Holiday Fine Art Auction, December 6, 2014 by Franklin Bowles Galleries, Inc.

FRANKLIN BOWLES GALLERIES

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FINE ART AUCTION 2

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F R A N K L I N B O W L E S GALLERIES

HOLIDAY

FINE ART AUCTION 2

PREVIEW

Friday, December 5 • 10 AM – 10 PM Saturday, December 6 • 11:30 AM – 12:30 PM AUCTION

Saturday, December 6, 2014 Bidding starts at 12:30 PM LOCATION

765 Beach Street San Francisco, CA 94109

Lot 236, LeRoy Neiman, Femlin: Snowballs (detail)

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F R A N K L I N B O W L E S GALLERIES

President: Franklin Bowles Vice President: Jean Audigier, Ph.D. SAN FRANCISO GALLERIES Managing Director: Pamela Walsh Consulting Director: Michael LaPrade Director of Special Projects: Bernard Blair Associate Directors: Deborah Molinar, Carla Schmidt Assistant Directors: Sam McClellan, Syed Sajid Senior Art Consultants: Patrick Duman, Sasha Grotell, Don Keenan, Brittany Mooreﬁeld, Valarie Versace, Zeno Zimmerman Art Consultants: Carolina Ekstrom, Sue Kim, Sharon Weston-Lewis, Alanna Rice, Dan Root, James Todd Administration: Ken Amorino, Laura Anderson, Stacey Bellis, Rob Conley, Delia Fernando, Micah Garcia, Alex Gleason, Octavio Gonzalez, Robert Grenon, Sophaun Khun, Alexandre Mandereau, Ella Rollandi, Scott Saraceno, Lindsey Stephenson NEW YORK GALLERY Director: Phebe Carter Assistant Director: Eric Chelman Curator: Leslie Lund Art Consultants: Duane Bousﬁeld, Matthew Hannan, Michael Montanaro Administration: Matthew Cortright, Kyle Phillips, Zane York CHINA BASIN DESIGN Operations Manager: Rick Potts Floor Manager: Ryan Mortensen Framers: Kate Kuaimoku, Erik Pierson, Lewis Rossi, Maureen Shields

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“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 Franklin Bowles Galleries is pleased to donate a portion of the proceeds from its holiday auction to support St. Anthony Foundation which, for 64 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 on October 4th 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 of 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.

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1 LARRY HOROWITZ

California Skies from an edition of 45 Signed Etching 42 x 14.5 in., 2004 Gallery price: $2,500

2 LARRY HOROWITZ

Fall from an edition of 25 Signed Etching 22 x 24 in., 2004 Gallery price: $1,900

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SALVADOR DALI

6 SALVADOR DALI

Divine Comedy – Heaven 1

Divine Comedy – Heaven 8

Divine Comedy – Heaven 9

Divine Comedy – Heaven 10

ML 1106

ML 1113

ML 1114

ML 1115

from an edition of 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. 110.

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. 112.

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PIERRE BONCOMPAIN

Fruits d’Été

La Ceinture Jaune

from an edition of 50

from an edition of 250

Signed Serigraph

28 x 35 in.

Gallery price: $3,000

8 PIERRE BONCOMPAIN

Les Primèveres sur le Kilim from an edition of 250 Signed Serigraph 28 x 22 in. Gallery price: $2,500

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10 SALVADOR DALI

Dix Recettes d’Immortalité: L’Homme Ressuscite ML 567 from an edition of 40 Signed Etching with Heliogravure 15.5 x 22.5 in., 1973 Gallery price: $9,500 Illustrated: Dali, Catalogue Raisonné I 1924-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 208.

11 JIM DINE

The Yellow Belt from an edition of 200 Signed Lithograph 27 x 20.5 in., 2005 Gallery price: $15,000

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MARC CHAGALL

15 MARC CHAGALL

Bible: End of Abasalom

Bible: Lot and His Daughters

Bible: Mantle of Noah

Bible: The Circumcision

Plate 72

Plate 9

Plate 5

Plate 6

from an edition of 20

from an edition of 275

Unsigned Etching

12 x 9 in., 1956

Gallery price: $3,750

Illustrated: Chagall and the Bible, Universe Books, 1987, pg. 92.

Illustrated: Chagall and the Bible, Universe Books, 1987, pg. 29.

Illustrated: Chagall and the Bible, Universe Books, 1987, pg. 25.

Illustrated: Chagall and the Bible, Universe Books, 1987, pg. 26.

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TH 16 THIS IS A REPLACEMENT LOT MARC CHAGALL

Odyssey: Ulysses' Bow from an edition of 250 Unsigned Etching 17 x 13 in., 1975 Gallery price: $7,500

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PABLO PICASSO

20 PABLO PICASSO

La Célestine

B. 1564 / Ba. 1580

B. 1600 / Ba. 1616

B. 1573 / Ba. 1589

B. 1602 / Ba. 1617

from an edition of 350

Unsigned Etching

3.5 x 4.75 in., 1971

3.25 x 2.25 in., 1971

3.25 x 4.75 in., 1971

4.5 x 2.25 in., 1971

Gallery price: $4,450

Illustrated: Baer, Brigitte, Picasso Peintre-Gravure, Editions Kornfeld, Vol. VI, 1994, pg. 270.

Illustrated: Baer, Brigitte, Picasso Peintre-Gravure, Editions Kornfeld, Vol. VI, 1994, pg. 317.

Illustrated: Baer, Brigitte, Picasso Peintre-Gravure, Editions Kornfeld, Vol. VI, 1994, pg. 281.

Illustrated: Baer, Brigitte, Picasso Peintre-Gravure, Editions Kornfeld, Vol. VI, 1994, pg. 318.

20 10

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Amanda Watt Artist Amanda Watt was born in Ireland in 1960, and has exhibited internationally, with a strong showing in California. In her paintings, woodcuts and etchings, her hallmark is clearly the generous use of vivid colors. Avowedly indebted to cubism, expressionism and primitivism, Watt describes herself as a “fusionist,” incorporating techniques of the past with her own very personal, contemporary twist. Clearly, California with its singular landscape and light is her muse.

21 AMANDA WATT

Marrakesh from an edition of 45 Signed Etching 27 x 34 in. Gallery price: $1,500

22 AMANDA WATT

Red Blooded II from an edition of 45 Signed Etching 34 x 24 in. Gallery price: $1,800

23 AMANDA WATT

Brown Sofa Signed Monoprint 40 x 47 in. Gallery price: $3,300

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24 AMANDA WATT

Over View Signed Original Oil on Canvas 48 x 48 in., 1996 Gallery price: $6,400

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SALVADOR DALI

28 SALVADOR DALI

Divine Comedy – Purgatory 5

Divine Comedy – Purgatory 6

Divine Comedy – Purgatory 9

Divine Comedy – Purgatory 10

ML 1077

ML 1078

ML 1081

ML 1082

from an edition of 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.

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29 LEROY NEIMAN

The Artist from an edition of 47 Signed Serigraph 14.5 x 12.5 in., 2004 Gallery price: $4,000

30 LEROY NEIMAN

Carousel from an edition of 90 Signed Serigraph 26 x 44 in., 2006 Gallery price: $6,500

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31 LEROY NEIMAN

Ryder Cup – Valhalla from an edition of 90 Signed Serigraph 26 x 38 in., 2007 Gallery price: $5,500

32 LEROY NEIMAN

Portrait of the Black Panther from an edition of 90 Signed Serigraph 24.5 x 25 in., 2004 Gallery price: $9,500

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33 JOAN MIRÓ

Càntic del Sol – Plate 4 D. 837 from an edition of 250 Unsigned Etching with Aquatint 13.5 x 20 in., 1975 Gallery price: $3,200 Illustrated: Miro Engraver, Volume III, Ediciones Poligrafa, 1992, pg. 177.

34 JOAN MIRÓ

Càntic del Sol – Plate 8 D. 841 from an edition of 250 Unsigned Etching with Aquatint 13.5 x 20 in., 1975 Gallery price: $4,200 Illustrated: Miro Engraver, Volume III, Ediciones Poligrafa, 1992, pg. 178.

35 JOAN MIRÓ

Càntic del Sol – Plate 10 D. 846 from an edition of 250 Unsigned Etching with Aquatint 13.5 x 20 in., 1975 Gallery price: $4,200 Illustrated: Miro Engraver, Volume III, Ediciones Poligrafa, 1992, pg. 180.

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PIERRE-MARIE BRISSON

Jeu Simple

L’Indicateur

from an edition of 30

Signed Etching

26 x 19 in., 2004

20 x 20 in., 2004

Gallery price: $3,600

37 PIERRE-MARIE BRISSON

Geste from an edition of 30 Signed Etching 29 x 22 in., 2004 Gallery price: $4,100

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39 JOAN MIRÓ

Càntic del Sol – Plate 18 D. 855 from an edition of 250 Unsigned Etching with Aquatint 13.5 x 20 in., 1975 Gallery price: $3,200 Illustrated: Miro Engraver, Volume III, Ediciones Poligrafa, 1992, pg. 184.

40 JOAN MIRÓ

Càntic del Sol – Plate 20 D. 851 from an edition of 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.

41 JOAN MIRÓ

Càntic del Sol – Plate 21 D. 857 from an edition of 250 Unsigned Etching with Aquatint 13.5 x 20 in., 1975 Gallery price: $3,200 Illustrated: Miro Engraver, Volume III, Ediciones Poligrafa, 1992, pg. 185.

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Cantic del Sol by Joan Miró Miró had referred to the Canticle of the Sun by St. Francis of Assisi in a letter, and one can see how “a new passion in the presence of nature, an attentive respect, a Franciscan tenderness toward things and beings” (Dupin) is apparent in Miró’s works. In 1975, Gustau Gili in Barcelona published Cantic del Sol, a collection of writings by St. Francis of Assisi selected and introduced by the poet Maria Manent and illustrated with thirty three etchings and aquatints by Miro. On this occasion, the texts referred to concepts that were identical to some of Miro’s recurrent themes: the moon, the sun, the stars, etc. These elements constsitue a number of composistions on their own, whilst in others, they spring from a gesture, a line in response to more intangible concepts such as wind and rain.

42 JOAN MIRÓ

Càntic del Sol – Plate 22 D. 852 from an edition of 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.

43 JOAN MIRÓ

Càntic del Sol – Plate 23 D. 853 from an edition of 250 Unsigned Etching with Aquatint 13.5 x 20 in., 1975 Gallery price: $3,200 Illustrated: Miro Engraver, Volume III, Ediciones Poligrafa, 1992, pg. 183.

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44 MIHAIL CHEMIAKIN

Still Life with Fish on Board from an edition of 150 Signed Lithograph 22 x 30 in. Gallery price: $2,250

45 MIHAIL CHEMIAKIN

Still Life with Fish and Bread from an edition of 250 Signed Lithograph 22 x 30 in. Gallery price: $2,250

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SALVADOR DALI

Le Bestiare de la Fontaine: Portrait of La Fontaine

Le Bestiare de la Fontaine: The Oak and the Reed

ML 653

ML 663

from an edition of 120

Signed Etching

30 x 22.8 in., 1974

Gallery price: $7,950

Illustrated: Dali, Catalogue Raisonné I 1924-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 222.

