the United States took place at the Julien Levy Gallery in New York in 1933. Dalí was censured by the Surrealists in 1934. Toward the end of the decade, he made several trips to Italy to study the art of the sixteenth and seventeenth centuries. In 1940, Dalí fled to the United States where he worked on theatrical productions, wrote and illustrated books and painted. A major retrospective of his work opened in 1941 at the Museum of Modern Art in New York and travelled throughout the United States. In 1942, Dalí published his autobiography and began exhibiting at M. Knoedler and Co. in New York. He returned to Europe in 1948, settling in Port Lligat, Spain. His first paintings with religious subjects date from 1948–49. In 1954, a Dalí retrospective was held at the Palazzo Pallavicini in Rome and, in 1964, an important retrospective of his work was shown in Tokyo, Nagoya and Kyoto. He continued painting, writing and illustrating during the 1960s. The Salvador Dalí Museum in Cleveland was inaugurated in 1971, and the Dalínian Holographic Room opened at M. Knoedler and Co., New York, in 1973. In 1980, a major Dalí retrospective was held at the Musée National d’Art Moderne, Centre Georges Pompidou, in Paris, and his work was exhibited at the Tate Gallery, London. The artist died on January 23, 1989, in Figueras.

105

106

105 SALVADOR DALI Hippies: St Jacques de Compostelle ML 382 55/145, signed drypoint etching 15.5 x 12.4 in., 1969-70 Gallery price: $10,850 Illustrated: Dali, Catalogue Raisonné I 1924-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 180.

106 SALVADOR DALI Hippies: La Vache sacrée ML 383 XXI/C, signed drypoint etching 15.5 x 12.4 in., 1969-70 Gallery price: $10,850 Illustrated: Dali, Catalogue Raisonné I 1924-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 180.

107 SALVADOR DALI Hippies: Le Cosmonaute ML 380 133/145, signed drypoint etching 15.5 x 12.4 in., 1969-70 Gallery price: $10,850 Illustrated: Dali, Catalogue Raisonné I 1924-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 180.

107

108 SAM FRANCIS Untitled, 1981 SFM 81-009 original signed mixed media monotype mixed media on paper 24.75 x 30.5 in., 1981 Gallery price: $42,500

WITHDRAWN

109 SAM FRANCIS Untitled, 1981 EXP-SFE-47-6-1981 original signed mixed media monotype mixed media on paper 29.25 x 25 in., 1981 Gallery price: $47,500

Sam Francis b. 1923, S AN M ATEO , C ALIFORNIA d. 1994, S ANTA M ONICA , C ALIFORNIA Samuel Lewis Francis was born on June 25, 1923, in San Mateo, California. He began painting in 1944 after being diagnosed with spinal tuberculosis, resulting from a U.S. Army Air Corps accident. In 1947, he studied privately with painter David Park, and soon gave up his intended medical studies, earning a BA in 1949 and an MA in 1950 at the University of California, Berkeley. He experimented with the dominant and emerging styles of the late 1940s, particularly Abstract Expressionism and Surrealism, eventually developing a personal style of abstraction focused on dripping, cell-like forms, an allover instability, and sensitivity to color and light, as in Opposites (1950). In 1950, Francis moved to Paris and attended the Atelier Fernand LĂŠger, where he was exposed to the work of Pierre Bonnard and Henri Matisse, which reinvigorated his interest in light and vibrant color, visible in his 1953 painting, Big Red. Producing such work led to his association with Art Informel, although Francis never fully associated with any movement. A visit to Japan in 1957 coincided with an opening up of expanses of white space in much of his work, and his subsequent move to a larger studio in Paris resulted in the production of large-scale paintings and mural commissions, including a 1959 painting for the Chase Manhattan Bank, New York. Francis returned to California in 1962 and resumed painting with combinations of bright colors. Clement Greenberg's landmark exhibition Post Painterly Abstraction (1964) at the Los Angeles County Museum of Art, which focused on paintings emphasizing color over gesture, included works by Francis. In the late 1960s, however, color increasingly vanished from his canvases. In 1973, he formed a lithography production company, which published his own prints. Over the next decades, Francis's style in painting and print production evolved from the depiction of bright, centrally placed shapes evocative of Tibetan mandalas (influenced by Jungian psychology) to his late1970s exploration of more severe grid structures, to a 1980s fascination with snakelike forms and colorful drips. His final decades of artistic production paralleled a succession of publishing, nonprofit, and visionary enterprises. In addition to his lithography studio, Francis formed: a wind harvesting and alternative energy company in 1975; helped organize the Museum of Contemporary Art, Los Angeles, in 1980; formed the Lapis Press, which focused on eclectic scholarship, in 1984; created a naturopathy-based medical research center in 1987; and founded the Sam Francis Art Museum in 1990 to perpetuate his artistic legacy and support charitable donations.

110 SAM FRANCIS Untitled, 1983 EXP-SF-0485-03 original signed mixed media monotype mixed media on paper 25 x 27 in., 1983 Gallery price: $35,000

111 PIERRE BONCOMPAIN Terrasse d'Ete original signed pastel on board 25.25 x 39.7 in. Gallery price: $26,000

112 VICTOR ALFRED PAUL VIGNON Jeune Garçon à l'Extérieur du Village original signed oil on panel, 10.6 x 13.7 in., Gallery price: $22,500

VICTOR ALFRED PAUL VIGNON

French, 1847 – 1909

Victor Vignon’s mother was the sculptrice, Marie Noémi Cadiot; she owned a mansion which was decorated by Puvis de Chavannes between 1850 and 1862. Victor Vignon knew the best French artists of the 19th century. He was a pupil of the “Master,” Jean Baptiste Camille Corot, around 1869. In addition to studying with Corot, he was a friend of the landscape painter Adolfe Félix Cals and painted with Camille Pissaro and Paul Cézanne at Auvers-sur-Oise in 1874-76. Prior to Auvers-sur-Oise, Vignon lived and painted in Clamart, Bougival, Celle-Saint-Cloud, Pontoise and Jouy-le-Comte. Later he exhibited with the Impressionists from 1880 to 1886. Thus, Vignon constitutes a link between Corot, the Barbizon School and the Impressionists. After finally settling in Eragny, northwest of Paris, Vignon became close with Théo and Vincent van Gogh, Dr. Paul Gachet, and the pastry cook/writer/painter Eugène Murer. Vignon painted chiefly still-lifes and landscapes. His bistre-wash technique set him radically apart from his Impressionist friends and fellow painters, as did his predilection for brooding skies and heavy clouds, snowscapes and sunken country roads. After his death, examples of his work were featured in a themed exhibition entitled Entre ciel et terre, Camille Pissaro et les peintres de la vallée de l’Oise (Between Heaven and Earth: Camille Pissarro and the Painters of the Oise Valley). The exhibition was held at the Tavet-Delacour Museum in Pontoise. In 2002, that same museum mounted a solo exhibition of Vignon’s body of work, the first such exhibition since World War II. Vignon’s work can be found at the Musée d’Orsay, Paris and at the art museum in Rheims, France.

113 LOUIS ARBANT Nature Morte avec Raisins original signed oil on canvas 35.25 x 49 in. Gallery price: $19,000

LOUIS ARBANT

French, mid 19th c.

Louis Arbant was born in Màcon (Saône-et-Loire), France. He studied at the École des Beaux-Arts in Lyon, the same city where most of his paintings were produced and exhibited his still lifes at the Paris Salon from 1849-1879. He was a prolific still life artist and occasionally he painted landscapes. The still lifes are carefully arranged combinations of floral, fruit, and slaughtered animals; these objects he frequently illustrated were common in France’s ordinary household. Arbant prefers to radiate his colorful still life objects with strong light which results in his trademark smoky dark background. He mainly worked with oil and watercolor. Arbant is one of few 19th century French artists who specialized in still life paintings. Because of some commercial success, several artists had begun to paint them in addition to their regular repertoire. This, combined with the Academy’s new admiration for still-life artists at mid-century resulted in a still-life revival in France and a considerable demand for the work in France and England. Later 19th century artists like Cezanne and Manet are credited with the ongoing success of still life painting. They painted still lifes as ‘non-illustrative of discourse,’ separating the art from literature, poetry, or moralism – all of which had previously characterized the genre. Arbant’s paintings can be found in the Musée des Beaux-arts in Lyon, France.

114 ANTONIA VIGH CHEVALIER Voilier à l'Entrée du Port de Marseilles original signed oil on canvas 10.5 x 18 in., 1893 Gallery price: $12,000

ANTONIA VIGH CHEVALIER

(ALSO KNOWN French, 1866 – 1922

ANTONIA VIGH)

Antonia Vigh-Chevalier was a French who painted landscapes, and figurative work, but specialized in seascapes. Her maiden name was Chevalier; she was married to Ferenc Vigh. Antonia was born in Paris and died in Lamalou, France. Voilier a l'entree du port de Marseille is a "ship portrait," a genre which was developed and popularized during the Romantic period in Europe. They were favored in Holland and Britain since these nations had significant sea power. Ship portraits were normally commissioned by private collectors with personal interests in marine art. Chevalier’s work can be found in the art museum of Toulon, France.