Illustrated: Dali, Catalogue Raisonné I 1924-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 223.

47 SALVADOR DALI

Le Bestiare de la Fontaine: The Stag Seeing Himself ML 659 from an edition of 120 Signed Etching 30 x 22.8 in., 1974 Gallery price: $7,950 Illustrated: Dali, Catalogue Raisonné I 1924-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 223.

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49 EDUARDO ARRANZ-BRAVO

That’s Amore III Signed Original Watercolor on Paper 22 x 30 in., 2006 Gallery price: $10,500

50 EDUARDO ARRANZ-BRAVO

Viatage Signed Original Oil on Canvas 45 x 35 in., 2011 Gallery price: $29,000

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LEROY NEIMAN

Lion and Lioness

International Auction

from an edition of 385

from an edition of 295

Signed Serigraph

18 x 24.5 in., 2007

28 x 38 in., 2005

Gallery price: $5,500

Gallery price: $6,500

52 LEROY NEIMAN

Jazz Horns from an edition of 50 Signed Serigraph 28 x 21 in., 2004 Gallery price: $6,000

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54 IGOR MEDVEDEV

Avlakia Signed Original Mixed Media on Paper 30 x 23 in., 2003 Gallery price: $8,200

55 IGOR MEDVEDEV

Green Pastures Signed Original Mixed Media on Board 20 x 60 in., 2008 Gallery price: $10,000

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IGOR MEDVEDEV

New Bisagra Gate

Silvery Down

Signed Original

Mixed Media on Paper

23.5 x 18.5 in., 2000

30 x 23 in., 2005

Gallery price: $6,000

Gallery price: $8,200

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58 LEROY NEIMAN

International Poker from an edition of 80 Signed Serigraph 26 x 38 in., 2004 Gallery price: $7,500

59 LEROY NEIMAN

Washington Square, SF from an edition of 56 Signed Serigraph 25 x 38 in., 2003 Gallery price: $10,000

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60 PIERRE-MARIE BRISSON

Fantomette VIII Signed Original Mixed Media on Canvas 39 x 39 in., 2013 Gallery price: $21,000

61 PIERRE-MARIE BRISSON

Simplement V Signed Original Mixed Media on Canvas 47 x 47 in., 2013 Gallery price: $24,000

62 PIERRE-MARIE BRISSON

Sequence Signed Original Mixed Media on Canvas 45 x 35 in., 2011 Gallery price: $19,500

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63 PIERRE BONCOMPAIN

Jardin Fleuri en Provence Signed Original Oil on Canvas 18 x 15 in. Gallery price: $14,500

64 PIERRE BONCOMPAIN

La Brésilienne au Châle Jaune Signed Original Pastel on Paper 22 x 18 in. Gallery price: $15,500

65 PIERRE BONCOMPAIN

L’Ombre Bleue Signed Original Pastel on Paper 24.5 x 32 in. Gallery price: $30,000

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66 LEROY NEIMAN

Rue de Passy, Paris Signed Original Mixed Media on Paper 7.5 x 10 in., 1962 Gallery price: $4,000

67 REMBRANDT

Head of a Man in a Fur Cap, Crying Out B. 327 iii/iii Unsigned Etching 1.5 x 1.25 in. Gallery price: $13,000 Illustrated: Schwartz, Gary, The Complete Etchings of Rembrandt, Dover Publications, 1988.

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68 JOAN MIRÓ

Le Marteau sans Maitre: Plate 1 D. 944 from an edition of 219 Unsigned Etching with Aquatint 17.5 x 27 in., 1976 Gallery price: $3,500 Illustrated: Miro Engraver, Volume IV, Galerie Lelong, 2001, pg. 34.

69 JOAN MIRÓ

Le Marteau sans Maitre: Plate 2 D. 945 from an edition of 219 Unsigned Etching with Aquatint 17.5 x 27 in., 1976 Gallery price: $3,500 Illustrated: Miro Engraver, Volume IV, Galerie Lelong, 2001, pg. 35.

70 JOAN MIRÓ

Le Marteau sans Maitre: Plate 5 D. 948 from an edition of 219 Unsigned Etching with Aquatint 17.5 x 27 in., 1976 Gallery price: $3,500 Illustrated: Miro Engraver, Volume IV, Galerie Lelong, 2001, pg. 35.

71 JOAN MIRÓ

Le Marteau sans Maitre: Plate 7 D. 950 from an edition of 219 Unsigned Etching with Aquatint 17.5 x 27 in., 1976 Gallery price: $3,500 Illustrated: Miro Engraver, Volume IV, Galerie Lelong, 2001, pg. 36.

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72 JOAN MIRÓ

Oda a Joan Miró 5 M. 907 from an edition of 75 Signed Lithograph 34.5 x 24 in., 1973 Gallery price: $32,500 Illustrated: Joan Miró Lithographs, Volume V, Maeght, 1992, pg. 44.

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73 LARRY HOROWITZ

Sepia Barn from an edition of 45 Signed Etching 12 x 24 in., 1999 Gallery price: $1,900

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74 LEROY NEIMAN

Exterior of Tavern on the Green Signed Original Mixed Media on Paper 11.75 x 15.25 in., c. 1985 Gallery price: $4,000

75 LEROY NEIMAN

Los Angeles Airport Signed Original Mixed Media on Paper 13 x 15 in., 1983 Gallery price: $6,000

76 LEROY NEIMAN

The Arcade Signed Original Mixed Media on Paper 11 x 15 in., c. 1990 Gallery price: $2,500

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77 LEROY NEIMAN

Frank at Rao’s from an edition of 80 Signed Serigraph 27 x 38 in., 2005 Gallery price: $15,000

78 LEROY NEIMAN

Elephant Charge from an edition of 85 Signed Serigraph 29.5 x 30 in., 1999 Gallery price: $16,000

78 34

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79 JOAN MIRÓ

Càntic del Sol – Plate 11 D. 847 from an edition of 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.

80 JOAN MIRÓ

Càntic del Sol – Plate 12 D. 842 from an edition of 250 Unsigned Etching with Aquatint 13.5 x 20 in., 1975 Gallery price: $3,200 Illustrated: Miro Engraver, Volume III, Ediciones Poligrafa, 1992, pg. 179.

81 JOAN MIRÓ

Càntic del Sol – Plate 13 D. 843 from an edition of 250 Unsigned Etching with Aquatint 13.5 x 20 in., 1975 Gallery price: $3,200 Illustrated: Miro Engraver, Volume III, Ediciones Poligrafa, 1992, pg. 179.

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MARC CHAGALL

Celui qui Dit – Plate II

Celui qui Dit – Plate IX

C. 99

from an edition of 25

Signed Etching with Aquatint

15.5 x 12 in., 1975-76

Gallery price: $26,500

Illustrated: Marc Chagall: The Illustrated Books: Catalogue Raisonne, P. Cramer, 1995, pg. 293.

83 MARC CHAGALL

Celui qui Dit – Plate IV C. 99 from an edition of 25 Signed Etching with Aquatint 15.5 x 12 in., 1975-76 Gallery price: $26,500 Illustrated: Marc Chagall: The Illustrated Books: Catalogue Raisonne, P. Cramer, 1995, pg. 293.

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85 PABLO PICASSO

Tauromaquia: A Los Toros B. 952 / Ba. 972 from an edition of 250 Unsigned Etching

WITHDRAWN

11.4 x 14 in., 1957 Gallery price: $8,950 Illustrated: Baer, Brigitte, Picasso Peintre-Gravure, Editions Kornfeld, Vol. IV, 1988, pg. 298.

86 PABLO PICASSO

Tauromaquia: Los Cabestros Retiran al Toro Manso B. 959 / Ba. 979 from an edition of 250 Unsigned Etching 11.4 x 14 in., 1957 Gallery price: $8,950 Illustrated: Baer, Brigitte, Picasso Peintre-Gravure, Editions Kornfeld, Vol. IV, 1988, pg. 306.

87 PABLO PICASSO

Tauromaquia: Suerte de Varas B. 960 / Ba. 980 from an edition of 250 Unsigned Etching 11.4 x 14 in., 1957 Gallery price: $8,950 Illustrated: Baer, Brigitte, Picasso Peintre-Gravure, Editions Kornfeld, Vol. IV, 1988, pg. 307.

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88 LEROY NEIMAN

Waiting in Line Signed Original Mixed Media on Paper 12 x 16 in. Gallery price: $4,500

89 LEROY NEIMAN

Lower Terrace View, Suite 102 Beverly Hills Hotel Signed Original Mixed Media on Paper 14 x 15.5 in., 1996 Gallery price: $5,000

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91 LEROY NEIMAN

Playboy Bunny Signed Original Mixed Media on Paper 7.5 x 6.5 in., 1959

Gallery price: $7,500

LEROY NEIMAN

Woman at Regine’s Signed Original Mixed Media on Paper 12.5 x 5.5 in., 1981 Gallery price: $4,500

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92 MARC CHAGALL

Celui qui Dit – Plate XI C. 99 from an edition of 25 Signed Etching with Aquatint 15.5 x 12 in., 1975-76 Gallery price: $26,500 Illustrated: Marc Chagall: The Illustrated Books: Catalogue Raisonne, P. Cramer, 1995, pg. 294.

93 MARC CHAGALL

Celui qui Dit – Plate XVII C. 99 from an edition of 25 Signed Etching with Aquatint 15.5 x 12 in., 1975-76 Gallery price: $26,500 Illustrated: Marc Chagall: The Illustrated Books: Catalogue Raisonne, P. Cramer, 1995, pg. 294.

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SALVADOR DALI

97 SALVADOR DALI

Dix Recettes d’Immortalité: L’Immortalité de l’Imperialisme

Dix Recettes d’Immortalité: Le Systeme Caga y Menja

Dix Recettes d’Immortalité: L’Immortalité de Castor y Pollux

ML 570

ML 571

ML 572

Dix Recettes d’Immortalité: L’Immoralité Tetraedrique du Cube

from an edition of 40

ML 573

Signed Etching with Heliogravure

from an edition of 40

22.5 x 15.5 in., 1973

15.5 x 22.5 in., 1973

Signed Etching with Heliogravure

Gallery price: $9,500

15.5 x 22.5 in., 1973

Illustrated: Dali, Catalogue Raisonné I 1924-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 209.

Gallery price: $9,500 Illustrated: Dali, Catalogue Raisonné I 1924-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 209.

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98 LEROY NEIMAN

Daley Thompson at Sea Signed Original Mixed Media on Paper 13.6 x 10.25 in., 1999 Gallery price: $6,500

99 LEROY NEIMAN

Wrestlers at Lenin Stadium Signed Original Mixed Media on Paper 13 x 15 in., 1986 Gallery price: $9,500

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100 LEROY NEIMAN

Femlin: Mistletoe 1 Signed Original Mixed Media on Paper 12.5 x 7.75 in., 1983 Gallery price: $26,000

101 LEROY NEIMAN

Femlin: Mistletoe 2 Signed Original Mixed Media on Paper 12.5 x 7.75 in., 1983 Gallery price: $26,000

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102 MARC CHAGALL

Celui qui Dit – Plate XX C. 99 from an edition of 25 Signed Etching with Aquatint 15.5 x 12 in., 1975-76 Gallery price: $26,500 Illustrated: Marc Chagall: The Illustrated Books: Catalogue Raisonne, P. Cramer, 1995, pg. 295.