ANTOINE CHINTREUIL

French, 1814 – 1873

At twenty-four, Chintreuil left Bresse for Paris to join the studio of Hippolyte “Paul” Delaroche with the goal of becoming a great painter. Only a few years later, in 1843, Chintreuil met Camille Corot, who became his most influential teacher and encouraged his inclination towards landscape painting. Following Corot’s advice, Chintreuil began to paint en plein air and truly excelled at capturing nature’s effects. In 1850 he also met Charles François Daubigny with whom he painted in Barbizon. He continued to paint “impressions” of nature and his work most likely influenced Camille Pissarro after their meeting in 1859. Antoine Chintreuil made his Salon debut in Paris in 1847 following a series of refusals, and was awarded a jury medal in 1867. A first-class painter, he executed a great many landscapes and was perhaps Corot’s most talented follower, transposing the master’s sentiment to his own highly personal key. Chintreuil made no concessions to commercialism or popular taste, and suffered great hardship as a result. Later in life, despite the acclaim of his fellow artists and his critical success at the Salon, he was forced to rely on the generosity of his friend, a painter called Desbrosses, to avoid destitution. Chintreuil painted a great many views of the countryside around Paris, especially at Igny and the Bièvre valley, and he was an occasional visitor to Barbizon. Together with the Dutch artist Johan Barthold Jongkind, Frenchman Eugène Boudin, and the painters of the Barbizon School, he was one of the precursors of Impressionism, unrivalled in his evocations of nature in springtime. His atmospheric depictions of moonlight, and his profound sensitivity to natural surroundings led the art critic Champfleury to describe him as “the painter of mists and dewfall.” His works are in the collections of the Musée du Louvre, Paris; Musée d'Orsay, Paris (9 paintings); Musée de Brou, Bourg-en-Bresse; Musée Malraux, Le Havre; Musée des Beaux-Arts, Rennes; Musée Magnin, Dijon; Musée des BeauxArts, Troyes; National Gallery, London; Ashmolean Museum at the University of Oxford, UK; Metropolitan Museum of Art, New York; Fine Arts Museums, San Francisco; Museum of Fine Arts, Boston, Massachusetts; Cleveland Museum of Art, Ohio; and the Philadelphia Museum of Art, Pennsylvania.

115 ANTOINE CHINTREUIL Matinée d'Été à la Tournelle-Septeuil original signed oil on canvas 17 x 25.25 in. Gallery price: $22,500

116 GUSTAVE EMILE COUDER Nature Morte original signed oil on canvas, 36.6 x 30.7 in., Gallery price: $25,000

EMILE-GUSTAVE COUDER

French, c.1845 – 1903

Emile-Gustave Couder was a successful still-life artist, who painted primarily floral pirctures. He was born in Paris and spent his lifetime in Boran-sur-Oise. He studied under Marius Wasselon who also exhibited still lifes in Lyon and Paris. Couder exhibited at the Paris Salon from 1869-1893. In his lifetime, Couder sold paintings to elite international collectors including the notable William Corcoran, an American banker, philanthropist, and art collector. Private collectors were the chief agents in bringing still lifes before the public during the mid 1800s. Couder’s floral still lifes are reminiscent of the Rococo period in color, tone, and composition which are commonly asymmetrical. He often used birds and cats to contrast with the stillness of the floral arrangements. The upswing in popularity in still lifes in the middle of the 19th century was part of a renewed interest within the French academic tradition being taught in the schools, although interest never completely waned from the Rococo. Couder’s paintings can be found in the Norton Simon Museum, Pasadena, the Corcoran Gallery, Washington DC, and in Mulhouse, France.

117 NARCISSE DIAZ DE LA PEÑA Composition de fleurs original signed oil on canvas 18.1 x 15 in. Gallery price: $35,000

NARCISSE VIRGILE DIAZ French, 1807 – 1876

DE LA

PEÑA

Born to Spanish political refugees in Bordeaux, France, Narcisse Diaz de la Peña found himself orphaned and penniless at ten years old. While still a child, he lost his leg from a viper bite and he gained local recognition for both his wooden leg and his exceptional skill as a painter. He taught himself composition and color by studying the great works in the Louvre, and then when he felt he was ready, he moved outdoors to paint nature at large. In 1836, he met Théodore Rousseau and the two became friends, neighbors, and fellow artists in the village of Barbizon. Rousseau had a strong influence on Diaz, even giving him lessons on how to paint trees. Diaz went regularly to the forest of Fontainebleau to paint; he composed minutely detailed studies reminiscent of Dutch painting on the spot, and then used these studies to compose finished pictures in the studio. A friend who witnessed him at work recalled, “I saw Diaz paint in the forest magical effects that are surprising, true, sun-drenched. The trunks and leaves of beech trees sufficed for the most brilliant poems suffused with the rays of the most enchanting fairyland." Although he is considered a leading member of the Barbizon School, Diaz never confined himself to landscape painting. He followed his own instinct—sometimes creating Orientalist compositions and figurative works in his studio, sometimes painting nature en plein air. Although Diaz never settled permanently in Barbizon, like Jean François Millet or Charles Jacque, he spent most summers there and visited often throughout the year. He also painted at Etretat (in the late 1850s), Le Havre and Honfleur, and much later, near the end of his life, in the south of France. These sites became standard for other landscapists, and the Impressionists learned a great deal from where Diaz and his friends worked. His first Salon success was in 1844 when he exhibited four paintings (only one was a pure landscape) and won a third-class medal. The noted critic, Théophile Thoré, praised Diaz’s work for his use of light and found him to be an important colorist. By 1845, Diaz had active followers and was creating works for private patrons; some well-known aristocrats asked him to paint their portraits. His second Salon medal, a second-class award, was received in 1846. (continued on page 74)

118 PIERRE MARIE BRISSON Planche Botanique VI original signed mixed media on paper 30 x 22 in., 2007 Gallery price: $9,500

119 PIERRE MARIE BRISSON Fantomette VI original signed mixed media on canvas 39 x 39 in., 2013 Gallery price: $21,000

120 SALVADOR DALI Tauromachie surréaliste: Les Moulins ML 155 from an edition of 100 signed heliogravure with drypoint etching 12.5 x 16.5 in., 1966-67 Gallery price:$8,500 Illustrated: Dali, Catalogue Raisonné I 1924-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 150.

121 SALVADOR DALI Twelve Tribes of Israel: Benjamin ML 619 Epreuve d'Artiste signed etching 20 x 14 in., 1973 Gallery price:$6,500 Illustrated: Dali, Catalogue Raisonné I 1956-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 217

122 PABLO PICASSO Artiste Pientre au Travail, Avec un ModĂ¨le Laid B. 1711 / Ba. 1727 26/50 signed etching 23 x 18 in., 1968 Gallery price: $16,000 Illustrated: Baer, Brigitte, Picasso Peintre-Gravure, Editions Kornfeld, Vol. VII, 1994, pg. 454.

123 FRANCIS BACON Three Studies of a Male Back 46/99 signed lithograph 32 x 23 in. 1987 Gallery price: $32,000

124 JOAN MIRĂ&#x201C; Le Chef d'Orchestre D. 654 33/50 signed etching with aquatint, 44.5 x 29.25 in., 1974, Gallery price: $45,000 Illustrated: Miro Engraver, Volume III, Ediciones Poligrafa, 1992, pg. 55.

125 SAM FRANCIS Untitled, 1991 SFE-223S original signed watercolor and acylic on paper 18 x 24 in., 1991 Gallery price: $85,000

126 SAM FRANCIS Untitled, 1983 SFM83-502 original signed mixed media monotype 29.5 x 24.5 in., 1983 Gallery price: $55,000

Joan Miró b. 1893, BARCELONA d. 1983, PALMA

MALLORCA

Joan Miró Ferra was born April 20, 1893, in Barcelona. At the age of 14, he went to business school in Barcelona and also attended La Lonja’s Escuela Superior de Artes Industriales y Bellas Artes in the same city. Upon completing three years of art studies, he took a position as a clerk. After suffering a nervous breakdown, he abandoned business and resumed his art studies, attending Francesc Galí’s Escola d’Art in Barcelona from 1912 to 1915. Miró received early encouragement from the dealer José Dalmau, who gave him his first solo show at his gallery in Barcelona in 1918. In 1917, he met Francis Picabia. In 1920, Miró made his first trip to Paris, where he met Pablo Picasso. From this time, Miró divided his time between Paris and Montroig, Spain. In Paris, he associated with the poets Max Jacob, Pierre Reverdy, and Tristan Tzara and participated in Dada activities. Dalmau organized Miró’s first solo show in Paris, at the Galerie la Licorne in 1921. His work was included in the Salon d’Automne of 1923. In 1924, Miró joined the Surrealist group. His solo show at the Galerie Pierre, Paris, in 1925 was a major Surrealist event; Miró was included in the first Surrealist exhibition at the Galerie Pierre that same year. He visited the Netherlands in 1928 and began a series of paintings inspired by Dutch masters. That year he also executed his first papiers collés (pasted papers) and collages. In 1929, he started his experiments in lithography, and his first etchings date from 1933. During the early 1930s he made Surrealist sculptures incorporating painted stones and found objects. In 1936, Miró left Spain because of the civil war; he returned in 1941. Also in 1936 Miró was included in the exhibitions Cubism and Abstract Art and Fantastic Art, Dada, Surrealism at the Museum of Modern Art, New York. The following year he was commissioned to create a monumental work for the Paris World’s Fair. Miró’s first major museum retrospective was held at the Museum of Modern Art, New York, in 1941. In 1944, Miró began working in ceramics with Josep Lloréns y Artigas and started to concentrate on prints; from 1954 to 1958 he worked almost exclusively in these two mediums. He received the Grand Prize for Graphic Work at the Venice Biennale in 1954, and his work was included in the first Documenta exhibition in Kassel the following year. In 1958, Miró was given a Guggenheim International Award for murals for the UNESCO building in Paris. The following year he resumed painting, initiating a series of mural-sized canvases. During the 1960s he began to work intensively in sculpture. Miró retrospectives took place at the Musée National d’Art Moderne, Paris, in 1962, and the Grand Palais, Paris, in 1974. In 1978, the Musée National d’Art Moderne exhibited over five hundred works in a major retrospective of his drawings. Miró died on December 25, 1983, in Palma de Mallorca, Spain.

127 JOAN MIRĂ&#x201C; TĂŞte au Soleil Couchant HC D. 437 signed aquatint and carborundum 11 x 15 in., 1967 Gallery price: $36,000 Illustrated: Miro Engraver, Volume II, Ediciones Poligrafa, 1992, pg. 98.

(continued from page 65)

NARCISSE VIRGILE DIAZ

DE LA French, 1807 – 1876

128 NARCISSE DIAZ DE LA PEÑA La Toilette de Vénus original signed oil on panel 12.8 x 9.5 in. Gallery price: $30,000

PEÑA

Diaz remained popular throughout his career. Because of his financial success Diaz was able to help friends in need and Troyon, Rousseau and Millet all benefited from his generosity. In 1851, he established a studio in Paris where he entertained and lived prosperously with his wife and sons. Diaz reached the height of his fame in 1855 and was regarded as a master landscapist who fully understood and used the lure of the forest of Fontainebleau. His work continued to appreciate in skill and value into his last years. In 1863, Diaz met Claude Monet, Auguste Renoir, Alfred Sisley and Frédéric Bazille, who admired his brilliant colors; his late landscapes very likely influenced the Impressionists. Diaz de la Peña’s work can be found in the following museums: Musée du Louvre, Paris; Metropolitan Museum of Art, New York; Hermitage Museum, St. Petersburg, Russia; Musée d’Orsay, Paris; National Gallery, London; Wallace Collection, England; Fine Arts Museums of SF, California; Museum of Fine Arts, Boston; Art Institute of Chicago, Illinois; Birmingham Museums & Art Gallery, England; Detroit Institute of Arts, Michigan; Fitzwilliam Museum at the University of Cambridge, England; Rijksmuseum, Amsterdam, the Netherlands; National Galleries of Scotland, Edinburgh; National Gallery of Art, Washington D.C.; Norton Simon Museum, Pasadena, California; Art Gallery of Greater Victoria, British Columbia, Canada; Brooklyn Museum, New York; Canton Museum of Art, Ohio; Chi-Mei Museum, Tainan,Taiwan; Cleveland Museum of Art, Ohio; Frye Art Museum, Seattle; Los Angeles County Museum of Art, California; Musee des Beaux-Arts de Bordeaux, France; National Gallery of Armenia, Yerevan, Armenia; Lauren Rogers Museum of Art, Laurel, Michigan; Indianapolis Museum of Art, Indiana; Joslyn Art Museum, Omaha, Nebraska; Dublin City Gallery, Dublin, Ireland; Mildres Lane Kemper Art Museum, St. Louis, Missouri; Minneapolis Institute of Arts, Minnesota; Phoenix Art Museum, Arizona; Saint Louis Art Museum, Missouri; Philadelphia Museum of Art, Pennsylvania; San Diego Museum of Art, California; Osterreichische Galerie Belvedere, Vienna, Austria; The Walters Art Museum, Baltimore, Maryland; USC Fisher Museum of Art, Los Angeles, California; Valtion Taidemuseo (Finnish National Gallery), Helsinki, Finland; Statens Museum for Kunst (National Gallery of Denmark), Copenhagen.

129 HENRI LEBASQUE La Joconde original unsigned oil on canvas 30.7 x 20.9 in. Gallery price: $150,000

HENRI LEBASQUE

French, 1865 – 1937

Henri Lebasque studied at the Ecole des Beaux-Arts in Angers and later studied with Camille Pissarro. After meeting Maximillien Luce and Paul Signac at the Salon des Indépendents in 1893, Lebasque experimented with Pointillism. He renounced his formal education to join the painters of the gallery Barc de Boutteville, including Pierre Bonnard, Edouard Vuillard, Paul Signac, and Hippolyte Petitjean. He showed at the Salon des Indépendents and became friends with the Fauves: Henri Matisse, Henri Manguin, and Georges Rouault. However, ultimately he remained closer to Pissarro and to his more subdued impressionistic style. He used a freer and wider brushstroke, without the intensity of color; he used delicate, vaporous tones, luminous in both outdoor scenes or in the harmonious intimacy of interiors. This art of half-tones," where the sensibility of the artist blends with the light which inspires him ," wrote Apollinaire covering the 1910 salon de la Société nationale in L’Intransigeant, is always without preciousness, even in his last decorative paintings done for the theater of the Champs-Elysées in Paris. His love and mastery of half-tones found both its inspiration and outlet in his remarkable version of Leonardo’s Mona Lisa. His works can be found in the Musée d’Orsay, Paris; Musée d’Art Moderne, Paris; Musée des Beaux-Art, Lille, France; Petit Palais, Geneva, Switzerland; and in collections in the cities of Angers, Lyon, Strasbourg and Nantes in France and in Detroit, Illinois in the USA.

JULES DUPRÉ

French, 1811 – 1889

Jules Dupré was the son of a painter turned industrialist in the vicinity of Creil. His father was the director of several porcelain factories and Jules became an apprentice working in the factory decorating plates. This early training as an industrial artist was typical of many of his contemporaries. Dupré also worked at drawing and painting from nature on his own time. He accompanied his father to St.-Yrieix, where Dupré senior had set up another factory—a key event for one who was to become the painter par excellence of the Limousin region. Dupré’s career as a painter began in 1831, when, he moved to Paris where he became friends with the artist Louis Cabat and took lessons from Jean Michel Diebolt, once a pupil of Jean Louis DeMarne. His celebrated work Indiana appeared at the Salon in 1832. In Paris, Dupré made the acquaintance of a wide circle of artists and writers including George Sand, Alexandre Decamps, and Philippe Jeanron. Most importantly, he made friends with artists of the then-flourishing 1830 School, painters such as Constant Troyon, Charles François Daubigny, Jean François Millet and Paul Huet. In particular, Dupré formed a long-standing friendship with Théodore Rousseau, whose career was just beginning in 1832. He greatly enjoyed going to the countryside to work from nature, with companions such as Troyon or Cabat. They would often spend several weeks at a time in the Indre or Berry regions. Perennially short of funds himself (he once claimed “I’ll have enough to eat by the time I’ve no longer got a stomach”), he nevertheless sold a number of his pictures in order to raise funds for needy friends; Rousseau and Millet both had occasion to call on his help. In 1834, Dupré accepted an invitation from Lord Grave to travel to England, where he visited London, Plymouth and Southampton, and came into contact with the work of John Constable, J.W.M. Turner, John Crome, Richard Parkes Bonington and other English masters, who made a deep impression on him. On his return he showed a view of Southampton at the 1835 Salon to great acclaim. He received a third-class medal in 1835 and was made a Chevalier of the Legion of Honor in 1849; however, he stopped contributing to the annual Salons for several years from 1839 onwards, only showing again in 1852. There then followed another long absence from public exhibition; his work was not seen in the Salons again until 1867, the year of the first Exposition Universelle. He also exhibited in 1883 at the Exposition Centennale. Dupré’s claim that “the sky is behind the tree, in the tree, in front of the tree” reveals an important aspect of his artistic approach, namely that he regarded atmosphere as more significant than anything else in the representation of nature. Certainly, he put very few people into his pictures. Before him, in the 17th and 18th centuries, landscape had been thought of almost in theatrical terms, with the sky as a “backdrop” for different “scenes.” By contrast, Dupré brought a real sense of order to bear on his depictions of natural occurrences. His paintings of the setting sun, for example, render the fantastic, dreamlike quality of this essentially transient event, but also manage to convey a sense of universality and permanence. There is a sense of austerity, almost studied severity, in Dupré’s work that is wholly at variance with earlier painters who simply sought the entertainment value in natural spectacle. Even so, some commentators accused Dupré of only seeing nature in terms of the unusual, and of drama, in stark contrast to his contemporary Jean Baptiste Camille Corot. He is considered one of the leading 19th-century French landscape painters and a chief member of the Barbizon school. Dupré’s work is part of the following important museum collections: Musée du Louvre (14 paintings), Paris; Musée d’Orsay, Paris; Metropolitan Museum of Art, New York; Frick Collection, New York; Frick Collection, New York; National Gallery of Art, Washington D.C.; Art Institute of Chicago, Illinois; Museum of Fine Arts, Boston, Massachusetts; Fine Arts Museums of San Francisco, California; Los Angeles County Museum of Art, California; Norton Simon Museum, Pasadena, California; Hermitage Museum, St. Petersburg, Russia; State Pushkin Museum of Fine Arts, Moscow, Russia; National Gallery of London; Wallace Collection, London; National Gallery of Scotland, Edinborough; Stockholm Museum, Sweden; and The Hague Museum, Netherlands.

130 JULES DUPRÃ&#x2030; L'Abreuvoir original signed oil on canvas 15 x 23.25 in. Gallery price: $35,000

131 GEORGES DE LAFAGE-LAUJO La Plaine près du Village du Barbizon original signed oil on panel 11.75 x 30.25 in., 1855 Gallery price: $25,000

GEORGES

L AFAGE-L AUJO

French, 1830 – 1858

Georges de Lafage-Laujol was a painter and lithographer of landscapes. He studied the art of landscape under Narcisse Virgile Diaz de la Peña. He exhibited regularly in the Paris Salon from 1853 to 1857, and, in 1857, he received an honorable mention. No other biographical information could be found, perhaps due to his short lifespan. Georges de Lafage-Laujol’s work can be found at the Musée d’Orsay, Paris; at the Musée des Beaux-Arts in Rheims, Musée des Beaux Arts de Chambéry, and at a museum in St.-Etienne, all in France.