103 MARC CHAGALL

Celui qui Dit – Plate XXII from an edition of 25 Signed Etching with Aquatint 15.5 x 12 in., 1975-76 Gallery price: $26,500 Illustrated: Marc Chagall: The Illustrated Books: Catalogue Raisonne, P. Cramer, 1995, pg. 295.

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104 MARC CHAGALL

Celui qui Dit – Plate XXIV from an edition of 25 Signed Etching with Aquatint 15.5 x 12 in., 1975-76 Gallery price: $26,500 Illustrated: Marc Chagall: The Illustrated Books: Catalogue Raisonne, P. Cramer, 1995, pg. 295.

105 MARC CHAGALL

Celui qui Dit – Plate XXV from an edition of 25 Signed Etching with Aquatint 15.5 x 12 in., 1975-76 Gallery price: $26,500 Illustrated: Marc Chagall: The Illustrated Books: Catalogue Raisonne, P. Cramer, 1995, pg. 295.

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106 SALVADOR DALI

Hippies: Santiago de Compostela ML 382 from an edition of 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 SALVADOR DALI

Hippies: The Sacred Cow ML 383 from an edition of 100 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.

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108 LEROY NEIMAN

Sir John’s, Miami Signed Original Mixed Media on Paper 16 x 12 in., 1964 Gallery price: $7,500

109 LEROY NEIMAN

The Felze, Venice Gondolas Signed Original Mixed Media on Paper 9.5 x 15 in., c. 1980 Gallery price: $7,000

110 LARRY HOROWITZ

Sepia Marsh from an edition of 45 Signed Etching 12 x 24 in., 1999 Gallery price: $1,900

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111 IGOR MEDVEDEV

Stylized II Signed Original Mixed Media on Canvas 36 x 36 in., 2005 Gallery price: $11,000

112 IGOR MEDVEDEV

Up in the Sky Signed Original Mixed Media on Board 30 x 40 in., 2002 Gallery price: $11,300

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113

113 IGOR MEDVEDEV

Western Cape Signed Original Mixed Media on Board 20 x 60 in., 2007 Gallery price: $14,500

114 IGOR MEDVEDEV

Sterling Signed Original Mixed Media on Board 58 x 40 in., 2002 Gallery price: $19,000

114 49

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115 MARC CHAGALL

Le Peintre et son Double (2nd state) M. 992a from an edition of 50 Signed Lithograph 19 x 25.5 in., 1981 Gallery price: $40,000 Illustrated: Marc Chagall: The Lithographs, D.A.P., 1998, pg. 371.

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Marc Chagall 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 1910-14 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. Cubism, Futurism, and other advanced art movements of the day were both a shock and a revelation to Chagall. Their influences advanced, and then eventually receded from his art. His mature style, established by the 1920s, consisted of expressively rendered representation in imaginative, even magical compositions with people, animals, and objects often defying gravity and logic. The unifying force in his art, however, was color. Rich, complex, and layered, Chagall’s color floats like chromatic mists across the surface of his work. Chagall is one of a select group of 20th-century artists, which includes Bonnard, Vuillard, Matisse, Miró, Rothko, Avery, and Diebenkorn, where masterful color is the dominant force. 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.

Robert Flynn Johnson Curator-in-Charge Achenbach Foundation for Graphic Arts Fine Arts Museums of San Francisco

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116 MARC CHAGALL

Bible: Moses Striking Water from the Rock Plate 36 from an edition of 100 Signed Hand-Colored Etching 21 x 15.5 in., 1958 Gallery price: $12,000 Illustrated: Chagall and the Bible, Universe Books, 1987, pg. 56.

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117 PABLO PICASSO

Buste de Femme avec Fichu B. 324 / Ba. 672 from an edition of 50 Stamped Signature Drypoint and Aquatint 10.2 x 8.8 in., 1939 Gallery price: $12,000 Illustrated: Baer, Brigitte, Picasso Peintre-Gravure, Editions Kornfeld, Vol. III, 1985, pg. 240.

118 PABLO PICASSO

Le Cirque de la Vie B. 1869 / Ba. 1874 from an edition of 50 Estate-stamped Etching 17.75 x 22.25 in., 1970 Gallery price: $25,000 Illustrated: Baer, Brigitte, Picasso Peintre-Gravure, Editions Kornfeld, Vol. VII, 1996, pg. 66.

117

118 53

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119 EMILE BERNARD

Btetons dans une Barque from an edition of 125 Signed Zincographie 12.2 x 9.7 in. Gallery price: $6,000

Emile Bernard

French, 1868-1941

Emile Bernard plays a singular role in the history of painting in the late 19th century. As demonstrated by the important retrospective of his work mounted by the Fondation Mona Bismarck in Paris in 1991, he was the often-overlooked originator of a number of highly innovative movements (Cloisonnism, Synthetism, even Symbolism), whose paternity he claimed with vehemence in his writings, before he turned his back on them all with equal forcefulness later in life. He moved to the western Paris suburb of Asnières with his family in 1881, and showed an early interest in painting, studying at the Atelier Cormon from the age of 16. Here he met his mentor, Henri Toulouse-Lautrec, and subsequently Vincent Van Gogh. Expelled from the studio in 1886 for insubordination and lack of discipline (“showing expressive tendencies in his paintings”), he travelled to Normandy and Brittany, where he encountered Paul Gauguin and his followers from the Pont-Aven School. In the same year, he painted the Yellow Christ, which he presented to Gauguin. Bernard had abandoned his earlier interest in Pointilism following a conversation with its founder, Georges Seurat; from 1887, he worked with his close friend Louis Anquetin to devise a new style, known as Cloisonnism (due to its use of flat patches of intense color separated by thick outlines, similar in appearance to cloisonné enamelwork). The style was subsequently taken up by members of the Nabi group. Inspired by the flat expanses of color in Japanese prints, Bernard’s quest to achieve greater pictorial density in his works led to the development of Synthetism: realistic form was now subordinated to the attempt to give visible expression to ‘invisible’ ideas and emotions. In this, Bernard may also be seen as one of the founders of Symbolism, and as such, a central, revolutionary figure in the history of early 20th-century Western art — an assessment supported by his correspondence with his many friends and associates, such as Toulouse-Lautrec, Van Gogh, Gauguin, Cezanne and Odilon Redon. His work can be found in the following collections: Musée d’Orsay, Paris; Art Institute, Chicago; Museum of Modern Art, New York; Van Gogh Museum, Amsterdam; Ny Carlsberg Glyptotek, Copenhagen; Musée d’Art Moderne de la Ville de Paris, Paris; Musée des Beaux-arts, Quimper; and in museums in Algiers and Lille, in France.

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120 CLAUDE FÉLIX THÉODORE CARUELLE D’ALIGNY

Au Coeur de la Forêt de Fontainebleau Signed Original Oil on Paper on Canvas 24.4 x 18.3 in. Gallery price: $35,000

Claude Félix Théodore Caruelle D’Aligny

French, 1798 – 1871

Caruelle, D’Aligny was a student of Jean Baptiste Regnault and Louis Watelet and lived initially in Rome where he knew the Lyons painters Orsel, Bonnefond and Vibert. He then moved to Paris. He ﬁrst exhibited in Lyons in 1822, then in Paris in 1831. He went on to exhibit at the Paris Salon from 1837 to 1842, showing a series of historical landscapes, views of ancient monuments and mythological, historical or religious compositions. He was awarded a gold medal in 1837 and was decorated in 1842. In 1844 the French foreign ministry sent Caruelle d’Aligny to Greece, where he wrote and engraved illustrations for his 1845 publication on Vue des sites les plus célèbres de la Grèce Antique, dessinés sur nature et gravés par T. A (Views of the most famous sites of Grecian antiquity drawn from nature and engraved by T. A.). In 1860, the circle of Lyonese painters he had known in Rome proved instrumental in his appointment as principal of the Ecole des Beaux-Arts in Lyons, a post he held until his death. D’Aligny knew and counseled Camille Corot while the two were living in Italy. His works can be found in the following collections: Art Institute, Chicago, Illinois; Louvre, Paris; Museum of Fine Arts, Boston, Massachusetts; Cleveland Museum of Art, Ohio; Minneapolis Institute of Art, Minneapolis, Minnesota; the Fitzwilliam Museum at the University of Cambridge, England; as well as museums in the following French cities: Amiens, Angers, Avignon, Beauvais, Bordeaux, Caen, Clamecy, Fontainebleau, Lille, Lyons, Nantes, and Rennes.

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WITHDRAWN 121 GEORG DECKER

La Dame au Camelia Signed Original Oil on Canvas 30.7 x 25.1 in. Gallery price: $22,000

Georg Decker

Hungarian, 1818 – 1894

Georg Decker was the son of the painter Johann Stephan Decker and brother of the painters Albert and Gabriel Decker. After studying with his father, Georg trained at the Akademie der Bildenden Künste (Fine Arts Academy) in Vienna, where he studied under Peter von Cornelius and Moritz Ludwig von Schwind. In 1861 he joined the artist union “Kuenstlerhaus.” He was known mostly for portraits, including miniatures, and genre scenes. Although he was best known for painting in oil, he began using pastel after a stay in Dresden, and achieved great success with this medium as well. This image of the La Dame au camellia is based on a novel by Alexandre Dumas ﬁls (1824 – 95). It is the story of the incandescent love affair between a conventional young man named Armand Duval and Marguerite Gautier, a beautiful Parisian courtesan with expensive tastes. Marguerite is known as the lady of the camellias because she always carried a bouquet of the ﬂowers. The novel opens after Marguerite has died of consumption; the story is told by Armand in retrospect. 56

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122 HIPPOLYTE CAMILLE DELPY

Paysannes au bord de la Rivière Signed Original Oil on Canvas 24 x 19.7 in. Gallery price: $32,000

Hippolyte Camille Delpy

French, 1842 – 1910

A landscape painter in the tradition of the Barbizon artists, Hippolyte Delpy had the opportunity to study under two of the most well-respected landscape painters of the nineteenth century, Camille Corot and Charles François Daubigny. Daubigny was actually a family friend, who recognized Delpy’s precocious talent and took him on as a student—an exceptional act for this artist, who rarely if ever trained other students. In 1863, it was Daubigny that introduced Delpy to Corot. In the years that followed, Delpy developed an itinerant pattern, dividing his time between his two masters. The ﬁrst part of the year was spent in Ville d’Avray with Corot; he then moved on to Auvres with Daubigny where the two of them traveled along the river in Daubigny’s small boat which served as a home and studio for several weeks at a time. Those years working under both Corot and Daubigny were seminal in establishing Delpy’s individual style. One critic of the time wrote that “Mr. Delpy has revealed himself as a young landscape painter combining Corot’s poetical style with Daubigny’s more naturalistic style in a way that does not exclude his own personality.” Delpy uniquely brought color to his work in a way unlike the Barbizon School painters had in the past. After meeting Paul Cezanne and Camille Pisarro at Auvers, Delpy brought a more vigorous touch and greater intensity of color to his work while remaining faithful to the technique Daubigny had taught him. Delpy realized the important role of color in landscapes and used it to achieve a brighter “truth” in his paintings. His 1869 debut began a career at the Salon marked by many honors and awards that would last over 40 years. A friend and art connoisseur wrote in Delpy’s obituary how he had wanted to be remembered; “He asked that his art—of which Corot and Daubigny had been his godfathers—provide comforting joy.” His works are featured in the Musée des Beaux-Arts, Chambéry, France; Musée Carnavalet, Paris; Musée de Louviers, Louviers, France; Beziers Museum, France; Phoenix Art Museum, Phoenix; Winnipeg Art Gallery, Manitoba, Canada; and the Brigham Young University Fine Arts Collection, Utah. 57