132 PIERRE DESIRÉ EUGÉNE FRANC LAMY La Place Animée à Venise original signed oil on panel, 31.6 x 39.4 in., 1909, Gallery price: $25,000

PIERRE DÉSIRÉ EUGÈNE FRANC L AMY (FRANC-LAMY)

French 1855 – 1919

Pierre Désiré Eugène Franc Lamy, who was known as Franc-Lamy, was a pupil of Isidore Pils and J. L. Gérôme, both painters in the Academic style. He was part of a group of students that revolted against traditional painting and their teachers to imitate the path of the Impressionists. Often exhibiting with the Impressionists, Franc-Lamy was immediately accepted into the circle and was especially friendly with Auguste Renoir. He is present in Renoir’s painting Bal du Moulin de la Galette. Franc-Lamy’s best known work is Nina de Villard’s Salon, 1875-1877, now in the Musée d’Orsay. Nina de Callias, who is Manet’s muse, a musician, and poet, was also Franc-Lamy’s lover until 1877. Several of her poems were dedicated to him and he often illustrated album covers for both Nina de Callias and Ernest Cabaner, another well known musician,. Franc-Lamy primarily exhibited in Paris but travelled often to paint. Venice was one of his favorite cities to document. He later showed great variety in the subject matter of his paintings; he painted nudes, portraits, landscapes, and historical genre gaining him recognition locally and abroad. He was a member of the Société des Artistes Français from 1885 and took part in the Salon des Artistes Français, obtaining an honorable mention in 1887, a third class medal in 1888, an honorable mention at the 1889 Exposition Universelle, a second class medal in 1890, and a Bronze medal at the 1900 Exposition Universelle. He was made a Chevalier of the Légion d’Honneur in 1893. He exhibited across France, in London and Copenhagen. His works can be found in important museums including: the Cleveland Museum of Art, Ohio; the Smithsonian Museum in Washington D.C.; the Musée d’Orsay, Paris; and museums in the following cities in France: ClermontFerrand, Mácon, Nice, Poitiers, and Rouen.

EDMOND LECLERCQ

French, 1817 – 1853

Edmond Leclercq was a painter primarily of portraits, genre scenes (with an emphasis on those portraying conflicts or tournaments), and landscapes. He studied under Constant Dutilleux in his hometown of Arras, France, and he made his debut at the Arras Salon in 1838. Leclercq then moved to Paris to work in the studio of Eugène Delacroix. He exhibited in the Paris Salon in 1841, 1843, and 1849. Also in 1849, he participated in an exhibition with a group of artists from Pas-de-Calais, a French province of which Arras is the capital. Known for his artistic skill, Leclercq was often hired as a “dog’s body,” or someone who does drudge work, by artists such as Horace Vernet and Jean-Charles Langlois to paint elements of their canvases. As for Leclercq’s own artwork, he was greatly influenced by his time in Delacroix’s studio, and his pieces often followed in the style of the Romantic School. Edmond Leclercq’s work can be found in the museum in Arras, France.

OPPOSITE

133 EDMOND LECLERQ

La Muse original signed oil on canvas 53 x 41.5 in. Gallery price: $39,000

134 LEROY NEIMAN Portrait of Cordero, Jockey original signed acrylic and enamel on board 24 x 18 in. Gallery price: $125,000

OPPOSITE

135 LEROY NEIMAN Sic-Bo Dealers original signed acrylic and enamel on canvas 30 x 24 in., 1980 Gallery price: $125,000

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136 LOUIS AIME JAPY Clair de lune original unsigned oil on canvas, 20 x 28 in., 1873. Gallery price: $25,000

LOUIS AIMÉ JAPY

F RENCH , 1840 – 1916

Louis Aimé Japy was the student of François Louis Français and Camille Corot. He is primarily a Barbizon landscapist whose favorite subject to paint was his birthplace, the country landscape in Doubs, in the Franche-Comté region. Occasionally, he would document landscapes from the north and east regions of France in Brittany, Oise, and Picardy. At the beginning of his career, Japy travelled to Italy--as was customary for young French artists to do--and painted the local landscapes. He made his Salon debut in 1864 where he would regularly exhibit his renderings of the French countryside. He received a medal in 1870, a second class medal in 1873 and silver medals at the 1889 and 1900 Expositions Universelles in Paris. In 1883, he was made a member of the Societaire des Artistes Français, earning him exemption from all future Salon jury selection and the ability to exhibit freely at the Salons. He was recognized again in 1906 when he was elected Chevalier de la Legion d’Honneur. Much like his teachers, Japy’s paintings are known for their expert displays of light and poetic compositions which many describe as “airy.” Japy’s art can be viewed in museums in the following cities: Paris, France (Louvre); Budapest, Hungary; Manchester, England; Salford, England; Washington, D.C.; Amsterdam, Netherlands; and Langres, Limoux, Morlaix,

137 CHARLES AMABLE LENOIR Jeune Baigneuse au Bord de la Mer original signed oil on canvas, 16 x 25.75 in., 1886, Gallery price: $22,500

CHARLES AMABLE LENOIR

French, 1860 – 1926

Charles Amable Lenoir was an academic painter who specialized in refined portraits and religious and mythological scenes. He was born in Châtellaillon, a small town just outside of La Rochelle. His mother was a seamstress and his father was a customs officer. When he was young, his father was reassigned and the family moved to Fouras. He did not begin his career as an artist. In fact, he attended the teachers’ school in La Rochelle, and, in 1879, he got a job as a teacher and supervisor at the high school in Rochefort. However, he could not deny his dreams to study art. In 1881, he had saved enough money to move to Paris. He attended the Ecole des Beaux-Arts and also joined the Académie Julian. He was a student of Tony Robert Fleury and of William Adolphe Bouguereau, who was his mentor. Lenoir became good friends with Bouguereau, and he painted a portrait of Bouguereau’s wife, Elizabeth Gardner, in 1895. Lenoir made his debut at the Paris Salon in 1887, and he exhibited regularly there until his death. Lenoir was a very skilled draftsman and a delicate colorist, following in the footsteps of his master, Bouguereau. He proved to have an understanding of the accurate color, soft contour, and smooth paint surfaces found in the academic style. In 1888, Lenoir was awarded the Second Grand Prix de Rome, and the following year, he won the First Grand Prix de Rome. After having already won the Prix de Rome twice, he went on to receive more medals. In 1890, he also began exhibiting at the Salon des Artistes Français in Paris. He won medals in 1892 and 1896, he received the bronze medal at the 1900 Exposition Universelle, and he was made a Chevalier de la Légion d’Honneur in 1903. Following his death, there was a monument erected in his honor in the town of Fouras, where his family had moved when he was young and where he had kept a summer home throughout his adult life. In recent years, there has been resurgence for academic painting of this period, and Lenoir is known as one of Bouguereau’s most talented and successful students. Charles Amable Lenoir’s work can be found at museums throughout France, including: Musée des Beaux-Arts, La Rochelle; Musée d’Art et d’Histoire, Rochefort; Saintes Museum, Saintes; Ecole Nationale Supérieur des Beaux-Arts, Paris; Musée des Beaux-Arts, Niort; Musée des Beaux-Arts, Angers; and Musée des Beaux-Arts, Cognac.

138 CHARLES MARIE LHUILLIER Les Deux Papillons Blancs original signed oil on canvas 28.4 x 21.3 in. Gallery price: $20,000

CHARLES MARIE LHUILLIER

French, 1823/1824 – 1898

Charles Marie Lhuillier, who was known as Lhuillier, was a neoclassical painter of genre scenes, still lifes, and portraits; he specialized in military and Orientalist themes. He was a student of François-Edouard Picot and the renowned neoclassical painter Jean Auguste Dominique Ingres. He knew the Dutch artist, Johan Jongkind, who was inspiring to his generation of painters. He exhibited regularly at the Paris Salon beginning in 1859. Although there is documentation showing that Lhuillier visited America around the age of 70, there is no evidence that he travelled to the Middle East to paint any of his Orientalist pieces. Like most Orientalist painters, his paintings depict invented scenes. Little is known about Lhuillier’s work except for what was recorded by his students at the École des Beaux-Arts in Le Havre. Some of his pupils included Raoul Dufy, Othon Friesz, and Georges Braque, all of whom he encouraged to go to Paris after their training. He was the curator at the Musée du Havre in 1871 and director at the École des Beaux-Arts in Le Havre. Lhuillier’s work can be found in the following collections in France : Musée du Havre, Le Havre; Musée de Saint-Lô; Musée Marmottan, Paris; and at the museum in Mulhouse. Les Deux Papillons Blancs presents a lovely young woman in front of an imagined landscape which is compositionally separated from the portrait of the girl. The figure is painted to signify her importance; she wears the colors of France and is painted as if she is looking down on observers, rather than being viewed at eyelevel.

139 PAUL LOUCHET L'Arbre Vert original signed oil on canvas 53.8 x 69.5 in.,1897 Gallery price: $16,500

PAUL LOUCHET

French, 1854 – 1936

Paul Louchet studied under Jules Lefebvre and Henri Harpignies and exhibited his work at the Salon in Paris. Something of a Renaissance man, Paul Louchet excelled in the decorative arts and acquired renowned for his skill at engraving bronze. He was elected president of the bronze manufacturers’ guild and mayor of his small town of Herblay, about 25 km outside of Paris, a few years later. However, he resigned after the tragic and sudden death of his 15-year-old daughter. She died from a regional typhoid epidemic allegedly caused by the sewage dumped on fields near the town. Louchet became an outspoken environmentalist, organizing public protests and even suing the city of Paris for his daughter’s death. When he lost the case, he turned to painting the landscape he loved. Louchet is associated with the French Barbizon School, sharing their wish to depict nature without any additional adornments. His paintings “bear the mark of melancholic poetry: without any unnecessary glitter or pomposity, but with an exactness of touch and a deep sincerity.” Another great lover of nature, Paul Cézanne, said, “When I judge art, I take my painting and put it next to a God-made object like a tree or flower. If it clashes, it is not art.” By this standard, Louchet is indeed a great artist. Paul Louchet’s art can be found in the following museums: Musée du Louvre, Paris, France; Musée des Art Décoratifs, Paris, France; Musée de Sèvres, France; Brighton Museum, East Sussex, England; Musée Christofle, Paris, France.

LÉON GERMAIN PELOUSE

French, 1838 – 1892

Léon Germain Pelouse was a self-taught painter and pastellist who both talented and successful. His parents were opposed to a career in painting, so Pelouse first worked as a travelling sales representative. However, he eventually overcame their disapproval and pursued his artistic career. Pelouse executed his first painting during his military service with the permission of his colonel. In 1870, he became enamored with the landscape of Vaux-de-Cernay and moved there. It is said that during the Franco-Prussian War, when the Prussians ransacked the town, they were moved to save Pelouse’s house because the artwork inside was so beautiful. Pelouse is oftentimes associated with the Pont-Aven School, and his time in Brittany inspired him to paint seascapes, a subject for which he is well-known today. Pelouse exhibited regularly at the Paris Salon from 1865 to 1890, and he was awarded many medals. In 1876, he received the first gold medal awarded for a landscape painting in 30 years. Pelouse also exhibited and won medals in the Exposition Universelle of 1878 and of 1889. Also in 1878, he was made a Chevalier de la Légion d’Honneur. Pelouse was a member of the Paris Salon jury seven times. Pelouse used nature as his master. He was known as a very honest artist, relating his views of nature with his emotions toward the landscape. He painted en plein air, having been inspired by the techniques of his Barbizon School contemporaries. However, Pelouse used a darker palette to develop his own style. He had a strong interest in the natural landscapes of France, and he primarily painted scenes of Paris, its suburbs, Brittany, and Normandy. During his lifetime, Pelouse was very popular. He was known as a talented colorist, and many of his pieces were purchased by the French State. After his death, the Ecole des Beaux-Arts in Paris held a retrospective exhibition of his work. Léon Germain Pelouse’s work can be found: Musée d’Orsay, Paris; Metropolitan Museum of Art, New York; Musée des Beaux-Arts de Brest, France; Musée d’Art moderne André-Malraux, Le Havre, France; Musée des Beaux-Arts de Nantes, France; former Musée du Luxembourg, Paris; Town Collection of Pont-Scorff, France; Art Gallery of New South Wales, Sydney; Collection du conseil général du Morbihan, Vannes, France; Mildred Lane Kemper Art Museum, St. Louis; Musée des Beaux-Arts de Quimper, France; and museums in Montreal, Munich, and the French towns of Amiens, Carcassonne, Dunkerque, Grenoble, La Rochelle, Liège, Montpellier, Mulhouse, Rennes, Rheims, Rochefort, Rouen, Saintes, and St.-Etienne.

140 LÉON GERMAIN PELOUSE Le Printemps à Auvers-sur-Oise original signed oil on canvas 20 x 25.75 in. Gallery price: $29,500

141 JOAN MIRĂ&#x201C; La Harpie D. 506 58/75 signed etching, aquatint and carborundum 36 x 26 in., 1969 Gallery price: $42,000 Illustrated: Miro Engraver, Volume II, Ediciones Poligrafa, 1992, pg. 154.

142 JOAN MIRĂ&#x201C; La Femme des Sables D. 500 69/75, signed etching, aquatint and carborundum, 40 x 25.5 in., 1969, Gallery price: $65,000 Illustrated: Miro Engraver, Volume II, Ediciones Poligrafa, 1992, pg. 148.

143 RUFFINO TAMAYO The Prostitute 3/140 signed etching and aquatint 30 x 22 in. Gallery price: $25,000

WITHDRAWN

144 PABLO PICASSO Nu Assis de Profil B. 454 40/50 signed lithograph 18 x 22.75 in., 1947 Gallery price: $45,000 Illustrated: Bloch, Georges Bloch, Catalogue de l'Å&#x201C;uvre Vol I, 1971, pg. 124.

145 LEROY NEIMAN Left Bank CafÃ© AP 43/90 signed serigraph 26 x 38 in., 1987 Gallery price: $12,000

146 LEROY NEIMAN F.X. McRory's Whiskey Bar AP signed serigraph 23 x 45 in., 1980 Gallery price: $24,500

147 LEROY NEIMAN Brooklyn Bridge 146/450, signed serigraph, 21 x 42 in., 1995 Gallery price: $30,000

148 LEROY NEIMAN Young Tiger Artistâ&#x20AC;&#x2122;s Proof, signed serigraph, 12 x 27 in., 1978 Gallery price: $35,000

149 PIERRE MARIE BRISSON Les Senteurs des Roses original signed mixed media on canvas 59 x 59 in., 1998 Gallery price: $29,000 OPPOSITE

150 SALVADOR DALI Dali sans titre [Les Fees] original signed mixed media on paper 19 x 14 in., 1967 Gallery price: $120,000

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WITHDRAWN

151 IGOR MEDVEDEV Color Rainbow original mixed media on board 60 x 20 in., 2003 Gallery price: $12,000

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152 LEROY NEIMAN 18th at Pebble Beach AP 2 Signed serigraph 26 x 36 in., 1984 Gallery price: $12,000

153 LEROY NEIMAN Self Portrait AP 55/80 signed serigraph 9.5 x 9.5 in., 1990 Gallery price: $6,000

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154 PIERRE BONCOMPAIN Terrasse au Melon original signed pastel on board 25 x 19 in. Gallery price: $25,000

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155 PIERRE BONCOMPAIN Sieste original signed oil on canvas 21 x 26 in. Gallery price: $22,000

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156 LEROY NEIMAN Tomba la Bamba original signed mixed media on paper 12 x 18 in., 1988 Gallery price: $125,000

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157 LEROY NEIMAN Racecourse original signed acrylic and enamel on board 18 x 24 in., 1963 Gallery price: $115,000

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I don't know if I'm an impressionist or an

expressionist. You can call me an American first... I've been labeled doing “neimanism,” so that's what it is, I guess. – L eRoy Neiman

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158 LEROY NEIMAN Polo Match original signed acrylic and enamel on board 24 x 32 in., 1963 Gallery price: $230,000

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159 JOAN MIRÓ Les Essències de la Terra C. 123 signed lithograph with hand coloring 74D/100 20 x 14 in., 1968 Gallery price: $50,000 Joan Miró The Illustrated Books: Catalogue Raisonne, Patrick Cramer, 1989, pg 314

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Alexander Calder b. 1898, L AWNTON , P ENNSYLVANIA d. 1976, N EW Y ORK Alexander Calder was born on July 22, 1898, in Lawnton, Pennsylvania, into a family of artists. In 1919, he received an engineering degree from Stevens Institute of Technology, Hoboken, New Jersey. Calder attended the Art Students League, New York, from 1923 to 1926, studying briefly with Thomas Hart Benton and John Sloan. As a freelance artist for the National Police Gazette in 1925, he spent two weeks sketching at the circus; his fascination with the subject dates from this time. He also made his first sculpture in 1925; the following year he made several constructions of animals and figures with wire and wood. Calder's first exhibition of paintings took place in 1926 at the Artist's Gallery, New York. Later that year, he went to Paris and attended the Académie de la grande chaumière. In Paris, he met Stanley William Hayter, exhibited at the 1926 Salon des Indépendants, and in 1927 began giving performances of his miniature circus. The first show of his wire animals and caricature portraits was held at the Weyhe Gallery, New York, in 1928. That same year, he met Joan Miró, who became a lifelong friend. Subsequently, Calder divided his time between France and the United States. In 1929, the Galerie Billiet gave him his first solo show in Paris. He met Frederick Kiesler, Fernand Léger and Theo van Doesburg and visited Piet Mondrian's studio in 1930. Around this time, he also encountered James Johnson Sweeney, future Guggenheim Museum director, who would become a close friend and supporter. Calder began to experiment with abstract sculpture, and in 1931 and 1932 introduced moving parts into his work. These moving sculptures were called Mobiles; the stationary constructions were to be named "stabiles." He exhibited with the group Abstraction-Création (1931–36) in Paris in 1933. In 1943, the Museum of Modern Art, New York, gave him a solo exhibition. During the 1950s, Calder traveled widely and executed Gongs (sound mobiles developed around 1948) and Towers (wall mobiles developed around 1951). He won the Grand Prize for sculpture at the 1952 Venice Biennale. He exhibited, along with other pioneers of Kinetic art including Yaacov Agam and Jean Tinguely, in Le mouvement (Movement) at the Galerie Denise René, Paris, in 1955. Late in the decade, the artist worked extensively with gouache; from this period, he executed numerous major public commissions. In 1964–65, the Guggenheim Museum presented a Calder retrospective. He began the Totems in 1966 and the Animobiles in 1971; both are variations on the standing mobile. A Calder exhibition was held at the Whitney Museum of American Art, New York (1976), and the Guggenheim Museum Bilbao (2003). Calder died on November 11, 1976, in New York. O P P O S I T E : 160 ALEXANDER CALDER, Les Ballons original signed gouache on paper, 43 x 29 in., 1971, Gallery price: $200,000

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â&#x20AC;&#x153;There are painters who transform the sun to a

yellow spot, but there are others who with the help of their art and their intelligence, transform a yellow spot into sunâ&#x20AC;? â&#x20AC;&#x201C; P ablo P icasso

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161 PABLO PICASSO Pique III B. 290 47/50 signed linocut 20.9 x 25 in., 1959 Gallery price: $97,500 Illustrated: Geiser, Bernd/Baer, Brigitte: Picasso Peintre-Graveur, Bd. V, Catalogue Raisonné de l'oeuvre gravé et des monotypes, 1959 - 1965, Bern 1989, Wvz.-Nr. 1243/III/a, Abb. Bloch, Georges: Pablo Picasso, Catalogue de l'oeuvre gravé et lithographié, Bd. 1, 1904-1967, Bern 1971.