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123 LÉON VICTOR DUPRÉ

La Tempête Approche Signed Original Oil on Canvas 24.4 x 39.7 in. Gallery price: $29,000

Léon Victor Dupré

French, 1816-1879

Léon Victor Dupré was taught by his older brother, the painter Jules Dupré. He also worked in his father’s porcelain factory, learning the exacting skills necessary in the painting of porcelain. These talents greatly increased his technique in rendering minute detail. His canvases are seldom very large and the human and animal ﬁgures are usually quite small in relation to the grand, luminous skies of which he was fond. Like his brother, he often painted river banks under stormy skies. He won a third-class medal in 1849. His best works include Village in the Berry, Banks of the Oise and Pool in the Landes. His works can be found in the Metropolitan Museum of Art in New York, the Fine Arts Museums of San Francisco, the Minneapolis Institute of Art, the Museum of Fine Arts in Boston and the Rijksmuseum in Amsterdam among others.

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124 SALVADOR DALI

Flordali Fruits: Cerises Pierrot ML 350 from an edition of 35 Signed Etching 22 x 14.5 in., 1969 Gallery price: $11,500 Illustrated: Dali, Catalogue Raisonné I 1924-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 176.

125 SALVADOR DALI

Flordali Fruits: Pamplemousse Erotique ML 352 from an edition of 35 Signed Etching 22 x 14.5 in., 1969 Gallery price: $11,500 Illustrated: Dali, Catalogue Raisonné I 1924-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 176.

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126 JOAN MIRÓ

Libre dels Sis Sentits V D. 1169 Signed H.C. Etching with Aquatint 36.25 x 28.5 in., 1981 Gallery price: $35,000 Illustrated: Miro Engraver, Volume IV, Galerie Lelong, 2001, pg. 158.

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127 PABLO PICASSO

Cirque: Écuyère, Femmes et Spectateurs (avant acierage) B. 1523 / Ba. 1539 from an edition of 5 Etching 14.75 x 17 in., 1968 Gallery price: $35,000 Illustrated: Baer, Brigitte, Picasso Peintre-Gravure, Editions Kornfeld, Vol. VI, 1994, pg. 219.

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128 PABLO PICASSO

Jeune Homme Présentant un Miroir B. 1499 / Ba. 1515 from an edition of 50 Signed Etching with Drypoint 16.3 x 12.3 in., 1968 Gallery price: $35,000 Illustrated: Baer, Brigitte, Picasso Peintre-Gravure, Editions Kornfeld, Vol. VI, 1994, pg. 190.

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129 PABLO PICASSO

Femme au Fauteuil: Dora Maar B. 318 / Ba. 649 from an edition of 50 Stamped Signature Etching with Aquatint 19.5 x 16 in., 1939 Gallery price: $35,000 Illustrated: Baer, Brigitte, Picasso Peintre-Gravure, Editions Kornfeld, Vol. III, 1985, pg. 184.

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130 JOAN MIRÓ

Libre dels Sis Sentits VI D. 1170 Signed H.C. Etching with Aquatint 36.25 x 28.5 in., 1981 Gallery price: $35,000 Illustrated: Miro Engraver, Volume IV, Galerie Lelong, 2001, pg. 158.

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131 ECOLE FRANÇAISE

Les Chênes Unsigned Original Oil on Canvas 28 x 44.1 in. Gallery price: $13,000

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132 CAMILLE FLERS

Bateaux sur la Rivière Signed Original Oil on Canvas 11.8 x 18.1 in., 1849 Gallery price: $22,500

Camille Flers

French, 1802–1868

The son of a porcelain-maker, Camille Flers first learned painting in the studio of a porcelain decorator. After a period as a theatre decorator and a dancer, he became a pupil of animal painter Joseph François Pâris. After his studies, he devoted himself to landscape painting and became one of the precursors of plein-air painting. Referring to himself as a “romantique-naturaliste,” he was a member of the new Naturalist school of landscape painting, later called the Barbizon School, which emerged in opposition to the official classicism of the Ecole des Beaux-arts. He was one of the first to paint sur le motif (from life) in the forest of Fontainebleau, and he also made frequent visits to Barbizon to join the group of painters that were gathering there. His works consist largely of views of Normandy and the Paris environs. His early style of the 1830s and 1840s is characterized by splashes of thick paint, a roughly-textured paint surface, a bright palette and a range of lively tones. Between 1850 and 1860 Flers painted a series of images of rivers and ponds with boats and fishermen. These were executed in a style very close to that of Jules Dupré, with whom he was working at the time. The surface of these paintings is smooth, the touch more discreet with a predominantly light-colored tonality. Flers was also noted for his pastels, especially in the 1840s. In 1846 he published his theories of drawing in pastel in the journal L’Artiste, and this did much to revive interest in the medium. His work was exhibited at the Paris Salon several times after his Salon debut in 1831. His works are found in the Musée du Louvre, Paris; Musée des Beaux-arts, Rouen; Musée Magnin, Dijon; Musée Crozatier, Le Puy-en-Velay; and the Cleveland Museum of Art.

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133 ARNOLD MARC GORTER

Vaches le long de la Rive Signed Original Oil on Canvas 29.5 x 39.3 in. Gallery price: $19,500

Arnold Marc Gorter

Dutch, 1866 – 1933

Arnold Marc Gorter attended the Rijksakademie van Beeldende Kunsten (the National Academy) in Amsterdam. He received an honorable mention in 1904, a second place award in 1915, and a medal in Munich in 1905. He worked in Amsterdam, Almelo (where he was born) and in Norway. He painted in the style of the Barbizon school painters, although it does not appear he ever travelled to France. He became famous for his paintings of vast landscapes; he died in Amsterdam in 1933. His work can be found in museums in Amsterdam, the Netherlands.

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134 PAUL LECOMTE

Sous Bois Signed Original Oil on Cardboard 10.4 x 14 in. Gallery price: $5,500

Paul Lecomte

French, 1842 – 1920

Paul Lecomte was a pupil of Emile Lambinet. His paintings from the area around Paris and in Normandy show solid academic style, but he discovered a more impressionistic style in the watercolors he did in the Basque region. He ﬁrst showed at the Salon de Paris in 1880. Lecomte won an honorable mention in 1882, a third-class medal in 1888 and a second-class medal in 1895. He also received an honorable mention at the 1889 Exposition Universelle, and a silver medal at the 1900 Exposition Universelle in Paris. His work can be found at the museum in Mulhouse, France.

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135 CONSTANTIN LEROUX

Le Loup Signed Original Oil on Canvas 35.2 x 46 in. Gallery price: $16,500

Constantin Leroux

French, 1850 – 1909

Little is known about the background of the artist Constantin Leroux. He painted landscape and genre paintings.

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Ambrosius Boschaert

Flemish, 1573 – 1621

This piece is from the 16th – 17th century Flemish School of painting. It has been attributed by some experts to Ambrosius Boshaert the Elder (1573 – 1621), but is most likely done by a follower of his. Ambrosius Boschaert was born in Antwerp where, in 1585 he entered the Antwerp Guild. To escape religious persecution, he later emigrated to Holland and lived in Middelburg until 1614 when he began a series of moves. He was a picture dealer and dean of the Middelburg Guild between 1597 and 1613. In 1613 he was commissioned by the States-General of Zeeland to paint a seascape recording the naval battle of 25 May 1603, when the Dutch defeated the Spanish. Boscheart worked in Amsterdam in 1614, then moved to Bergen op Zoom from 1615-1616. He then lived and worked in Utrecht for two years and finally moved to Breda in 1619. He died in 1621 on his way to the Hague. He had three sons who also became flower painters: Ambrosius (the younger), Jean, and Abraham. His brother-in-law, Balthasar van der Ast, also lived and worked in his workshop and moved with him on his travels. After Boscheart’s death, van der Ast took over his workshop and pupils, helping to continue the Boscheart dynasty. Boschaert was one of the first to bring to the painting of bouquets of flowers the observational rigor, common to Osias Beert and Clara Peeters at the beginning of the 17th century, that was to spread all over Europe in the 17th and 18th centuries. His bouquets were usually symmetrical and painted with scientific accuracy; they sometimes included religious or symbolic meanings. Of course, most 17th century still lives carried an implicit moralistic message, usually concerning the brevity of life —the theme of vanitas— implicit even in the absence of an obvious symbol like a skull, or less obvious one such as a half-peeled lemon (like life, sweet in appearance but bitter to taste). Flowers wilt and food decays, and silver is of no use to the soul. But Boscheart’s work seemed primarily focused on the accuracy of the image and the beauty therein. He sometimes added a trompe-l’oeil butterfly, caterpillar, insects, or a cyclamen flower to the edge of the frame or surface on which his still lives rested. His reputation was stellar and he started a long tradition of flower painting in Holland. Although his work was always in great demand, his output was extremely limited as he also worked full time as an art dealer. His works can be found in the following collections: National Gallery, London; Getty Museum, Los Angeles; The Hague, the Netherlands; as well as museums in Amsterdam, the Netherlands; and Cologne, Germany.

136 (FACING PAGE) AMBROSIUS BOSCHAERT (FOLLOWER OF)

Nature Morte dans Vase de Verre Signed Original Oil on Linen on Canvas 25.9 x 21.6 in. Gallery price: $19,000

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137 JOSEF HOLSTAYN

Nature Morte au nid d’Oiseau Signed Original Oil on Canvas 19.6 x 15.7 in. Gallery price: $15,500

Josef Holstayn

Austrian, 1930 – unknown

Little is known about the German painter Josef Holstayn. He painted primarily still lifes, particulary ﬂowers.

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138 FRANZ XAVER PIELER

Vase de Fleurs avec Papillons Signed Original Oil on Board 23.6 x 19.6 in. Gallery price: $16,500

Franz Xaver Pieler

Austrian, 1876 – 1952

Franz Xavier Pieler was a painter, primarily of still lives with ﬂowers and/or fruit.