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162 ROBERT RAUSCHENBERG From the Seat of Authority 43/100 signed lithograph 30 x 23 in., 1979 Gallery price: $8,500

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163 ROBERT RAUSCHENBERG Arcanum XI 40/85 signed lithograph 22.7 x 15.5 in., 1981 Gallery price: $9,500

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164 JOAN MIRĂ&#x201C; La SorciĂ¨re D. 519 19/75., signed etching, aquctint and Carborundum 42 x 28 in., 1969, Gallery price: $60,000 Illustrated: Miro Engraver, Volume II, Ediciones Poligrafa, 1992, pg. 167..

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165 JOAN MIRĂ&#x201C; Le Grand Sorcier D. 453 H.C., signed etching, aquctint and Carborundum 35 x 26.5 in., 1968, Gallery price: $80,000 Illustrated: Miro Engraver, Volume II, Ediciones Poligrafa, 1992, pg. 111.

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166 SALVADOR DALI Alchemie des philosophes: L'Ouroboros ML 843 HC 11/30, signed drypoint etching with lithography and serigraphy 30 x 22 in., 1976, Gallery price: $13,500 Illustrated: Dali, Catalogue RaisonnĂŠ I 1924-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 251.

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167 PABLO PICASSO Buffon's L'Histoire Naturelle: Le Vautour B. 341 / Ba. 588 109/226 unsigned etching, 14 x 11 in., 1942 Gallery price: $7,500 Illustrated: Baer, Brigitte, Picasso Peintre-Gravure, Editions Kornfeld, Vol. III, 1985, pg. 51.

168 PABLO PICASSO A Los Toros B. 952 / Ba. 972 from an edition of 263 unsigned aquatint, 11.4 x 14 in., 1959 Gallery price: $8,950 Illustrated: Baer, Brigitte, Picasso Peintre-Gravure, Editions Kornfeld, Vol. III, 1985, pg. 298.

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169 PABLO PICASSO Buffon's L'Histoire Naturelle: L'AraignĂŠe B. 353 / Ba. 600 189/226 unsigned etching, 14 x 11 in., 1942 Gallery price: $7,500 Illustrated: Baer, Brigitte, Picasso Peintre-Gravure, Editions Kornfeld, Vol. III, 1985, pg. 72

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170 LEROY NEIMAN World Series of Poker original signed mixed media on paper 14 x 20 in., 1976 Gallery price: $22,500

171 LEROY NEIMAN Richard Petty original signed mixed media on paper 9.5 x 7.5 in., 1991 Gallery price: $22,500

OPPOSITE

172 LEROY NEIMAN Jockey, 1959 original signed mixed media on paper 12 x 8.25 in., 1959 Gallery price: $50000

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173 LEROY NEIMAN Mark McGwire Homerun Record VIII original signed acrylic and enamel on board 7.25 x 8.25 in., 1999 Gallery price: $40,000

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174 LEROY NEIMAN Valerie at Stardust Lido in Las Vegas original signed mixed media on paper 26 x 20 in., 1980 Gallery price: $55,000

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175 PABLO PICASSO Homme Barbu CouronnĂŠ de Feuilles de Vigne B. 1088 / Ba. 1308 6/50 signed linocut 14 x 10.5 in., 1963 Gallery price: $55,000 Illustrated: Baer, Brigitte, Picasso Peintre-Gravure, Editions Kornfeld, Vol. V, 1989, pg. 427.

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Jim Dine b.1935, C INCINNATI , O HIO Jim Dine was born in 1935 in Cincinnati, Ohio. He studied at night at the Art Academy of Cincinnati during his senior year of high school and then attended the University of Cincinnati, the School of the Museum of Fine Arts, Boston, and Ohio University, Athens, from which he received his BFA in 1957. Dine moved to New York in 1959 and soon became a pioneer of the Happenings movement together with Allan Kaprow, Claes Oldenburg, and Robert Whitman. He exhibited at the Judson Gallery, New York, in 1958 and 1959, and his first solo show took place at the Reuben Gallery, New York, in 1960. Dine is closely associated with the development of Pop art in the early 1960s. Frequently he affixed everyday objects, such as tools, rope, shoes, articles of clothing, and even a bathroom sink, to his canvases. Characteristically, these objects were Dine’s personal possessions. This autobiographical content was evident in Dine’s early Crash series of 1959–60 and appeared as well in subsequent recurrent themes and images, such as the Palettes, Hearts, and bathrobe Self-Portraits. He later added gates, trees, and Venus to his repertoire of recurring motifs. Dine has also made a number of three-dimensional works and environments, and is well known for his drawings and prints. He has written and illustrated several books of poetry. In 1965, Dine was a guest lecturer at Yale University, New Haven, and artist-in-residence at Oberlin College, Oberlin, Ohio. He was a visiting critic at Cornell University, Ithaca, New York, in 1966. From 1967 to 1971, he and his family lived in London. Dine has been given solo shows in museums in Europe and the United States. In 1970, the Whitney Museum of American Art, New York, organized a major retrospective of his work, and in 1978 the Museum of Modern Art, New York, presented a retrospective of his etchings. Since then, Dine has been the subject of major retrospectives at the Walker Art Center in Minneapolis (1984–85), Solomon R. Guggenheim Museum in New York (1999), and National Gallery of Art in Washington, D.C. (2004). Dine lives in New York, Paris, and Walla Walla, Washington.

OPPOSITE

176 JIM DINE Very Picante Artist's Proof, signed serigraph, 53 x 39 in., 1995 Gallery price: $75,000

134

135

177 JOAN MIRĂ&#x201C; Le MarĂŠchal des Logis D. 994 13/50, signed etching with aquatint, 42 x 29.5 in., 1978, Gallery price: $35,000 Illustrated: Miro Engraver, Volume IV, Ediciones Poligrafa, 1992, pg. 34.

136

178 JOAN MIRĂ&#x201C; Els Gossos V D. 1101 from an edition of 30 signed etching 29 x 45.5 in., 1979 Gallery price: $40,000 Illustrated: Miro Engraver, Volume IV, Ediciones Poligrafa, 1992, pg. 124.

137

Pablo Picasso b. 1881, M ÁLAGA , S PAIN d. 1973, M OUGINS , F RANCE The son of an academic painter, José Ruiz Blasco, Picasso began to draw at an early age. In 1895, the family moved to Barcelona, and Picasso studied there at La Lonja, the academy of fine arts. His visit to Horta de Ebro from 1898 to 1899 and his association with the group at the café Els Quatre Gats in about 1899, were crucial to his early artistic development. Picasso’s first exhibition took place in Barcelona in 1900, and that fall he went to Paris for the first of several stays during the early years of the century. Picasso settled in Paris in April 1904, and his circle of friends soon included Guillaume Apollinaire, Max Jacob, Gertrude and Leo Stein, as well as two dealers, Ambroise Vollard and Berthe Weill. His style developed from the Blue Period (1901–04) to the Rose Period (1905) to the pivotal work Les Demoiselles d’Avignon (1907), and the subsequent evolution of Cubism from an Analytic phase (ca. 1908–11) to its Synthetic phase (beginning in 1912–13). Picasso’s collaboration on ballet and theatrical productions began in 1916. Soon thereafter, his work was characterized by neoclassicism and a renewed interest in drawing and figural representation. In the 1920s, the artist and his wife, Olga (whom he had married in 1918), continued to live in Paris, to travel frequently, and to spend their summers at the beach. From 1925 to the 1930s, Picasso was involved to a certain degree with the Surrealists, and from the fall of 1931 he was especially interested in making sculpture. In 1932, with large exhibitions at the Galeries Georges Petit, Paris, and the Kunsthaus Zürich, and the publication of the first volume of Christian Zervos’s catalogue raisonné, Picasso’s fame increased markedly. By 1936, the Spanish Civil War had profoundly affected Picasso, the expression of which culminated in his painting Guernica (1937, Museo Nacional Centro de Arte Reina Sofía, Madrid). Picasso’s association with the Communist Party began in 1944. From the late 1940s, he lived in the south of France. Among the enormous number of exhibitions that were held during the artist’s lifetime, those at the Museum of Modern Art, New York, in 1939 and the Musée des Arts Décoratifs, Paris, in 1955 were most significant. In 1961, the artist married Jacqueline Roque, and they moved to Mougins. There Picasso continued his prolific work in painting, drawing, prints, ceramics, and sculpture until his death on April 8, 1973.

OPPOSITE

179 PABLO PICASSO Femme au Fauteuil No. 1 B. 586 48/50, signed lithograph, 30 x 22 in., 1949, Gallery price: $145,000 Illustarted: Bloch, Georges: Pablo Picasso, Catalogue de l'oeuvre gravé et lithographié, Bd. 1, 1904-1967, Bern 1971, pg. 142.

138

139

OPPOSITE

180 SALVADOR DALI Fruits TrouĂŠes unsigned original gouache, watercolor, india ink 19 x 13 in., 1969 Gallery price: $155,000

141

181 JOAN MIRÓ Càntic del Sol - Plate 20 D. 851 160/250 unsigned etching with aquatint 13.5 x 20 in., 1975 Gallery price: $4,200 Illustrated: Miro Engraver, Volume III, Ediciones Poligrafa, 1992, pg. 182.

182 JOAN MIRÓ Càntic del Sol - Plate 15 D. 848 160/250 unsigned etching with aquatint 13.5 x 20 in., 1975 Gallery price: $2,400 Illustrated: Miro Engraver, Volume III, Ediciones Poligrafa, 1992, pg. 181.

183 JOAN MIRÓ Càntic del Sol - Plate 14 D. 850 160/250 unsigned etching with aquatint 13.5 x 20 in., 1975 Gallery price: $2,400 Illustrated: Miro Engraver, Volume III, Ediciones Poligrafa, 1992, pg. 182.

142

184 LEROY NEIMAN Monte Carlo Landscape original signed mixed media on paper 13 x 16 in., 1980 Gallery price: $12,500

185 LEROY NEIMAN International Auction 86/295, 2005 signed serigraph 28 x 38 in. Gallery price: $6,500

186 LEROY NEIMAN Safari Suite: Cheetah 118/385 signed serigraph 16 x 23 in., 1997 Gallery price: $4,700

143

187 LEROY NEIMAN Safari Suite: Bull Elephant 118/385 signed serigraph 17 x 23 in., 1997 Gallery price: $5,700 188 LEROY NEIMAN Safari Suite: Lions 118/385 signed serigraph 22 x 17 in., 1997 Gallery price: $7,000

187

189 SALVADOBR DALI Divine Comedy - Hell 5 ML 1043 II/III signed woodcut 16 x 13 in., 1960 Gallery price: $5,950 Illustrated: Dali, Catalogue Raisonné II 1956-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 102.

190 SALVADOBR DALI Divine Comedy - Hell 8 ML 1046 1580/3044 unsigned woodcut 16 x 13 in., 1960 Gallery price: $1,550 Illustrated: Dali, Catalogue Raisonné II 1956-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 103.

191 SALVADOBR DALI Divine Comedy - Hell 9 ML 1047 1280/3044 unsigned woodcut 16 x 13 in., 1960 Gallery price: $1,550 Illustrated: Dali, Catalogue Raisonné II 1956-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 103.

192 SALVADOBR DALI Divine Comedy - Hell 11 ML 1049 1280/3044 unsigned woodcut 16 x 13 in., 1960 Gallery price: $1,550 Illustrated: Dali, Catalogue Raisonné II 1956-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 103.

188

144

189

191

190

192

145

193 SALVADOBR DALI Divine Comedy - Hell 12 ML 1050 II/III signed woodcut, 16 x 13 in., 1960, Gallery price: $5,950 Illustrated: Dali, Catalogue RaisonnĂŠ II 1956-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 103.

146

194 PABLO PICASSO La Célestine: Maja à la Déchirée B. 1607 / Ba. 1623 323/350 unsigned etching 4.5 x 2.25 in., 1968 Gallery price: $4,500 Illustrated: Baer, Brigitte, Picasso Peintre-Gravure, Editions Kornfeld, Vol. VI, 1994, pg. 324.

195 PABLO PICASSO La Célestine: Gentilhomme et Maja B. 1616 / Ba. 1632 323/350 unsigned etching 3.25 x 2.25 in., 1968 Gallery price: $4,500 Illustrated: Baer, Brigitte, Picasso Peintre-Gravure, Editions Kornfeld, Vol. VI, 1994, pg. 337.

147

196 LEROY NEIMAN Lion Group, Kenya original signed mixed media on paper 22 x 30 in., 1994 Gallery price: $165,000

148

149

197 REMBRANDT Old Man Shading His Eyes B. 259 unsigned etching with drypoint 5.4 x 4.4 in. Gallery price: $26,500 Illustrated: Schwartz, Gary, The Complete Etchings of Rembrandt, Dover Publications, 1988.

198 REMBRANDT The Blindness of Tobit B. 42 ii/ii unsigned etching with drypoint 6.4 x 5.25 in. Gallery price: $34,000 Illustrated: Schwartz, Gary, The Complete Etchings of Rembrandt, Dover Publications, 1988.

150

199 REMBRANDT The Death of the Virgin B. 99 iii/iii unsigned etching with drypoint, 15.5 x 12.5 in. Gallery price: $43,500 Illustrated: Schwartz, Gary, The Complete Etchings of Rembrandt, Dover Publications, 1988.

151

200 LEROY NEIMAN Mahl, Yugoslavia original signed mixed media on paper 19 x 24.5 in., 1969 Gallery price: $115,000

152

201 MIHAIL CHEMIAKIN Still Life with Fish on Board from an edition of 150 signed lithograph 21 x 30 in., 1983 Gallery price: $2,250

202 MIHAIL CHEMIAKIN Still Life with Fish and Bread from an edition of 250 signed lithograph 21 x 30 in., 1983 Gallery price: $2,250

203 PIERRE BONCOMPAIN Le Ceinture Jaune AP 10/50 signed serigraph 28 x 35 in., 2004 Gallery price: $3,000

154

204 STEPHEN HALL The Choice from an edition of 125 signed serigraph 22 x 20 in., 1986 Gallery price: $2,500

205 LEROY NEIMAN Champagne, New Year's Eve from an edition of 250 signed serigraph 24 x 17.75 in., 2006 Gallery price: $4,500

155

156

APPENDICES

Lot 103, Eduardo Arranz-Bravo, Jardi-Nit (detail), 2006

157

C O N D I T I O N S

O F

S A L E

The following, as amended by any posted notices or oral announcements during the sale, constitute the entire terms and conditions on which property listed in the catalogue shall be offered for sale or sold by FRANKLIN BOWLES GALLERIES: 1. As used here, the term bid price means the price at which a lot is knocked down to the purchaser and the term purchase price means the aggregate of (a) the bid price, (b) a premium of nineteen percent (19%) of the bid price payable by the purchaser and (c) unless the purchaser is exempt by law from the payment thereof, any California state or local sales tax (or compensating use tax of another state) and other applicable taxes. Unless exemption from such taxes is established to our satisfaction, any purchasers claiming an exemption will be required to pay the tax to us and seek a refund from the State of California. 2. The auction is open to you at no charge and you may enter or leave at any time during the auction.To bid in person, you must raise your numbered bid card to signify bids. Only one bid is required to make an auction. FRANKLIN BOWLES GALLERIES guarantees that all art sold will be in comparable condition to that shown at previews or at the auction.Articles are sold as-is at the time of the sale. Any reframing will be done at additional cost to the buyer. A bid by any person shall be deemed conclusive proof that the bidder has made himself/herself acquainted with the conditions of sale and agrees to be bound by them. 3. On the fall of the auctioneer’s hammer, the highest bidder shall be deemed to have purchased the offered lot in accordance with all of the conditions set forth herein and thereupon (a) assumes full risk and responsibility, therefore (b) will sign a confirmation of purchase thereof, and (c) will pay the purchase price in full or such part as we may require for all lots purchased. If the purchase price is not paid or the article not removed from the premises by the winning bidder, the auctioneer holds the purchaser responsible for the cost of the article, plus all associated costs of sale and warehousing. The gallery does not provide separate appraisals for the articles purchased at auction. Your invoice serves as your appraisal. To prevent missed deliveries and inconvenience in settlement of a purchase, no lot may be transferred. Because many of the artworks sold are fine artlimited-edition prints, the auctioneer reserves the right to sell more than one of each lot during the auction. In the case when there is more than one image sold, the auctioneer will decide which bidder takes the art from the auction. The bidder awarded the art will take the art upon departure. All additional pieces sold at auction will be ready for pickup or shipment to the address noted on your auction invoice within six to eight weeks. Shipment of all items purchased will be made to any point designated by the successful bidder pursuant to, and as part of, the contract of sale. Shipping, packing and insurance are at the buyer’s expense. A charge will be incurred for each lot shipped by FRANKLIN BOWLES GALLERIES. $350.00 will be charged for each lot shipped within the United States, and $500.00 will be charged for each lot shipped outside the United States. All shipping charges are due and payable at the conclusion of the auction. If the foregoing conditions or any other applicable conditions herein are not complied with, in addition to other remedies available to us by law, including, but without limitation to, the right to hold the purchaser liable for the purchase price, we at our option, may cancel the sale, retaining as liquidated damages all payments made by the purchaser, either publicly or privately, and in such event the purchaser shall be liable for the payment of any deficiency plus all costs and expenses of both sales, all other charges due hereunder and incidental damages. 4. We reserve the right to withdraw any property at any time before the actual sale. Unless otherwise announced by the auctioneer at the time of sale, all bids are per lot as numbered in the catalogue and no lot shall be divided at sale. 5. We reserve the right to reject a bid from any bidder. The highest bidder acknowledged by the auctioneer shall be the purchaser. In the eventof any dispute between bidders, or in the event the auctioneer doubts the validity of any bid, the auctioneer shall have sole and final discretion either to determine the successful bidder or to re-offer and resell the article in dispute. If any dispute arises after the sale, our sales records shall be conclusive in all respects. 6. If we are prevented by fire, theft or for any other reason whatsoever from delivering any property to the purchaser, our liability shall be limited to the sum actually paid therefore by the purchaser. 7. Most lots are sold subject to a reserve; a confidential minimum amount for which the seller is willing to sell a work of art. In no case does thereserve exceed the listed gallery price. 8. FRANKLIN BOWLES GALLERIES may bid and assign bid numbers for its own account at any auction (even though it may be required to pay a buyer’s premium or other charges that other bidders may be required to pay) and may have access to information concerning the lots and items contained therein that is not otherwise available to the public. Any conflict of interest or claim of competitive advantage resulting there from is expressly waived by all participants in the sale. 9. Payment terms: All items are to be paid for immediately by (a) Cash, (b) Personal check and approved credit, and/or (c) VISA, MasterCard, AmericanExpress, Diners Club or Discover Card. ALL ITEMS ARE SOLD AS IS and ALL SALES ARE FINAL.