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139 LEROY NEIMAN

Portrait of Cordero, Jockey Signed Original Acrylic on Board 24 x 18 in. Gallery price: $125,000

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140 LEROY NEIMAN

Green Jockey Signed Original Acrylic and Enamel on Board 16.25 x 8 in., 1969 Gallery price: $95,000

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141 LEROY NEIMAN

Three Jockeys Signed Original Acrylic and Enamel on Board 15 x 15 in., 1959 Gallery price: $195,000

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142 LEROY NEIMAN

Himalayan Ascent Signed Original Acrylic on Canvas 20 x 42 in., 1983 Gallery price: $215,000

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THIS IS A REPLACEMENT LOT 143 LEROY NEIMAN

Matador Signed Original Oil on Canvas 25 x 20 in., 1961 Gallery price: $250,000

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LeRoy Neiman b. 1921, St. Paul, Minnesota; d. 2012, New York, New York

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.

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Georges Michel

French, 1763 – 1843

Georges Michel was a delicate artist who was born into a poor family; little is known about his life. He was married twice, first at the age of 16 to a girl the same age who died very young, and again in 1827. Under the patronage of several people, he was apprenticed in 1775 to the studio of a landscape painter called Leduc. He soon became disenchanted with the fantastic and mannered landscapes of the 18th century, and returned to the idea of nature as perceived by Salomon van Ruysdael and the great Dutch landscape artists, taking his inspiration entirely from nature. He exhibited at the Salon from 1796 to 1814, working hard but selling little. He did not actively seek success, and remained unknown and poor. He was supported by Baron d’Ivry, who kept Michel’s entire works by the devious subterfuge of passing the painter off as dead. Michel did not sign or date his paintings, arguing that the artists of antiquity did not sign theirs. Lazare Bruandet, before his death in 1804, taught Michel in the woods around Paris, in Boulogne and in Meudon, where he learned to depict the nostalgic character of these rural sites. He was the earliest of the Montmartre painters. His skies, while painted using the traditional methods that often played on the contrast of leaden clouds with areas of strong light, herald the skies of Eugène Boudin. He appears to have adhered to John Constable’s declaration that “nothing is ugly in nature.” To justify working almost entirely in the area around Paris, he declared that “anybody who is unable to spend his whole life painting within four areas is but a fool.” It is with good reason that he has been called the father of modern landscape. Scorning classical locations, he drew his subjects from the surroundings of Montmartre and the plain of St. Denis. On several occasions he worked with Nicolas-Antoine Taunay, who painted figures in some of his landscapes. In 1812 he developed his later style, which was characterized by accentuation of contrasts. His liberation from earlier influences corresponded with the blossoming of his style from 1830 onwards. After 1843 his influence on several painters, especially Charles Emile Jacque and Jules Dupré, was of particular importance. Although he achieved little fame during his lifetime, Michel is now considered a major precursor to the Barbizon School painters. Michel’s work is in many museum collections including the following: Musée du Louvre, Paris (3 paintings, 80 drawings); Hermitage Museum, St. Petersburg, Russia; Museum of Fine Arts, Boston; Metropolitan Museum of Art, New York; Musée des BeauxArts, Lyon, France; Thyssen-Bornemisza Museum, Madrid, Spain.

144 (FACING PAGE) GEORGES MICHEL (ATTRIBUTED TO)

Retour à la Tombée de la Nuit Unsigned Original Oil on Canvas 19.6 x 23.6 in. Gallery price: $22,500

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145 EMILE LOUIS MATHON

Les Rochers dans la Sous-Bois Signed Original Oil on Canvas 39.4 x 32.7 in. Gallery price: $19,500

Emile Louis Mathon

French, 1855 – unknown

Emile Mathon was born in Paris and was a student of Charles Daubigny. He exhibited at the Paris Salon from 1868 to 1887. He often used a thick paste with fresh colors in his landscapes. His work can be found in museums in Dieppe and Le Havre, France.

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146 CONSTANTIN LEROUX

Deux Cygnes Signed Original Oil on Canvas 34.5 x 46 in. Gallery price: $16,500

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Joan Miró b. 1893, Barcelona; d. 1983, Palma de 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.

147 JOAN MIRÓ

Règne Végétal D. 462 from an edition of 75 Signed Aquatint and Carborundum 29 x 22.5 in., 1968 Gallery price: $22,500 Illustrated: Miró Engraver, Volume II, Daniel Lelong, 1989, pg. 120.

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148 JOAN MIRÓ

Le Rebelle D. 439 from an edition of 75 Signed Etching with Aquatint and Carborundum 41 x 28.75 in., 1967 Gallery price: $58,000 Illustrated: Miró Engraver, Volume II, Daniel Lelong, 1989, pg. 100.

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149 PABLO PICASSO

Femme au Fauteuil no 1 B. 587 from an edition of 50 Signed Lithograph 29 x 22 in., 1948 Gallery price: $175,000 Illustrated: Bloch, Georges, Catalogue de l’Oeuvre Grave et Lithographie, Editions Kornfeld, Vol. I, 1971, pg. 144.

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150 LUIGI KASIMIR

Nassau Hall Signed Aquatint 17.5 x 10.8 in. Gallery price: $7,500

Luigi Kasimir Luigi Kasimir (1881–1962) was an Austro-Hungarian-born etcher, painter, printmaker and landscape artist. Kasimir was born in 1881 at Ptuj (Pettau, in German), today Slovenia, then a part of the Austro-Hungarian monarchy. He inherited his talent from his ancestors; his grandfather was a painter and a poet, and his father an officer in the Habsburg army, who later became a professional painter. Kasimir attended the Vienna Academy of Art where he studied under Wilhelm Unger, who introduced him to the technique of etching, and also to his future wife, the artist Tanna Hoernes. He died in 1962 in Grinzing, a suburb of Vienna. Kasimir was among the first to develop the technique of the colored-etching. Before this, prints were usually hand-colored with the color being applied in a casual, haphazard manner. Kasimir would first create a sketch—usually in pastel. He then transferred the design on as many as four to six plates, printing one after the other and applying the color on the plate—all done by hand. Kasimir is mainly famous for his etchings, but he also produced some oil painting, as well as some pastels. One of his favorite genres was the landscape. He demonstrated a predisposition for monuments, street scenes, and tourist landmarks. He depicted places from all over Europe, mainly Italy, Austria, and Germany. He also travelled to the U.S. to do a series of etchings of famous sights ranging from urban landmarks such as New York skyscrapers to natural wonders like Yosemite Valley. Luigi Kasimir’s etchings can be seen in many galleries and museums, from the New York Metropolitan Museum of Art to countless galleries and fine print collections around the world. He designed a bookplate for Sigmund Freud, who also hung an etching of the Roman Forum by Kasimir in his consulting room. 88

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151 JOHN SLOAN

Nude and Breakfast Tray Signed Etching 5.5 x 6.75 in., 1933 Gallery price: $4,900

John Sloan John Sloan (August 2, 1871 – September 7, 1951) was a twentieth-century painter and etcher and one of the founders of the Ashcan school of American art. He was also a member of the group known as The Eight. He is best known for his urban genre scenes and ability to capture the essence of neighborhood life in New York City, often observed through his Chelsea studio window. Sloan has been called “the premier artist of the Ashcan School who painted the inexhaustible energy and life of New York City during the ﬁrst decades of the twentieth century” and an “early twentieth-century realist painter who embraced the principles of Socialism and placed his artistic talents at the service of those beliefs.” 89

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152 DONALD SULTAN

Quince from an edition of 100 Signed Screenprint 12.5 x 12 in.,1988 Gallery price: $5,500

Donald Sultan Donald Sultan (born 1951) is an American painter, sculptor, and printmaker, particularly well-known for large-scale still-life paintings and the use of industrial materials such as tar, enamel, spackle and vinyl tiles. He has been exhibiting internationally in prominent museums and galleries, and his works are included in important museum collections all over the globe. Sultan is the recipient of numerous honors and awards for his artistic achievements.

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153 PIERRE MARIE BRISSON

Arbre Bleu III Signed Original Mixed Media on Paper 26 x 19.5 in., 2009 Gallery price: $8,500

154 PIERRE MARIE BRISSON

Fleur d’Etoile III Signed Original Mixed Media on Paper 26 x 19.5 in., 2009 Gallery price: $8,500

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155 SALVADOR DALI

Flordali Fruits: Reverence de Grosillier ML 353 from an edition of 35 Signed Etching 22 x 14.5 in., 1969 Gallery price: $11,500 Illustrated: Dali, Catalogue Raisonné I 1924-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 176.

156 SALVADOR DALI

Flordali Fruits: Framboisier ML 354 from an edition of 35 Signed Etching 22 x 14.5 in., 1969 Gallery price: $11,500 Illustrated: Dali, Catalogue Raisonné I 1924-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 176.

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157 LEROY NEIMAN

Opening Night on Broadway from an edition of 70 Signed Serigraph 30 x 36 in., 2003 Gallery price: $5,000

158 LEROY NEIMAN

New York Stock Exchange from an edition of 80 Signed Serigraph 26.5 x 30 in., 2003 Gallery price: $6,500

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159 JOAN MIRÓ

Femme et Chien Devant la Lune D. 18 from an edition of 75 Signed Pochoir 20 x 18 in., 1936 Gallery price: $69,000 Illustrated: Miro Engravings, Volume I, Rizzoli, 1989, pg. 41.

160 (FACING PAGE) JOAN MIRÓ

Equinoxe D. 428 from an edition of 75 Signed Etching with Aquatint and Carborundum 41 x 29.3 in., 1967 Gallery price: $140,000 Illustrated: Miro Engraver, Volume II, Galerie Lelong, 1989, pg. 91.

159

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160 95

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161 PABLO PICASSO

Tête de Femme, de Proﬁl B. 6 / Ba. 7 from an edition of 250 Unsigned Drypoint 11.5 x 9.8 in., 1905 Gallery price: $65,000 Illustrated: Baer, Brigitte, Picasso Peintre-Gravure, Editions Kornfeld, Vol. I, 1990, pg. 28.

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162 PABLO PICASSO

Femme au Miroir B. 52 / Ba. 69 from an edition of 25 Stamped Signature Drypoint 6.9 x 5 in., 1925 Gallery price: $14,500 Illustrated: Baer, Brigitte, Picasso Peintre-Gravure, Editions Kornfeld, Vol. I, 1990, pg. 142.

163 PABLO PICASSO

La Chute d’Icare B. 2016 / Ba. 2022 from an edition of 125 Signed Etching 14.4 x 19.3 in., 1972 Gallery price: $35,000 Illustrated: Baer, Brigitte, Picasso Peintre-Gravure, Editions Kornfeld, Vol. VII, 1996, pg. 278.

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Pablo Picasso b. 1881, Málaga, Spain; d. 1973, Mougins, France

Pablo Picasso was born on October 25, 1881, in Málaga, Spain. The son of an academic painter, José Ruiz Blasco, he 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.

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164 PABLO PICASSO

Untitled Collage Signed Original Collage with Crayons and Pencil 19.5 x 15.75 in. Gallery price: $165,000

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166

165

167

168

165

166

167

LEROY NEIMAN

168 LEROY NEIMAN

Texas Oiler Majorettes

Oak Room

Beach Boys, Taj Mahal

Wynton at the White House

Signed Original

Mixed Media on Paper

15.25 x 12.75 in.