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158

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IN D E X ART IS T • LOT NUMBER • T ITLE LOUIS ARBANT

Celui qui Dit les Choses sans Rein Dire - Plate X

113

Celui qui Dit les Choses sans Rein Dire...

Le Songe du Capitaine Bryaxis

Nature Morte avec Raisins

EDUARDO ARRANZ -BRAVO 103

Jardi-Nit

MIHAIL CHEMIAKIN

104

Neck of the Woods IX

Nocturne in Grey and Gold

Gendarme and Rebekka

Metamorphosis

201

Still Life with Fish on Board

202

Still Life with Fish and Bread

FRANCIS BACON 123

Three Studies of a Male Back

PIERRE BONCOMPAIN 8

Primeveres sur le Kilim

ANTONIA VIGH CHEVALIER

Nu à la Jambe Levée

114

111

Terrasse d'Ete

154

Terrasse au Melon

ANTOINE CHINTREUIL

155

Sieste

115

203

Le Ceinture Jaun

GUSTAVE-EMILE COUDER

PIERRE MARIE BRISSON

Matinée d'Été à la Tournelle-Septeuil

Nature Morte

Golfeur

Danseuse

SALVADOR DALI

Gymnastique

Divine Comedy - Heaven 8

L’Oiseau II

Divine Comedy - Heaven 9

Petite Monde

Divine Comedy - Heaven 26

118

Planche Botanique VI

Divine Comedy - Heaven 30

119

Fantomette VI

Aliyah: The Price - Bereaved

149

Les Senteurs des Roses

Surrealistic Flowers: Lilium aurancacium et labra...

Divine Comedy - Heaven 33

Divine Comedy - Purgatory 6

ALEXANDER CALDER 159

Les Ballons

Divine Comedy - Purgatory 8

Our Unfinished Revolution, Untitled V

Divine Comedy - Purgatory 25

Our Unfinished Revolution, Untitled IX

Divine Comedy - Purgatory 28

Divine Comedy - Purgatory 3

Divine Comedy - Purgatory 11

MARC CHAGALL

160

116

Voilier à l'Entrée du Port de Marseilles

Bible: The Circumcision - Plate 6

Divine Comedy - Purgatory 16

Maternité Rouge

Surrealistic Flowers: Dahlia rapax

IN D E X ART IS T • LOT NUMBER • T ITLE 41

Dali de Draeger para Rodrigo Iglesias

110

Untitled, 1983

Flordali (Les Fruits): Gernade et l'ange

125

Untitled, 1991

Alchemie des philosophes: L'Immortalité

126

Untitled, 1983

Carmen: Harpist: Symbol of Carmen's Love

Surrealistic Flowers: Rosa e morte floriscens

STEPHEN HALL

Les Chevaux Daliniens: Le Centaure de Crête

204

Les Chevaux Daliniens: La Femme-cheval

100

Les Chevaux Daliniens: Le Centurion

LARRY HOROWITZ

105

Hippies: St Jacques de Compostelle

Pleasant Bay

106

Hippies: La Vache sacrée

Sepia Marsh

107

Hippies: Le Cosmonaute

Pleasant Bay 1

120

Tauromachie surréaliste: Les Moulins

121

Twelve Tribes of Israel: Benjamin

LOUIS AIMÉ JAPY

150

Dali sans titre [Les Fees]

136

166

Alchemie des philosophes: L'Ouroboro

180

Fruits Trouées

LUIGI KASIMIR

189

Divine Comedy - Hell 5

190

Divine Comedy - Hell 8

191

Divine Comedy - Hell 9

GEORGES DE LAFAGE-LAUJOL

192

Divine Comedy - Hell 11

131

193

Divine Comedy - Hell 12

PIERRE DÉSIRÉ EUGÈNE FRANC LAMY

NARCISSE VIRGILE DIAZ DE LA PENA 117

Composition de fleurs

128

La Toilette de Vénus

JIM DINE

132

The Choice

Clair de lune

Yosemite Falls

La Plaine près du Village du Barbizon

La Place Animée à Venise

HENRI LEBASQUE La Joconde

The Yellow Belt

EDMOND LECLERQ

176

Very Picante

133

La Muse

JULES DUPRE

CHARLES AMABLE LENOIR

130

137

L'Abreuvoir

Jeune Baigneuse au Bord de la Mer

SAM FRANCIS

CHARLES MARIE LHUILLIER

108

Untitled, 1981

138

109

Untitled, 1981

Les Deux Papillons Blancs

161

IN D E X ART IS T • LOT NUMBER • T ITLE PAUL LOUCHET

181

Càntic del Sol - Plate 20

139

182

Càntic del Sol - Plate 15

183

Càntic del Sol - Plate 14

L'Arbre Vert

HENRI MATISSE

162

Pasiphae - Plate 2

LEROY NEIMAN

Pasiphae - Plate 5

The Artist - LeRoy Neiman

Pasiphae - Plate 16

Big Five

IGOR MEDVEDEV

Carnival: Passistas

Three Tenors

Magic Maze

Coach Bill Walsh

Walled Jerusalem

Silverdome Superbowl

View of Oia

Quarterback of the Eighties

Up in the Sky

New York Stock Exchange

151

Color Rainbow

Roulette II

JOAN MIRO

Bartender

Big A Jockey

Les pénalités de l'enfer 15

Chuck Mangione, New Year's Eve

Càntic del Sol - Plate 21

Maura: Caesar's Palace Pool Goddess

Càntic del Sol - Plate 27

Charing Cross Road Playboy Mansion

Càntic del Sol - Plate 26

Showgirls

Càntic del Sol - Plate 23

Wynton Marsalis

Càntic del Sol - Plate 22

Tour de France

Oiseau entre deux Astres

Elephant Family

L'Exile Noir

Fragrance

Càntic del Sol - Plate 7

Gin and Tonic 2

Càntic del Sol - Plate 2

Oxford-Cambridge Rowing

124

Le Chef d'Orchestre

101

Glenn Hall

127

Tête au Soleil Couchant

102

Jockey #5

141

La Harpie

134

Portrait of Cordero, Jockey

142

La Femme des Sables

135

Sic-Bo Dealers

160

Les Essències de la Terra

145

Left Bank Café

164

La Sorcière

146

F.X. McRory's Whiskey Bar

165

Le Grand Sorcier

147

Brooklyn Bridge

177

Le Maréchal des Logis

148

Young Tiger

178

Els Gossos V

152

18th at Pebble Beach

IN D E X A RT IS T • LOT NUMBER • TITLE

153

Self Portrait

Femme au Miroir

156

Tomba la Bamba

122

Artiste Pientre au Travail, Avec un Modèle Laid

157

Racecourse

144

Nu Assis de Profil

158

Polo Match

161

Pique III

170

World Series of Poker

167

Buffon's L'Histoire Naturelle: Le Vautour

171

Richard Petty

168

Buffon's L'Histoire Naturelle: L'Épervier

172

Jockey, 1959

169

Buffon's L'Histoire Naturelle: L'Araignée

173

Mark McGwire Homerun Record VIII

175

Homme Barbu Couronné de Feuilles de Vigne

174

Valerie at Stardust Lido in Las Vegas

179

Femme au Fauteuil No. 1

184

Monte Carlo Landscape

194

La Célestine: Maja à la Déchirée

185

International Auction

195

La Célestine: Gentilhomme et Maja

186

Safari Suite: Cheetah

187

Safari Suite: Bull Elephant

ROBERT RAUSCHENBERG

188

Safari Suite: Lions

162

From the Seat of Authority

196

Lion Group, Kenya

163

Arcanum XI

200

Mahl, Yugoslavia

205

Champagne, New Year's Eve

REMBRANDT

LEON GERMAIN PELOUSE

The Goldsmith

Nude Man Seated on Ground

140

Jan Lutma, Goldsmith

PABLO PICASSO

Nude Man Seated and Another Standing

The Circumcision in the Stable

Buffon's L'Histoire Naturelle: L'Ane

The Artist's Mother Seated at a Table

Cintando A Banderillas

197

Old Man Shading His Eyes

Buffon's L'Histoire Naturelle: L'Aigle Blanc

198

The Blindness of Tobit

Visiteur au Nez Bourbonien chez la Célestine

199

The Death of the Virgin

Enlèvement, à peid, avec la Célestine

La Cèlestine: Enlèvement, à Cheval

RUFFINO TAMAYO

La Célestine: Théâtre: Autour de Rembrandt

143

Tête de Femme, de Profil

La Célestine: ReÎtre Enlevant une Femme pour...

VICTOR ALFRED PAUL VIGNON

Góngora: Femme Blonde de Profil

112

Le Printemps à Auvers-sur-Oise

The Prostitute

Jeune Garçon à l'Extérieur du Village

BACK COVER:

Lot 109, Sam Francis, Untitled, 1981

163

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