11 x 7.75 in., 1983

11.5 x 14 in., 1996

13.75 x 11 in., 1993

Gallery price: $7,500

Gallery price: $8,500

100

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169 SALVADOR DALI

Dix Recettes d’Immortalité: Sainte Trinité ML 574 from an edition of 40 Signed Etching with Heliogravure 16 x 12 in., 1973 Gallery price: $9,500 Illustrated: Dali, Catalogue Raisonné I 1924-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 209.

170 SALVADOR DALI

Dix Recettes d’Immortalité: Anamorphose des Anamorphoses ML 575 from an edition of 40 Signed Etching with Heliogravure 22.5 x 15.5 in., 1973 Gallery price: $9,500 Illustrated: Dali, Catalogue Raisonné I 1924-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 209.

101

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171 PABLO PICASSO

Tauromaquia: Citando a Banderillas B. 963 / Ba. 983 from an edition of 250 Unsigned Etching 11.4 x 14 in., 1957 Gallery price: $8,950 Illustrated: Baer, Brigitte, Picasso Peintre-Gravure, Editions Kornfeld, Vol. IV, 1988, pg. 310.

172 PABLO PICASSO

Tauromaquia: Echan Perros al Toro B. 961 / Ba. 981 from an edition of 250 Unsigned Etching 11.4 x 14 in., 1957 Gallery price: $8,950 Illustrated: Baer, Brigitte, Picasso Peintre-Gravure, Editions Kornfeld, Vol. IV, 1988, pg. 308.

173 PABLO PICASSO

Tauromaquia: Muerte del Toro B. 972 / Ba. 992 from an edition of 250 Unsigned Etching 11.4 x 14 in., 1957 Gallery price: $8,950 Illustrated: Baer, Brigitte, Picasso Peintre-Gravure, Editions Kornfeld, Vol. IV, 1988, pg. 319.

102

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174 LEROY NEIMAN

Fringe Tomar Signed Original Mixed Media on Paper 17.25 x 14.75 in., 2000 Gallery price: $9,500

175 LEROY NEIMAN

Gary Morris Fly Fishing Signed Original Mixed Media on Paper 13 x 14 in., 1996 Gallery price: $30,000

103

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177

176 LEROY NEIMAN

Bill Walton Signed Original Mixed Media on Paper 16 x 9.5 in., c. 1980 Gallery price: $20,000

177

176

LEROY NEIMAN

Bear Claw, CA Signed Original Mixed Media on Paper 15 x 11 in., 1986 Gallery price: $9,500

104

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178 LEROY NEIMAN

Coach Bill Walsh Signed Original Mixed Media on Paper 15 x 13.25 in., 1989 Gallery price: $20,000

105

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179

180

LEROY NEIMAN

Benny Powell at Blue Note

Marcus at Yoshi’s

Signed Original

Mixed Media on Paper

13.5 x 10 in., 2003

18 x 12 in., 2006

Gallery price: $9,500

Gallery price: $14,500

106

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181 PABLO PICASSO

Avant la Pique II B. 941 / Ba. 1224 from an edition of 50 Signed Linocut 24.6 x 29.6 in., 1959 Gallery price: $75,000 Illustrated: Baer, Brigitte, Picasso Peintre-Gravure, Editions Kornfeld, Vol. V, 1989, pg. 255.

107

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182 JOAN MIRÓ

Tracé sur la Paroi Ill D. 442 from an edition of 75 Signed Etching with Aquatint and Carborundum

WITHDRAWN

29 x 41.3 in., 1967 Gallery price: $36,000 Illustrated: Miro Engraver, Volume II, Galerie Lelong, 1989, pg. 102.

183 JOAN MIRÓ

Partie de Campagne IV D. 433 from an edition of 75 Signed Etching with Aquatint 29.25 x 41 in., 1967

WITHDRAWN

Gallery price: $32,000 Illustrated: Miro Engraver, Volume II, Galerie Lelong, 1989, pg. 95.

108

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184 JOAN MIRÓ

Série II D. 83 from an edition of 13 Signed Etching 20 x 25 in., 1952-53 Gallery price: $38,500 Illustrated: Miro Engraver, Volume I, Rizzoli, 1989, pg. 83.

109

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185

186

SALVADOR DALI

Dix Recettes d’Immortalité: Zootrope et Tour Boullée

Dix Recettes d’Immortalité: Immoralité Stereoscopique

ML 576

ML 573

from an edition of 40

Signed Etching with Heliogravure

22.5 x 15.5 in., 1973

15.5 x 22.5 in., 1973

Gallery price: $9,500

Illustrated: Dali, Catalogue Raisonné I 1924-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 209.

185

186

110

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187 JOAN MIRÓ

Càntic del Sol – Plate 15 D. 848 from an edition of 250 Unsigned Etching with Aquatint 13.5 x 20 in., 1975 Gallery price: $3,200 Illustrated: Miro Engraver, Volume III, Ediciones Poligrafa, 1992, pg. 181.

188 JOAN MIRÓ

Càntic del Sol – Plate 16 D. 849 from an edition of 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.

189 JOAN MIRÓ

Càntic del Sol – Plate 17 D. 854 from an edition of 250 Unsigned Etching with Aquatint 13.5 x 20 in., 1975 Gallery price: $3,200 Illustrated: Miro Engraver, Volume III, Ediciones Poligrafa, 1992, pg. 184.

111

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190

191

190

192

LEROY NEIMAN

Tina Turner

Eddie Murphy

Signed Original

Mixed Media on Paper

14.5 x 12 in., c. 1980

14 x 12 in., 1986

Gallery price: $8,500

Gallery price: $12,500

191 LEROY NEIMAN

Glenn Close Signed Original Mixed Media on Paper 13.75 x 12.5 in., 1986 Gallery price: $9,500

192

112

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193

194

193 LEROY NEIMAN

Portrait of the Cheetah from an edition of 450 Signed Serigraph 28 x 21 in., 2004 Gallery price: $8,000

194 LEROY NEIMAN

Resting Lion from an edition of 385 Signed Serigraph 33.75 x 42 in., 2008 Gallery price: $7,000

195 LEROY NEIMAN

Resting Tiger from an edition of 360

195

Signed Serigraph 32.5 x 42 in., 2008 Gallery price: $9,200

113

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196

197

198

199

196

197

198

SALVADOR DALI

199 SALVADOR DALI

Carmen: Carmen’s Death

Carmen: A Square in Seville

Carmen: The Bullﬁghter’s Song

ML 1328

ML 1304

ML 1314

Carmen: Don Jose and Carmen Flee

from an edition of 26

from an edition of 125

from an edition of 26

ML 1316

Signed Lithograph

from an edition of 26

21 x 17 in., 1969

Signed Lithograph

Gallery price: $7,950

21 x 17 in., 1969

Illustrated: Dali, Catalogue Raisonné II 1956-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 141.

Illustrated: Dali, Catalogue Raisonné II 1956-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 139.

Illustrated: Dali, Catalogue Raisonné II 1956-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 140.

Gallery price: $7,950 Illustrated: Dali, Catalogue Raisonné II 1956-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 140.

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200 SALVADOR DALI

Carmen: The Bull is Dead ML 1326 from an edition of 26 Signed Lithograph 21 x 17 in., 1969 Gallery price: $7,950 Illustrated: Dali, Catalogue Raisonné II 1956-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 141.

Salvador Dalí b. 1904, Figueras, Spain; d. 1989, Figueras, Spain

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 Dalinian 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. 115

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201

202

201

202

203

PABLO PICASSO

La Célestine

B. 1574 / Ba. 1590

B. 1603 / Ba. 1618

B. 1575 / Ba. 1591

B. 1606 / Ba. 1622

from an edition of 350

Unsigned Etching

3.5 x 4.75 in., 1971

4.5 x 2.25 in., 1971

3.5 x 4.75 in., 1971

4.75 x 2.25 in., 1971

Gallery price: $4,450

Illustrated: Baer, Brigitte, Picasso Peintre-Gravure, Editions Kornfeld, Vol. VI, 1994, pg. 282.

Illustrated: Baer, Brigitte, Picasso Peintre-Gravure, Editions Kornfeld, Vol. VI, 1994, pg. 319.

Illustrated: Baer, Brigitte, Picasso Peintre-Gravure, Editions Kornfeld, Vol. VI, 1994, pg. 283.

Illustrated: Baer, Brigitte, Picasso Peintre-Gravure, Editions Kornfeld, Vol. VI, 1994, pg. 323.

203

204

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205

206

205

207

PIERRE-MARIE BRISSON

Attitude

Situation

from an edition of 30

Signed Etching

20 x 20 in., 2004

32 x 22 in., 2004

Gallery price: $3,600

Gallery price: $4,100

206 PIERRE-MARIE BRISSON

L’Été Dernier from an edition of 30 Signed Etching 20 x 20 in., 2004 Gallery price: $3,600

207

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208 LEROY NEIMAN

Glenn Hall, Hockey Player Signed Original Oil on Board 24 x 12 in., 1966 Gallery price: $60,000

118

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209 LEROY NEIMAN

Willie Mays Signed Original Acrylic and Enamel on Board 22 x 33 in. Gallery price: $250,000

119

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Francis Bacon b. 1909, Dublin; d. 1992, Madrid

Francis Bacon was born October 28, 1909, in Dublin. At the age of 16, he moved to London and subsequently lived for about two years in Berlin and Paris. Although Bacon never attended art school, he began to draw and work in watercolor about 1926–27. Pablo Picasso’s work decisively influenced his painting until the mid-1940s. Upon his return to London in 1929, he established himself as a furniture designer and interior designer. He began to use oils in the fall of that year and exhibited a few paintings as well as furniture and rugs in his studio. His work was included in a group exhibition in London at the Mayor Gallery in 1933. In 1934, the artist organized his own first solo show at Sunderland House, London, which he called Transition Gallery for the occasion. He participated in a group show at Thomas Agnew and Sons, London, in 1937. Bacon painted relatively little after his solo show and in the 1930s and early 1940s destroyed many of his works. He began to paint intensively again in 1944. His first major solo show took place at the Hanover Gallery, London, in 1949. From the mid-1940s to the 1950s, Bacon’s work reflected the influence of Surrealism. In the 1950s, Bacon drew on such sources as Velázquez’s Portrait of Pope Innocent X (1649–50), Vincent van Gogh’s The Painter on the Road to Tarascon (1888), and Eadweard Muybridge’s photographs. His first solo exhibition outside England was held in 1953 at Durlacher Brothers, New York. In 1950–51 and 1952, the artist traveled to South Africa. He visited Italy in 1954 when his work was featured in the British Pavilion at the Venice Biennale. His first retrospective was held at the Institute of Contemporary Arts, London, in 1955. Bacon was given a solo show at the São Paulo Bienal in 1959. In 1962, the Tate Gallery, London, organized a Bacon retrospective, a modified version of which traveled to Mannheim, Turin, Zurich, and Amsterdam. Other important exhibitions of his work were held at the Solomon R. Guggenheim Museum, New York, in 1963 and the Grand Palais in Paris in 1971; paintings from 1968 to 1974 were exhibited at the Metropolitan Museum of Art, New York, in 1975. Retrospectives of his work were held at the Hirshhorn Museum and Sculpture Garden, Washington, D.C., Los Angeles County Museum of Art, and the Museum of Modern Art, New York, in 1989–90 and at the Musée National d’Art Moderne, Paris, in 1996. The artist died April 28, 1992, in Madrid.

210 FRANCIS BACON

Three Studies of a Male Back (central panel) from an edition of 99 Signed Lithograph 31.75 x 23.2 in., 1987 Gallery price: $45,000

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211 FRANCIS BACON

Triptyque 1983 – Left from an edition of 99 Signed Lithograph 31.75 x 23.2 in., 1983 Gallery price: $30,000

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212

213

FRANCIS BACON

Triptyque 1983 – Center

Triptyque 1983 – Right

from an edition of 99

Signed Lithograph

31.75 x 23.2 in., 1983

Gallery price: $30,000

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214 PABLO PICASSO

La Célestine B. 1576 / Ba. 1592 from an edition of 350 Unsigned Etching 3.75 x 4.75 in., 1971 Gallery price: $4,450 Illustrated: Baer, Brigitte, Picasso Peintre-Gravure, Editions Kornfeld, Vol. VI, 1994, pg. 284.

215 PABLO PICASSO

La Célestine B. 1582 / Ba. 1598 from an edition of 350 Unsigned Etching 3.75 x 4.75 in., 1971 Gallery price: $4,450 Illustrated: Baer, Brigitte, Picasso Peintre-Gravure, Editions Kornfeld, Vol. VI, 1994, pg. 298.

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217

218 216

216

217

218

PABLO PICASSO

La Célestine

B. 1607 / Ba. 1623

B. 1592 / Ba. 1608

B. 1626 / Ba. 1642

from an edition of 350

Unsigned Etching

5.5 x 2.25 in., 1971

3.5 x 4.75 in., 1971

2.25 x 3.25 in., 1971

Gallery price: $4,450

Illustrated: Baer, Brigitte, Picasso Peintre-Gravure, Editions Kornfeld, Vol. VI, 1994, pg. 324.

Illustrated: Baer, Brigitte, Picasso Peintre-Gravure, Editions Kornfeld, Vol. VI, 1994, pg. 309.

Illustrated: Baer, Brigitte, Picasso Peintre-Gravure, Editions Kornfeld, Vol. VI, 1994, pg. 350.

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219 PIERRE BONCOMPAIN

Le Lilas du Jardin from an edition of 250 Signed Serigraph 35 x 28 in., 1999 Gallery price: $3,000

220 LEROY NEIMAN

Family Portrait from an edition of 575 Signed Serigraph 25 x 24 in., 2005 Gallery price: $5,000

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221

222

223

224

221

222

223

SALVADOR DALI

224 SALVADOR DALI

Divine Comedy – Hell 3

Divine Comedy – Hell 4

Divine Comedy – Hell 5

Divine Comedy – Hell 9

ML 1041

ML 1042

ML 1043

ML 1047

from an edition of 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. 102.

Illustrated: Dali, Catalogue Raisonné II 1956-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 103.

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225 MIHAIL CHEMIAKIN

Ourka Signed Original Pen on Paper 10 x 12 in., 1975 Gallery price: $7,500

Mihail Chemiakin b. 1943, Russia

Mihail Chemiakin (born 4 May 1943, Moscow) is a Russian painter, stage designer, sculptor and publisher, and a controversial representative of the nonconformist art tradition of St. Petersburg. Chemiakin was born to a military family. His father, a Kabardian from the Caucasus Mountains surnamed Kardanov, had lost his parents and was adopted by a friend of his father’s, White Army officer Piotr Chemiakin. The artist’s father eventually became a Soviet Army officer. He received one of the first Orders of the Red Banner at the age of thirteen. Mihail Chemiakin spent his early years in East Germany. His father served in the Army there. His family returned to the Soviet Union in 1957 and he studied at the secondary school of art affiliated with the Il’ya Repin Institute of Painting, Sculpture and Architecture in Leningrad (now St. Petersburg). In 1961 he was subjected to forced psychiatric treatment to “cure” him of views that did not conform to Soviet norms. He later got a job at the Hermitage Museum. With his colleagues from the museum he organized an exhibition in 1964, after which the director of the museum was fired and all the participants forced to resign. In 1967 he co-authored with philosopher Vladimir Ivanov a treatise called “Metaphysical Synthesism,” which laid out his artistic principles, and created the “St. Petersburg Group” of artists. In 1971 he was exiled from the Soviet Union for failing to conform to Socialist Realism norms. He settled in France and he published Apollon-77, an almanac of post-Stalinist art, poetry, and photography. He moved to New York in 1981, and currently lives in France. Chemiakin works in a broad range of media and subjects. In 2001, commissioned by the City of Moscow, Chemiakin created a monument “Children Are the Victims of Adult Vices,” a group of sculptures in a park 2000 feet south of the Kremlin, behind the British Ambassador’s residence. Other sculptures by Chemiakin include Peter the Great in St. Petersburg’s Peter and Paul Fortress, Peter the Great in London, Monument to Victims of Terrorism in Vladikavkaz (North Ossetia), Vladimir Vysotsky in Samara, Russia. Since roughly 2001, he has been working as artistic designer on the upcoming Russian animated feature film Hoffmaniada. In 2001 he directed and designed an entirely new production of The Nutcracker for the Mariinsky Theater, where he also created a second ballet based on the same tale by Hoffman, “The Magic Nut.” In 2010 the artist created a new production of “Coppelia” for the Lithuanian National Opera and Ballet Theater. 128

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226

227

226

228

MIHAIL CHEMIAKIN

Metaphysical Head

Metaphysical Smoker

Signed Original

Pastel on Board

11 x 8 in., 1982

14 x 12 in., 1980

Gallery price: $10,000

Gallery price: $12,500

227 MIHAIL CHEMIAKIN

Metaphysical Bust Signed Original Pastel on Board 11 x 8 in., 1991 Gallery price: $12,500

228

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229

230

231

229

230

231

REMBRANDT

The Angel Departing from the Family of Tobias

Peasant Family on the Tramp

The Second Oriental Head

B. 131 ii/ii

B. 287

B. 43 iv/iv

Unsigned Etching

Unsigned Etching with Drypoint

4.9 x 4.1 in.

6.25 x 5.4 in.

4.4 x 6.5 in.

Gallery price: $20,500

Gallery price: $35,000

Illustrated: Schwartz, Gary, The Complete Etchings of Rembrandt, Dover Publications, 1988.

Gallery price: $10,000 Illustrated: Schwartz, Gary, The Complete Etchings of Rembrandt, Dover Publications, 1988.

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Rembrandt Many people are surprised to learn that Rembrandt’s etchings, not his paintings, were responsible for the international reputation he enjoyed during his lifetime. When in 1660 the great Italian painter Guercino remarked, “I frankly consider him to be a great virtuoso,” he was referring to the Dutchman’s prints. The extraordinarily high regard Rembrandt’s contemporaries had for his etchings was understandable, for in less than four decades he had pushed the relatively new medium to its expressive limits. While later printmakers tried to coax more from their etchings by altering the process, attacking the plate with new tools, and printing on unexpected surfaces, no one ever achieved greater results than Rembrandt attained with a simple etching needle and copper plates. For Europeans of Rembrandt’s day, a print, etching, engraving or woodcut filled a need that today is met jointly by a work of art and a news photograph. It gave them esthetic enjoyment and also satisfied their curiosity about distant places and people; it was, other than the printed word itself, the 17th Century’s major means of mass communication. Publishers--and artists themselves--issued and circulated quantities of prints. Some took the form of simple broadsheets; others illustrated books; others reproduced privately owned paintings inaccessible to public view. Thus Rembrandt’s fame while he lived was greater as an etcher than as a painter (he did no engravings or woodcuts). The acknowledged master of the medium, he turned it into a wondrously flexible instrument of his art. Biblical themes, genre, landscapes, portraits, nudes, all these he found suitable for etching. As much in command of tools as of technique, Rembrandt sometimes employed even the V-shaped engraver’s burin in his etchings, combining it with the fine etching needle and thicker dry point needle, as in the work opposite, for richer pictorial effects. Above all, Rembrandt’s great gift as an etcher lay in preserving a sense of spontaneity while scrupulously attending to close detail. For him each etching, as the scholar K. G. Boon noted, “originated ...in the deeply felt need to make that particular print.”

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232

232 LARRY HOROWITZ

Pleasant Bay from an edition of 45 Signed Etching 15 x 31 in., 1999 Gallery price: $1,800

233 LARRY HOROWITZ

Sienna Shadows from an edition of 50 Signed Etching 16 x 16 in., 1999 Gallery price: $1,800

233

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234 LEROY NEIMAN

Femlin: Chirstmas Bulbs 1 Signed Original Mixed Media on Paper 11 x 15 in., 1984 Gallery price: $34,000

235 LEROY NEIMAN

Femlin: Chirstmas Bulbs 2 Signed Original Mixed Media on Paper 11 x 15 in., 1984 Gallery price: $34,000

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236 LEROY NEIMAN

Femlin: Snowballs Signed Original Mixed Media on Paper 12.75 x 15.75 in., 1990 Gallery price: $34,000

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237 LEROY NEIMAN

Femlin: The Disguise Signed Original Mixed Media on Paper 11 x 14.5 in., 1978 Gallery price: $34,000

135

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238

239

240

241

238

239

240

SALVADOR DALI

241 SALVADOR DALI

Divine Comedy – Heaven 21

Divine Comedy – Heaven 30

Divine Comedy – Purgatory 11

Divine Comedy – Purgatory 14

ML 1126

ML 1135

ML 1083

ML 1086

from an edition of 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. 113.

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

Illustrated: Dali, Catalogue Raisonné II 1956-80, R. Michler and L. Lopsinger, Prestel, 1994, pg. 108.

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242

243

SALVADOR DALI

Divine Comedy – Hell 17

Divine Comedy – Hell 18

ML 1055

ML 1056

from an edition of 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. 104.

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244 STEPHEN HALL

The Choice from an edition of 125 Signed Serigraph 22 x 20 in., 1986 Gallery price: $2,500

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245 LEROY NEIMAN

Champagne, New Year’s Eve from an edition of 250 Signed Serigraph 24 x 17.75 in., 2006 Gallery price: $4,500

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Appendices:

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Conditions of Sale: 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 hammered down to the purchaser by the auctioneer. The term “purchase price“is defined as the aggregate of (a) the bid price, and (b) a premium of nineteen percent (19%) of the bid price payable by the purchaser, and (c) any applicable shipping charges. Applicable sales tax will be calculated on the “purchase price”, unless the purchaser is exempt by law from the payment 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 letter of value for the items purchased at auction. Your invoice serves as your letter of value. To prevent missed deliveries and inconvenience in settlement of a purchase, no lot may be transferred. Because many of the artworks sold are fine art limited-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 event of 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 the reserve 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, American Express, Diners Club or Discover Card. ALL ITEMS ARE SOLD AS IS and ALL SALES ARE FINAL. ABSENTEE BIDS If you are unable to attend, and wish to place bids, we will accept absentee bids in advance of sale by telephone, or in writing, on bidding forms available in this catalog or from Franklin Bowles Galleries’ Art Consultants. Buy bids will be accepted. All bids must state the highest bid price the bidder is willing to pay. As noted above, a 19% premium payable by the purchaser will be added to the bid price together with applicable sales tax, packing and insurance. In the event identical bids are submitted, the earliest will take precedence. Absentee bids shall be executed in competition with other absentee bids, any applicable reserve and bids from the audience. Sale results and selling prices for any lot may be obtained by calling your Art Consultant during normal business hours.

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Telephone / Absentee Bids:

Saturday, December 6, 2014

Saturday, July 16, 2011

PLEASE CUT OUT THIS PAGE

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Index ARTIST

•

LOT NUMBER

•

TITLE

EDUARDO ARRANZ-BRAVO

CLAUDE FÉLIX THÉODORE CARUELLE D’ALIGNY

49 50

120

That’s Amore III Viatage

Au Coeur de la Forêt de Fontainebleau

MARC CHAGALL FRANCIS BACON

210 211 212 213

Three Studies of a Male Back (center panel) Triptyque 1983 – Left Triptyque 1983 – Center Triptyque 1983 – Right

EMILE BERNARD

119

Btetons dans une Barque

PIERRE BONCOMPAIN

7 8 9 63 64 65 219

Fruits d’Été Les Primèveres sur le Kilim La Ceinture Jaune Jardin Fleuri en Provence La Brésilienne au Châle Jaune L’Ombre Bleue Le Lilas du Jardin

AMBROSIUS BOSCHAERT (FOLLOWER OF)

136

Nature Morte dans Vase de Verre

12 13 14 15 16 82 83 84 92 93 102 103 104 105 115 116

Bible: End of Abasalom Bible: Lot and His Daughters Bible: Mantle of Noah Bible: The Circumcision Bible: Death of Saul Celui qui Dit – Plate II Celui qui Dit – Plate IV Celui qui Dit – Plate IX Celui qui Dit – Plate XI Celui qui Dit – Plate XVII Celui qui Dit – Plate XX Celui qui Dit – Plate XXII Celui qui Dit – Plate XXIV Celui qui Dit – Plate XXV Le Peintre et son Double (2nd state) Bible: Moses Striking Water from the Rock

MIHAIL CHEMIAKIN

44 45 225 226 227 228

Still Life with Fish on Board Still Life with Fish and Bread Ourka Metaphysical Head Metaphysical Bust Metaphysical Smoker

PIERRE-MARIE BRISSON

36 37 38 60 61 62 153 154 205 206 207

Jeu Simple Geste L’Indicateur Fantomette VIII Simplement V Sequence Arbre Bleu III Fleur d’Etoile III Attitude L’Été Dernier Situation

SALVADOR DALI

3 4 5 6 10 25 26 27 28 46

Divine Comedy – Heaven 1 Divine Comedy – Heaven 8 Divine Comedy – Heaven 9 Divine Comedy – Heaven 10 Dix Recettes d’Immortalité: L’Homme Ressuscite Divine Comedy – Purgatory 5 Divine Comedy – Purgatory 6 Divine Comedy – Purgatory 9 Divine Comedy – Purgatory 10 Le Bestiare de la Fontaine: Portrait of La Fontaine

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47 48 94 95 96 97 106 107 124 125 155 156 169 170 185 186 196 197 198 199 200 221 222 223 224 238 239 240 241 242 243

Le Bestiare de la Fontaine: The Stag Seeing Himself Le Bestiare de la Fontaine: The Oak and the Reed Dix Recettes d’Immortalité: L’Immortalité de l’Imperialisme Dix Recettes d’Immortalité: Le Systeme Caga y Menja Dix Recettes d’Immortalité: L’Immortalité de Castor y Pollux Dix Recettes d’Immortalité: L’Immoralité Tetraedrique du Cube Hippies: Santiago de Compostela Hippies: The Sacred Cow Flordali Fruits: Cerises Pierrot Flordali Fruits: Pamplemousse Erotique Flordali Fruits: Reverence de Grosillier Flordali Fruits: Framboisier Dix Recettes d’Immortalité: Sainte Trinité Dix Recettes d’Immortalité: Anamorphose des Anamorphoses Dix Recettes d’Immortalité: Zootrope et Tour Boullée Dix Recettes d’Immortalité: Immoralité Stereoscopique Carmen: Carmen’s Death Carmen: A Square in Seville Carmen: The Bullﬁghter’s Song Carmen: Don Jose and Carmen Flee Carmen: The Bull is Dead Divine Comedy – Hell 3 Divine Comedy – Hell 4 Divine Comedy – Hell 5 Divine Comedy – Hell 9 Divine Comedy – Heaven 21 Divine Comedy – Heaven 30 Divine Comedy – Purgatory 11 Divine Comedy – Purgatory 14 Divine Comedy – Hell 17 Divine Comedy – Hell 18

GEORG DECKER

121

HIPPOLYTE CAMILLE DELPY

122

Paysannes au bord de la Rivière

JIM DINE

The Yellow Belt

LÉON VICTOR DUPRÉ

123

La Tempête Approche

CAMILLE FLERS

132

Bateaux sur la Rivière

ECOLE FRANÇAISE

131

Les Chênes

ARNOLD MARC GORTER

133

Vaches le long de la Rive

STEPHEN HALL

244

The Choice

JOSEF HOLSTAYN

137

Nature Morte au nid d’Oiseau

LARRY HOROWITZ

1 2 73 110 232 233

California Skies Fall Sepia Barn Sepia Marsh Pleasant Bay Sienna Shadows

La Dame au Camelia

145

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Index ARTIST

•

LOT NUMBER

•

TITLE

LUIGI KASIMIR

150

Nassau Hall

PAUL LECOMTE

134

Sous Bois

CONSTANTIN LEROUX

135 146

Le Loup Deux Cygnes

EMILE LOUIS MATHON

145

Les Rochers dans la Sous-Bois

IGOR MEDVEDEV

54 56 57 55 111 112 113 114

Avlakia New Bisagra Gate Silvery Down Green Pastures Stylized II Up in the Sky Western Cape Sterling

GEORGES MICHEL (ATTRIBUTED TO)

144

Retour à la Tombée de la Nuit

JOAN MIRÓ

33 34 35 39 40 41 42 43 68

Càntic del Sol – Plate 4 Càntic del Sol – Plate 8 Càntic del Sol – Plate 10 Càntic del Sol – Plate 18 Càntic del Sol – Plate 20 Càntic del Sol – Plate 21 Càntic del Sol – Plate 22 Càntic del Sol – Plate 23 Le Marteau sans Maitre: Plate 1

69 70 71 72 79 80 81 126 130 147 148 159 160 182 183 184 187 188 189

Le Marteau sans Maitre: Plate 2 Le Marteau sans Maitre: Plate 5 Le Marteau sans Maitre: Plate 7 Oda a Joan Miró 5 Càntic del Sol – Plate 11 Càntic del Sol – Plate 12 Càntic del Sol – Plate 13 Libre dels Sis Sentits V Libre dels Sis Sentits VI Règne Végétal Le Rebelle Femme et Chien Devant la Lune Equinoxe Tracé sur la Paroi Ill Partie de Campagne IV Série II Càntic del Sol – Plate 15 Càntic del Sol – Plate 16 Càntic del Sol – Plate 17

LEROY NEIMAN

29 30 31 32 51 52 53 58 59 66 74 75 76 77 78 88 89 90 91 98

The Artist Carousel Ryder Cup – Valhalla Portrait of the Black Panther Lion and Lioness Jazz Horns International Auction International Poker Washington Square, SF Rue de Passy, Paris Exterior of Tavern on the Green Los Angeles Airport The Arcade Frank at Rao’s Elephant Charge Waiting in Line Lower Terrace View, Suite 102 Beverly Hills Woman at Regine’s Hotel Playboy Bunny Daley Thompson at Sea

146

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14. 09. 13 오후 1:58

99 100 101 108 109 139 141 140 142 143 157 158 165 166 167 168 174 175 176 177 178 179 180 190 191 192 193 194 195 208 209 220 234 235 236 237 245

Wrestlers at Lenin Stadium Femlin: Mistletoe 1 Femlin: Mistletoe 2 Sir John’s, Miami The Felze, Venice Gondolas Portrait of Cordero, Jockey Three Jockeys Green Jockey Himalayan Ascent Finish at Indy Opening Night on Broadway New York Stock Exchange Texas Oiler Majorettes Oak Room Beach Boys, Taj Mahal Wynton at the White House Fringe Tomar Gary Morris Fly Fishing Bill Walton Bear Claw, CA Coach Bill Walsh Benny Powell at Blue Note Marcus at Yoshi’s Tina Turner Glenn Close Eddie Murphy Portrait of the Cheetah Resting Lion Resting Tiger Glenn Hall, Hockey Player Willie Mays Family Portrait Femlin: Chirstmas Bulbs 1 Femlin: Chirstmas Bulbs 2 Femlin: Snowballs Femlin: The Disguise Champagne, New Year’s Eve

PABLO PICASSO

17 18 19 20 85 86 87 117 118 127 128 129 149 161 162 163 164 171 172 173 181 201 202 203 204 214 215 216 217 218

La Célestine La Célestine La Célestine La Célestine Tauromaquia: A Los Toros Tauromaquia: Los Cabestros Retiran al Toro Manso Tauromaquia: Suerte de Varas Buste de Femme avec Fichu Le Cirque de la Vie Cirque: Écuyère, Femmes et Spectateurs (avant acierage) Jeune Homme Présentant un Miroir Femme au Fauteuil: Dora Maar Femme au Fauteuil no 1 Tête de Femme, de Proﬁl Femme au Miroir La Chute d’Icare Untitled Collage Tauromaquia: Citando a Banderillas Tauromaquia: Echan Perros al Toro Tauromaquia: Muerte del Toro Avant la Pique II La Célestine La Célestine La Célestine La Célestine La Célestine La Célestine La Célestine La Célestine La Célestine

FRANZ XAVER PIELER

138

Vase de Fleurs avec Papillons

147

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Index ARTIST

•

LOT NUMBER

•

TITLE

REMBRANDT

67 229 230 231

Head of a Man in a Fur Cap, Crying Out The Angel Departing from the Family of Tobias Peasant Family on the Tramp The Second Oriental Head

JOHN SLOAN

151

Nude and Breakfast Tray

DONALD SULTAN

152

Quince

AMANDA WATT

21 22 23 24

Marrakesh Red Blooded II Brown Sofa Over View

Project Managers:

Stacey Bellis, Alex Gleason

Photography & Graphics Technician: Scott Saraceno Catalog Design:

Susan Tsuchiya

Front cover: Lot 52, LeRoy Neiman, Jazz Horns (detail) Page 140-141: Lot 30, LeRoy Neiman, Carousel (detail) Page 144-145: Lot 130, Joan Miró, Libre dels Sis Sentits VI (detail) Page 146-147: Lot 138, Franz Xaver Pieler, Vase de Fleurs avec Papillons (detail) Page 148, inside back cover: Lot 197, Salvador Dali, Carmen: A Square in Seville (detail) Back cover: Lot 183, Joan Miró, Partie de Campagne IV

148

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14. 09. 16 오후 7:28

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14. 09. 16 오전 9:38